1 00:00:00,160 --> 00:00:03,280 Speaker 1: Hey ya hey, SELLI Wilson from Rap right Off and 2 00:00:03,360 --> 00:00:05,680 Speaker 1: me and my partner beat Our Miller. And you know 3 00:00:05,680 --> 00:00:07,680 Speaker 1: we got the premiere website out there, rap right our 4 00:00:07,760 --> 00:00:10,080 Speaker 1: dot com. And now I'm about to take over the 5 00:00:10,080 --> 00:00:12,360 Speaker 1: podcast game. We want to sit down with the coaches 6 00:00:12,400 --> 00:00:15,800 Speaker 1: most important voices. Give you that news and information, that opinion, 7 00:00:16,000 --> 00:00:18,279 Speaker 1: the only opinion that matters. Man here, Rap right Off. 8 00:00:18,520 --> 00:00:25,080 Speaker 1: Listen up here we go rap rate our podcast. Ellie 9 00:00:25,160 --> 00:00:28,160 Speaker 1: Wilson be dot beat out. What's up baby? Feeling good? 10 00:00:28,200 --> 00:00:31,400 Speaker 1: Feeling great? How are you? We won't stop delivering these episodes. Man. 11 00:00:31,440 --> 00:00:34,000 Speaker 1: We got legendary executives this week. We got young artists 12 00:00:34,159 --> 00:00:37,000 Speaker 1: kicking it and making noise like the Homie Drome last episode. 13 00:00:37,200 --> 00:00:40,080 Speaker 1: And now we got man, this young executive man out here. Man, 14 00:00:40,120 --> 00:00:42,000 Speaker 1: when you think of Travis Scott, you nik a yg 15 00:00:42,520 --> 00:00:44,559 Speaker 1: their last albums, you gotta blame this man. What do 16 00:00:44,560 --> 00:00:46,400 Speaker 1: you like to have loved it? Man? Sycamore is in 17 00:00:46,440 --> 00:00:50,479 Speaker 1: the building, sickamore whatever, batmore. We need that drop. You 18 00:00:50,520 --> 00:00:52,839 Speaker 1: know I don't even have it anymore? What Yeah, I 19 00:00:52,840 --> 00:00:56,400 Speaker 1: gotta go pull that up. You drop the master at work? Right? 20 00:00:56,400 --> 00:00:57,840 Speaker 1: That was the drop? Was the drop? You had the 21 00:00:57,840 --> 00:01:02,200 Speaker 1: instrumental it was sickamore and it had You're in the privilege. 22 00:01:02,640 --> 00:01:04,959 Speaker 1: You're in a privileged position to learn a thing two 23 00:01:05,000 --> 00:01:08,080 Speaker 1: and keep your mouth shutting your eyes open from Denzel. Yeah, 24 00:01:08,480 --> 00:01:10,399 Speaker 1: the good old days. So the people that don't know 25 00:01:10,480 --> 00:01:12,520 Speaker 1: Sycamore was a mixtape king in the New York circuit. 26 00:01:12,520 --> 00:01:14,360 Speaker 1: You know, how did you avoid beef with like crazy 27 00:01:14,440 --> 00:01:17,640 Speaker 1: aster Case Slaves and the the mixtape dudes. And I 28 00:01:17,680 --> 00:01:19,600 Speaker 1: didn't really avoid it, you know. I was just part 29 00:01:19,600 --> 00:01:21,360 Speaker 1: of the game. You know. But at the time when 30 00:01:21,360 --> 00:01:23,919 Speaker 1: I first started, I was sixteen, seventeen years old. Correct, 31 00:01:23,920 --> 00:01:26,720 Speaker 1: I'm not out of Brooklyn, So I really forget how 32 00:01:26,760 --> 00:01:29,120 Speaker 1: young you were. Like that's crazy. Yeah, it's like you 33 00:01:29,160 --> 00:01:31,039 Speaker 1: know when um, when I when I when I worked 34 00:01:31,040 --> 00:01:34,760 Speaker 1: for your Double Excel, I was I was nineteen, you know, 35 00:01:34,800 --> 00:01:36,840 Speaker 1: and like at that point I didn't know anything, Like 36 00:01:36,880 --> 00:01:39,760 Speaker 1: I didn't have anybody in music. I'm trinidaddy and you know, 37 00:01:39,880 --> 00:01:42,240 Speaker 1: to my family, corrupt listening to the gospel and calypso 38 00:01:42,280 --> 00:01:44,600 Speaker 1: on R and B. Yeah, so everything was new to me. 39 00:01:44,600 --> 00:01:47,080 Speaker 1: Every single day was new. So nobody was gonna tell 40 00:01:47,120 --> 00:01:48,880 Speaker 1: me I can't do something. I was just showing up. 41 00:01:48,920 --> 00:01:50,360 Speaker 1: I didn't care because I just wanted to get on. 42 00:01:50,800 --> 00:01:53,200 Speaker 1: You're also known for you know, your Overnight series and 43 00:01:53,600 --> 00:01:56,120 Speaker 1: I'll make you famous. But the instrumentals, why did you 44 00:01:56,160 --> 00:01:59,000 Speaker 1: focus on those so much? The instrumentals was the only 45 00:01:59,040 --> 00:02:03,040 Speaker 1: thing that was important to the to the people, like 46 00:02:03,080 --> 00:02:06,640 Speaker 1: my customer days for instrumentals with people who wanted to 47 00:02:06,680 --> 00:02:08,520 Speaker 1: get on. So you gotta think two thousand three, two 48 00:02:08,560 --> 00:02:11,519 Speaker 1: thousand and four, two thousand five, two thousand two, instrumentals 49 00:02:11,520 --> 00:02:14,680 Speaker 1: and beats were hot, like was hot. So when people 50 00:02:14,680 --> 00:02:17,840 Speaker 1: bought my instrumentals, they were buying that to complete their 51 00:02:17,880 --> 00:02:20,119 Speaker 1: albums pretty much, you know what I mean. They're buying 52 00:02:20,160 --> 00:02:21,880 Speaker 1: that to complete their record. They need to write their 53 00:02:21,919 --> 00:02:25,160 Speaker 1: wraps and need to write and practice. And my instrumentals 54 00:02:25,280 --> 00:02:27,160 Speaker 1: I had a niche with people who bought them because 55 00:02:27,200 --> 00:02:30,080 Speaker 1: I didn't do loops. I went to I found a producer. 56 00:02:30,440 --> 00:02:32,000 Speaker 1: I want to found a vinyl and make sure I 57 00:02:32,000 --> 00:02:34,080 Speaker 1: had the real instrumental with the drops in there, with 58 00:02:34,120 --> 00:02:38,160 Speaker 1: the transition, so you know, people knew the difference quality wise. 59 00:02:38,200 --> 00:02:41,040 Speaker 1: So I really treated that series because if somebody had 60 00:02:41,080 --> 00:02:43,440 Speaker 1: five ten dollars at the time and their artists and 61 00:02:43,480 --> 00:02:45,680 Speaker 1: they had to buy a sandwich or buy my CD. 62 00:02:45,919 --> 00:02:47,919 Speaker 1: They're gonna buy my CD because they feel like that's 63 00:02:47,919 --> 00:02:50,639 Speaker 1: an investment in their future versus all the other mix 64 00:02:50,680 --> 00:02:53,640 Speaker 1: sayes were kind of like, um, you know, just for fun. Yeah, 65 00:02:54,040 --> 00:02:55,680 Speaker 1: and you so you would personally, like what were some 66 00:02:55,720 --> 00:02:57,960 Speaker 1: producers you would reach out personally. They would just give 67 00:02:57,960 --> 00:03:01,040 Speaker 1: you their beats, heat making is you know what I mean. 68 00:03:01,360 --> 00:03:04,799 Speaker 1: They gave me some joints, self service, gave me some joints, 69 00:03:04,840 --> 00:03:06,120 Speaker 1: you know what I mean, a lot of people like 70 00:03:06,160 --> 00:03:08,600 Speaker 1: Buck while a lot of those guys. You know, really, 71 00:03:08,639 --> 00:03:10,720 Speaker 1: what I do now during the n R is no 72 00:03:10,760 --> 00:03:13,520 Speaker 1: different than what I did then bets, because I secured 73 00:03:13,560 --> 00:03:16,160 Speaker 1: beats and I I tried to make people famous. You know. 74 00:03:18,080 --> 00:03:19,760 Speaker 1: I remember you were saying one of the early stories 75 00:03:19,760 --> 00:03:21,640 Speaker 1: with somebody when you stopped being embraced. I think Fabry 76 00:03:21,639 --> 00:03:23,120 Speaker 1: stopped to you, right, and you brought them all these 77 00:03:23,160 --> 00:03:25,240 Speaker 1: instrumentals and then he was like, you got some real 78 00:03:25,280 --> 00:03:27,520 Speaker 1: beats too, Like that was the first one. You know, 79 00:03:27,560 --> 00:03:30,040 Speaker 1: growing up in Brooklyn, fabulous is everything, especially in my 80 00:03:30,120 --> 00:03:31,760 Speaker 1: age group, you know what I mean. So like when 81 00:03:31,760 --> 00:03:33,880 Speaker 1: I was in high school, fab is now coming up. 82 00:03:33,919 --> 00:03:35,800 Speaker 1: He was going to do the clue tapes, the freestyles 83 00:03:35,800 --> 00:03:38,360 Speaker 1: now and not two thousand. He had like the big Arians, 84 00:03:38,400 --> 00:03:41,120 Speaker 1: the jaw Ins everything, So like fab was like fab 85 00:03:41,160 --> 00:03:44,120 Speaker 1: and Shine, but like two gods in Brooklyn because jay 86 00:03:44,160 --> 00:03:46,200 Speaker 1: Z was obviously and so it was like bigg Biggie 87 00:03:46,360 --> 00:03:50,400 Speaker 1: just passing Jza, like Shine and Fabril like the two 88 00:03:50,440 --> 00:03:53,120 Speaker 1: coolest people, a little being in the whole world. As 89 00:03:53,160 --> 00:03:55,680 Speaker 1: far as like money goes, Like when you hustle these mixtapes, 90 00:03:55,720 --> 00:03:57,920 Speaker 1: what was that like at the time? Um, I break 91 00:03:57,920 --> 00:04:00,000 Speaker 1: it down, Like so when I first started, I started 92 00:04:00,080 --> 00:04:03,560 Speaker 1: like twenty CDs five cities, so on downtown Brooklyn Canal Street, 93 00:04:03,800 --> 00:04:06,000 Speaker 1: and they were like two fifty a pop. Now maybe 94 00:04:06,040 --> 00:04:07,760 Speaker 1: like two dollars a pop. So then after a while 95 00:04:07,760 --> 00:04:10,040 Speaker 1: I started doing four cities and cities and the DJ 96 00:04:10,120 --> 00:04:13,520 Speaker 1: named actually Pack cut me a deal with he had 97 00:04:13,560 --> 00:04:16,640 Speaker 1: tapes to right Get Money Nation. You know, that's that's 98 00:04:16,839 --> 00:04:18,919 Speaker 1: Todd Boogie, you know, And I was I was like 99 00:04:18,920 --> 00:04:21,920 Speaker 1: the kid that they yeah, and I was like, oh, 100 00:04:21,960 --> 00:04:23,120 Speaker 1: I look at sick of Wall. It's like, you know, 101 00:04:23,160 --> 00:04:27,320 Speaker 1: it's help him out. Yeah, So I was That's why 102 00:04:27,320 --> 00:04:29,240 Speaker 1: I really got on the Harlem A hundred fifteenth to fifth. 103 00:04:29,279 --> 00:04:30,599 Speaker 1: I used to go up there all the time get 104 00:04:30,640 --> 00:04:32,680 Speaker 1: my CDs. So I'd like to say, like at the 105 00:04:32,680 --> 00:04:34,760 Speaker 1: peak of it, the way the money worked, i'd probably 106 00:04:34,800 --> 00:04:37,279 Speaker 1: do like two to five thousand CDs per CD and 107 00:04:37,320 --> 00:04:39,479 Speaker 1: he would sell them wholesale for about average around two 108 00:04:39,520 --> 00:04:41,640 Speaker 1: fifty two seventy five. And he woul dropped like one 109 00:04:41,680 --> 00:04:46,520 Speaker 1: or two a month, trying to calculate, you know what 110 00:04:46,520 --> 00:04:47,920 Speaker 1: I mean. So like it was had a lot of 111 00:04:48,520 --> 00:04:50,800 Speaker 1: ten stacks a month something like that. You know, I 112 00:04:50,800 --> 00:04:53,160 Speaker 1: didn't keep good books back then, you know what I mean. 113 00:04:53,240 --> 00:04:56,839 Speaker 1: But it was like I was doing okay. But but 114 00:04:56,880 --> 00:04:59,440 Speaker 1: it's all dangerous, right because this is like not from 115 00:04:59,480 --> 00:05:02,920 Speaker 1: promotional use only it's a bootleg market. Like until what's 116 00:05:02,960 --> 00:05:07,000 Speaker 1: the energy, Like it didn't get dangerous on the Well, 117 00:05:07,040 --> 00:05:09,600 Speaker 1: here's the dangerous doing mix tapes, like until it didn't 118 00:05:09,600 --> 00:05:12,479 Speaker 1: get dangerous with the with the cops, until drama and 119 00:05:12,520 --> 00:05:15,039 Speaker 1: cannon went down. But by that time I was really out. 120 00:05:15,240 --> 00:05:17,400 Speaker 1: I was really got the job, you know, Before that 121 00:05:17,480 --> 00:05:19,800 Speaker 1: it got dangerous with like people wouldn't want you to 122 00:05:19,839 --> 00:05:22,800 Speaker 1: play certain records. If you play a record that was 123 00:05:22,880 --> 00:05:25,640 Speaker 1: just in somebody, you might get more sales, but then 124 00:05:25,640 --> 00:05:28,800 Speaker 1: you might get your leg broken and that was and 125 00:05:28,960 --> 00:05:31,640 Speaker 1: you know, there's no protection back then, there was no Instagram, 126 00:05:31,760 --> 00:05:34,120 Speaker 1: like in the streets that you have to sell your 127 00:05:34,120 --> 00:05:39,680 Speaker 1: mixtapes on downtown Brooklyn, Canal Street, fourteen stre Fourdham Road, 128 00:05:40,000 --> 00:05:42,920 Speaker 1: Queen's Plaza A hundred sixty five. You know what I mean, 129 00:05:43,000 --> 00:05:45,279 Speaker 1: Like these are not like normal things you gotta do. 130 00:05:45,400 --> 00:05:47,320 Speaker 1: So like you're in the hustle with the with the 131 00:05:47,360 --> 00:05:50,360 Speaker 1: hood and with these artists go around the series too. Yeah, 132 00:05:50,400 --> 00:05:52,440 Speaker 1: so you're part of the you're part of the ethos. 133 00:05:52,440 --> 00:05:54,240 Speaker 1: You're part of the stream, you know what I mean. 134 00:05:54,440 --> 00:05:57,359 Speaker 1: Get touched. Yeah, there's no hiding, so you have to 135 00:05:57,400 --> 00:05:59,400 Speaker 1: really you have to really keep it careful. What did 136 00:05:59,440 --> 00:06:01,400 Speaker 1: you put this on and put yourself in that position? 137 00:06:01,440 --> 00:06:03,280 Speaker 1: But did you try to avoid them yourself? I mean 138 00:06:03,320 --> 00:06:05,920 Speaker 1: sometimes you take your risks, which one like you put 139 00:06:05,920 --> 00:06:08,159 Speaker 1: on there like it was kind of controversial at the time. 140 00:06:08,720 --> 00:06:11,000 Speaker 1: Um Man, there's one of them, I tell you, but 141 00:06:11,120 --> 00:06:15,480 Speaker 1: I probably just open up old wounds, you know. It's 142 00:06:15,520 --> 00:06:17,440 Speaker 1: like the most controversial one. I remember I had like 143 00:06:17,440 --> 00:06:19,680 Speaker 1: in the club really early. That was really good. I 144 00:06:19,680 --> 00:06:21,919 Speaker 1: remember I went into Snow and got that one and 145 00:06:21,960 --> 00:06:23,840 Speaker 1: I got to get from connecting. I mean actually fact 146 00:06:23,880 --> 00:06:26,000 Speaker 1: played down on our mixtape like first, and that was 147 00:06:26,000 --> 00:06:28,880 Speaker 1: good because we end up selling like right off the 148 00:06:28,920 --> 00:06:30,520 Speaker 1: first a lot of drops on it and still a 149 00:06:30,520 --> 00:06:32,200 Speaker 1: lot of drops in it. I think like Case and 150 00:06:32,240 --> 00:06:34,000 Speaker 1: somebody had a second and something that was like a 151 00:06:34,000 --> 00:06:36,200 Speaker 1: big one. But what was it? This thing is it 152 00:06:36,240 --> 00:06:38,840 Speaker 1: was two personal. Yeah. Man, it's like some of this 153 00:06:38,880 --> 00:06:41,520 Speaker 1: stuff I used to play back then, like there's still 154 00:06:41,520 --> 00:06:43,440 Speaker 1: like these people are still around and it's kind of 155 00:06:43,440 --> 00:06:46,080 Speaker 1: like everything is cool now, but at the time it 156 00:06:46,120 --> 00:06:47,760 Speaker 1: was just like so bad that you played it. Like 157 00:06:47,800 --> 00:06:49,400 Speaker 1: I mean, I'll tell you, I'll tell you around this story. 158 00:06:49,440 --> 00:06:51,080 Speaker 1: I'll tell you everything about the story and if you 159 00:06:51,120 --> 00:06:54,840 Speaker 1: get piece together, that's what the internet looks for, right. 160 00:06:55,680 --> 00:06:57,400 Speaker 1: So like one time, like you know, when I was 161 00:06:57,440 --> 00:06:59,440 Speaker 1: first coming up, I got these records and it was 162 00:06:59,480 --> 00:07:01,159 Speaker 1: like a crew and they were starting like beef with 163 00:07:01,240 --> 00:07:03,280 Speaker 1: each other internally, people don't really know. So one guy 164 00:07:03,320 --> 00:07:05,440 Speaker 1: started beef on him and I started playing records on 165 00:07:05,520 --> 00:07:07,640 Speaker 1: him and then they were like I got like a 166 00:07:07,680 --> 00:07:09,320 Speaker 1: one and like you know what I mean, don't don't 167 00:07:09,320 --> 00:07:11,400 Speaker 1: play those records. And I got like a little shaken 168 00:07:11,480 --> 00:07:13,760 Speaker 1: up to like you know what I mean, so somebody 169 00:07:13,760 --> 00:07:15,880 Speaker 1: else and the crew started beefing. I got hold of 170 00:07:15,880 --> 00:07:17,400 Speaker 1: that when I was the only person to play either 171 00:07:17,480 --> 00:07:20,240 Speaker 1: those records. The second time, I got a one and like, yo, man, 172 00:07:20,640 --> 00:07:23,000 Speaker 1: you're gonna get your leg broken out here, like guarantee, 173 00:07:23,080 --> 00:07:25,440 Speaker 1: like you're gonna get hurt, You're gonna get like funked up. 174 00:07:25,480 --> 00:07:27,480 Speaker 1: Like the exact quote was gonna get your leg broken, 175 00:07:28,000 --> 00:07:29,840 Speaker 1: you know what I mean. And I was like, man, 176 00:07:29,840 --> 00:07:31,760 Speaker 1: it's probably gonna happen. And those guys who did it, 177 00:07:31,800 --> 00:07:34,640 Speaker 1: you know, they gotta get track record. So like I 178 00:07:34,680 --> 00:07:37,360 Speaker 1: really believed it, you know, And but you know, luckily, 179 00:07:37,400 --> 00:07:41,000 Speaker 1: you know, I'm still walking. So was that the transition 180 00:07:41,040 --> 00:07:42,240 Speaker 1: to like I don't want to do this show, want 181 00:07:42,240 --> 00:07:45,120 Speaker 1: to get to the label side, or was that something 182 00:07:45,120 --> 00:07:47,440 Speaker 1: you always strive to do. No, the transition, it kind 183 00:07:47,440 --> 00:07:49,560 Speaker 1: of happened naturally. Like you know, I had an old 184 00:07:49,560 --> 00:07:51,680 Speaker 1: manager named Animal Still. He was like, yo, you'd be 185 00:07:51,720 --> 00:07:53,840 Speaker 1: a great animal Still his name was popping up right. 186 00:07:54,520 --> 00:07:57,280 Speaker 1: He's like, he's like you should be an A and R. 187 00:07:57,640 --> 00:07:59,480 Speaker 1: Like You're like you'd be a great A and eighteen 188 00:07:59,520 --> 00:08:02,000 Speaker 1: years old. I'm okay, cool, so we'll say no I do. 189 00:08:02,440 --> 00:08:04,760 Speaker 1: He's like, well, he finds beat two minds artist, So okay, cool, 190 00:08:04,760 --> 00:08:06,280 Speaker 1: something be ain't on. So I saw it getting like 191 00:08:06,320 --> 00:08:09,080 Speaker 1: a series of a little independent and our job starting 192 00:08:09,080 --> 00:08:12,080 Speaker 1: at Beach Street Records downtown Brooklyn. Clark Kent was the inn, 193 00:08:12,440 --> 00:08:13,760 Speaker 1: and then they made Meet the A and R. And 194 00:08:13,760 --> 00:08:15,400 Speaker 1: Clark used to give me a lot of advice about 195 00:08:15,440 --> 00:08:16,960 Speaker 1: A and R and I used to that heavy. They 196 00:08:16,960 --> 00:08:19,120 Speaker 1: gave me a little office in Beach Street. I was 197 00:08:19,200 --> 00:08:22,240 Speaker 1: dating one of the girls there. I was like eighteen. 198 00:08:22,280 --> 00:08:24,280 Speaker 1: I had an office again. I got six hundred dollars 199 00:08:24,320 --> 00:08:27,080 Speaker 1: like every two weeks, I think it was. I was like, okay, cool, 200 00:08:27,120 --> 00:08:29,480 Speaker 1: I'm on. You know what was the best advice Clark 201 00:08:29,560 --> 00:08:32,720 Speaker 1: gave you? Um, you just just stay in it, you 202 00:08:32,720 --> 00:08:34,040 Speaker 1: know what I mean? Just stay in it, like, don't 203 00:08:34,040 --> 00:08:36,160 Speaker 1: get too far removed because you got a gig. Like 204 00:08:36,240 --> 00:08:37,720 Speaker 1: just stay all the way in it, because the further 205 00:08:38,000 --> 00:08:40,400 Speaker 1: removed you get, that's when you lose it. And then 206 00:08:40,440 --> 00:08:43,800 Speaker 1: after Clark, after b Street, you know, just plays giving 207 00:08:43,800 --> 00:08:47,520 Speaker 1: an opportunity to A and Off for his record label. Um, 208 00:08:47,640 --> 00:08:50,160 Speaker 1: and he's like finding an artist and I'll start and 209 00:08:50,200 --> 00:08:52,319 Speaker 1: I found him. My artists found him Sigon and then 210 00:08:52,360 --> 00:08:54,360 Speaker 1: I used to just come up the baseline every single day, 211 00:08:54,679 --> 00:08:56,920 Speaker 1: and as Saigon I was the first project I worked on. 212 00:08:56,960 --> 00:08:58,320 Speaker 1: I was the first time I was in the studio 213 00:08:58,800 --> 00:09:01,199 Speaker 1: hard like just learning, Like I was just walking in 214 00:09:01,280 --> 00:09:02,840 Speaker 1: and just see him in the studio with great people, 215 00:09:02,880 --> 00:09:05,800 Speaker 1: and I'll just be like the baseline, right in the baseline, baseline, 216 00:09:05,920 --> 00:09:08,320 Speaker 1: and it would be like, you know, Rocket Feller. All 217 00:09:08,400 --> 00:09:10,839 Speaker 1: this is like post black album, so it's like kind 218 00:09:10,840 --> 00:09:13,760 Speaker 1: of like that error. So it's not prime time Rocket Feller, 219 00:09:14,240 --> 00:09:16,200 Speaker 1: but it had like the future like it had like 220 00:09:16,200 --> 00:09:18,640 Speaker 1: a Ja Electronica, just sitting on the couch playing video games, 221 00:09:18,720 --> 00:09:20,120 Speaker 1: chilling like you know what I mean, Like there at 222 00:09:20,120 --> 00:09:22,440 Speaker 1: the time. Yeah, he's been around for a while, you 223 00:09:22,480 --> 00:09:23,640 Speaker 1: know what I mean. Like it was just trying to 224 00:09:23,640 --> 00:09:25,559 Speaker 1: get on likes no no him and just had a 225 00:09:25,600 --> 00:09:28,839 Speaker 1: relationship early. Jay was never like a thirsty artist. He 226 00:09:28,960 --> 00:09:30,760 Speaker 1: was never somebody like you always please listen to me. 227 00:09:30,800 --> 00:09:34,160 Speaker 1: He always had a confidence to him from from beaving 228 00:09:34,200 --> 00:09:36,560 Speaker 1: back then and you pushed just to be an executive, right. 229 00:09:36,559 --> 00:09:38,480 Speaker 1: He was like in the zea like Kanye, he's beating you. 230 00:09:38,679 --> 00:09:41,760 Speaker 1: Jay's retiring because I met him to so like you 231 00:09:41,760 --> 00:09:43,839 Speaker 1: know what, I mean, I was just because this like 232 00:09:43,840 --> 00:09:45,400 Speaker 1: I'm trying to paint the picture for the time, like 233 00:09:45,480 --> 00:09:48,240 Speaker 1: jay z Jes retired and Kanye really saw the bubble 234 00:09:48,440 --> 00:09:50,920 Speaker 1: and college dropouts just about the drop three to oh four. 235 00:09:51,960 --> 00:09:54,240 Speaker 1: And I've been telling Jus Blaze, I was always the time. 236 00:09:54,280 --> 00:09:56,719 Speaker 1: It was always just Blaze and Kanye. Jud Blaze had 237 00:09:56,720 --> 00:10:01,400 Speaker 1: the name he had to drop. Kanye didn't have a drop. Yeah, 238 00:10:01,559 --> 00:10:04,360 Speaker 1: so from that time, kind that's when Kanye finally started 239 00:10:04,400 --> 00:10:06,000 Speaker 1: to pass just so that's like kind of how I 240 00:10:06,080 --> 00:10:07,720 Speaker 1: got in his head, like, yo, can you can you 241 00:10:07,880 --> 00:10:09,920 Speaker 1: like you know this guy is gonna blow by you, 242 00:10:09,920 --> 00:10:12,600 Speaker 1: you know what I mean. And he kind of just 243 00:10:12,640 --> 00:10:14,320 Speaker 1: told me that kind of brushed me off. I think 244 00:10:14,320 --> 00:10:15,960 Speaker 1: he's like, if you find an artist, I'll start a 245 00:10:15,960 --> 00:10:18,160 Speaker 1: record label. I had a name everything. So I don't 246 00:10:18,160 --> 00:10:20,280 Speaker 1: know if he really really serious or not. But you 247 00:10:20,280 --> 00:10:22,440 Speaker 1: get an opportunity like that at eighteen ninety years old, 248 00:10:22,440 --> 00:10:24,720 Speaker 1: you're gonna take it. And I called Sagon and I 249 00:10:24,760 --> 00:10:26,520 Speaker 1: was like I was already bubbling a little bit. He 250 00:10:26,559 --> 00:10:28,640 Speaker 1: was bubbling, you know. He was working with Gotti from 251 00:10:28,640 --> 00:10:32,839 Speaker 1: the Source. Yeah, Gotti from the Sources showed me a 252 00:10:32,880 --> 00:10:34,719 Speaker 1: lot of love, like back that back in those days, 253 00:10:34,760 --> 00:10:36,400 Speaker 1: anybody used to come. He like, show me love. I 254 00:10:36,600 --> 00:10:38,640 Speaker 1: just loved going there, like, UM got it from this. 255 00:10:38,679 --> 00:10:39,880 Speaker 1: A lot of journals show me a lot of love. 256 00:10:42,320 --> 00:10:44,959 Speaker 1: So that was your connection. That's music journalists because my 257 00:10:45,040 --> 00:10:47,120 Speaker 1: dad's journalist. So I got I got a lot of 258 00:10:47,160 --> 00:10:48,880 Speaker 1: a lot of respect for journalism. I got a lot 259 00:10:48,920 --> 00:10:51,120 Speaker 1: of respects for editorial, got a lot of respect for magazines, 260 00:10:51,160 --> 00:10:52,240 Speaker 1: you know what I mean. He grew up doing B 261 00:10:52,280 --> 00:10:54,960 Speaker 1: two B business, technology, journalism and his whole life and 262 00:10:54,960 --> 00:10:57,600 Speaker 1: he was one of the only black writers in tech 263 00:10:58,640 --> 00:11:01,000 Speaker 1: from the eighties and nineties. He grew up writing about 264 00:11:01,040 --> 00:11:03,400 Speaker 1: Steve Jobs, Bill Gates everything, you know, and he'd be 265 00:11:03,440 --> 00:11:05,640 Speaker 1: in a lot of rooms in San Francisco, Palo Alto 266 00:11:05,720 --> 00:11:08,160 Speaker 1: where he was the only black journalist, you know, and 267 00:11:08,200 --> 00:11:10,440 Speaker 1: he always moved around. So you know, journalists don't make 268 00:11:10,440 --> 00:11:12,960 Speaker 1: the most money, but you know he had to. You know, 269 00:11:12,960 --> 00:11:15,160 Speaker 1: when when you when you're a black man, incorporate and 270 00:11:15,160 --> 00:11:18,600 Speaker 1: any kind of corporate you gotta be exceptional to stay around. 271 00:11:18,760 --> 00:11:20,760 Speaker 1: You can't be like average, you know what I mean. 272 00:11:20,880 --> 00:11:22,880 Speaker 1: You gotta be like the best, so you're you're out 273 00:11:22,920 --> 00:11:24,800 Speaker 1: of there. So like I always had a lot of 274 00:11:24,840 --> 00:11:27,360 Speaker 1: respect for journalism. So then you bring side On to 275 00:11:27,440 --> 00:11:29,360 Speaker 1: just what was that? Did they click right away? Like 276 00:11:29,400 --> 00:11:31,600 Speaker 1: they click right away? You know. I played him some records. 277 00:11:31,720 --> 00:11:33,480 Speaker 1: I called side On, like, Yo, can you get up here? 278 00:11:33,520 --> 00:11:35,679 Speaker 1: He's like, hell yeah, get up. He was moving from 279 00:11:35,679 --> 00:11:38,600 Speaker 1: his house out of Jersey to New York to Brooklyn 280 00:11:38,720 --> 00:11:40,439 Speaker 1: and he just left that left the move and came 281 00:11:40,440 --> 00:11:43,160 Speaker 1: to the studio. They started recording just Game a few bats. 282 00:11:43,160 --> 00:11:45,040 Speaker 1: He came back and wrote to it. They worked together 283 00:11:45,080 --> 00:11:47,200 Speaker 1: like that for eight months. Out of chemistry going and boom. 284 00:11:47,240 --> 00:11:50,240 Speaker 1: They signed Atlantic Records through um G and hip Hop's 285 00:11:50,440 --> 00:11:54,000 Speaker 1: Hip Hops and just played stayed on as executive producer 286 00:11:54,480 --> 00:11:55,760 Speaker 1: and like boom and I was like kind of like 287 00:11:55,800 --> 00:11:57,920 Speaker 1: my first claim the fan was a true life under 288 00:11:57,960 --> 00:12:00,360 Speaker 1: your watch too. So what happened after that, like allow 289 00:12:00,440 --> 00:12:03,079 Speaker 1: was also my first real dose in the music business 290 00:12:03,120 --> 00:12:06,200 Speaker 1: because then since justice deal was like you get paid 291 00:12:06,200 --> 00:12:09,000 Speaker 1: when you're like an A and R, right, you know, 292 00:12:09,000 --> 00:12:12,160 Speaker 1: when we get distribution Since he had an executive producer deal, 293 00:12:12,559 --> 00:12:14,760 Speaker 1: technically it's not like a label deal, so there's no 294 00:12:14,840 --> 00:12:17,280 Speaker 1: overhead to pay. But you know a nineteen is all 295 00:12:17,320 --> 00:12:18,800 Speaker 1: you're just like damn, I got money, man, I don't 296 00:12:18,800 --> 00:12:21,280 Speaker 1: got no money, like you know what I mean. So 297 00:12:21,320 --> 00:12:23,720 Speaker 1: I like this, I left and the um you know, 298 00:12:24,040 --> 00:12:25,880 Speaker 1: True True was around at the time. I met him 299 00:12:25,880 --> 00:12:28,520 Speaker 1: through side and he was like, yo, you know, let's 300 00:12:28,559 --> 00:12:31,080 Speaker 1: like let's let's do something. Let's rock and he had 301 00:12:31,080 --> 00:12:34,760 Speaker 1: this song um Calling New New York and the song 302 00:12:34,800 --> 00:12:36,320 Speaker 1: I just thought it was the greatest song. So like 303 00:12:36,360 --> 00:12:38,360 Speaker 1: I wrote, like this playing out it's like eleven page 304 00:12:38,360 --> 00:12:41,040 Speaker 1: playing out to him and then he's like ole page 305 00:12:42,040 --> 00:12:45,280 Speaker 1: and he's like, yeah, everything like that man. Because you know, 306 00:12:45,960 --> 00:12:48,719 Speaker 1: I had a lawyer, Michael Guido, and he taught his 307 00:12:48,840 --> 00:12:51,480 Speaker 1: big a lawyer right, and he's just gonna see him 308 00:12:51,480 --> 00:12:53,319 Speaker 1: to get a lot of advice. And I think in retrospect, 309 00:12:53,480 --> 00:12:55,480 Speaker 1: people just sold me as a young kid. So I 310 00:12:55,520 --> 00:12:57,240 Speaker 1: think people should just give me a lot of advice 311 00:12:57,240 --> 00:12:59,679 Speaker 1: that they thought I was like that underestimates you know, 312 00:12:59,800 --> 00:13:01,679 Speaker 1: no thought they thought they thought it was like, like, oh, 313 00:13:01,720 --> 00:13:04,160 Speaker 1: this eight nine year old. He's like, I didn't be like, hey, 314 00:13:04,160 --> 00:13:05,360 Speaker 1: you know, I'm a kid. I used to be like 315 00:13:05,360 --> 00:13:07,199 Speaker 1: what's up, you know, So they used to get a 316 00:13:07,200 --> 00:13:08,800 Speaker 1: lot of these big guys give me advice, and we 317 00:13:08,840 --> 00:13:10,680 Speaker 1: don't give me a great advice. He said, you know, 318 00:13:10,720 --> 00:13:12,160 Speaker 1: it's going to be the difference between you and a 319 00:13:12,160 --> 00:13:14,200 Speaker 1: lot of hip hop guys. You can put stuff on 320 00:13:14,280 --> 00:13:17,079 Speaker 1: paper a lot of lights. You know, he's like a 321 00:13:17,120 --> 00:13:19,800 Speaker 1: lot of executives, they just have a great mouthpiece post 322 00:13:20,040 --> 00:13:22,600 Speaker 1: like He's like, they can't spell, they can't put thoughts together. 323 00:13:22,679 --> 00:13:24,280 Speaker 1: And you can have a great idea, but if you 324 00:13:24,320 --> 00:13:26,480 Speaker 1: can't put it on paper. You know, the people who 325 00:13:26,520 --> 00:13:28,400 Speaker 1: really cut the checks, people really get the budgets, they 326 00:13:28,400 --> 00:13:30,280 Speaker 1: won't be able to see it. My talent. When he 327 00:13:30,320 --> 00:13:32,040 Speaker 1: told me that, I realized my talent would be able 328 00:13:32,080 --> 00:13:34,240 Speaker 1: to put things on paper. When you put things on 329 00:13:34,280 --> 00:13:36,360 Speaker 1: paper and you present it the right way, then you 330 00:13:36,400 --> 00:13:38,800 Speaker 1: get on. And that's how I got everything, every sponsorship, everything, 331 00:13:38,840 --> 00:13:40,120 Speaker 1: I'll be able to put it on paper and not 332 00:13:40,200 --> 00:13:42,480 Speaker 1: just talking. How how the true life connect to that? 333 00:13:42,520 --> 00:13:44,480 Speaker 1: You think he was excited. He had a plan, like 334 00:13:44,600 --> 00:13:46,319 Speaker 1: you know, And one thing that it's always been with 335 00:13:46,520 --> 00:13:48,920 Speaker 1: artists that I work with, is like they just need 336 00:13:48,920 --> 00:13:52,360 Speaker 1: to plan. People always underestimate artists. They underestimate with artists 337 00:13:52,400 --> 00:13:55,280 Speaker 1: did to get there. They underestimated all like the shows 338 00:13:55,320 --> 00:13:57,720 Speaker 1: and the maneuvering and how smart they have to be 339 00:13:57,760 --> 00:13:59,360 Speaker 1: in their career and then they are to get to 340 00:13:59,400 --> 00:14:01,120 Speaker 1: the point that you and heard of them to make 341 00:14:01,120 --> 00:14:03,400 Speaker 1: it off. They block, you know, so if they see 342 00:14:03,400 --> 00:14:05,439 Speaker 1: a plan that might work, you know what I mean, 343 00:14:05,600 --> 00:14:07,600 Speaker 1: they'll be with you. You You know, it blows you. Treat 344 00:14:07,640 --> 00:14:10,080 Speaker 1: them like a partner and treat them like the smart 345 00:14:10,120 --> 00:14:12,559 Speaker 1: people that they are. You know, like the artists I 346 00:14:12,640 --> 00:14:14,719 Speaker 1: work with some of my whole career has been some 347 00:14:14,720 --> 00:14:17,360 Speaker 1: of the most creative, smartest people that I felt like 348 00:14:17,360 --> 00:14:20,200 Speaker 1: if they were just straight executives then music or anything, 349 00:14:20,240 --> 00:14:22,440 Speaker 1: they could be fortunate cls. So what do you think 350 00:14:22,440 --> 00:14:24,280 Speaker 1: you've always added to those relationships to get the best 351 00:14:24,320 --> 00:14:25,880 Speaker 1: out of them? What? What what is the gift that 352 00:14:25,960 --> 00:14:28,320 Speaker 1: you have that adds to what they're already doing? I 353 00:14:28,480 --> 00:14:31,800 Speaker 1: belief and I listen, you know, like I think that 354 00:14:31,920 --> 00:14:33,640 Speaker 1: a lot of times people always want to go there 355 00:14:33,680 --> 00:14:35,560 Speaker 1: to people, to artists and be like this is what 356 00:14:35,600 --> 00:14:37,360 Speaker 1: you gotta do. You gotta do like this, you gotta 357 00:14:37,400 --> 00:14:39,040 Speaker 1: do like that. But if you just kind of listen 358 00:14:39,080 --> 00:14:41,360 Speaker 1: to what the artist is saying, they're going to give 359 00:14:41,360 --> 00:14:43,840 Speaker 1: you the best advice. So it works like this, like 360 00:14:44,080 --> 00:14:46,080 Speaker 1: like like it means you'd be that we start a 361 00:14:46,080 --> 00:14:48,840 Speaker 1: project literally working. You're gonna tell me something like, you 362 00:14:48,840 --> 00:14:53,400 Speaker 1: know what, I want to go and really revitalize the 363 00:14:53,440 --> 00:14:55,400 Speaker 1: boot back part of the era in New York, but 364 00:14:55,480 --> 00:14:57,200 Speaker 1: I want to do it with a newer sound. Right. 365 00:14:57,600 --> 00:15:01,280 Speaker 1: That's our mission statement, right, and from that point now, me, now, 366 00:15:01,280 --> 00:15:03,600 Speaker 1: I'm gonna hold you to that mission statement, and me 367 00:15:03,640 --> 00:15:05,440 Speaker 1: and you're gonna work together to get to that goal. 368 00:15:05,680 --> 00:15:07,960 Speaker 1: How are we gonna get there? We're gonna figure out together. 369 00:15:08,000 --> 00:15:09,440 Speaker 1: We might argue, you might come out, we might go 370 00:15:09,480 --> 00:15:12,440 Speaker 1: to the wrong roads, but that mission statement never really changes. 371 00:15:12,840 --> 00:15:14,880 Speaker 1: And after we come up with that, they need somebody 372 00:15:14,960 --> 00:15:17,840 Speaker 1: sticking with them, like okay, cool every single day. So 373 00:15:17,880 --> 00:15:20,440 Speaker 1: it's not no, it's not no crazy musical thing, like 374 00:15:20,480 --> 00:15:22,760 Speaker 1: you know, I know music pretty well, but it's really 375 00:15:22,800 --> 00:15:24,920 Speaker 1: about the togetherness with the artists that I stay and 376 00:15:24,960 --> 00:15:27,480 Speaker 1: I don't break until we deliver. So whether we drop 377 00:15:27,480 --> 00:15:30,200 Speaker 1: a mix tape, a single album, we're gonna be in 378 00:15:30,240 --> 00:15:32,760 Speaker 1: it until that vision is completed. Yeah, I mean, I 379 00:15:32,800 --> 00:15:35,160 Speaker 1: think the best example is Why G's first album you Know, 380 00:15:35,440 --> 00:15:37,520 Speaker 1: which we all felt was the best album of that year, 381 00:15:37,560 --> 00:15:40,480 Speaker 1: and like how how how cinematic that record is and 382 00:15:40,480 --> 00:15:42,600 Speaker 1: how cohesive that record is like talk about that in 383 00:15:42,600 --> 00:15:45,440 Speaker 1: the mission of putting that project together. So why G 384 00:15:45,560 --> 00:15:47,920 Speaker 1: already had like a really strong base, you know, enjoy 385 00:15:47,920 --> 00:15:50,480 Speaker 1: Man that introduced us when Scott first got that job 386 00:15:50,520 --> 00:15:53,320 Speaker 1: at that share, you know, and he introduced me him 387 00:15:53,320 --> 00:15:56,280 Speaker 1: and be More, which is his manager, and we just 388 00:15:56,400 --> 00:15:58,120 Speaker 1: kind of like trying to get to know each other 389 00:15:58,160 --> 00:16:00,880 Speaker 1: for the first few months, you know, and we really 390 00:16:00,920 --> 00:16:04,680 Speaker 1: started hitting the groove with his song Bomped in Right 391 00:16:05,040 --> 00:16:07,400 Speaker 1: and then he played in Bompton. I told him that's 392 00:16:07,440 --> 00:16:10,040 Speaker 1: my favorite song from you, and He's like, that's my 393 00:16:10,040 --> 00:16:12,240 Speaker 1: favorite song too, and I was like boom. After that 394 00:16:12,400 --> 00:16:16,120 Speaker 1: was like stepbrothers. Did we just become better? And then 395 00:16:16,200 --> 00:16:17,880 Speaker 1: you know, we just started talking to my albums and 396 00:16:17,960 --> 00:16:19,840 Speaker 1: kicking the ideas and stuff like that, and just like 397 00:16:20,440 --> 00:16:22,280 Speaker 1: we started trying to record in l A. But when 398 00:16:22,280 --> 00:16:23,800 Speaker 1: you record in l A, you know, this is like 399 00:16:23,840 --> 00:16:26,440 Speaker 1: a lot of light stuff. You really from l A. 400 00:16:26,440 --> 00:16:29,200 Speaker 1: It's like a lot of especially in the gang Gang Affiliation, 401 00:16:29,240 --> 00:16:30,720 Speaker 1: there's a lot of things Like in New York is 402 00:16:30,760 --> 00:16:32,640 Speaker 1: kind of like a solo thing. People kind of rock around, 403 00:16:32,680 --> 00:16:34,840 Speaker 1: they move on their own. In Los Angeles, like you 404 00:16:34,840 --> 00:16:37,120 Speaker 1: grew up in the neighborhood people always this, these guys 405 00:16:37,200 --> 00:16:38,880 Speaker 1: are being getting affiliated, But you really don't have a 406 00:16:38,960 --> 00:16:40,880 Speaker 1: choice when you're in l a like you know what 407 00:16:40,880 --> 00:16:42,360 Speaker 1: I mean. So like you have to deal with bullshit. 408 00:16:42,400 --> 00:16:44,280 Speaker 1: You gotta deal with head people, you gotta deal with 409 00:16:44,320 --> 00:16:45,960 Speaker 1: jail people, you gotta deal with homies, you gotta deal 410 00:16:45,960 --> 00:16:47,480 Speaker 1: with politics, you gotta deal with stuff with you a 411 00:16:47,520 --> 00:16:50,240 Speaker 1: w rapp up artists, a businessman, You're just gonna deal 412 00:16:50,280 --> 00:16:52,800 Speaker 1: with it being environment no matter what. So that the 413 00:16:52,880 --> 00:16:54,640 Speaker 1: number one thing was to get out that environment so 414 00:16:54,680 --> 00:16:58,000 Speaker 1: we could focus. And that was in Atlanta. And from Atlanta, 415 00:16:58,320 --> 00:16:59,880 Speaker 1: you know, he lived on the second floor and the 416 00:17:00,120 --> 00:17:02,840 Speaker 1: floor these corporate departments and then from six to six 417 00:17:02,880 --> 00:17:04,600 Speaker 1: every day six pm sixty and we'll be in the 418 00:17:04,600 --> 00:17:06,800 Speaker 1: studio from Monday to Thursday, and during the day we 419 00:17:06,960 --> 00:17:09,560 Speaker 1: play all our records over, discussed it, listening to albums, 420 00:17:10,040 --> 00:17:12,560 Speaker 1: things like it would be like a real business, a corporation. 421 00:17:12,960 --> 00:17:15,080 Speaker 1: And Friday through Sunday we had the time off because 422 00:17:15,119 --> 00:17:17,679 Speaker 1: you have to live your life to you know, get inspiration. 423 00:17:17,960 --> 00:17:19,440 Speaker 1: So that was kind of like the protocol. And we 424 00:17:19,480 --> 00:17:21,800 Speaker 1: did that for two months, and you know, I didn't 425 00:17:21,800 --> 00:17:23,240 Speaker 1: really move around the line that really nice. So I 426 00:17:23,240 --> 00:17:24,639 Speaker 1: was kind of brought up there. So I just watched 427 00:17:24,640 --> 00:17:26,800 Speaker 1: movies all day. I was focused on this all day. 428 00:17:26,920 --> 00:17:29,920 Speaker 1: He's focused on us all day. And then after two months, 429 00:17:29,960 --> 00:17:32,560 Speaker 1: you know, we finished pretty much My Crazy Life. Um. 430 00:17:32,600 --> 00:17:35,760 Speaker 1: The structure. We talked about story structure, and Jez was 431 00:17:35,800 --> 00:17:37,679 Speaker 1: a huge part of it because Jez was like, you know, 432 00:17:37,680 --> 00:17:39,159 Speaker 1: because I had never put out an album before at 433 00:17:39,200 --> 00:17:42,040 Speaker 1: that point, a major, a major label album. So I 434 00:17:42,080 --> 00:17:43,560 Speaker 1: was working on it, like, yo, if I never put 435 00:17:43,560 --> 00:17:45,919 Speaker 1: out another major label album, I might as well make 436 00:17:45,960 --> 00:17:49,560 Speaker 1: it count. This has to represent you as much as anybody, right, Yeah, 437 00:17:49,640 --> 00:17:50,960 Speaker 1: Like I'm gonna make it dope, like you know what 438 00:17:51,000 --> 00:17:53,320 Speaker 1: I mean, because that's I still come from a culture 439 00:17:53,680 --> 00:17:55,960 Speaker 1: of like you know, the source five mics, Like you 440 00:17:55,960 --> 00:17:57,640 Speaker 1: know what I mean. Like my my main, my main, 441 00:17:58,640 --> 00:18:00,280 Speaker 1: my main thing is like I just never I want 442 00:18:00,280 --> 00:18:02,439 Speaker 1: to be whack. Like anything I want to do, I 443 00:18:02,480 --> 00:18:04,440 Speaker 1: never want to be like to prove people wrong. I 444 00:18:04,520 --> 00:18:07,880 Speaker 1: like to prove people. I like when I go outside, 445 00:18:07,880 --> 00:18:09,840 Speaker 1: like I was in um what was I was gonna? 446 00:18:09,880 --> 00:18:12,520 Speaker 1: I was in a hitcut Everson today and like Travis Scott, 447 00:18:12,520 --> 00:18:14,800 Speaker 1: apple Pie came on and Kith and then they play 448 00:18:14,880 --> 00:18:18,399 Speaker 1: like some song I'm still still crazy. That's how I 449 00:18:18,480 --> 00:18:22,520 Speaker 1: get off, you know what I mean. I'm like, I 450 00:18:22,560 --> 00:18:24,680 Speaker 1: know people also the cultural culture culture, but if that's 451 00:18:24,760 --> 00:18:26,520 Speaker 1: that's the truth, Like I'm part of the the hip hop culture. 452 00:18:26,600 --> 00:18:28,199 Speaker 1: My name is Sicklemore. I have a nickname. Like my 453 00:18:28,240 --> 00:18:30,280 Speaker 1: business cards don't have parentheses, you know what I'm saying, Like, 454 00:18:30,280 --> 00:18:32,040 Speaker 1: that's that's how I'm gonna go till I'm out of here. 455 00:18:32,480 --> 00:18:34,280 Speaker 1: Like if I remember this chairman of a company, I'm 456 00:18:34,280 --> 00:18:36,280 Speaker 1: always going to be Sicklemore. And that's my hip hop name. 457 00:18:36,560 --> 00:18:39,320 Speaker 1: And I really respect that. I got it from from mixtapes, 458 00:18:39,640 --> 00:18:42,280 Speaker 1: so so so when that's what I care about. So 459 00:18:42,320 --> 00:18:43,960 Speaker 1: like when I work on these albums, I really just 460 00:18:44,000 --> 00:18:46,760 Speaker 1: care about people, like saying it it's dope, saying it's 461 00:18:46,760 --> 00:18:49,760 Speaker 1: hard when I drop mixtapes, if people can buy it, 462 00:18:49,880 --> 00:18:51,800 Speaker 1: it would like bring me down because I was like, oh, 463 00:18:51,800 --> 00:18:54,119 Speaker 1: it's not dope. So people are not talking about it, 464 00:18:54,119 --> 00:18:56,359 Speaker 1: if people not playing it, if they're not on snapchat, 465 00:18:56,480 --> 00:18:58,560 Speaker 1: girls are not talking about it, If like reviews aren't 466 00:18:58,600 --> 00:19:02,000 Speaker 1: coming in, like then um then I feel bad. But 467 00:19:02,080 --> 00:19:04,760 Speaker 1: luckily the last four albums I worked on, Rodeo Still 468 00:19:04,760 --> 00:19:08,600 Speaker 1: Crazy um Rodeo, Still Crazy, My Crazy Life, and Birds 469 00:19:08,640 --> 00:19:11,080 Speaker 1: in the Trap Singing Night all got really great responses. 470 00:19:11,119 --> 00:19:14,200 Speaker 1: So Feeling Feeling Good was My Crazy Life the first 471 00:19:14,320 --> 00:19:17,320 Speaker 1: y G album, Like people compared it to Kendrick's first album, 472 00:19:17,640 --> 00:19:19,399 Speaker 1: was that really a blueprint? Was just a kind of 473 00:19:19,400 --> 00:19:21,280 Speaker 1: a coincidence of how things worked out. I mean, you 474 00:19:21,320 --> 00:19:23,480 Speaker 1: had to be inspired by Kendrick. You know, that's probably 475 00:19:23,520 --> 00:19:24,800 Speaker 1: one of the best albums to come out in the 476 00:19:24,880 --> 00:19:27,160 Speaker 1: last five years period any genre, you know what I mean. 477 00:19:27,240 --> 00:19:29,880 Speaker 1: And he's right there, So ours is more of an inverse, 478 00:19:30,240 --> 00:19:33,560 Speaker 1: you know, if Kendrick was like, you know, if Kendrick's 479 00:19:33,600 --> 00:19:35,800 Speaker 1: album was a guy in the House, why was at 480 00:19:35,840 --> 00:19:37,520 Speaker 1: the house? You know what I mean? But you think 481 00:19:37,520 --> 00:19:39,879 Speaker 1: about if they both threw up in Compton, how different 482 00:19:39,880 --> 00:19:42,640 Speaker 1: are their lives really gonna be? How different they're seeing 483 00:19:42,640 --> 00:19:44,880 Speaker 1: the same things, experienced the same thing, Yeah, the same 484 00:19:44,920 --> 00:19:47,440 Speaker 1: They both on rosecrans, they both have homies, they both 485 00:19:47,480 --> 00:19:49,720 Speaker 1: they both you know affiliated, It's not gonna be a 486 00:19:49,800 --> 00:19:51,800 Speaker 1: big difference there as far as that. It's just the 487 00:19:51,800 --> 00:19:53,840 Speaker 1: way you tell your story, you know, is that the 488 00:19:53,880 --> 00:19:55,800 Speaker 1: suns Because then people could say, well that just sounds 489 00:19:55,840 --> 00:19:57,919 Speaker 1: like it could easily then be dismissed, Oh, that's just 490 00:19:57,960 --> 00:20:00,720 Speaker 1: the Kendrick album knock off for It's like we're facing 491 00:20:00,760 --> 00:20:04,040 Speaker 1: that challenge of showing that there's originality to telling the 492 00:20:04,040 --> 00:20:05,879 Speaker 1: story a different way. I think we told it a 493 00:20:05,960 --> 00:20:09,240 Speaker 1: different way. I think that our story was a lot different. 494 00:20:09,280 --> 00:20:10,800 Speaker 1: I think that a lot of those records weren't like 495 00:20:10,880 --> 00:20:13,240 Speaker 1: Kendrick records. And I think that Kendrick jumping on the 496 00:20:13,240 --> 00:20:15,439 Speaker 1: album and doing a song like really Be was like 497 00:20:15,480 --> 00:20:18,439 Speaker 1: a stamp. Like you know when when Kendrick jumped on 498 00:20:18,480 --> 00:20:22,920 Speaker 1: that record, we gave him the whole album and we 499 00:20:23,000 --> 00:20:25,240 Speaker 1: told him, like, whatever song you want to jump on, 500 00:20:25,960 --> 00:20:28,560 Speaker 1: So he had every record on My Crazy Life, and 501 00:20:28,600 --> 00:20:30,560 Speaker 1: he picked really Be to jump on. You know what 502 00:20:30,640 --> 00:20:33,639 Speaker 1: I'm saying. Artists like Kendrick, You know, these generational artists, 503 00:20:33,640 --> 00:20:35,960 Speaker 1: they're not gonna go for that. They feel like somebody's 504 00:20:35,960 --> 00:20:39,520 Speaker 1: like trying to take their joint understood the difference between us, 505 00:20:39,560 --> 00:20:41,040 Speaker 1: you know, like and I think it's kind of a 506 00:20:41,080 --> 00:20:43,040 Speaker 1: bias when it comes to the South and the kind 507 00:20:43,040 --> 00:20:45,239 Speaker 1: of like a New York bias, Like they could be 508 00:20:45,359 --> 00:20:47,160 Speaker 1: a hundred artists fro Brooklyn. They could be a hundred 509 00:20:47,200 --> 00:20:49,000 Speaker 1: artists in Queensbridge. It could be a hundred artist from 510 00:20:49,000 --> 00:20:50,720 Speaker 1: the Bronx and we don't be like, oh, you're trying 511 00:20:50,760 --> 00:20:52,280 Speaker 1: to make a story like that, you know what I'm saying, 512 00:20:52,320 --> 00:20:54,680 Speaker 1: Like nature story is gonna be close to uh to 513 00:20:54,840 --> 00:20:56,600 Speaker 1: Nazi story, you know what I mean? Like we don't. 514 00:20:56,600 --> 00:20:58,840 Speaker 1: We don't have a pigeon holding because the two artists 515 00:20:58,880 --> 00:21:00,400 Speaker 1: came out from Compton. We're like, oh, well, you guys 516 00:21:00,440 --> 00:21:02,680 Speaker 1: are so close. I think, like you know what I mean, 517 00:21:02,760 --> 00:21:05,640 Speaker 1: Like we never compared, like you know, the Wu tang 518 00:21:05,760 --> 00:21:08,119 Speaker 1: like like like Supreme clin Spree clientile, you never compare 519 00:21:08,200 --> 00:21:10,920 Speaker 1: like how close, Like Ellmatic is the reason with dub 520 00:21:12,080 --> 00:21:13,919 Speaker 1: you know what I mean, like iron Man, like we 521 00:21:14,040 --> 00:21:16,360 Speaker 1: never really did that as much. So I think structure 522 00:21:16,359 --> 00:21:18,639 Speaker 1: wise it was a lot different. I think sonically it 523 00:21:18,680 --> 00:21:21,200 Speaker 1: was totally different. I think Arms are more upbeat, more 524 00:21:21,240 --> 00:21:24,000 Speaker 1: club and I think I think Kendrick's album is what 525 00:21:24,040 --> 00:21:25,720 Speaker 1: do you think it's special about y g though as 526 00:21:25,720 --> 00:21:27,320 Speaker 1: an artist in working with him so closely, because I 527 00:21:27,359 --> 00:21:29,560 Speaker 1: mean obviously someone like Kendria said, well, Kendrick is so lyrical, 528 00:21:29,640 --> 00:21:31,280 Speaker 1: he's so x y z, he is easy to pinpoint. 529 00:21:31,440 --> 00:21:33,800 Speaker 1: I feel like people still don't really understand the ranger 530 00:21:34,600 --> 00:21:36,520 Speaker 1: or a talent of what makes Y g as as 531 00:21:36,520 --> 00:21:38,399 Speaker 1: an artist, as an m C special, Like, can you 532 00:21:38,480 --> 00:21:39,880 Speaker 1: kind of break down what you think it is about 533 00:21:39,960 --> 00:21:42,200 Speaker 1: him that makes him unique? And I think the thing 534 00:21:42,200 --> 00:21:44,879 Speaker 1: that makes Y the most unique is the fact that 535 00:21:44,920 --> 00:21:48,359 Speaker 1: he's always learning, you know, like he never just accepted 536 00:21:48,480 --> 00:21:50,800 Speaker 1: who he was what he does? You know, like he 537 00:21:50,920 --> 00:21:54,440 Speaker 1: was making like um he I mean it was started sounding, 538 00:21:54,440 --> 00:21:57,399 Speaker 1: it was out like that, like the jerk movement. He 539 00:21:57,440 --> 00:21:59,880 Speaker 1: came out then him and must have originated the only 540 00:22:00,000 --> 00:22:02,080 Speaker 1: down which is turned into as much of YG sound. 541 00:22:02,520 --> 00:22:05,840 Speaker 1: And then he really improved as a storyteller on My 542 00:22:05,920 --> 00:22:08,400 Speaker 1: Crazy Life, telling people a lot of people the reason 543 00:22:08,400 --> 00:22:10,359 Speaker 1: why My Crazy Life is so big, people didn't expect 544 00:22:10,400 --> 00:22:13,600 Speaker 1: them to really be that in detail is storytelling? One 545 00:22:13,600 --> 00:22:15,879 Speaker 1: of those people I was, I thought, it doesn't get 546 00:22:15,880 --> 00:22:17,879 Speaker 1: tuted and booted again. That's what I was at Francis 547 00:22:17,920 --> 00:22:20,080 Speaker 1: for getting the album initially. That's how I think it 548 00:22:20,119 --> 00:22:21,480 Speaker 1: was a unique about it. I think that you guys 549 00:22:21,520 --> 00:22:23,680 Speaker 1: were building something where you were holding such a high standard. 550 00:22:23,720 --> 00:22:25,439 Speaker 1: You're trying to make a classic rap album. At the 551 00:22:25,480 --> 00:22:27,320 Speaker 1: end of the day, people probably question could watch you 552 00:22:27,359 --> 00:22:29,200 Speaker 1: even make a full album, you know what I'm saying. 553 00:22:29,240 --> 00:22:30,800 Speaker 1: Like like at the time, you know, the label was 554 00:22:30,840 --> 00:22:32,720 Speaker 1: just happy if you got the album out, you know 555 00:22:32,760 --> 00:22:34,440 Speaker 1: what I'm saying, So like for us, it's just kind 556 00:22:34,440 --> 00:22:36,600 Speaker 1: of like we had nothing to lose. But when you 557 00:22:36,680 --> 00:22:40,359 Speaker 1: work under the guys of like of a classic, because 558 00:22:40,400 --> 00:22:42,080 Speaker 1: there's a few of different ways to go in the studio, 559 00:22:42,359 --> 00:22:44,560 Speaker 1: you'd be like, Yo, we need to get twelve songs 560 00:22:44,600 --> 00:22:47,720 Speaker 1: done right, and then after we get the first let's 561 00:22:47,720 --> 00:22:50,160 Speaker 1: do twenty, picked the best twelve and put it out 562 00:22:50,560 --> 00:22:52,240 Speaker 1: and it's do it again in six months you drop 563 00:22:52,280 --> 00:22:54,880 Speaker 1: part two, or you're going there with an idea. You're 564 00:22:54,880 --> 00:22:56,960 Speaker 1: going there like, okay, cool, this is an idea because 565 00:22:57,160 --> 00:23:00,000 Speaker 1: My Crazy Life is originally called I'm from bomb Them. 566 00:22:59,880 --> 00:23:01,560 Speaker 1: And then when you're from making an actor from I'm 567 00:23:01,560 --> 00:23:04,320 Speaker 1: from Bompton, that has to feel to it. Certain records 568 00:23:04,359 --> 00:23:06,200 Speaker 1: you can't do, you can't do like a playhouse reckon 569 00:23:06,280 --> 00:23:08,919 Speaker 1: I'm from Bompton. So you know, Jeez was the one 570 00:23:08,960 --> 00:23:10,600 Speaker 1: who came into the studio. I was like, Yo, man, 571 00:23:10,600 --> 00:23:12,280 Speaker 1: you're gonna sell two copies if you name it out 572 00:23:12,280 --> 00:23:14,879 Speaker 1: from Bompton. So why did we have to really think 573 00:23:14,920 --> 00:23:16,919 Speaker 1: about it, and he was like, Okay, cool, we need 574 00:23:16,960 --> 00:23:18,720 Speaker 1: a new name. And then why she came up with 575 00:23:18,760 --> 00:23:20,800 Speaker 1: My Crazy Life, like I'm calling my Crazy Life but 576 00:23:21,119 --> 00:23:23,760 Speaker 1: crazy with a K, you know, and the boom and 577 00:23:23,800 --> 00:23:26,960 Speaker 1: automatically creatively that opens up a lot more stuff we 578 00:23:27,000 --> 00:23:29,680 Speaker 1: could do because now you're talking about our life. Had 579 00:23:29,680 --> 00:23:32,080 Speaker 1: my nagket hit before that or that was already going on. 580 00:23:32,320 --> 00:23:35,000 Speaker 1: I'm from Bompton, God damn for my Nigger was from 581 00:23:35,040 --> 00:23:37,480 Speaker 1: I'm from Bompton. Picking back being Bull was from I'm 582 00:23:37,480 --> 00:23:41,480 Speaker 1: from Bompton. Uh, those records around from Bompton. Most of 583 00:23:41,480 --> 00:23:43,760 Speaker 1: the other records were all my Crazy Life, like I 584 00:23:43,800 --> 00:23:47,440 Speaker 1: just want to Party BPT, Sorry mama, those are all 585 00:23:47,440 --> 00:23:49,320 Speaker 1: my Crazy Life records. Like think if you think about 586 00:23:49,359 --> 00:23:52,760 Speaker 1: my Crazy Life Bompton and BPT is like the story, 587 00:23:53,440 --> 00:23:55,359 Speaker 1: Like the idea of that song was like what would 588 00:23:55,359 --> 00:23:56,639 Speaker 1: it feel like? What does it feel like to get 589 00:23:56,720 --> 00:23:59,959 Speaker 1: jumped in the game? Right? And no one's of its 590 00:24:00,040 --> 00:24:02,120 Speaker 1: whole lot? And that's when we came in the first 591 00:24:02,119 --> 00:24:04,800 Speaker 1: first story, right, you know what I mean? Like that 592 00:24:04,840 --> 00:24:07,639 Speaker 1: was the story and that's how and you wanted to 593 00:24:07,640 --> 00:24:12,000 Speaker 1: make Sonically, we were challenging Mustard must of his challenging 594 00:24:12,080 --> 00:24:15,240 Speaker 1: himself to to beat bomped In. So we were trying 595 00:24:15,240 --> 00:24:17,240 Speaker 1: to beat bomped In sonically while I tell the story, 596 00:24:17,240 --> 00:24:18,760 Speaker 1: you got jumping in the game and that's how they 597 00:24:18,760 --> 00:24:21,080 Speaker 1: came in. So a lot of times we would conceptually 598 00:24:21,080 --> 00:24:23,840 Speaker 1: come up with a record or like one record was like, um, 599 00:24:23,960 --> 00:24:26,760 Speaker 1: Me and My Bitch. That was a record that was like, 600 00:24:27,840 --> 00:24:29,800 Speaker 1: you know, you're very you know. One of one of 601 00:24:29,800 --> 00:24:31,960 Speaker 1: the one of why the big lines at the time 602 00:24:32,119 --> 00:24:35,440 Speaker 1: was because my ex was a boper, you know what 603 00:24:35,480 --> 00:24:37,840 Speaker 1: I mean, And I was like, well, we got to 604 00:24:37,880 --> 00:24:41,440 Speaker 1: tell people why you're so misogynistic, right, So he made 605 00:24:41,480 --> 00:24:43,240 Speaker 1: Me and my Bitch Like He's like, this is a 606 00:24:43,280 --> 00:24:45,520 Speaker 1: story why I'm like this, and that's how it came 607 00:24:45,560 --> 00:24:47,200 Speaker 1: out and then we was able to put it there. 608 00:24:47,440 --> 00:24:49,399 Speaker 1: So the whole thing is almost like writing a script, 609 00:24:49,800 --> 00:24:52,000 Speaker 1: but just with some music. Called it a Western right 610 00:24:52,040 --> 00:24:54,480 Speaker 1: to Western. Yeah, Like to me, I look at it 611 00:24:54,560 --> 00:24:57,399 Speaker 1: like movies like you know, hip hop, my mentor he um. 612 00:24:57,440 --> 00:25:00,399 Speaker 1: He always taught me to like our job to like 613 00:25:00,480 --> 00:25:05,760 Speaker 1: coaches and directors sok Joshua yea kiamba hip hop Joshua 614 00:25:05,800 --> 00:25:07,600 Speaker 1: you know, like you know, Jay z ain't on and 615 00:25:07,640 --> 00:25:12,399 Speaker 1: he found Kanye. He's like, our job is like like 616 00:25:12,640 --> 00:25:15,880 Speaker 1: closest to coaches and directors, you know, coaches as far 617 00:25:15,880 --> 00:25:18,840 Speaker 1: as your relationship with the talent, and directors as far 618 00:25:18,880 --> 00:25:21,920 Speaker 1: as managing the whole experience. Like a director has to 619 00:25:22,000 --> 00:25:24,840 Speaker 1: manage the studio. The director has to manage the talent, 620 00:25:25,160 --> 00:25:28,480 Speaker 1: the cinematographers, the editors. Everybody has their own ego and 621 00:25:28,480 --> 00:25:30,480 Speaker 1: they have their own idea how this should be, and 622 00:25:30,480 --> 00:25:32,520 Speaker 1: you're in controls. People like I could be a director, 623 00:25:32,720 --> 00:25:34,639 Speaker 1: but people understand that being a director has more to 624 00:25:34,680 --> 00:25:36,679 Speaker 1: do in relationships as they have to do behind the camera. 625 00:25:37,320 --> 00:25:38,600 Speaker 1: And when you're dealing with a coach. You know, we 626 00:25:38,640 --> 00:25:41,080 Speaker 1: study coaches because coaches have systems, you know what I mean. 627 00:25:41,119 --> 00:25:43,600 Speaker 1: So we study like Greg Popovich, you know what I mean, 628 00:25:43,640 --> 00:25:45,719 Speaker 1: We study like Phil Jackson. You know what I mean. 629 00:25:45,760 --> 00:25:49,000 Speaker 1: We study like different coaches in different fields, Tom Coughlin, 630 00:25:49,359 --> 00:25:52,480 Speaker 1: a Belichick, and take principles that they use and apply 631 00:25:52,680 --> 00:25:55,040 Speaker 1: to managing talent on this and you know what I mean, 632 00:25:55,040 --> 00:25:58,359 Speaker 1: managing directed styles, you know what I mean, Like Woody 633 00:25:58,400 --> 00:26:02,120 Speaker 1: Allen's style, verst is like Clint Eastwood style, and how 634 00:26:02,119 --> 00:26:05,119 Speaker 1: we could apply that versus Stanley Cubrick style vers Scorsese style, 635 00:26:05,600 --> 00:26:07,800 Speaker 1: and like, you know, in that way we could incorporate 636 00:26:07,840 --> 00:26:11,199 Speaker 1: those kind of themes and then use it for a record. 637 00:26:11,600 --> 00:26:12,880 Speaker 1: You know what I'm saying. So a lot of our 638 00:26:12,920 --> 00:26:16,560 Speaker 1: references come more from movies and sports and even does 639 00:26:16,640 --> 00:26:19,680 Speaker 1: from music. So what's your role currently now with Epic Records? 640 00:26:19,760 --> 00:26:22,520 Speaker 1: Where I think I'm vice president and and creative director. 641 00:26:23,320 --> 00:26:26,600 Speaker 1: What does that mean? Um? What does that mean? You know? 642 00:26:27,040 --> 00:26:29,440 Speaker 1: First I got shot out to l a read you know, Um, 643 00:26:29,480 --> 00:26:31,040 Speaker 1: I'll tell you the story of how it got to Epic. 644 00:26:31,200 --> 00:26:35,040 Speaker 1: So after you know, my Crazy Life had the success 645 00:26:35,160 --> 00:26:37,560 Speaker 1: we had you know, who do you love my Nigga? 646 00:26:38,080 --> 00:26:40,840 Speaker 1: Then we had Don't Tell Them with Jeremiah and Little Dirk, 647 00:26:40,920 --> 00:26:42,240 Speaker 1: Like I really loved the saying what you want and 648 00:26:42,240 --> 00:26:44,719 Speaker 1: some of the records that he put out. You know. Um, 649 00:26:44,760 --> 00:26:47,000 Speaker 1: I was down in Miami for the Revote Music conference. 650 00:26:47,160 --> 00:26:51,879 Speaker 1: What was coming up now? Two years ago? First year? Okay? 651 00:26:52,320 --> 00:26:54,800 Speaker 1: And um I went down there and I was invited 652 00:26:54,880 --> 00:26:57,679 Speaker 1: down by Neil Dominique and Dana from a Vote and 653 00:26:57,680 --> 00:26:58,920 Speaker 1: it's like yeah, when you you want to be in 654 00:26:58,920 --> 00:27:01,480 Speaker 1: the panel. And I was like okay, and he was like, 655 00:27:01,520 --> 00:27:03,560 Speaker 1: well you have like an hour to let us know, 656 00:27:04,200 --> 00:27:05,879 Speaker 1: and you have to pay for your own way to 657 00:27:05,880 --> 00:27:10,560 Speaker 1: get down there. Man Neil Dominique Bryson till his man 658 00:27:11,240 --> 00:27:13,240 Speaker 1: and uh, it was like and he was helping put 659 00:27:13,240 --> 00:27:14,920 Speaker 1: it together and he's like, you got about a hour 660 00:27:14,960 --> 00:27:16,159 Speaker 1: to get me know. So I called him back in 661 00:27:16,240 --> 00:27:17,920 Speaker 1: half an hour and let him know I'm gonna be 662 00:27:18,000 --> 00:27:20,159 Speaker 1: down there. And then he was. He was like, I 663 00:27:20,160 --> 00:27:21,680 Speaker 1: can't tell you was on the panel, but you're gonna 664 00:27:21,720 --> 00:27:23,800 Speaker 1: be happy. So I was like, okay, cool. So I'm 665 00:27:23,840 --> 00:27:25,399 Speaker 1: down there, like you know what I mean. And I 666 00:27:25,440 --> 00:27:27,560 Speaker 1: was like, okay cool, Like I'm I'm a little stressed out, 667 00:27:27,640 --> 00:27:29,560 Speaker 1: like work was stressing me out a little bit. And 668 00:27:29,600 --> 00:27:31,399 Speaker 1: then I get down there and I see like the 669 00:27:31,800 --> 00:27:36,359 Speaker 1: panel and it's like DJ Khalid, Craig Calm and chairman 670 00:27:36,400 --> 00:27:40,399 Speaker 1: of Atlantic Records. He was on a different panel. He 671 00:27:40,440 --> 00:27:45,119 Speaker 1: was there having a different panel, Larry Jackson, Apple h 672 00:27:45,400 --> 00:27:48,560 Speaker 1: l a Read, chairman of Epic Records, and me, I 673 00:27:48,640 --> 00:27:59,119 Speaker 1: was likesician, I was nervous as house. No, but you 674 00:27:59,160 --> 00:28:01,240 Speaker 1: shine didn't remember. It was playing like audio clips like 675 00:28:01,320 --> 00:28:03,120 Speaker 1: he was breaking down who do you love and how 676 00:28:03,320 --> 00:28:06,639 Speaker 1: guys worked so hard just even on that one particular record, right, Yeah. 677 00:28:06,720 --> 00:28:09,280 Speaker 1: But the process of me to get I was cool 678 00:28:09,400 --> 00:28:11,480 Speaker 1: up there. It was a process because like the night before, 679 00:28:11,600 --> 00:28:13,399 Speaker 1: I went to bed like a ten. I woke up 680 00:28:13,440 --> 00:28:15,040 Speaker 1: like five o'clock in the morning, like I rode a 681 00:28:15,080 --> 00:28:17,240 Speaker 1: bike to the beach in Miami. I sat on the beach, 682 00:28:17,320 --> 00:28:19,399 Speaker 1: I looked at the sun rise. I went my mentor, 683 00:28:19,520 --> 00:28:21,520 Speaker 1: my mentors staying on the block it and I went 684 00:28:21,520 --> 00:28:23,439 Speaker 1: to the hip hop. I started talking to him for 685 00:28:23,480 --> 00:28:25,200 Speaker 1: like two hours. He was give me a bunch of jewels, 686 00:28:25,320 --> 00:28:27,200 Speaker 1: like I was. I was like trying to prepare because 687 00:28:27,200 --> 00:28:29,320 Speaker 1: I know everybody else was just like they had like 688 00:28:29,400 --> 00:28:32,040 Speaker 1: they had, they had credentials. And I got a couple 689 00:28:32,040 --> 00:28:33,800 Speaker 1: of at the time, I had a couple of hot records. 690 00:28:34,080 --> 00:28:36,200 Speaker 1: But you know these guys, you know, got grant Mes, 691 00:28:36,200 --> 00:28:38,520 Speaker 1: they got best new album. That's the album. It's got hit. 692 00:28:38,640 --> 00:28:41,600 Speaker 1: So when I got up there, I realized that a 693 00:28:41,640 --> 00:28:43,320 Speaker 1: lot of other people were talking about the state of 694 00:28:43,360 --> 00:28:45,160 Speaker 1: the music business on the A and R panel, and 695 00:28:45,160 --> 00:28:47,600 Speaker 1: no one was talking about about creating records. And I 696 00:28:47,640 --> 00:28:49,840 Speaker 1: was up there, Okay, cool, my angle is gonna be 697 00:28:50,520 --> 00:28:52,240 Speaker 1: actively how I'm working on the records that are on 698 00:28:52,240 --> 00:28:56,520 Speaker 1: the radio, and I'm gonna tell stories of how people, um, 699 00:28:56,720 --> 00:28:58,680 Speaker 1: how I made these records, and me and l A 700 00:28:58,800 --> 00:29:01,520 Speaker 1: really started to bond with the record making process because 701 00:29:01,560 --> 00:29:03,520 Speaker 1: I think a lot of times people get so obsessed 702 00:29:03,560 --> 00:29:07,480 Speaker 1: with the music business that they get lost in the 703 00:29:07,680 --> 00:29:11,120 Speaker 1: music and the creative. And we're not in music because 704 00:29:11,760 --> 00:29:15,160 Speaker 1: we're the smartest businessman any of us. We're in music 705 00:29:15,240 --> 00:29:18,280 Speaker 1: for the culture of it, you know, and and the 706 00:29:18,440 --> 00:29:20,320 Speaker 1: art like you know what I mean, Like the guy 707 00:29:20,360 --> 00:29:23,120 Speaker 1: in JP Morgan who run JP Morgan. I might not 708 00:29:23,160 --> 00:29:25,920 Speaker 1: be able to read a fiscal report like him, but 709 00:29:26,040 --> 00:29:28,240 Speaker 1: I know he can't listen to him breakdown the album 710 00:29:28,280 --> 00:29:30,000 Speaker 1: like me, and you know. And I think a lot 711 00:29:30,000 --> 00:29:32,560 Speaker 1: of times in music, we underestimate ourselves and we don't 712 00:29:32,560 --> 00:29:35,560 Speaker 1: play to our strengths, you know what I mean as creatives, 713 00:29:35,440 --> 00:29:37,560 Speaker 1: as though people are want to look grow up listening 714 00:29:37,560 --> 00:29:40,240 Speaker 1: to everything like like like we're making music like rap 715 00:29:40,360 --> 00:29:44,200 Speaker 1: right off is representing hip hop at the highest level 716 00:29:44,280 --> 00:29:46,840 Speaker 1: in the whole world. And hip hop, somebody told me 717 00:29:46,880 --> 00:29:48,120 Speaker 1: one time, and I grew with them. And hip hop 718 00:29:48,160 --> 00:29:50,640 Speaker 1: is more influential in Shakespeare because Shakespeare is like you 719 00:29:50,640 --> 00:29:52,240 Speaker 1: know what I mean, you gotta damnit to speak English, 720 00:29:52,640 --> 00:29:54,200 Speaker 1: to really do it. Hip hop you go to you 721 00:29:54,200 --> 00:29:58,320 Speaker 1: go to Europe and it's like the eighties graffiti, breakdancing, 722 00:29:58,760 --> 00:30:00,720 Speaker 1: you know. So like when you do something like a 723 00:30:00,840 --> 00:30:03,440 Speaker 1: rap Radar podcast, you're listening to hip hop at the 724 00:30:03,480 --> 00:30:05,880 Speaker 1: highest possible level. You know, you're listening to guys like 725 00:30:05,920 --> 00:30:08,200 Speaker 1: beat That, Elliot Wilson, you know what I'm talking about. Like, no, 726 00:30:08,320 --> 00:30:09,720 Speaker 1: you think about it for real. I'm not trying to gas. 727 00:30:09,760 --> 00:30:13,280 Speaker 1: I'm trying to give some good stuff I want to 728 00:30:13,280 --> 00:30:16,760 Speaker 1: put up. I want to put in perspective, it's like 729 00:30:17,200 --> 00:30:20,640 Speaker 1: we're the top. Blood is no higher level in this. 730 00:30:20,640 --> 00:30:23,000 Speaker 1: This is this is Lebron James. You know what I'm saying. 731 00:30:23,040 --> 00:30:24,720 Speaker 1: This is, this is, this is this is the highest 732 00:30:24,800 --> 00:30:27,160 Speaker 1: level of people doing hip hop. This kid's out there, 733 00:30:27,200 --> 00:30:29,720 Speaker 1: who's listening to these podcasts, is listening to these albums, 734 00:30:29,920 --> 00:30:33,520 Speaker 1: are gonna fourteen sixty years old, and they're gonna mold. 735 00:30:33,880 --> 00:30:36,200 Speaker 1: They're gonna mold their whole future off of what we do. 736 00:30:36,480 --> 00:30:38,040 Speaker 1: Like when I was growing up, I was reading your 737 00:30:38,120 --> 00:30:41,720 Speaker 1: I was reading your editorials from like Double Exile. I'm 738 00:30:41,720 --> 00:30:43,920 Speaker 1: reading everything about it, all the Wainian stuff, so like, 739 00:30:44,120 --> 00:30:45,560 Speaker 1: but then you find a way to get yourself in 740 00:30:45,560 --> 00:30:48,920 Speaker 1: that building. So I don't so I don't take anything. 741 00:30:49,320 --> 00:30:51,880 Speaker 1: I don't. I take everything. I take the work that 742 00:30:51,960 --> 00:30:54,680 Speaker 1: I don't take myself serious, but I definitely take the 743 00:30:54,720 --> 00:30:56,480 Speaker 1: work serious. So I'm told way to go back to 744 00:30:56,480 --> 00:31:00,000 Speaker 1: the I think that the way you were describing things 745 00:31:00,080 --> 00:31:01,880 Speaker 1: like like who do you love for example, on how 746 00:31:01,880 --> 00:31:04,000 Speaker 1: to make certain records, I'm sure that made l A 747 00:31:04,040 --> 00:31:06,120 Speaker 1: feel like, Wow, this guy really gets it, or like 748 00:31:06,160 --> 00:31:08,240 Speaker 1: I'm attracted to what he's saying there and that that 749 00:31:08,320 --> 00:31:10,560 Speaker 1: leads to this opportunity. That was our bond. You know, 750 00:31:10,680 --> 00:31:12,520 Speaker 1: my job interview was on that stage. Was that your 751 00:31:12,520 --> 00:31:15,240 Speaker 1: first time meeting him? It was the first time I 752 00:31:15,280 --> 00:31:17,560 Speaker 1: was talking about the record making process, talking about what 753 00:31:17,640 --> 00:31:19,720 Speaker 1: it is to work with artists and producers in the studio, 754 00:31:20,080 --> 00:31:22,480 Speaker 1: what it is about competing, you know, like when you're 755 00:31:22,480 --> 00:31:24,600 Speaker 1: in the studio, you hear a lot of artists, Like 756 00:31:24,640 --> 00:31:26,360 Speaker 1: I had a meeting with the artist Destities, new kids 757 00:31:26,360 --> 00:31:28,680 Speaker 1: from my neighborhood and Crown Heights, right, and they were 758 00:31:28,760 --> 00:31:30,840 Speaker 1: like playing me some records and they're like then they 759 00:31:30,920 --> 00:31:32,480 Speaker 1: said plays to the comments like, oh, these are the 760 00:31:32,480 --> 00:31:35,120 Speaker 1: records we really like, right, And they played me kind 761 00:31:35,120 --> 00:31:37,000 Speaker 1: of like more hip hop records, and it kind of 762 00:31:37,000 --> 00:31:38,800 Speaker 1: made me cringe, you know what I mean, because the 763 00:31:38,840 --> 00:31:40,760 Speaker 1: other records were good, but they were like more commercial. 764 00:31:41,080 --> 00:31:42,560 Speaker 1: But then it's like these are like they were making 765 00:31:42,560 --> 00:31:44,840 Speaker 1: that just to make commercial records. They were making that 766 00:31:44,920 --> 00:31:46,680 Speaker 1: to be like the dopest artist. And I have to 767 00:31:46,720 --> 00:31:48,080 Speaker 1: tell them, like, you gotta figure out a way to 768 00:31:48,120 --> 00:31:49,920 Speaker 1: make a compromise. You gotta made its way to make 769 00:31:50,200 --> 00:31:52,760 Speaker 1: your your style into the ones that you want to play, 770 00:31:52,960 --> 00:31:54,160 Speaker 1: you know. And I think a lot of times with 771 00:31:54,200 --> 00:31:56,360 Speaker 1: people go in the studio, they're going the studio for 772 00:31:56,400 --> 00:31:58,080 Speaker 1: the wrong reasons. They're go in the studio because they 773 00:31:58,080 --> 00:31:59,520 Speaker 1: want to make a hit, they want to be famous. 774 00:31:59,800 --> 00:32:02,760 Speaker 1: But if you make a record that you don't really 775 00:32:02,760 --> 00:32:07,520 Speaker 1: believe in and it pops, you're trapped in that record. 776 00:32:07,920 --> 00:32:10,960 Speaker 1: I give you an example, right, David Banner. David Banner 777 00:32:11,040 --> 00:32:13,360 Speaker 1: is one of the smartest people will ever come out 778 00:32:13,400 --> 00:32:15,960 Speaker 1: of hip hop, but because he came in the game 779 00:32:16,040 --> 00:32:18,719 Speaker 1: with like like a pimp. If pigeonholes him, so when 780 00:32:18,720 --> 00:32:21,440 Speaker 1: he performs that, he almost has to like backtrack because 781 00:32:21,440 --> 00:32:23,560 Speaker 1: he's trapped in that record, you know what I mean. 782 00:32:24,120 --> 00:32:27,520 Speaker 1: Represented a moment but it's not really who he really. Yeah, 783 00:32:27,520 --> 00:32:29,240 Speaker 1: so you gotta be careful when you're a young artist 784 00:32:29,240 --> 00:32:30,920 Speaker 1: coming up. How are you gonna how are you gonna 785 00:32:30,960 --> 00:32:33,000 Speaker 1: present yourself? Because you don't want to make a record 786 00:32:33,040 --> 00:32:35,360 Speaker 1: because it's hot, and you get trapped, you don't want 787 00:32:35,360 --> 00:32:37,840 Speaker 1: to go do a metro record, doing whatever you gotta do, 788 00:32:38,200 --> 00:32:40,040 Speaker 1: and then that's not really you. You really want to 789 00:32:40,040 --> 00:32:42,880 Speaker 1: wrap like common sense, you know what I mean. And 790 00:32:42,880 --> 00:32:45,560 Speaker 1: then and then you can't get out of that trap forever. 791 00:32:45,880 --> 00:32:48,760 Speaker 1: So I think that talking about the music making process 792 00:32:48,840 --> 00:32:51,400 Speaker 1: versus just talking about the business where we bonded l 793 00:32:51,480 --> 00:32:53,080 Speaker 1: A and l A just like working with him is 794 00:32:53,080 --> 00:32:56,440 Speaker 1: his magical, Like I read his book, like watching him move, 795 00:32:56,520 --> 00:32:58,080 Speaker 1: like watching a man who has been on top of 796 00:32:58,080 --> 00:33:02,200 Speaker 1: his game for thirty years producer as a black executive, 797 00:33:02,520 --> 00:33:04,400 Speaker 1: as a chairman, you know what I mean, that's not 798 00:33:04,440 --> 00:33:06,880 Speaker 1: an easy job to have. Like I mean, look around 799 00:33:06,880 --> 00:33:09,680 Speaker 1: how many black chamans and presidents all day outside of 800 00:33:09,680 --> 00:33:11,840 Speaker 1: the epic, you know what I mean, Sylvia Rhnes, who's 801 00:33:11,880 --> 00:33:14,040 Speaker 1: on top of the game for a long long time. 802 00:33:14,480 --> 00:33:17,440 Speaker 1: So me working there is awesome because it's like I 803 00:33:17,480 --> 00:33:19,400 Speaker 1: get to deal with like two of the uh the 804 00:33:19,440 --> 00:33:21,800 Speaker 1: Greatest two Hall of Famous two First Battle Hall of 805 00:33:21,800 --> 00:33:24,600 Speaker 1: Famous on a on a day to day basis African 806 00:33:24,600 --> 00:33:29,040 Speaker 1: American executives that could give you perspective that other executives 807 00:33:29,040 --> 00:33:30,760 Speaker 1: would never be able to give you because you know, 808 00:33:30,840 --> 00:33:32,640 Speaker 1: you gotta ask questions and no one else can answer, 809 00:33:33,080 --> 00:33:35,160 Speaker 1: and you know, and after that it's just like you know, 810 00:33:35,280 --> 00:33:38,240 Speaker 1: after they leave them. But but you still was dealt 811 00:33:38,600 --> 00:33:41,240 Speaker 1: a tough hand though, because the first assignment is, Okay, 812 00:33:41,360 --> 00:33:44,400 Speaker 1: Travis Scott, some guy who's obviously fiercely creative, you know 813 00:33:44,480 --> 00:33:46,160 Speaker 1: what I mean, Like, how do you hone that guy 814 00:33:46,160 --> 00:33:47,600 Speaker 1: in and how do you put out a full get 815 00:33:47,600 --> 00:33:49,600 Speaker 1: a full album from him? And that was your first 816 00:33:49,600 --> 00:33:51,120 Speaker 1: big challenge. Let me tell you the story. So I 817 00:33:51,200 --> 00:33:53,840 Speaker 1: knew Travis actually before a new Y g right, when 818 00:33:53,840 --> 00:33:55,240 Speaker 1: I was like I used to go up to Warner 819 00:33:55,280 --> 00:33:58,240 Speaker 1: Brothers every day, to Joey Manner's office and Tom Oscars 820 00:33:58,240 --> 00:34:00,240 Speaker 1: when they were heads of Warner and I was trying 821 00:34:00,240 --> 00:34:02,880 Speaker 1: to get on just listening to the artists, and uh, 822 00:34:02,960 --> 00:34:05,120 Speaker 1: this guy who was an intern of Time Jack, he 823 00:34:05,200 --> 00:34:07,440 Speaker 1: brought me Travis Scott's demo. This is probably like eight 824 00:34:07,600 --> 00:34:11,120 Speaker 1: March April two thousand and twelve. So you call Travis 825 00:34:11,160 --> 00:34:13,000 Speaker 1: to the office. Travis comes to the office, same energy 826 00:34:13,040 --> 00:34:15,280 Speaker 1: he had now just no no, no braids, just to fade, 827 00:34:15,680 --> 00:34:17,759 Speaker 1: bouncing off the wall, playing this like yo kan he 828 00:34:17,800 --> 00:34:22,600 Speaker 1: loves this recor I'm about you know, And you know 829 00:34:22,760 --> 00:34:25,040 Speaker 1: he had he was just so much talent, so much energy. 830 00:34:25,080 --> 00:34:26,759 Speaker 1: So you know, I was trying to sign the Warner 831 00:34:26,800 --> 00:34:28,840 Speaker 1: Brothers at the time, and he ended up doing the 832 00:34:28,880 --> 00:34:30,960 Speaker 1: deal and epic. But we stay friends over the years, 833 00:34:31,320 --> 00:34:32,520 Speaker 1: you know what I mean. So over the years, you know, 834 00:34:32,560 --> 00:34:34,839 Speaker 1: we're telling me about projects. I'll try to work with him. 835 00:34:34,920 --> 00:34:36,560 Speaker 1: Like when he was doing al Faro, he used to 836 00:34:36,600 --> 00:34:38,400 Speaker 1: just like, we need to talk about the project, you 837 00:34:38,400 --> 00:34:39,479 Speaker 1: know what I mean. And he's like, yea, I'm gonna 838 00:34:39,480 --> 00:34:41,560 Speaker 1: go with Kanye for like to Paris. He stayed there 839 00:34:41,560 --> 00:34:43,640 Speaker 1: for like nine months. We's a house Probatius, just come over. 840 00:34:43,760 --> 00:34:46,480 Speaker 1: We just always kick it. So the crazy thing about 841 00:34:46,520 --> 00:34:48,479 Speaker 1: how the universe works and night if you just stay 842 00:34:48,520 --> 00:34:50,600 Speaker 1: open and stay spiritual, like you gotta believe in it. 843 00:34:50,800 --> 00:34:53,319 Speaker 1: When I got off that stage with l A, I'm 844 00:34:53,320 --> 00:34:55,200 Speaker 1: walking back to my hotel, I guess, so I see 845 00:34:55,280 --> 00:34:58,319 Speaker 1: checking into the hotel this Travis, what you're doing here. 846 00:34:58,360 --> 00:34:59,960 Speaker 1: He's like, I'm about to perform, and so what you're doing. 847 00:35:00,000 --> 00:35:02,080 Speaker 1: I just came up a panel. So then we just 848 00:35:02,160 --> 00:35:04,719 Speaker 1: all went me and him went to the room. And 849 00:35:04,760 --> 00:35:07,359 Speaker 1: then that's the same time I met Yes Shoes and 850 00:35:07,400 --> 00:35:09,279 Speaker 1: we all just sat there and started kicking it, and 851 00:35:09,320 --> 00:35:11,600 Speaker 1: me and Travis was just sitting there talking about how 852 00:35:11,600 --> 00:35:14,080 Speaker 1: to make an album. He's like, yo, if I lived 853 00:35:14,080 --> 00:35:15,879 Speaker 1: in the house like you live in it just had 854 00:35:15,920 --> 00:35:18,400 Speaker 1: all these producers in the house. I made the crazy 855 00:35:18,440 --> 00:35:20,600 Speaker 1: album because days before Rodeo is out and it's fired, 856 00:35:20,719 --> 00:35:22,520 Speaker 1: like it'll be dope, Like let's just go do it, 857 00:35:22,560 --> 00:35:24,680 Speaker 1: let's record it to Miami. And he's just he's just 858 00:35:24,719 --> 00:35:28,200 Speaker 1: so inspirational. So after like two straight to three days, 859 00:35:28,200 --> 00:35:30,719 Speaker 1: is just talking about the album like this is cool, 860 00:35:30,800 --> 00:35:32,520 Speaker 1: Like you know what I mean, I wanna you know 861 00:35:32,520 --> 00:35:34,239 Speaker 1: what I mean, I want to really explore this. He's like, 862 00:35:34,239 --> 00:35:36,120 Speaker 1: you should just come work with epic. And I was like, 863 00:35:36,160 --> 00:35:38,080 Speaker 1: this feels good, you know what I mean? And and and um, 864 00:35:38,280 --> 00:35:41,560 Speaker 1: my friend Courtney who's a publicity of an epic, it's 865 00:35:41,680 --> 00:35:43,359 Speaker 1: up with me and with me in l A and 866 00:35:43,400 --> 00:35:44,640 Speaker 1: I just talked to l A out of me with 867 00:35:44,760 --> 00:35:46,840 Speaker 1: him it was just like a continuation of being on 868 00:35:46,840 --> 00:35:50,799 Speaker 1: the stage is inspirational, talking about goals and and you know, 869 00:35:51,040 --> 00:35:53,720 Speaker 1: usually when you deal with what executives, they're talking about 870 00:35:53,760 --> 00:35:58,239 Speaker 1: like numbers and also tell me about your story and 871 00:35:58,239 --> 00:36:00,239 Speaker 1: they're not talking about dream you're talking about m music. 872 00:36:00,239 --> 00:36:02,040 Speaker 1: You're not talking about the stuff that you got in 873 00:36:02,040 --> 00:36:04,160 Speaker 1: here for when he was a kid like I want 874 00:36:04,160 --> 00:36:06,040 Speaker 1: to be here. I want to be epic, you know, 875 00:36:06,280 --> 00:36:08,160 Speaker 1: and that's what made me here. So between him and Travis, 876 00:36:08,160 --> 00:36:11,320 Speaker 1: they recruited me over the epic. So then and remember 877 00:36:11,360 --> 00:36:13,960 Speaker 1: that plan I was telling about, Uh, it was the 878 00:36:13,960 --> 00:36:16,080 Speaker 1: same kind of thing. It's like, yo, get let's get 879 00:36:16,080 --> 00:36:18,360 Speaker 1: a house and put all these producers in the same house. 880 00:36:18,719 --> 00:36:21,200 Speaker 1: So the producers came in the house was like Metro booming, 881 00:36:21,320 --> 00:36:25,960 Speaker 1: Sunny Digital first from f KI when the Girl Southside, 882 00:36:26,200 --> 00:36:29,520 Speaker 1: t m Ad eight, Alan Ritter all living in the 883 00:36:29,600 --> 00:36:34,520 Speaker 1: same house bell and that was like, so my first 884 00:36:34,560 --> 00:36:36,600 Speaker 1: day on the job, the Sember first, I walked right 885 00:36:36,600 --> 00:36:37,799 Speaker 1: into the house and go to the office. I went 886 00:36:37,800 --> 00:36:40,719 Speaker 1: to the house studio and then we recorded every day. 887 00:36:40,880 --> 00:36:43,160 Speaker 1: You know, we did songs like thirt then a few 888 00:36:43,160 --> 00:36:45,399 Speaker 1: of the records in there, and then from that house. 889 00:36:45,440 --> 00:36:47,640 Speaker 1: We build the momentum, we want to tour a Rodeo 890 00:36:47,800 --> 00:36:51,240 Speaker 1: started recording on the road. You know, the Rodeo tour 891 00:36:51,320 --> 00:36:53,600 Speaker 1: was crazy. That was that was that was the illest 892 00:36:53,600 --> 00:36:56,080 Speaker 1: thing I've ever seen, Like like the tour is dope 893 00:36:56,080 --> 00:36:58,959 Speaker 1: and watching Travis and and Thug creatively like you're gonna 894 00:36:58,960 --> 00:37:01,200 Speaker 1: go back and forth. Ain't nobody no openings. We're gonna 895 00:37:01,200 --> 00:37:03,120 Speaker 1: go back and forth. And we did the first show 896 00:37:03,120 --> 00:37:05,960 Speaker 1: in Santa Ana and when they went out, the crowd 897 00:37:06,000 --> 00:37:08,320 Speaker 1: just had a reaction I've never seen before in the 898 00:37:08,400 --> 00:37:10,480 Speaker 1: hip hop show. Like these kids were like mash pinning. 899 00:37:10,520 --> 00:37:13,000 Speaker 1: They were going crazy. The flow was shaking. And after 900 00:37:13,120 --> 00:37:15,200 Speaker 1: it was two shows that one night, and after show 901 00:37:15,239 --> 00:37:16,640 Speaker 1: when we all looked at each other like did that 902 00:37:16,680 --> 00:37:20,279 Speaker 1: really happened? And those shows are just crazy. Remember because 903 00:37:20,280 --> 00:37:22,239 Speaker 1: metro Bom would come out and play, so there was 904 00:37:22,280 --> 00:37:24,920 Speaker 1: never no lull. The energy was like mete Woman's playing. 905 00:37:25,600 --> 00:37:28,160 Speaker 1: Everybody's rocking for like half hour forty five minutes and 906 00:37:28,200 --> 00:37:30,280 Speaker 1: then they just started coming out, so it never stopped. 907 00:37:30,320 --> 00:37:33,040 Speaker 1: The energy. The energy just kept building, the building, the building. 908 00:37:33,120 --> 00:37:35,239 Speaker 1: It was the youth like like and I was telling 909 00:37:35,239 --> 00:37:37,399 Speaker 1: this to somebody, Everybody talks somebody back in the day, 910 00:37:37,440 --> 00:37:39,359 Speaker 1: like in the night, everything was better. You know, it 911 00:37:39,400 --> 00:37:43,640 Speaker 1: wasn't better the shows. The shows just like I used 912 00:37:43,680 --> 00:37:47,759 Speaker 1: to go to hip hop A people on stage, you 913 00:37:47,840 --> 00:37:51,680 Speaker 1: scared somebody gonna like which one is nas You couldn't 914 00:37:51,719 --> 00:37:54,960 Speaker 1: tell who was not Queen's Bridge nickers around him, And 915 00:37:55,520 --> 00:37:58,239 Speaker 1: shows in the nineties and two thousand sucked compared to 916 00:37:58,280 --> 00:38:01,800 Speaker 1: these shows. These kids them out now, they're raging that 917 00:38:01,960 --> 00:38:05,080 Speaker 1: mash pitting. They don't care about the steps on their 918 00:38:05,160 --> 00:38:10,520 Speaker 1: sneakers they like, and they're still taking photos. They have 919 00:38:10,560 --> 00:38:12,799 Speaker 1: the thing worried about nobody trying to like rob them 920 00:38:12,840 --> 00:38:19,319 Speaker 1: or getting shootouts outside these shows us. These kids don't chain, man, 921 00:38:19,360 --> 00:38:23,160 Speaker 1: you dropped your chain. Everybody's having fun, so they will 922 00:38:23,200 --> 00:38:25,279 Speaker 1: come out. Metro's turning up the crowd and these kids 923 00:38:25,280 --> 00:38:26,920 Speaker 1: a lot. You would think the headline is on, But 924 00:38:26,960 --> 00:38:28,560 Speaker 1: how do you will Travis sin And then how does 925 00:38:28,640 --> 00:38:30,200 Speaker 1: Mike Dean get involved? Because it seems like the whole 926 00:38:30,200 --> 00:38:31,719 Speaker 1: thing was that Mike Dean gets involved and all of 927 00:38:31,760 --> 00:38:34,279 Speaker 1: a sudden it's get serious business with these tracks. Well no, no, 928 00:38:34,320 --> 00:38:36,200 Speaker 1: we're gonna get after the tour. We get in the 929 00:38:36,280 --> 00:38:39,239 Speaker 1: second house right now, we're like West Hollywood, and you know, 930 00:38:39,280 --> 00:38:41,520 Speaker 1: like Metell comes to that house, Alarda, we're finishing up 931 00:38:41,520 --> 00:38:43,600 Speaker 1: the record. We'd like to call out the Antidote House 932 00:38:43,760 --> 00:38:46,040 Speaker 1: because that's wheel like we recorded an adult, pretty pretty 933 00:38:46,040 --> 00:38:47,800 Speaker 1: big record there. Now did you know that that was 934 00:38:47,840 --> 00:38:49,520 Speaker 1: one of those ones? Because wasn't at first he put 935 00:38:49,600 --> 00:38:52,760 Speaker 1: it on SoundCloud, right, it wasn't even like originally intended 936 00:38:52,760 --> 00:38:54,520 Speaker 1: to even necessarily be on the album or No, I 937 00:38:54,520 --> 00:38:56,960 Speaker 1: did not know. I didn't. I mean every other hit 938 00:38:57,000 --> 00:38:59,560 Speaker 1: record I've been a part of, I knew Antidote. I 939 00:38:59,560 --> 00:39:02,400 Speaker 1: didn't know. Um after you thought is going to be 940 00:39:02,400 --> 00:39:05,720 Speaker 1: the hit. And I remember the night before we recorded 941 00:39:05,760 --> 00:39:09,480 Speaker 1: like Nightcrawler, um a few other records, and then like 942 00:39:09,600 --> 00:39:11,960 Speaker 1: he woke up like late, and then like he recorded 943 00:39:12,000 --> 00:39:14,359 Speaker 1: one record and then I think he recorded a song 944 00:39:14,360 --> 00:39:16,919 Speaker 1: called It Possible off of eardio, and then a beat player. 945 00:39:16,960 --> 00:39:18,480 Speaker 1: He played one a girl beat and he started being 946 00:39:18,480 --> 00:39:20,719 Speaker 1: on the table and he's like and it's like in 947 00:39:20,760 --> 00:39:23,319 Speaker 1: the in the it's like downstairs in the basement and 948 00:39:23,320 --> 00:39:25,200 Speaker 1: all you have see is like a little window. So 949 00:39:25,239 --> 00:39:27,200 Speaker 1: he's just beating on the table. He goes, don't you 950 00:39:27,280 --> 00:39:31,279 Speaker 1: open up that wind? Though? Oh don't you lead out 951 00:39:31,520 --> 00:39:34,560 Speaker 1: and the dumb and he just does that for like 952 00:39:34,680 --> 00:39:36,720 Speaker 1: and you know, it's like open mic is no booth, 953 00:39:37,080 --> 00:39:39,400 Speaker 1: So he just does that for like four minutes and 954 00:39:39,440 --> 00:39:41,080 Speaker 1: then that kind of became an it though, So it 955 00:39:41,120 --> 00:39:43,200 Speaker 1: was fun. We just played in the studio. Then he 956 00:39:43,239 --> 00:39:45,680 Speaker 1: went to like, um he went to Texas and performed 957 00:39:45,719 --> 00:39:48,320 Speaker 1: it and the crowd went up. She's like just putting 958 00:39:48,360 --> 00:39:50,680 Speaker 1: on a SoundCloud. So if you look at antidotal SoundCloud 959 00:39:50,680 --> 00:39:52,440 Speaker 1: even up to this day, it says not on my 960 00:39:52,520 --> 00:39:56,359 Speaker 1: album and we're like setting up. And then that ship 961 00:39:56,440 --> 00:39:58,960 Speaker 1: just started growing every day and it just started getting 962 00:39:58,960 --> 00:40:01,080 Speaker 1: bigger and bigger. So I like two weeks we were like, 963 00:40:01,120 --> 00:40:05,440 Speaker 1: you know what Thomas witched a single out? Do you 964 00:40:05,480 --> 00:40:07,239 Speaker 1: know when a song is a hit? And do hits 965 00:40:07,320 --> 00:40:11,440 Speaker 1: matter to you or just in general? Hits matter, you know, 966 00:40:11,560 --> 00:40:15,600 Speaker 1: because it helps your career, helps you stay around. UM 967 00:40:15,800 --> 00:40:18,600 Speaker 1: me personally different kind of an ours. You know, my style. 968 00:40:18,800 --> 00:40:21,080 Speaker 1: It's more like I care about the body of work, 969 00:40:21,440 --> 00:40:23,439 Speaker 1: and I believe if you stay true to the body 970 00:40:23,480 --> 00:40:26,040 Speaker 1: of work, a hit will happen. If you're going to 971 00:40:26,040 --> 00:40:27,680 Speaker 1: studio and try to make a hit, I don't think 972 00:40:27,680 --> 00:40:29,760 Speaker 1: it's gonna happen. But if you go in the studio 973 00:40:30,000 --> 00:40:32,520 Speaker 1: and trying to make a album, you'll probably catch a 974 00:40:32,600 --> 00:40:34,920 Speaker 1: hit off that album quicker because you're one that creative 975 00:40:35,000 --> 00:40:37,239 Speaker 1: mind state versus just like sitting there and trying to 976 00:40:37,239 --> 00:40:38,800 Speaker 1: make it. You can tell when somebody went into the 977 00:40:38,800 --> 00:40:40,680 Speaker 1: student try to make a hit record, and you can 978 00:40:40,719 --> 00:40:42,960 Speaker 1: tell when it just felt again it like an adulte 979 00:40:43,000 --> 00:40:45,239 Speaker 1: feels organic. It sounds like something. When I first heard 980 00:40:45,239 --> 00:40:47,239 Speaker 1: why G's albums, as soon as I put the CD 981 00:40:47,360 --> 00:40:49,719 Speaker 1: in and I heard Bombed, I was like, b B, 982 00:40:50,360 --> 00:40:52,480 Speaker 1: it sounded special, you know what I mean? Almost I 983 00:40:52,520 --> 00:40:54,839 Speaker 1: would say half the album sounds like it could be 984 00:40:55,160 --> 00:40:58,319 Speaker 1: radio ready, yeah, because because we didn't. We didn't try 985 00:40:58,360 --> 00:41:00,000 Speaker 1: to make it for radio. You just try to make 986 00:41:00,080 --> 00:41:03,239 Speaker 1: can for to complete that idea, you know, And if 987 00:41:03,239 --> 00:41:05,400 Speaker 1: you're trying to complete the idea, that's a success. I 988 00:41:05,400 --> 00:41:08,520 Speaker 1: remember we were south by Southwest when the album leaked 989 00:41:08,600 --> 00:41:12,480 Speaker 1: with YG and when it leaked like and I saw 990 00:41:12,520 --> 00:41:14,359 Speaker 1: the reaction of it, that sort of memes started hitting 991 00:41:14,800 --> 00:41:16,279 Speaker 1: like I like tears in my eyes. I was so 992 00:41:16,320 --> 00:41:18,120 Speaker 1: happy because I didn't know people are gonna get it 993 00:41:18,160 --> 00:41:19,680 Speaker 1: like that. But I just thought that I didn't not 994 00:41:19,680 --> 00:41:21,400 Speaker 1: have people can react to like, oh, people trying to 995 00:41:21,440 --> 00:41:24,399 Speaker 1: do some storytelling ship and people when people were going 996 00:41:24,440 --> 00:41:26,360 Speaker 1: from seeing the lyrics and everything that I was probably 997 00:41:26,400 --> 00:41:27,759 Speaker 1: that was probably one of the best feelings of my 998 00:41:27,760 --> 00:41:31,600 Speaker 1: whole life protesting against the no Grammy nomination. They protested 999 00:41:31,640 --> 00:41:33,279 Speaker 1: against that, so that was I mean, that's great because 1000 00:41:33,320 --> 00:41:36,239 Speaker 1: we I mean remember the time that the we really 1001 00:41:36,360 --> 00:41:38,120 Speaker 1: that was one of our goals in the studio. We're like, 1002 00:41:38,480 --> 00:41:40,400 Speaker 1: we know we're not gonna win Best Rip Album. We 1003 00:41:40,480 --> 00:41:42,600 Speaker 1: just want to be nominated, and we're just talking about outfit. 1004 00:41:42,600 --> 00:41:46,319 Speaker 1: We wanna wein like that what I don't know, I 1005 00:41:46,320 --> 00:41:47,960 Speaker 1: know why she's gonna be all read though, you know what? 1006 00:41:49,040 --> 00:41:53,480 Speaker 1: And like I was something too tight there crazy that 1007 00:41:53,680 --> 00:41:57,759 Speaker 1: and that you know me must um y g that 1008 00:41:57,840 --> 00:41:59,520 Speaker 1: was all when I saw that was like the biggest goal. 1009 00:41:59,560 --> 00:42:04,000 Speaker 1: I was gonna be validation. And then when Mustard called 1010 00:42:04,040 --> 00:42:07,520 Speaker 1: me one day screaming, it's like and I was like, 1011 00:42:08,719 --> 00:42:10,480 Speaker 1: and I can't tell so I actually it's just good 1012 00:42:10,520 --> 00:42:14,080 Speaker 1: screaming and bad screaming. He said, bad man, we didn't 1013 00:42:14,080 --> 00:42:16,960 Speaker 1: get nominated, and I was just like, man, like somebody 1014 00:42:17,040 --> 00:42:20,080 Speaker 1: just like shot me in my stomach. I just I 1015 00:42:20,200 --> 00:42:23,480 Speaker 1: was just like hurt. And it felt like that for 1016 00:42:23,520 --> 00:42:26,520 Speaker 1: a little bit until I started seeing the reaction and 1017 00:42:26,520 --> 00:42:29,839 Speaker 1: then the memes and then trending and then the Grammy snub, 1018 00:42:30,200 --> 00:42:31,480 Speaker 1: and I was like, oh, the streets gave us on 1019 00:42:31,520 --> 00:42:33,680 Speaker 1: the domination. So that made its feel a little better, 1020 00:42:33,800 --> 00:42:35,160 Speaker 1: you know what I mean. That made it that that 1021 00:42:35,160 --> 00:42:37,279 Speaker 1: that that watching those kids protests like we didn't that's 1022 00:42:37,320 --> 00:42:38,879 Speaker 1: none of that stage. They did that on their own, 1023 00:42:39,560 --> 00:42:42,080 Speaker 1: and that that was like a validation. I was like that, Okay, 1024 00:42:42,120 --> 00:42:44,520 Speaker 1: we know that we did something. I still haven't seen 1025 00:42:44,520 --> 00:42:46,960 Speaker 1: that sending people protests a Grammy snub like that. But 1026 00:42:47,000 --> 00:42:48,880 Speaker 1: back to um So Travels as an adult and then 1027 00:42:48,880 --> 00:42:50,359 Speaker 1: now you gotta fancy the albu because now you gotta 1028 00:42:50,440 --> 00:42:52,840 Speaker 1: hit now you got finished the album, you gotta hit record, 1029 00:42:52,880 --> 00:42:55,440 Speaker 1: gotta get album out. So like we have like you know, 1030 00:42:55,560 --> 00:42:57,719 Speaker 1: having it. It's like having like all these records and 1031 00:42:57,719 --> 00:43:00,880 Speaker 1: then you know, my themes from Houston and then so 1032 00:43:00,920 --> 00:43:03,000 Speaker 1: you go to my theme, like can you finish this record? 1033 00:43:03,000 --> 00:43:04,319 Speaker 1: And he's like, you know what I mean, like can 1034 00:43:04,320 --> 00:43:06,799 Speaker 1: you executive produce a record? And he has says yes, 1035 00:43:06,840 --> 00:43:10,399 Speaker 1: and my theme, I don't know how to describe him 1036 00:43:10,400 --> 00:43:14,440 Speaker 1: man like. It was just it was probably the illest 1037 00:43:14,600 --> 00:43:16,839 Speaker 1: experience i'n't seen watching him finish the album, because when 1038 00:43:16,880 --> 00:43:19,799 Speaker 1: you go watch him in the house and playing like 1039 00:43:19,840 --> 00:43:23,160 Speaker 1: the guitar, the keys, smoking a blunt on the computer 1040 00:43:23,560 --> 00:43:26,480 Speaker 1: all at the same time, like you know, that's just 1041 00:43:26,520 --> 00:43:29,440 Speaker 1: even taking calls from Kanye stressful. That is like he's 1042 00:43:29,440 --> 00:43:31,520 Speaker 1: doing all that too, right. Yeah, But he's such a 1043 00:43:31,600 --> 00:43:35,520 Speaker 1: he's such a creative, but he's also super organized, you know, 1044 00:43:35,680 --> 00:43:39,040 Speaker 1: and such a great music maker that I just I 1045 00:43:39,080 --> 00:43:41,239 Speaker 1: just was in awe just being in that couch, like 1046 00:43:41,280 --> 00:43:43,120 Speaker 1: you know what I mean, just watching him work, Like, 1047 00:43:43,560 --> 00:43:45,080 Speaker 1: not much you can do for Mike, but just make 1048 00:43:45,120 --> 00:43:47,040 Speaker 1: sure he has the tools that he needs to do it. 1049 00:43:47,360 --> 00:43:49,080 Speaker 1: What does he do? He just brings more life to 1050 00:43:49,120 --> 00:43:52,239 Speaker 1: the sounds that are already there, and he mixes the album, 1051 00:43:52,280 --> 00:43:55,080 Speaker 1: He masters the albumy co produces certain records, he goes in. 1052 00:43:55,200 --> 00:43:57,160 Speaker 1: He's like a surgeon. He makes it like a cohesive. 1053 00:43:57,239 --> 00:43:59,399 Speaker 1: He makes it very cohesive, and he experiands the sound 1054 00:43:59,440 --> 00:44:02,400 Speaker 1: and he could really do anything you really want, you know. Um, 1055 00:44:02,440 --> 00:44:04,440 Speaker 1: I was looking at Travis and Mike. It's like two 1056 00:44:04,520 --> 00:44:07,440 Speaker 1: people in the spaceship driving the spaceship really fast, and 1057 00:44:07,440 --> 00:44:09,640 Speaker 1: they're just like playing with sounds and they're playing with 1058 00:44:10,120 --> 00:44:12,440 Speaker 1: with albums, they're playing with where they could go, you 1059 00:44:12,480 --> 00:44:14,839 Speaker 1: know what I mean. And he I know, I'm having 1060 00:44:14,880 --> 00:44:17,040 Speaker 1: tough time describing it now, but it's like it's magical, 1061 00:44:17,160 --> 00:44:19,439 Speaker 1: like you can't really describe what they're doing in there. 1062 00:44:19,640 --> 00:44:23,520 Speaker 1: There there there their technicians, and they're watching them work together. 1063 00:44:24,520 --> 00:44:27,640 Speaker 1: It's like masking the sense and they're pushing each other 1064 00:44:27,680 --> 00:44:30,200 Speaker 1: to make it a partnership in a sense, just like 1065 00:44:30,320 --> 00:44:34,840 Speaker 1: Travis views um Dean is the authority. Like they're and 1066 00:44:34,840 --> 00:44:37,520 Speaker 1: they're together, you know, they're they're locking in like Rodeo. 1067 00:44:37,560 --> 00:44:40,799 Speaker 1: They locked themselves and they locked themselves in Um in 1068 00:44:40,880 --> 00:44:43,440 Speaker 1: Mike Dean's house in New York. And you know, we 1069 00:44:43,480 --> 00:44:45,160 Speaker 1: stayed in New York for a month while we finished 1070 00:44:45,160 --> 00:44:47,759 Speaker 1: the record. You know, came down l a Re came 1071 00:44:47,800 --> 00:44:49,600 Speaker 1: down to the house and listened to the record in 1072 00:44:49,680 --> 00:44:51,799 Speaker 1: my pieces place and the big speakers, which is like 1073 00:44:51,840 --> 00:44:55,840 Speaker 1: an awesome moment. And then the second record was Birds, 1074 00:44:55,920 --> 00:44:58,879 Speaker 1: was a little more um turbulent because it was like 1075 00:44:59,480 --> 00:45:01,920 Speaker 1: we were mixed in the record and then like you know, 1076 00:45:02,000 --> 00:45:04,959 Speaker 1: Mike also had like Frank Ocean. He massive Frank Oceans 1077 00:45:05,000 --> 00:45:08,799 Speaker 1: album in the middle of Birds right, the blonde album Blond, 1078 00:45:09,280 --> 00:45:10,759 Speaker 1: and I was like sitting on the couch while like 1079 00:45:11,040 --> 00:45:13,520 Speaker 1: the guy comes in with like a briefcase of like 1080 00:45:13,760 --> 00:45:16,799 Speaker 1: Frank Ocean, like the album and the man I'm hearing 1081 00:45:16,800 --> 00:45:18,440 Speaker 1: like a little bit of Blonde and like the other room, 1082 00:45:18,480 --> 00:45:20,839 Speaker 1: I'm kind of like, you know, like poking my head out, like, oh, 1083 00:45:20,840 --> 00:45:23,960 Speaker 1: this is crazy, like you're hearing from Frank. And I 1084 00:45:24,040 --> 00:45:26,040 Speaker 1: was like a Wednesday and then came out Saturday, you know. 1085 00:45:26,360 --> 00:45:27,920 Speaker 1: And then Mike had to go do the music for 1086 00:45:27,920 --> 00:45:30,200 Speaker 1: the Poplo tour. But he has the illest tour bus 1087 00:45:30,280 --> 00:45:32,680 Speaker 1: of all time, like a tour bust week, record and 1088 00:45:32,719 --> 00:45:34,719 Speaker 1: make music. So he's like, yeah, if you want to 1089 00:45:34,719 --> 00:45:36,560 Speaker 1: finish the album, I'll go on tour. So Travis one 1090 00:45:36,600 --> 00:45:37,840 Speaker 1: of the Poplo tour. So I don't know if he 1091 00:45:37,840 --> 00:45:40,480 Speaker 1: also those clips of Travis like dancing on the floors, 1092 00:45:40,480 --> 00:45:42,279 Speaker 1: people thought he was on tour, but he was really 1093 00:45:42,320 --> 00:45:44,840 Speaker 1: just finishing his album. I gotta get with Mike and 1094 00:45:44,880 --> 00:45:46,759 Speaker 1: get my album done right, So Mike would be up 1095 00:45:46,760 --> 00:45:48,879 Speaker 1: there killing the Poplo tour. One of the illness toys 1096 00:45:48,920 --> 00:45:50,919 Speaker 1: you're ever gonna see and then when he goes back, 1097 00:45:50,960 --> 00:45:54,120 Speaker 1: he's helping finish birds and him and Trivis and Travis 1098 00:45:54,160 --> 00:45:56,640 Speaker 1: didn't leave that tour bus for about two weeks. And 1099 00:45:56,640 --> 00:45:59,759 Speaker 1: then wherever the tour when he went finishing birds and 1100 00:46:00,560 --> 00:46:02,120 Speaker 1: I was FaceTime with me, he was just feel like 1101 00:46:02,160 --> 00:46:04,200 Speaker 1: he was in a bunk of like no haircut, no nothing, 1102 00:46:04,280 --> 00:46:07,080 Speaker 1: just like thugging it. You know what I'm saying. It 1103 00:46:07,120 --> 00:46:09,319 Speaker 1: was magical. What is it important? Like to me? He 1104 00:46:09,360 --> 00:46:11,279 Speaker 1: put so much energy to that first album, like, well, 1105 00:46:11,320 --> 00:46:12,960 Speaker 1: you guys happy with the result of that, And why 1106 00:46:13,040 --> 00:46:14,440 Speaker 1: was he so quick to go to try to make 1107 00:46:14,480 --> 00:46:18,040 Speaker 1: another album. Um, not just the idea. The idea kind 1108 00:46:18,040 --> 00:46:20,320 Speaker 1: of controls you, you know what I mean. Rodeo was 1109 00:46:20,440 --> 00:46:22,560 Speaker 1: something that he's been working on for years. That's why 1110 00:46:22,600 --> 00:46:25,239 Speaker 1: he has an album called Days Before Rodeo. Rodeo was 1111 00:46:25,280 --> 00:46:27,279 Speaker 1: a big thing for him and his fans is a 1112 00:46:27,280 --> 00:46:29,520 Speaker 1: connection that they had that was a story from him 1113 00:46:29,520 --> 00:46:32,479 Speaker 1: going from Houston to l A. So Day Before Rodeo 1114 00:46:32,560 --> 00:46:35,040 Speaker 1: means I'm preparing for my main album, Rodeo. So he's 1115 00:46:35,040 --> 00:46:37,560 Speaker 1: been working his whole life to do Rodeo. So after Rodeo, 1116 00:46:37,600 --> 00:46:39,640 Speaker 1: it's kind of like it was like a relief. And 1117 00:46:39,640 --> 00:46:41,560 Speaker 1: then the next album, the next concept was Birds in 1118 00:46:41,600 --> 00:46:44,080 Speaker 1: the Trap, which gave us a lot more freedom, you know, 1119 00:46:44,120 --> 00:46:46,200 Speaker 1: I mean, Birds in the Trap was more like that 1120 00:46:46,280 --> 00:46:48,239 Speaker 1: was you know, it's not as locked in as like 1121 00:46:48,480 --> 00:46:51,120 Speaker 1: a narrative story. We could be more cerebral with Birds 1122 00:46:51,120 --> 00:46:52,560 Speaker 1: in the Trap, you know what I mean. And I 1123 00:46:52,600 --> 00:46:54,799 Speaker 1: think that we kind of like nailed it. That's more 1124 00:46:54,840 --> 00:46:57,000 Speaker 1: like abstract, that's more like a kubrick, you know, I 1125 00:46:57,040 --> 00:47:01,600 Speaker 1: mean flick more than something literal. And I think that, um, 1126 00:47:01,640 --> 00:47:03,279 Speaker 1: because it seemed like that first album is more of 1127 00:47:03,320 --> 00:47:05,600 Speaker 1: like an exhausting process. It seems like this one didn't 1128 00:47:05,640 --> 00:47:08,080 Speaker 1: seem besides the ending, which was a little tough because 1129 00:47:08,080 --> 00:47:11,760 Speaker 1: of logistics, seemed like this seemed like a smoother process 1130 00:47:11,840 --> 00:47:14,520 Speaker 1: now because we learned too, you know, the first time, 1131 00:47:14,640 --> 00:47:16,920 Speaker 1: you know, the first time we did the album, we 1132 00:47:17,080 --> 00:47:19,040 Speaker 1: it was like a learning curve. You know, we have 1133 00:47:19,120 --> 00:47:21,560 Speaker 1: to learn a lot. Um. We learned a lot about 1134 00:47:21,800 --> 00:47:24,880 Speaker 1: putting together records, sample clearances, certain things you don't have 1135 00:47:24,920 --> 00:47:27,080 Speaker 1: to worry about when you do mixtapes. You know. The 1136 00:47:27,160 --> 00:47:29,520 Speaker 1: second album is just like a team coming back from 1137 00:47:29,520 --> 00:47:31,480 Speaker 1: a from a season that you just went to the playoffs. 1138 00:47:31,560 --> 00:47:33,520 Speaker 1: You want a championship. You guys know each other. You 1139 00:47:33,560 --> 00:47:35,520 Speaker 1: guys know each other's roles, you know where everybody's strength 1140 00:47:35,560 --> 00:47:38,120 Speaker 1: and weaknesses. All you know, some new additions to the cast, 1141 00:47:38,200 --> 00:47:40,000 Speaker 1: but for the most part, that core team is still there. 1142 00:47:40,280 --> 00:47:41,680 Speaker 1: So now it's gonna be smooth though, Like you know 1143 00:47:41,680 --> 00:47:42,960 Speaker 1: what I mean, I can just throw it past and 1144 00:47:43,000 --> 00:47:45,480 Speaker 1: I know you'll know where to be because we made 1145 00:47:45,520 --> 00:47:47,759 Speaker 1: all the mistakes in season one, so season two, now 1146 00:47:47,880 --> 00:47:49,359 Speaker 1: he gets fancy with him, you know what I mean. 1147 00:47:49,440 --> 00:47:51,400 Speaker 1: Now we now we know where we're going, and then 1148 00:47:51,440 --> 00:47:54,360 Speaker 1: we're still locked into the idea, but we're more comfortable 1149 00:47:54,400 --> 00:47:56,759 Speaker 1: as teammates, you know. So it's a lot it's a 1150 00:47:56,800 --> 00:47:59,440 Speaker 1: lot smooth at a second time if and it's only 1151 00:47:59,480 --> 00:48:02,200 Speaker 1: smoothest in time if you stay with an idea. A 1152 00:48:02,280 --> 00:48:06,480 Speaker 1: lot of times said people have bad second albums because 1153 00:48:07,600 --> 00:48:09,839 Speaker 1: you get a lot more pressure, Like you know, you're 1154 00:48:09,880 --> 00:48:11,720 Speaker 1: gonna have a lot more money, a lot more fame, 1155 00:48:11,880 --> 00:48:14,520 Speaker 1: a lot more access when you when your first albums. 1156 00:48:14,520 --> 00:48:16,040 Speaker 1: You work in your whole life to make your first album, 1157 00:48:16,120 --> 00:48:17,719 Speaker 1: and you have a lot of ideas helped on too 1158 00:48:17,760 --> 00:48:20,200 Speaker 1: for years. You have a lot of thoughts already sex 1159 00:48:20,680 --> 00:48:23,720 Speaker 1: second album is a lot more pressures. It's sales pressures, 1160 00:48:23,719 --> 00:48:27,239 Speaker 1: families ball than you money access. You don't have to 1161 00:48:27,280 --> 00:48:29,960 Speaker 1: go to the studio to really you're not as hungry anymore. 1162 00:48:30,480 --> 00:48:33,839 Speaker 1: So you need to really be focused on something else 1163 00:48:33,920 --> 00:48:37,120 Speaker 1: besides like being paid, because after the first album, you're 1164 00:48:37,120 --> 00:48:39,560 Speaker 1: gonna be paid. That's why the Sect Moore slump happens 1165 00:48:39,560 --> 00:48:42,319 Speaker 1: when it's a lot of like imagine, like a lot 1166 00:48:42,400 --> 00:48:44,120 Speaker 1: of time produce artists go like, I don't need my 1167 00:48:44,120 --> 00:48:45,839 Speaker 1: producer no more, you know what I mean. A lot 1168 00:48:45,920 --> 00:48:47,200 Speaker 1: of the first album, I could do my own thing. 1169 00:48:47,200 --> 00:48:48,760 Speaker 1: I could do my own thing. I made this record, 1170 00:48:48,880 --> 00:48:50,799 Speaker 1: you know what I mean. But you know we didn't 1171 00:48:50,840 --> 00:48:52,759 Speaker 1: do that. We kept the same team in tact, kept 1172 00:48:52,760 --> 00:48:54,480 Speaker 1: the same deals in tack. We're like, listen, man, we're 1173 00:48:54,480 --> 00:48:56,319 Speaker 1: gonna bring it back, bring the band back together. We're 1174 00:48:56,320 --> 00:48:58,000 Speaker 1: gonna do it the same exact way. We're gonna stick 1175 00:48:58,000 --> 00:49:01,080 Speaker 1: with it. Mike's gonna finish it. And if we stayed 1176 00:49:01,120 --> 00:49:03,080 Speaker 1: with the process. And I think that, in my opinion, 1177 00:49:03,120 --> 00:49:05,600 Speaker 1: I think that Birds beat Rodeo. Even if you think 1178 00:49:06,120 --> 00:49:08,920 Speaker 1: you think Birds Rodeo community to say why, I think 1179 00:49:08,920 --> 00:49:11,480 Speaker 1: it's a little more cohesive. I think. I think I 1180 00:49:11,520 --> 00:49:16,240 Speaker 1: think is uh some better stories on there. I think, um, obviously, 1181 00:49:16,440 --> 00:49:18,040 Speaker 1: you know, I think that goose Bumps is going to 1182 00:49:18,080 --> 00:49:20,319 Speaker 1: be the biggest song in the world. I think that 1183 00:49:20,719 --> 00:49:22,600 Speaker 1: Beaves in the Trap is gonna be a huge song. 1184 00:49:23,520 --> 00:49:26,040 Speaker 1: I love I love like the range, you know what 1185 00:49:26,080 --> 00:49:29,000 Speaker 1: I mean. I love everything about Birds. I think Birds 1186 00:49:28,920 --> 00:49:30,799 Speaker 1: is some more cohesive body of work. I think it's 1187 00:49:30,800 --> 00:49:33,280 Speaker 1: a strong body of work. I think on the Rodeo 1188 00:49:33,400 --> 00:49:35,759 Speaker 1: is a lot of records on there that I think 1189 00:49:35,800 --> 00:49:37,960 Speaker 1: we did. We had to do because it's the first album. 1190 00:49:38,160 --> 00:49:39,759 Speaker 1: You know, we gotta do a song with Kanye. You 1191 00:49:39,800 --> 00:49:42,400 Speaker 1: gotta this song for all. We didn't have those precious 1192 00:49:42,440 --> 00:49:45,279 Speaker 1: on Birds. We just the that we just stuck with 1193 00:49:45,280 --> 00:49:47,400 Speaker 1: the concept and speaking with the concept of the title. 1194 00:49:47,600 --> 00:49:51,160 Speaker 1: Obviously Brian mcnights involved. Was he open to the being 1195 00:49:51,239 --> 00:49:55,680 Speaker 1: like almost involved without his permission or yeah, it's like 1196 00:49:55,920 --> 00:49:58,680 Speaker 1: you know, Larry Jackson and Travis they had this idea 1197 00:49:58,680 --> 00:50:00,920 Speaker 1: of like, you know, getting Ryman Knight to play that's 1198 00:50:01,040 --> 00:50:04,680 Speaker 1: that's that's skip on top of the Mountain. And the 1199 00:50:04,760 --> 00:50:06,400 Speaker 1: first thing Brian m knight said to Travis for me 1200 00:50:06,480 --> 00:50:08,279 Speaker 1: song and you guys like making a joke out of me, 1201 00:50:10,520 --> 00:50:11,960 Speaker 1: you know, and you have to explain to him that, 1202 00:50:12,040 --> 00:50:14,240 Speaker 1: like you know, like Mike Knight is dope, like you're dope, 1203 00:50:14,280 --> 00:50:16,040 Speaker 1: Like you know what I mean, like say McKnight is not. 1204 00:50:16,120 --> 00:50:18,160 Speaker 1: We won't say somebody who's whack? Like how did that 1205 00:50:18,200 --> 00:50:20,040 Speaker 1: become the title? We just said that line and then 1206 00:50:20,080 --> 00:50:21,799 Speaker 1: you guys thought, did you guys have an idea of 1207 00:50:21,800 --> 00:50:23,799 Speaker 1: a title before? Like how did it become that would be? 1208 00:50:23,800 --> 00:50:26,759 Speaker 1: Really we had a title before, and we still we 1209 00:50:26,800 --> 00:50:29,200 Speaker 1: had an idea before, which we stuck with. But when 1210 00:50:29,239 --> 00:50:31,280 Speaker 1: he said birds in the tried to sing me Night Travish, 1211 00:50:31,280 --> 00:50:33,239 Speaker 1: they said, boom, that's the album. Now he heard it. 1212 00:50:33,280 --> 00:50:35,080 Speaker 1: He just took out the Brian so we don't get suited, 1213 00:50:35,760 --> 00:50:37,520 Speaker 1: and then that was the album. He just says birds 1214 00:50:37,600 --> 00:50:39,359 Speaker 1: and tried to sam night. And it's just that's when 1215 00:50:39,400 --> 00:50:40,879 Speaker 1: you have to have trust, you like, okay, cool, let's 1216 00:50:40,960 --> 00:50:43,160 Speaker 1: rock with it. And it's some more of an abstract title, 1217 00:50:43,280 --> 00:50:45,279 Speaker 1: is not so literal, but we just thought it was 1218 00:50:45,360 --> 00:50:47,400 Speaker 1: some dope as help. What was the idea mission in 1219 00:50:47,480 --> 00:50:49,279 Speaker 1: terms of this record? You think in terms of when 1220 00:50:49,320 --> 00:50:52,520 Speaker 1: you started creating it. I just think it was a 1221 00:50:52,520 --> 00:50:54,839 Speaker 1: lot we had because we had some core records. Like 1222 00:50:55,000 --> 00:50:57,279 Speaker 1: the first song that we had for this project was 1223 00:50:57,360 --> 00:50:59,920 Speaker 1: like wonderful, you know what I mean. I was like 1224 00:51:00,000 --> 00:51:02,440 Speaker 1: the first record that we had. I mean, he's performing 1225 00:51:02,440 --> 00:51:04,320 Speaker 1: out on the tour at the weekend. That's when the 1226 00:51:04,320 --> 00:51:06,000 Speaker 1: Weekend heard and while he jumped on it. So I 1227 00:51:06,040 --> 00:51:08,480 Speaker 1: was like our our first record. And then like pick 1228 00:51:08,560 --> 00:51:10,600 Speaker 1: up the phones. One of like the core records, goose 1229 00:51:10,640 --> 00:51:12,839 Speaker 1: Bumps came early, you know what I mean, and we 1230 00:51:12,840 --> 00:51:15,400 Speaker 1: were just piecing together. It wasn't as literal as Rodeo. 1231 00:51:15,440 --> 00:51:17,600 Speaker 1: This is more like an abstract piece of work. And 1232 00:51:17,640 --> 00:51:19,960 Speaker 1: then after a while, like first we want to drop 1233 00:51:19,960 --> 00:51:21,360 Speaker 1: a kind of like a mix tape, like one of 1234 00:51:21,400 --> 00:51:23,600 Speaker 1: those quick drops, they were like, oh, it's just turning 1235 00:51:23,600 --> 00:51:25,520 Speaker 1: into something low long, you know what I mean, And 1236 00:51:25,560 --> 00:51:27,720 Speaker 1: we changed the focus on making them more cohesive album. 1237 00:51:27,840 --> 00:51:29,880 Speaker 1: It was just like an idea that just kept growing 1238 00:51:29,960 --> 00:51:32,480 Speaker 1: and growing and growing. It was fun because we we 1239 00:51:32,480 --> 00:51:35,520 Speaker 1: weren't limited with even the I didn't limit us because 1240 00:51:35,520 --> 00:51:37,120 Speaker 1: it was such like a vague idea. It was more 1241 00:51:37,120 --> 00:51:39,560 Speaker 1: like a feeling, and so we just kind of staying it. 1242 00:51:39,760 --> 00:51:42,640 Speaker 1: So when you get into when you get into birds, 1243 00:51:42,840 --> 00:51:45,400 Speaker 1: like you get transformed into another world. In my opinion, 1244 00:51:45,760 --> 00:51:47,719 Speaker 1: from the moment, like you know, like soon when you 1245 00:51:47,760 --> 00:51:49,480 Speaker 1: put on the ends, it just sounds like some other 1246 00:51:49,480 --> 00:51:52,520 Speaker 1: ship happened. And three yeah, long come outside the ngree 1247 00:51:52,560 --> 00:51:54,520 Speaker 1: three thousand and how you get three stacks? How did 1248 00:51:54,520 --> 00:51:57,000 Speaker 1: you get three stacks on? Three stacks? Name was amazing? 1249 00:51:57,280 --> 00:52:01,600 Speaker 1: You know? Um yeah, I got I'm Nick and it 1250 00:52:01,760 --> 00:52:04,840 Speaker 1: was in't larkasast in up there and you know, Travis 1251 00:52:04,840 --> 00:52:06,279 Speaker 1: to call me one day it's like, y'all, you know, 1252 00:52:06,320 --> 00:52:09,760 Speaker 1: I need to get and thousand on this album, like cool, 1253 00:52:10,080 --> 00:52:14,560 Speaker 1: you know, and then all right, that's nice one. We 1254 00:52:14,560 --> 00:52:18,080 Speaker 1: need to get out on this podcast. Make that happen, 1255 00:52:18,960 --> 00:52:21,719 Speaker 1: you know, you never know, so so so we go, 1256 00:52:21,840 --> 00:52:24,719 Speaker 1: we go, um we go. And I was like I 1257 00:52:24,760 --> 00:52:27,640 Speaker 1: had sent Andre the last album before it came out, 1258 00:52:27,719 --> 00:52:29,719 Speaker 1: just to get his opinion on it, you know what 1259 00:52:29,800 --> 00:52:32,200 Speaker 1: I mean. And I remember one of the things that 1260 00:52:32,200 --> 00:52:34,600 Speaker 1: you're comming on was like the narration. So we were like, 1261 00:52:34,680 --> 00:52:36,360 Speaker 1: let's see if we get we had tr to the 1262 00:52:36,400 --> 00:52:39,439 Speaker 1: last narration, let's get um Andre to narrate this album, 1263 00:52:39,440 --> 00:52:41,040 Speaker 1: which we thought it was me dopeer staying in the 1264 00:52:41,040 --> 00:52:43,640 Speaker 1: whole world, you know, because he's such a great, great 1265 00:52:43,640 --> 00:52:45,960 Speaker 1: with words, you know. So we had one meeting with 1266 00:52:46,040 --> 00:52:49,000 Speaker 1: him in the studio like conceptually like what the narration 1267 00:52:49,080 --> 00:52:51,040 Speaker 1: would be like, you know what I mean. And in 1268 00:52:51,080 --> 00:52:53,040 Speaker 1: the middle of the meet and like he stopped playing 1269 00:52:53,080 --> 00:52:54,759 Speaker 1: and he walked in the room and just started playing 1270 00:52:54,760 --> 00:52:56,920 Speaker 1: the weird and uh East West Studios in l A. 1271 00:52:57,000 --> 00:53:00,440 Speaker 1: And it has Frank Snatrazol. Uh that's Frank Snatrazol keyboard 1272 00:53:00,800 --> 00:53:02,600 Speaker 1: and he started playing on the keyboard fifty minutes. I 1273 00:53:02,600 --> 00:53:04,080 Speaker 1: don't even know he played keys and he just started 1274 00:53:04,080 --> 00:53:06,680 Speaker 1: playing keys like we recorded, but we gave it to 1275 00:53:06,760 --> 00:53:09,160 Speaker 1: him like you know, it happen and it was just magical. 1276 00:53:09,200 --> 00:53:10,840 Speaker 1: And he just came back and he's like, Okay, I 1277 00:53:10,920 --> 00:53:12,239 Speaker 1: want to go live with this and I'll send you 1278 00:53:12,239 --> 00:53:15,840 Speaker 1: guys back the idea. So you know, he sent this 1279 00:53:15,960 --> 00:53:18,600 Speaker 1: back like some conceptual stuff. We sent them back some feedback, 1280 00:53:19,040 --> 00:53:21,640 Speaker 1: so like, um, maybe like the Sunday, he's like, oh, 1281 00:53:21,719 --> 00:53:23,759 Speaker 1: he's in the studio, he's ready to send it. And 1282 00:53:23,840 --> 00:53:25,560 Speaker 1: he had some music that he was gonna do over. 1283 00:53:25,560 --> 00:53:27,160 Speaker 1: He said, I'm gonna keep the music. I'm just gonna 1284 00:53:27,200 --> 00:53:30,879 Speaker 1: send you guys Acapellas. So we're like cool. And then um, 1285 00:53:31,520 --> 00:53:34,920 Speaker 1: so I get the email, send him Travis email and uh, 1286 00:53:35,280 --> 00:53:38,640 Speaker 1: Travis called me like yo, it says verse on here 1287 00:53:38,760 --> 00:53:40,960 Speaker 1: did he do it? Verse? And I was like, nah, 1288 00:53:40,960 --> 00:53:43,759 Speaker 1: he do it verse you he's just narrying, like I 1289 00:53:43,800 --> 00:53:45,359 Speaker 1: don't think he's like, I don't think the engineer would 1290 00:53:45,360 --> 00:53:47,719 Speaker 1: mess up like that, right, He's like nah, man, I'm 1291 00:53:47,760 --> 00:53:50,080 Speaker 1: like no, I don't know. Then he called me back like, yo, 1292 00:53:50,120 --> 00:53:54,600 Speaker 1: he did a verse. It was crazy, like you know 1293 00:53:54,600 --> 00:53:56,160 Speaker 1: what I mean like that was it was just like 1294 00:53:56,200 --> 00:53:58,120 Speaker 1: we was shocked, like we thought he was gonna just 1295 00:53:58,120 --> 00:54:00,279 Speaker 1: do a narration, but it had an open in mental 1296 00:54:00,280 --> 00:54:02,399 Speaker 1: there and he just I talked to him about it later. 1297 00:54:02,480 --> 00:54:04,080 Speaker 1: He just said, hey, man, the beat was just talking 1298 00:54:04,080 --> 00:54:06,360 Speaker 1: to me and he says, you know, and I was 1299 00:54:06,400 --> 00:54:08,799 Speaker 1: just like thank you, thank you, thank you, thank you. 1300 00:54:09,239 --> 00:54:14,920 Speaker 1: And that's that's how that came about. Right. Welcome to 1301 00:54:15,000 --> 00:54:19,040 Speaker 1: play a new podcast network featuring radio and TV personalities 1302 00:54:19,120 --> 00:54:23,000 Speaker 1: talking business, sports, tech, entertainment, and more. Play it at 1303 00:54:23,000 --> 00:54:27,560 Speaker 1: play dot in Hey Yesterday, raid Off and Me and 1304 00:54:27,600 --> 00:54:29,960 Speaker 1: my partner beat Our milling Man with the group's only 1305 00:54:29,960 --> 00:54:35,520 Speaker 1: opinion that matters Man here Rap raid Off has the 1306 00:54:35,640 --> 00:54:38,360 Speaker 1: roles changed as an A N R from yesterday to today. 1307 00:54:38,840 --> 00:54:40,440 Speaker 1: We'll tell me what yesterday was gonna say. If you're 1308 00:54:40,480 --> 00:54:42,440 Speaker 1: changing that, well, a lot of times people will say that, 1309 00:54:42,480 --> 00:54:45,400 Speaker 1: you know, artists development is dead, and you know, artists 1310 00:54:46,040 --> 00:54:47,920 Speaker 1: kind of do what they want. They have no I 1311 00:54:47,920 --> 00:54:50,279 Speaker 1: guess there's no parent in the room, and it's like 1312 00:54:50,400 --> 00:54:53,239 Speaker 1: everyone's going by the D I Y model. And that's 1313 00:54:53,239 --> 00:54:55,360 Speaker 1: where the A and R of yesterday used to, you know, 1314 00:54:55,560 --> 00:54:58,520 Speaker 1: fill the void. Now these days people say, ain't ours 1315 00:54:58,520 --> 00:55:01,080 Speaker 1: are dead. I think it's of a of a of 1316 00:55:01,160 --> 00:55:05,719 Speaker 1: a generational thing. Like back in the day, you know, 1317 00:55:06,320 --> 00:55:08,640 Speaker 1: nineties and early two thousands and the nineties, we used 1318 00:55:08,680 --> 00:55:10,880 Speaker 1: to be like you just do what I say, and 1319 00:55:10,920 --> 00:55:12,719 Speaker 1: you were called like I said, like the and R 1320 00:55:12,800 --> 00:55:14,440 Speaker 1: is gonna like the label had the control for the 1321 00:55:14,480 --> 00:55:16,480 Speaker 1: most part, right, So that was like the nineties and 1322 00:55:16,680 --> 00:55:18,120 Speaker 1: R you know, so you got people who were just 1323 00:55:18,239 --> 00:55:21,360 Speaker 1: kind of doing what they curated for the label. The 1324 00:55:21,400 --> 00:55:23,799 Speaker 1: two thousands, the relationship changed because I was like at 1325 00:55:23,840 --> 00:55:26,000 Speaker 1: the time of the independence, that was the time of 1326 00:55:26,080 --> 00:55:27,920 Speaker 1: like the rough riders and the rocket Fellers and the 1327 00:55:27,960 --> 00:55:30,759 Speaker 1: Grand Hustles and the DTPs, so that you needed a 1328 00:55:31,000 --> 00:55:33,120 Speaker 1: R who have relationships with those CEOs and those and 1329 00:55:33,560 --> 00:55:36,279 Speaker 1: those presidents of those companies and those entrepreneurs, and they 1330 00:55:36,360 --> 00:55:39,000 Speaker 1: knew how to get the best records out of them. 1331 00:55:39,160 --> 00:55:41,320 Speaker 1: Now you have something new. It's a new skill set 1332 00:55:41,480 --> 00:55:44,120 Speaker 1: because now you're dealing with millennials and you know, if 1333 00:55:44,160 --> 00:55:46,359 Speaker 1: you have cousins and people that are who are young, 1334 00:55:46,400 --> 00:55:48,920 Speaker 1: who are under the age of five years old, you 1335 00:55:48,960 --> 00:55:51,440 Speaker 1: can't tell these people what to do. You have to 1336 00:55:51,480 --> 00:55:54,120 Speaker 1: explain everything, like you need to give them options to 1337 00:55:54,400 --> 00:55:57,080 Speaker 1: them understand, Yeah, they're not going for the whole do 1338 00:55:57,200 --> 00:55:59,640 Speaker 1: this because I said so, it's does that. That doesn't 1339 00:55:59,640 --> 00:56:01,640 Speaker 1: work for millennials. They don't work for the kids. You 1340 00:56:01,680 --> 00:56:04,360 Speaker 1: have to treat them like partners. You gotta give them options. 1341 00:56:04,400 --> 00:56:06,240 Speaker 1: You gotta give them like this is what we're doing, 1342 00:56:06,480 --> 00:56:07,920 Speaker 1: Like this is why we're doing it. What do you 1343 00:56:07,960 --> 00:56:09,480 Speaker 1: think you have to make a partners? So I think 1344 00:56:09,480 --> 00:56:11,000 Speaker 1: the people who try to go with that old school 1345 00:56:11,080 --> 00:56:14,040 Speaker 1: approach like, dude to this because I said, so, that's over. 1346 00:56:14,560 --> 00:56:16,719 Speaker 1: If you don't treat these artists like as smart as 1347 00:56:16,760 --> 00:56:19,279 Speaker 1: they are and treat the millennials like partners and you 1348 00:56:19,320 --> 00:56:22,040 Speaker 1: give them options and you give more of a dialogue, 1349 00:56:22,280 --> 00:56:24,400 Speaker 1: you're gonna lose them because you're not going some kids 1350 00:56:24,440 --> 00:56:26,799 Speaker 1: twenty two years old, who nineteenyears old, seventeen years old? 1351 00:56:26,840 --> 00:56:28,799 Speaker 1: This tell them this is how ship should be because 1352 00:56:28,800 --> 00:56:31,000 Speaker 1: that's when you started getting soundclouds already lit. You know, 1353 00:56:31,400 --> 00:56:33,640 Speaker 1: doesn't matter. I feel like there still needs some sort 1354 00:56:33,640 --> 00:56:36,279 Speaker 1: of curation in the game, right. I think it needs 1355 00:56:36,320 --> 00:56:38,239 Speaker 1: some kind of listening, you know what I mean? Because 1356 00:56:38,280 --> 00:56:40,960 Speaker 1: I think that there's no rules in music. You know, 1357 00:56:41,040 --> 00:56:43,319 Speaker 1: there's there's this hip hop, there's a culture of it. 1358 00:56:43,400 --> 00:56:44,920 Speaker 1: You know, there's the five parts of hip hop, but 1359 00:56:44,960 --> 00:56:46,640 Speaker 1: it's still no rules. You don't have to do things 1360 00:56:46,680 --> 00:56:49,080 Speaker 1: a certain way. Like when Rick Rubin made the album Structure, 1361 00:56:49,080 --> 00:56:50,840 Speaker 1: he made it off a rock structure, you know what 1362 00:56:50,880 --> 00:56:52,959 Speaker 1: I'm saying, And then a lot of people started making 1363 00:56:53,000 --> 00:56:55,280 Speaker 1: records over the years of a certain kind of structure. 1364 00:56:55,320 --> 00:56:57,799 Speaker 1: Then Almatics made it into like a super album. That's 1365 00:56:57,800 --> 00:56:59,719 Speaker 1: the first time album and correct me if I'm wrong. 1366 00:56:59,840 --> 00:57:02,920 Speaker 1: Really had a bunch of top producers from different places 1367 00:57:02,960 --> 00:57:05,640 Speaker 1: making kind of different records and that's a super album. 1368 00:57:05,680 --> 00:57:10,880 Speaker 1: And that became a new models to another level that 1369 00:57:10,880 --> 00:57:12,960 Speaker 1: that's a super album. So they're making this. No, you 1370 00:57:13,000 --> 00:57:15,040 Speaker 1: don't have to do it that way. It's just people 1371 00:57:15,040 --> 00:57:16,720 Speaker 1: don't even know why they're making albums that day. If 1372 00:57:16,720 --> 00:57:18,400 Speaker 1: you don't that way, because he didn't do the research. 1373 00:57:18,600 --> 00:57:20,560 Speaker 1: So for the next ten years, fifteen years, people are 1374 00:57:20,560 --> 00:57:23,080 Speaker 1: making albums in that vein. But then like Kanye comes 1375 00:57:23,120 --> 00:57:24,960 Speaker 1: and people started making albums in the eight away to 1376 00:57:25,000 --> 00:57:27,640 Speaker 1: Heartbreak Ving, you know, so like it's a new structure. 1377 00:57:27,920 --> 00:57:30,560 Speaker 1: And if you don't understand why, and like if you 1378 00:57:30,640 --> 00:57:32,400 Speaker 1: don't understand if you're if you're seven, if you have 1379 00:57:32,400 --> 00:57:35,040 Speaker 1: a seventeen year old rapper in the studio right now, 1380 00:57:35,760 --> 00:57:40,800 Speaker 1: what year is that he's born, Like, don't get beat 1381 00:57:40,960 --> 00:57:44,200 Speaker 1: started not even nine or one of those years, all right, 1382 00:57:44,240 --> 00:57:47,200 Speaker 1: So even nine, right, that means you probably started really 1383 00:57:47,240 --> 00:57:52,520 Speaker 1: listening to albums two thousand seven, right would we're really registering. 1384 00:57:52,920 --> 00:57:56,800 Speaker 1: So if you're using references about hard Knock Life volume too, right, 1385 00:57:57,440 --> 00:57:59,520 Speaker 1: he's gonna look at you like, I wasn't even born yet. 1386 00:57:59,520 --> 00:58:01,280 Speaker 1: But it's a mus it supposed to be timeless, though 1387 00:58:01,720 --> 00:58:04,040 Speaker 1: they could still be timeless. There's still Thomas records will 1388 00:58:04,080 --> 00:58:06,160 Speaker 1: come out, but and it's still research that they have 1389 00:58:06,280 --> 00:58:08,080 Speaker 1: to do because that's when you start again. But you 1390 00:58:08,120 --> 00:58:10,680 Speaker 1: still have to respect and understand it from their point 1391 00:58:10,680 --> 00:58:12,320 Speaker 1: of view at the same point as to use from 1392 00:58:12,360 --> 00:58:14,480 Speaker 1: their point of view. Like when we grew up, we 1393 00:58:14,480 --> 00:58:17,320 Speaker 1: were like, was the amusing timeless because Puffy was sampling 1394 00:58:18,280 --> 00:58:20,440 Speaker 1: it's from the eighties, but that timeless. But those are 1395 00:58:20,440 --> 00:58:23,280 Speaker 1: records that we were kind of familiar with. Maybe maybe 1396 00:58:23,440 --> 00:58:26,880 Speaker 1: maybe like when Puff was doing it, maybe if you 1397 00:58:26,880 --> 00:58:28,920 Speaker 1: had a household when people grew up listening to the records, 1398 00:58:28,960 --> 00:58:31,480 Speaker 1: I give you an example when he can. Nobody held 1399 00:58:31,480 --> 00:58:34,640 Speaker 1: me down. I didn't really didn't know that came from, 1400 00:58:34,680 --> 00:58:37,000 Speaker 1: you know, from where it came from, Like, it was 1401 00:58:37,080 --> 00:58:39,800 Speaker 1: kind of new to me. And then eventually someone told me, 1402 00:58:39,800 --> 00:58:41,920 Speaker 1: oh that's you know this Graham as a flash and 1403 00:58:41,920 --> 00:58:44,240 Speaker 1: the furious fine, like, but you know at the time, 1404 00:58:44,280 --> 00:58:46,600 Speaker 1: you know, you're you read, you read. I think it 1405 00:58:46,640 --> 00:58:49,439 Speaker 1: either source of double X out. They had Puffy as 1406 00:58:49,480 --> 00:58:52,480 Speaker 1: the number one producer of like the millennium and the 1407 00:58:52,480 --> 00:58:54,560 Speaker 1: worst producer of the millennium at the same time, because 1408 00:58:54,560 --> 00:58:57,360 Speaker 1: they didn't know if what he did was super foward 1409 00:58:57,440 --> 00:58:59,680 Speaker 1: thinking or he was destroying hip hop you know what 1410 00:58:59,680 --> 00:59:03,080 Speaker 1: I'm he was criticized for that. It wasn't it wasn't sacrilegious. 1411 00:59:03,080 --> 00:59:04,880 Speaker 1: How do you take the message and take that beat 1412 00:59:05,360 --> 00:59:07,960 Speaker 1: and modernize it? Like that's a hip hop classic? How 1413 00:59:08,040 --> 00:59:10,600 Speaker 1: dare you take that beat and do it that way? 1414 00:59:10,680 --> 00:59:12,960 Speaker 1: But now it's accepted, now it's it's there. It's almost 1415 00:59:12,960 --> 00:59:15,640 Speaker 1: like that was a much Moore holding a puff like 1416 00:59:15,720 --> 00:59:18,080 Speaker 1: you know, like this is art and what are you 1417 00:59:18,080 --> 00:59:20,720 Speaker 1: gonna do about it? So you like you see it 1418 00:59:20,760 --> 00:59:23,160 Speaker 1: a lot now. Um, the most fascinating thing to me 1419 00:59:23,200 --> 00:59:25,960 Speaker 1: and hip hop now is the uh is the Ebro 1420 00:59:26,080 --> 00:59:31,760 Speaker 1: interviews Because you have a guy who's very rigid in 1421 00:59:32,000 --> 00:59:34,640 Speaker 1: the way things have to be and the way things 1422 00:59:34,640 --> 00:59:36,560 Speaker 1: should be, and you have these kids who come on 1423 00:59:36,600 --> 00:59:39,520 Speaker 1: his podcast like and the yachtis kind of like why 1424 00:59:39,520 --> 00:59:42,280 Speaker 1: do I have to rhyme over a primo beat to 1425 00:59:42,560 --> 00:59:44,560 Speaker 1: you know what I mean? Like this? And it's always 1426 00:59:44,600 --> 00:59:47,640 Speaker 1: that that juxtaposition that o versus new and if you 1427 00:59:47,720 --> 00:59:49,600 Speaker 1: and if you watch, if you watch those interviews, you 1428 00:59:49,600 --> 00:59:52,280 Speaker 1: start seeing what the disconnects are with a lot of 1429 00:59:52,320 --> 00:59:55,320 Speaker 1: the taste not the taste makers, but a lot of 1430 00:59:55,400 --> 00:59:58,480 Speaker 1: the gate keepers and a new generation. And I don't 1431 00:59:58,520 --> 01:00:01,360 Speaker 1: know if there's enough of off enough is like a 1432 01:00:01,400 --> 01:00:04,080 Speaker 1: tutorial is not enough of like a of of a 1433 01:00:04,120 --> 01:00:06,800 Speaker 1: culture like people not have enough dialogue with them, and 1434 01:00:06,840 --> 01:00:08,640 Speaker 1: they not have enough of the history lesson this way, 1435 01:00:08,760 --> 01:00:10,800 Speaker 1: and no one's trying to really bridge the gap. So 1436 01:00:10,880 --> 01:00:12,840 Speaker 1: it's a it's a bad it's a bad combination. This 1437 01:00:12,880 --> 01:00:16,400 Speaker 1: isn't the foundation just about rap? Like can you wrap lyrics? 1438 01:00:16,520 --> 01:00:18,680 Speaker 1: Like that's at the cornerstone? Like you said to y G, 1439 01:00:19,160 --> 01:00:21,400 Speaker 1: you shouldn't say this, So you have to give an explanation. 1440 01:00:21,480 --> 01:00:23,400 Speaker 1: You know, you have to have to have a foundation 1441 01:00:23,440 --> 01:00:26,400 Speaker 1: about rap because I think people say, people say, mumble rapper. 1442 01:00:26,440 --> 01:00:29,440 Speaker 1: Is this generation? Like you know, your person obviously loves lyrics, 1443 01:00:29,560 --> 01:00:32,880 Speaker 1: Like how important is that? Liked it's important? Well, you 1444 01:00:32,920 --> 01:00:35,760 Speaker 1: gotta understand like these kids and like when we grew up, 1445 01:00:35,800 --> 01:00:37,760 Speaker 1: we grew up as hip hop being our end all 1446 01:00:37,800 --> 01:00:40,040 Speaker 1: be all. You know, when you're from eleven twenty one, 1447 01:00:40,040 --> 01:00:41,520 Speaker 1: you make your taste. So just think about where you 1448 01:00:41,520 --> 01:00:43,720 Speaker 1: were from eleven and twenty one, what you're focused on. 1449 01:00:44,160 --> 01:00:46,720 Speaker 1: These kids are coming up. This is a playlist generation, 1450 01:00:47,160 --> 01:00:49,040 Speaker 1: you know what I mean. They're growing up with rock 1451 01:00:49,120 --> 01:00:51,400 Speaker 1: music and pop music the same way to hip hop. 1452 01:00:51,480 --> 01:00:53,840 Speaker 1: Hip hop is almost another genre to them. If there's 1453 01:00:54,000 --> 01:00:55,360 Speaker 1: just like it's not the only thing, Like when I 1454 01:00:55,360 --> 01:00:57,680 Speaker 1: was growing up. I'm listening like Bobby Simmons when I'm 1455 01:00:57,680 --> 01:01:02,160 Speaker 1: going home, play the video Rap City, the source Double 1456 01:01:02,320 --> 01:01:07,400 Speaker 1: Xcel mixtapes. I'm hip hop centric and I'm marketed that way. 1457 01:01:07,520 --> 01:01:10,160 Speaker 1: I'm I'm bt. I'm grow up in the hood in Brooklyn, 1458 01:01:10,240 --> 01:01:12,640 Speaker 1: so all I knew is hip hop, right. It wasn't 1459 01:01:12,680 --> 01:01:14,280 Speaker 1: until like I started moving out in the world and 1460 01:01:14,320 --> 01:01:16,440 Speaker 1: really exploring and go and listen to Level Underground and 1461 01:01:16,520 --> 01:01:18,360 Speaker 1: Leo Rose put me on the Fiona Apple and really 1462 01:01:18,400 --> 01:01:20,320 Speaker 1: just trying to learn. And I have to have to 1463 01:01:20,360 --> 01:01:23,320 Speaker 1: increase my palette. These kids, their palette is there already. 1464 01:01:23,440 --> 01:01:25,640 Speaker 1: So when a little Yadi doesn't grow up only listen 1465 01:01:25,680 --> 01:01:27,120 Speaker 1: to hip hop and listen to a bunch of other 1466 01:01:27,120 --> 01:01:29,360 Speaker 1: things and have a different inspiration because of the Internet, 1467 01:01:29,680 --> 01:01:32,160 Speaker 1: because you have all kind of things, then you have 1468 01:01:32,240 --> 01:01:34,600 Speaker 1: to teach them what that why that's just important because 1469 01:01:34,600 --> 01:01:36,640 Speaker 1: that's not their only influence when they're growing up. Now, 1470 01:01:36,680 --> 01:01:39,120 Speaker 1: there's a lot of different influences growing up. It's not 1471 01:01:39,200 --> 01:01:41,760 Speaker 1: only hip hop. It's not only that. It's not they 1472 01:01:41,800 --> 01:01:44,320 Speaker 1: have a bunch of things that they're pulling from as 1473 01:01:44,400 --> 01:01:46,960 Speaker 1: kids growing up in the two thousands. You know what, 1474 01:01:47,040 --> 01:01:49,320 Speaker 1: I mean, it's a it's a playlist generation. That's why 1475 01:01:49,520 --> 01:01:52,320 Speaker 1: festivals are so much more popping now because it's a 1476 01:01:52,320 --> 01:01:54,560 Speaker 1: wider range of people willing to see a wider range 1477 01:01:54,600 --> 01:01:58,600 Speaker 1: of acts. You know what I'm saying, How do you 1478 01:01:58,600 --> 01:02:00,800 Speaker 1: look towards like now you have obviously you know now 1479 01:02:00,880 --> 01:02:03,680 Speaker 1: for Y G. Travis Scott, like obviously looking for the 1480 01:02:03,720 --> 01:02:05,800 Speaker 1: next talent? Like what are you looking for? You looking 1481 01:02:05,800 --> 01:02:07,560 Speaker 1: for those type of artists. You look for something that's 1482 01:02:07,600 --> 01:02:09,800 Speaker 1: different than what's going on as the norm. Maybe not 1483 01:02:09,920 --> 01:02:12,600 Speaker 1: have that trappy sound like what's your approach now to 1484 01:02:12,720 --> 01:02:15,240 Speaker 1: look at what's gonna be my next sign? And who's 1485 01:02:15,240 --> 01:02:18,560 Speaker 1: the next person young artists I may work with? Um? Well, 1486 01:02:18,600 --> 01:02:20,520 Speaker 1: I go back to the directors, right, and like there 1487 01:02:20,560 --> 01:02:22,880 Speaker 1: are two types of directors, they said. Steven solderbrook says. 1488 01:02:22,920 --> 01:02:25,840 Speaker 1: It's people who make the material adapt to their style 1489 01:02:26,240 --> 01:02:28,040 Speaker 1: like a woody island, like you know what, they allan 1490 01:02:28,080 --> 01:02:29,680 Speaker 1: flick when you see it, you know what I mean, 1491 01:02:29,720 --> 01:02:32,120 Speaker 1: It's kind of like the jokes and erotic jew humor, 1492 01:02:32,200 --> 01:02:33,800 Speaker 1: you know what I mean, It's like basic and stuff. 1493 01:02:34,120 --> 01:02:38,080 Speaker 1: And then there's people who adapt their style to the material, right, 1494 01:02:38,400 --> 01:02:41,120 Speaker 1: And I feel like that's my style. So I'm never 1495 01:02:41,160 --> 01:02:43,439 Speaker 1: gonna try to force somebody to do a certain kind 1496 01:02:43,880 --> 01:02:46,600 Speaker 1: of music. I'm never gonna be in there and be like, 1497 01:02:46,640 --> 01:02:48,800 Speaker 1: you have to make this. I'm gonna just listen to 1498 01:02:48,800 --> 01:02:50,800 Speaker 1: what you're telling me, and then I'm gonna try to 1499 01:02:50,800 --> 01:02:52,880 Speaker 1: make the best version of that for you. You see 1500 01:02:52,880 --> 01:02:54,439 Speaker 1: what I'm saying. I'm gonna trying to make the best version. 1501 01:02:54,440 --> 01:02:55,600 Speaker 1: So if somebody wants to come in and make the 1502 01:02:55,640 --> 01:02:58,160 Speaker 1: Ultimate Mobile album and I think they're dope, I'm gonna 1503 01:02:58,200 --> 01:02:59,840 Speaker 1: help them. I like a lot of mombile rap. But 1504 01:03:00,880 --> 01:03:04,480 Speaker 1: so when does discretion use? Like everything can't come out 1505 01:03:04,520 --> 01:03:07,320 Speaker 1: the pipeline be good. Some ship is whack, Like who says, yo, 1506 01:03:07,400 --> 01:03:10,160 Speaker 1: this is garbage? You know, well the job at ups. 1507 01:03:10,320 --> 01:03:13,320 Speaker 1: I don't think genres a whack. I think that music. 1508 01:03:13,560 --> 01:03:16,240 Speaker 1: I think that. I think that genres just because somebody 1509 01:03:16,280 --> 01:03:18,560 Speaker 1: makes Momo wrap don't make them whack Like I like 1510 01:03:18,600 --> 01:03:20,520 Speaker 1: Little Lousy a lot. You know, I think I think 1511 01:03:20,520 --> 01:03:22,520 Speaker 1: he's dope as out. You know, I'm not necessarily John 1512 01:03:22,600 --> 01:03:25,000 Speaker 1: just talking about an artist like, well, artists could be whacked. 1513 01:03:25,160 --> 01:03:27,960 Speaker 1: Artists could be whack if they're not original, if they're biers, 1514 01:03:28,120 --> 01:03:29,760 Speaker 1: if they're not trying to do something, not trying to 1515 01:03:29,760 --> 01:03:32,160 Speaker 1: move the culture forward. But if if they just make 1516 01:03:32,200 --> 01:03:35,440 Speaker 1: a certain style, you can't be whacked because like like 1517 01:03:35,560 --> 01:03:38,000 Speaker 1: Krunk was whack. That was a whack errol. I don't 1518 01:03:38,000 --> 01:03:39,800 Speaker 1: know when you hear young blugs, I think they play 1519 01:03:39,880 --> 01:03:42,840 Speaker 1: you play some you play krunk music now it sounds 1520 01:03:42,880 --> 01:03:45,480 Speaker 1: so dated and whack, Like what if your buck sounds like? 1521 01:03:46,080 --> 01:03:48,920 Speaker 1: All right? Like if you have when was the last 1522 01:03:48,960 --> 01:03:50,520 Speaker 1: time I someone even played that, I don't even know 1523 01:03:50,560 --> 01:03:52,560 Speaker 1: what that sounds like right now? All the time you 1524 01:03:52,560 --> 01:03:55,240 Speaker 1: don't travel, of course I travel, Duck that was playing, 1525 01:03:56,600 --> 01:04:00,080 Speaker 1: spend some time in Atlanta, Louisiana, Florida, Texas, and not 1526 01:04:00,200 --> 01:04:02,720 Speaker 1: just New York. But at the time, at the time, 1527 01:04:02,720 --> 01:04:04,680 Speaker 1: it sounded good. I mean, I haven't heard that record 1528 01:04:04,680 --> 01:04:07,000 Speaker 1: in a long time, and fell sounds good. I'll take 1529 01:04:07,040 --> 01:04:10,680 Speaker 1: your word from Damn still sounds good, like young A 1530 01:04:10,760 --> 01:04:13,160 Speaker 1: lot of these records still sound never scared, still sounds good. 1531 01:04:13,160 --> 01:04:16,000 Speaker 1: A lot of records of trash. If you play a 1532 01:04:16,040 --> 01:04:18,720 Speaker 1: lot of records from the mid two thousands, records from 1533 01:04:19,440 --> 01:04:21,800 Speaker 1: don't sound good no more. What do you think in 1534 01:04:21,840 --> 01:04:23,840 Speaker 1: New York now, because obviously you was at the forefront 1535 01:04:23,840 --> 01:04:25,520 Speaker 1: with the Saigons and the True Lives, and you was 1536 01:04:25,560 --> 01:04:27,920 Speaker 1: building this narrative New New York. And it seems like 1537 01:04:27,960 --> 01:04:30,280 Speaker 1: now with like you know, younger man a boogie is 1538 01:04:30,360 --> 01:04:32,360 Speaker 1: like some new energy and some excitement in the city 1539 01:04:33,160 --> 01:04:38,000 Speaker 1: to the CALLI dude, I'm my two thousand seventeen. If 1540 01:04:38,000 --> 01:04:39,880 Speaker 1: I had to pick, like you know what I mean, 1541 01:04:39,920 --> 01:04:41,360 Speaker 1: if I had to pick what I wanted to do, 1542 01:04:41,760 --> 01:04:43,560 Speaker 1: I would love to work with a New York artist, 1543 01:04:43,800 --> 01:04:45,680 Speaker 1: but I would like to just be like in New 1544 01:04:45,760 --> 01:04:48,160 Speaker 1: York period, like I'm moving back to New York, like 1545 01:04:48,280 --> 01:04:50,200 Speaker 1: you got the best energy, Like just being here for 1546 01:04:50,200 --> 01:04:52,160 Speaker 1: a fashion week in these last couple of a couple 1547 01:04:52,160 --> 01:04:56,080 Speaker 1: of months beat us like why sick here in New York. No, 1548 01:04:56,160 --> 01:04:57,560 Speaker 1: I've been. I've been back out here because now that 1549 01:04:57,640 --> 01:04:59,960 Speaker 1: the albums are done, you know, y G and Travistill 1550 01:05:00,080 --> 01:05:04,600 Speaker 1: both like onto there get that, but they're both gone. 1551 01:05:04,640 --> 01:05:08,080 Speaker 1: They're both already artists to two kids. With these artists, 1552 01:05:08,120 --> 01:05:09,720 Speaker 1: the two albums are out from each of them. Yeah, 1553 01:05:09,720 --> 01:05:11,880 Speaker 1: they're toring. You know. Y's on the Donald Trump tour. 1554 01:05:12,160 --> 01:05:14,640 Speaker 1: Travis is in Australia going crazy. So like my thing 1555 01:05:14,720 --> 01:05:16,320 Speaker 1: is I'm out here just trying to be inspired. I'm 1556 01:05:16,320 --> 01:05:18,320 Speaker 1: a New York kid all the way, but I don't 1557 01:05:18,360 --> 01:05:21,680 Speaker 1: just limit myself like I don't. I've been working on 1558 01:05:21,760 --> 01:05:25,760 Speaker 1: breaking my identifications. Right. Just because I grew up in Brooklyn, 1559 01:05:25,920 --> 01:05:27,640 Speaker 1: don't mean I have to wear tims and do that 1560 01:05:27,680 --> 01:05:30,040 Speaker 1: every single day. Like that's just something. Like just because 1561 01:05:30,040 --> 01:05:31,600 Speaker 1: I grew up Caribbean, don't mean I have to eat 1562 01:05:31,600 --> 01:05:34,560 Speaker 1: certain kind of food. That's just the way people program myselves. 1563 01:05:34,800 --> 01:05:36,840 Speaker 1: So it's almost like I've been trying to do like 1564 01:05:36,880 --> 01:05:39,120 Speaker 1: almost like a deep program, and I challenge all my 1565 01:05:39,360 --> 01:05:41,240 Speaker 1: all the reasons I do certain things, why I walk 1566 01:05:41,240 --> 01:05:43,400 Speaker 1: in a certain way. I don't take anything for granted 1567 01:05:43,400 --> 01:05:45,120 Speaker 1: because you only live more life, you know what I I mean. 1568 01:05:45,440 --> 01:05:47,760 Speaker 1: But if I love New York, like I would tell 1569 01:05:47,800 --> 01:05:49,760 Speaker 1: people if I had like a choice of place to 1570 01:05:49,840 --> 01:05:54,920 Speaker 1: live and work, money and family wasn't a factor. I 1571 01:05:55,040 --> 01:05:57,040 Speaker 1: live in New Yorker Miami. I love I love it, 1572 01:05:57,120 --> 01:06:00,000 Speaker 1: you know what I mean. But I also go where 1573 01:05:59,600 --> 01:06:01,720 Speaker 1: it takes me. I still have a certain sense of 1574 01:06:01,760 --> 01:06:04,040 Speaker 1: spirituality with it. I'm never just gonna be like because 1575 01:06:04,040 --> 01:06:06,080 Speaker 1: then you kind of block off your blessings when you 1576 01:06:06,120 --> 01:06:07,480 Speaker 1: do it that way. When You're just like, I have 1577 01:06:07,560 --> 01:06:08,880 Speaker 1: to do this, I have to do that. I have 1578 01:06:08,920 --> 01:06:11,440 Speaker 1: to do this. I changed the word have to or 1579 01:06:11,560 --> 01:06:14,760 Speaker 1: must or should I could, I could do this, I 1580 01:06:14,760 --> 01:06:17,840 Speaker 1: could do that, but I don't have to do that, 1581 01:06:18,000 --> 01:06:20,120 Speaker 1: you know what I'm saying. So like I'm out here. 1582 01:06:20,200 --> 01:06:24,800 Speaker 1: So I love I love does don't that's his name 1583 01:06:23,720 --> 01:06:27,600 Speaker 1: don a Boogie. I met with younger man Man in 1584 01:06:27,640 --> 01:06:32,480 Speaker 1: the office. She's one of the smartest, sharpest, dopest new 1585 01:06:32,600 --> 01:06:37,000 Speaker 1: artists New Yorkers haven't had, you know, Davis like to 1586 01:06:37,040 --> 01:06:40,560 Speaker 1: sign a depth um today. I think that I still 1587 01:06:40,600 --> 01:06:42,560 Speaker 1: do the big board. I heard you create a board 1588 01:06:42,560 --> 01:06:44,240 Speaker 1: and you just write all the artists names and you 1589 01:06:44,320 --> 01:06:47,480 Speaker 1: rank them and you like you get real nerdy stockhol Okay, 1590 01:06:47,480 --> 01:06:49,600 Speaker 1: so let me break it down right. I call him 1591 01:06:49,600 --> 01:06:51,600 Speaker 1: my draft Everything I do is really compared to I 1592 01:06:51,640 --> 01:06:53,240 Speaker 1: thought it was in your back here. I was getting excited. 1593 01:06:53,320 --> 01:06:59,000 Speaker 1: That's just gonna pull it out, Like it's like I 1594 01:06:59,440 --> 01:07:01,480 Speaker 1: got something called a draft board. Right, So what I 1595 01:07:01,560 --> 01:07:03,920 Speaker 1: do is like anything that pops up in the radar, 1596 01:07:04,160 --> 01:07:05,880 Speaker 1: I would just put the artist there. If you like 1597 01:07:05,960 --> 01:07:08,280 Speaker 1: on piges and planes, somebody tells me about them in 1598 01:07:08,320 --> 01:07:13,479 Speaker 1: a car. Different cities grime artists like you just stowed 1599 01:07:13,520 --> 01:07:15,400 Speaker 1: us for getting in the wall, and then I do 1600 01:07:15,520 --> 01:07:17,959 Speaker 1: like mel kayper Jr. Does you start ranking them based 1601 01:07:17,960 --> 01:07:20,920 Speaker 1: on light beause I try to do as many objective 1602 01:07:20,960 --> 01:07:23,640 Speaker 1: things as possible, right, like not just numbers, but just 1603 01:07:23,720 --> 01:07:26,760 Speaker 1: things like talent, who manages them. They might go higher 1604 01:07:26,840 --> 01:07:28,680 Speaker 1: up the ranks because they have a better team to 1605 01:07:28,680 --> 01:07:31,200 Speaker 1: have a better thing with city they're from. You probably 1606 01:07:31,200 --> 01:07:32,960 Speaker 1: have a better chance to get on if you're from 1607 01:07:32,960 --> 01:07:36,600 Speaker 1: a place that nobody came from before versus some places oversaturated. 1608 01:07:37,080 --> 01:07:39,160 Speaker 1: What what genre they're in, you know what I mean, 1609 01:07:39,240 --> 01:07:41,520 Speaker 1: how long they've been on the scene, how long, how 1610 01:07:41,520 --> 01:07:44,000 Speaker 1: fresh their names are. So I ranked them at a 1611 01:07:44,040 --> 01:07:45,680 Speaker 1: certain things and I just kind of keep it on 1612 01:07:45,680 --> 01:07:47,360 Speaker 1: the board, you know what I mean. And from there 1613 01:07:47,400 --> 01:07:49,240 Speaker 1: that kind of my thing is always to stay like 1614 01:07:49,280 --> 01:07:51,120 Speaker 1: young and fresh, you know what I mean. So I 1615 01:07:51,160 --> 01:07:53,120 Speaker 1: always just try to stay in that board, and that 1616 01:07:53,120 --> 01:07:54,880 Speaker 1: board is like my favorite thing to do because like 1617 01:07:55,080 --> 01:07:57,280 Speaker 1: I like seeing people come off the board. I've seen 1618 01:07:57,320 --> 01:07:59,600 Speaker 1: you guys some I'll text you guys, some old boys 1619 01:07:59,600 --> 01:08:02,000 Speaker 1: that have from two thousand nine two, How do you 1620 01:08:02,000 --> 01:08:03,600 Speaker 1: get off the board? You have a hit record, you're 1621 01:08:03,600 --> 01:08:05,360 Speaker 1: off the board what you make your first hit or 1622 01:08:05,480 --> 01:08:06,720 Speaker 1: when you put out it, when you want to put 1623 01:08:06,760 --> 01:08:08,880 Speaker 1: out a major album going. So it's like the old 1624 01:08:08,920 --> 01:08:12,080 Speaker 1: freshman rules that was, but not when you're signed, because 1625 01:08:12,080 --> 01:08:14,640 Speaker 1: a lot of big artists happened when they get dropped 1626 01:08:14,640 --> 01:08:17,960 Speaker 1: from another label. So just because you get signed, I 1627 01:08:17,960 --> 01:08:19,960 Speaker 1: don't take you off the board. So a lot of 1628 01:08:19,960 --> 01:08:21,840 Speaker 1: people on my board are still on record labels, but 1629 01:08:21,920 --> 01:08:25,840 Speaker 1: they're like underappreciated, Like Travis and YG were underappreciated on it. 1630 01:08:25,960 --> 01:08:29,000 Speaker 1: Not not Travis Travis. People always need Travis his talent, right, 1631 01:08:29,040 --> 01:08:32,800 Speaker 1: I feel like y G was a little underappreciated. Yeah, 1632 01:08:32,800 --> 01:08:34,519 Speaker 1: they gave you Dirk Rees him, they gave you the 1633 01:08:34,520 --> 01:08:36,640 Speaker 1: ones that didn't know what to do with it all 1634 01:08:36,680 --> 01:08:39,240 Speaker 1: incredible in my opinion. So you were how did you 1635 01:08:39,280 --> 01:08:42,760 Speaker 1: feel when you know Birds were number one? I mean 1636 01:08:42,800 --> 01:08:44,760 Speaker 1: I was the happiest moments in my life, you know, 1637 01:08:44,800 --> 01:08:47,320 Speaker 1: because you know, I've been doing this straight since my 1638 01:08:47,400 --> 01:08:51,320 Speaker 1: first mixtape came out September October two thousand and one, 1639 01:08:52,200 --> 01:08:54,439 Speaker 1: So like you know, I've been putting on mix saves 1640 01:08:54,720 --> 01:08:57,400 Speaker 1: and working the artists, and like, you know, why we're 1641 01:08:57,400 --> 01:08:59,839 Speaker 1: talking about Travis and yg. You know, I've had a 1642 01:08:59,800 --> 01:09:01,640 Speaker 1: a with a lot of artists that weren't that successful. 1643 01:09:02,120 --> 01:09:05,200 Speaker 1: Lots of lots of artists, right the rich and the 1644 01:09:05,320 --> 01:09:07,719 Speaker 1: rich rich. I think Ricky Hill, I think he gave 1645 01:09:07,720 --> 01:09:09,479 Speaker 1: it a lot because I worked with Rich with seven years. 1646 01:09:09,840 --> 01:09:11,760 Speaker 1: And one thing that I think that we accomplished with 1647 01:09:11,800 --> 01:09:13,439 Speaker 1: this project that s Y L d D. That was 1648 01:09:13,479 --> 01:09:15,280 Speaker 1: the first project that I put out that was like 1649 01:09:15,280 --> 01:09:17,799 Speaker 1: a real album that I just thought it was incredible. 1650 01:09:17,800 --> 01:09:19,800 Speaker 1: We had features that we had Terence Martin on there. 1651 01:09:19,960 --> 01:09:22,320 Speaker 1: It was mixed by mixed by Ali at the Weekend 1652 01:09:22,439 --> 01:09:24,920 Speaker 1: or early Weekend feature. And I still think he was 1653 01:09:24,960 --> 01:09:27,360 Speaker 1: just ahead of his time, like you know, like when 1654 01:09:27,400 --> 01:09:31,719 Speaker 1: Weekend was being quoted when being like courted and Joey askedently, 1655 01:09:31,720 --> 01:09:33,519 Speaker 1: who's so many favorite artists when they already said was 1656 01:09:33,600 --> 01:09:35,960 Speaker 1: Rich Hill? So this, and I think that he was 1657 01:09:36,000 --> 01:09:37,679 Speaker 1: really original, and I think he just got a bad 1658 01:09:37,720 --> 01:09:39,960 Speaker 1: shot because people that always taught me he'll figure his son. 1659 01:09:40,320 --> 01:09:42,280 Speaker 1: But I thought he was super original. I still think 1660 01:09:42,280 --> 01:09:45,040 Speaker 1: he's super original. And it's difference between me and like 1661 01:09:45,720 --> 01:09:48,040 Speaker 1: you could be an icon and I'd be original, right, 1662 01:09:48,360 --> 01:09:50,720 Speaker 1: and you could be an original not be an icon, 1663 01:09:51,280 --> 01:09:53,080 Speaker 1: like Little B. Right, do you like? Do you like 1664 01:09:53,120 --> 01:09:56,599 Speaker 1: Little B? But Little Be created most of that style, 1665 01:09:56,720 --> 01:09:58,519 Speaker 1: that whole swag rap like that, A lot of these 1666 01:09:58,680 --> 01:10:01,040 Speaker 1: has come from, Like so do you like Soldier Boy? 1667 01:10:01,280 --> 01:10:03,360 Speaker 1: I like a couple of records. These guys are still 1668 01:10:03,360 --> 01:10:06,000 Speaker 1: originals because when they came out, nobody sounded like them. 1669 01:10:06,160 --> 01:10:09,240 Speaker 1: And to be an original, to be an absolute original, 1670 01:10:09,640 --> 01:10:11,559 Speaker 1: is a hard thing to be, you know what I mean? 1671 01:10:11,600 --> 01:10:14,760 Speaker 1: And Richards and a lot of them don't succeed. And 1672 01:10:14,800 --> 01:10:17,880 Speaker 1: that's not when it comes after that refines that blows up. Yeah, 1673 01:10:17,920 --> 01:10:19,559 Speaker 1: Like who are they saying the other day that that 1674 01:10:19,640 --> 01:10:24,560 Speaker 1: Steph game is like the Muslim guy Chris Jackson, Like 1675 01:10:24,640 --> 01:10:27,360 Speaker 1: Chris Jackson, like his games like Chris Jackson. Everybody's going 1676 01:10:27,360 --> 01:10:30,679 Speaker 1: crazy on Philip Jackson. Steph Curry. He was saying, he's 1677 01:10:30,680 --> 01:10:33,800 Speaker 1: like he's a version of Chris Jackson. Yeah, because like 1678 01:10:34,040 --> 01:10:36,320 Speaker 1: it's just because you're an original, don't mean it's gonna 1679 01:10:36,360 --> 01:10:38,519 Speaker 1: go all away. Sometimes you don't get appreciated to later. 1680 01:10:38,560 --> 01:10:41,479 Speaker 1: A lot of artists, like art artists, you know, they 1681 01:10:41,520 --> 01:10:44,879 Speaker 1: blow up after they die because people don't understand the influence. 1682 01:10:44,880 --> 01:10:46,639 Speaker 1: So later and they'll take somebody come out and saying 1683 01:10:46,680 --> 01:10:48,240 Speaker 1: like I was really inspired by that. You know, I 1684 01:10:48,240 --> 01:10:50,919 Speaker 1: mean like when young Thug goes, I feel like Fable. 1685 01:10:51,360 --> 01:10:53,280 Speaker 1: I feel like Fable, you know what I mean? He 1686 01:10:53,360 --> 01:10:55,479 Speaker 1: was growing up listening to Fable like Fable is dope 1687 01:10:55,520 --> 01:10:58,800 Speaker 1: as fuck, you know what I mean. People are like 1688 01:10:58,840 --> 01:11:01,040 Speaker 1: looking at Fable like he was weird of time, or like, oh, 1689 01:11:01,160 --> 01:11:03,400 Speaker 1: lafe time, He's gonna kill a hip hop but it's original. 1690 01:11:03,800 --> 01:11:06,360 Speaker 1: And then you never know when somebody gets inspiration from. 1691 01:11:06,439 --> 01:11:08,920 Speaker 1: You never know a photography inspiration from. You never know 1692 01:11:08,960 --> 01:11:10,840 Speaker 1: who really inspires you. Like when I was a kid, 1693 01:11:10,880 --> 01:11:15,840 Speaker 1: my favorite rapple was cannabis. I loved cannabis. I used 1694 01:11:15,880 --> 01:11:18,959 Speaker 1: to listen to cannabis, which is Jay Z versus cannabis, 1695 01:11:19,080 --> 01:11:21,599 Speaker 1: DMX versus Nori tapes. I used to love cannabis, man 1696 01:11:22,080 --> 01:11:25,040 Speaker 1: anything dealing with cannabis. I still think cannabis is dope. 1697 01:11:25,040 --> 01:11:27,560 Speaker 1: You know, eminem end up becoming like way bigger than cannabis. 1698 01:11:27,720 --> 01:11:29,760 Speaker 1: But I think in its prime, cannabis when it took out. 1699 01:11:29,760 --> 01:11:32,240 Speaker 1: If they weren't like prime, I didn't cannabis took eminem out. 1700 01:11:32,280 --> 01:11:34,479 Speaker 1: Did you answer your question you post on Twitter? You said, 1701 01:11:34,520 --> 01:11:36,760 Speaker 1: who's the top five in the new millennium since two 1702 01:11:36,760 --> 01:11:39,160 Speaker 1: thousand and I was really thought about that too. It 1703 01:11:39,320 --> 01:11:42,760 Speaker 1: was the top five in the millennium since two thousand. 1704 01:11:43,800 --> 01:11:46,280 Speaker 1: M When you say top five, you're talking about lyricism 1705 01:11:46,439 --> 01:11:48,600 Speaker 1: that was on your Twitter. Just top five period. I 1706 01:11:48,600 --> 01:11:51,200 Speaker 1: would just say who top five, like I was thinking, 1707 01:11:51,360 --> 01:11:55,240 Speaker 1: I would go fifty cent, like the definitive top five 1708 01:11:55,400 --> 01:11:57,880 Speaker 1: since two thousand until now. So when, so how do 1709 01:11:57,880 --> 01:11:59,640 Speaker 1: we start two thousand. I wouln't be very clear this 1710 01:11:59,680 --> 01:12:02,000 Speaker 1: because this only a big one, like we did they 1711 01:12:02,000 --> 01:12:03,679 Speaker 1: put they had to put out their first record past 1712 01:12:03,680 --> 01:12:06,000 Speaker 1: two thousands. Just I mean because fifty cent came out. 1713 01:12:06,320 --> 01:12:08,759 Speaker 1: Damn the in the nineties, right, I'd say two thousand 1714 01:12:08,840 --> 01:12:11,840 Speaker 1: three is fifty cents starting point. See, I was listening 1715 01:12:11,880 --> 01:12:14,880 Speaker 1: to The Problem Child and fifty bars this morning that 1716 01:12:14,920 --> 01:12:16,840 Speaker 1: came out. That's my favorite fifty cent record, which one 1717 01:12:16,880 --> 01:12:18,640 Speaker 1: fifty bar is a pleasant Yeah. I was just I 1718 01:12:18,640 --> 01:12:20,360 Speaker 1: was living at this morning. So I wouldn't put fifty 1719 01:12:20,400 --> 01:12:22,639 Speaker 1: in two thousand's you want to put two thousand three? 1720 01:12:22,640 --> 01:12:24,920 Speaker 1: I think for the general majority of people, they say 1721 01:12:24,920 --> 01:12:27,719 Speaker 1: two thousand three, okay, so you're top five. I would 1722 01:12:27,840 --> 01:12:33,439 Speaker 1: say fifty cent. Kanye West, who else is there ship 1723 01:12:34,040 --> 01:12:35,960 Speaker 1: that was about I had another one. I would say 1724 01:12:35,960 --> 01:12:41,160 Speaker 1: maybe Nikki. Uh damn hen is nick You know that 1725 01:12:41,200 --> 01:12:46,680 Speaker 1: heber Nicki Minaye man. I mean you broke up with 1726 01:12:46,760 --> 01:12:49,760 Speaker 1: nick he talk about how you broke up with Nicki. 1727 01:12:50,080 --> 01:12:52,880 Speaker 1: Nicki is one of the smartest, smartest business people I've 1728 01:12:52,880 --> 01:12:55,400 Speaker 1: ever met. And I wasn't ready to work with Nikki 1729 01:12:55,520 --> 01:12:57,479 Speaker 1: like I thought I was talent wise, but she was 1730 01:12:57,560 --> 01:13:00,400 Speaker 1: very demanded. And Nikki knows where she wanted to go 1731 01:13:00,560 --> 01:13:02,720 Speaker 1: like where she is now. She always knew where she 1732 01:13:02,760 --> 01:13:04,920 Speaker 1: wanted to go. She always knew that she was going 1733 01:13:04,960 --> 01:13:07,439 Speaker 1: to be that big. Like when I was working with Nikki, 1734 01:13:07,479 --> 01:13:09,120 Speaker 1: I thought she was gonna be like the next Foxy 1735 01:13:09,120 --> 01:13:11,120 Speaker 1: Brown on the next little camps. She's like, I'm in 1736 01:13:11,160 --> 01:13:14,320 Speaker 1: the new jay Z Like yeah, like Nicky, Nikki broke 1737 01:13:14,360 --> 01:13:16,679 Speaker 1: all kind of boxes that you know that no one's 1738 01:13:16,720 --> 01:13:18,880 Speaker 1: ever really seen a hip hop She never took limitations 1739 01:13:18,880 --> 01:13:21,599 Speaker 1: of being an artist. So I mean, I take work 1740 01:13:21,640 --> 01:13:23,479 Speaker 1: with Nikki like I learned a lot from being So 1741 01:13:23,520 --> 01:13:25,160 Speaker 1: she was kind of more far along in some sense 1742 01:13:25,200 --> 01:13:28,720 Speaker 1: then you were. That's she had a vision. She used 1743 01:13:28,760 --> 01:13:30,559 Speaker 1: to wake up like early in the morning seven o'clock 1744 01:13:30,560 --> 01:13:32,680 Speaker 1: in the morning, didn't smoke it and drink was all 1745 01:13:32,720 --> 01:13:35,240 Speaker 1: her business man like doing her rap. She she she 1746 01:13:37,280 --> 01:13:40,759 Speaker 1: like she was wrapping in the tub on the Finny 1747 01:13:40,800 --> 01:13:43,480 Speaker 1: mix safes when she was going to come up DVDs. 1748 01:13:44,000 --> 01:13:46,400 Speaker 1: Nicki Nikky always had a vision when she was first 1749 01:13:46,439 --> 01:13:48,840 Speaker 1: doing the mix sapes like Nicky always had a vision. 1750 01:13:48,920 --> 01:13:50,640 Speaker 1: That's why you don't get that big by accident. You 1751 01:13:50,680 --> 01:13:52,920 Speaker 1: don't be the only woman on the four of cliss 1752 01:13:52,960 --> 01:13:56,240 Speaker 1: by accident. She she bonded being trinidaddy and right and 1753 01:13:56,240 --> 01:13:59,280 Speaker 1: then you was managing. Usually we bonded being trinidaddian. We 1754 01:13:59,360 --> 01:14:01,639 Speaker 1: bonded just like being young. And she gave me a shot, 1755 01:14:01,760 --> 01:14:03,280 Speaker 1: you know, because I was like twenty three years old, 1756 01:14:03,320 --> 01:14:05,559 Speaker 1: I had a company, and she really believed in me. 1757 01:14:05,640 --> 01:14:08,439 Speaker 1: So I always I always like when it didn't work 1758 01:14:08,439 --> 01:14:10,040 Speaker 1: out with me and her, I always looked at a 1759 01:14:10,240 --> 01:14:13,120 Speaker 1: like I was looked at at a real like low 1760 01:14:13,160 --> 01:14:15,479 Speaker 1: point for me, because when she was blowing up, I 1761 01:14:15,520 --> 01:14:17,800 Speaker 1: felt like a real failure. I felt like I gave 1762 01:14:17,880 --> 01:14:21,800 Speaker 1: up on her. And I'm really happy where she is, 1763 01:14:21,880 --> 01:14:24,200 Speaker 1: but I felt like I can't give up anything that 1764 01:14:24,240 --> 01:14:26,840 Speaker 1: I believe in again, just because it got hard, and 1765 01:14:26,880 --> 01:14:28,799 Speaker 1: I was the last time I gave up on anything 1766 01:14:28,800 --> 01:14:32,040 Speaker 1: that I believed in because back then I was too 1767 01:14:32,080 --> 01:14:34,559 Speaker 1: cool for school. I was just like I noticed, like 1768 01:14:34,680 --> 01:14:36,720 Speaker 1: every time I noticed, like I don't, I don't care 1769 01:14:36,720 --> 01:14:38,200 Speaker 1: about anymore. You guys are on it now. I was 1770 01:14:38,240 --> 01:14:43,280 Speaker 1: a real hipster about it, like I've been on this, 1771 01:14:43,360 --> 01:14:44,639 Speaker 1: you know what I mean, I don't. I don't treat 1772 01:14:44,680 --> 01:14:46,439 Speaker 1: like that no more. Now if I believe in something, 1773 01:14:46,439 --> 01:14:48,639 Speaker 1: I believe in it. I'm believing the fever because even 1774 01:14:48,640 --> 01:14:50,439 Speaker 1: that it was she was doing a vibe shoot or 1775 01:14:50,479 --> 01:14:52,519 Speaker 1: something right, she was on a vibe shoot, and like 1776 01:14:52,680 --> 01:14:54,240 Speaker 1: you know, she was right, like she was on a vibe. 1777 01:14:54,479 --> 01:14:56,400 Speaker 1: She showed up. It was like a big time thing 1778 01:14:56,439 --> 01:14:59,000 Speaker 1: for her. And like dude, she had no place to change. 1779 01:14:59,000 --> 01:15:01,640 Speaker 1: There was no trailer. And I was like in d 1780 01:15:01,760 --> 01:15:04,640 Speaker 1: C like with another client, and she's like, where are you? 1781 01:15:04,680 --> 01:15:06,800 Speaker 1: Where's my trailer? What's going on? What kind of manager 1782 01:15:06,880 --> 01:15:10,080 Speaker 1: all you? And I was like, no, this is this, 1783 01:15:10,439 --> 01:15:12,960 Speaker 1: you know what I mean? You know, you gotta find 1784 01:15:12,960 --> 01:15:15,280 Speaker 1: somebody else. But she was right, she should have had 1785 01:15:15,280 --> 01:15:16,720 Speaker 1: a trailer, she should have a place to go. I 1786 01:15:16,760 --> 01:15:18,680 Speaker 1: should have been arranging these things. I should have been there, 1787 01:15:19,040 --> 01:15:21,160 Speaker 1: you know what I'm saying. And I learned a lot 1788 01:15:21,320 --> 01:15:23,800 Speaker 1: from that experience with Nikki. But I also learned never 1789 01:15:23,880 --> 01:15:26,360 Speaker 1: to like just quit and give up because things get hard. 1790 01:15:26,680 --> 01:15:28,400 Speaker 1: Things get hard now all the time. I'll get my 1791 01:15:28,479 --> 01:15:31,000 Speaker 1: artists all the time about numerous mons of things. But 1792 01:15:31,120 --> 01:15:33,400 Speaker 1: guess what, I'm still here. We can fight. But guess 1793 01:15:33,400 --> 01:15:34,920 Speaker 1: what I'm showing up. I'm showing him to that show. 1794 01:15:34,920 --> 01:15:37,080 Speaker 1: I'm showing up to the next session. I'm showing him 1795 01:15:37,080 --> 01:15:39,160 Speaker 1: to whatever. We're still here. We're gonna rock out. So 1796 01:15:39,200 --> 01:15:42,519 Speaker 1: you don't have a relationship. The best, one of the 1797 01:15:42,520 --> 01:15:44,320 Speaker 1: best moments of my life happened when I reached out 1798 01:15:44,360 --> 01:15:46,320 Speaker 1: to her for the for the my Niggi remix and 1799 01:15:46,320 --> 01:15:47,720 Speaker 1: I didn't know how that was gonna go. That was 1800 01:15:47,760 --> 01:15:53,479 Speaker 1: like a hall Mary shot in the dark, like that was. 1801 01:15:53,600 --> 01:15:54,840 Speaker 1: It was kind of like that was kind of like 1802 01:15:54,960 --> 01:15:56,280 Speaker 1: me kind of like going on my own, let me 1803 01:15:56,280 --> 01:15:59,320 Speaker 1: see what happens, be stout and you know, I reach 1804 01:15:59,360 --> 01:16:01,360 Speaker 1: out to g like you really want Nikki on this, 1805 01:16:01,560 --> 01:16:03,160 Speaker 1: and he was like, you know what, she charged right, 1806 01:16:03,400 --> 01:16:06,400 Speaker 1: you know, you just reached out to see what she 1807 01:16:06,479 --> 01:16:08,960 Speaker 1: say And he calling back like y'all you know, Nikki 1808 01:16:09,040 --> 01:16:11,880 Speaker 1: said she's gonna do it and she's not gonna charge 1809 01:16:11,920 --> 01:16:13,600 Speaker 1: and she want to talk to you, you know what 1810 01:16:13,600 --> 01:16:15,200 Speaker 1: I mean. And that was kind of like that was 1811 01:16:15,240 --> 01:16:17,519 Speaker 1: like five years after that, so that was like full circle, 1812 01:16:18,040 --> 01:16:19,280 Speaker 1: you know what I'm saying that I was like a 1813 01:16:19,280 --> 01:16:22,200 Speaker 1: great feeling of like because for the all that time, 1814 01:16:22,240 --> 01:16:24,479 Speaker 1: from like the point where like like that that was 1815 01:16:24,520 --> 01:16:26,479 Speaker 1: a real low point when I felt like I left Nikki, 1816 01:16:26,560 --> 01:16:28,120 Speaker 1: because then I was like I didn't have Nikki. I 1817 01:16:28,120 --> 01:16:29,800 Speaker 1: had like an artist development company and I was going 1818 01:16:29,800 --> 01:16:31,759 Speaker 1: on to the famous firm things, which just like felt 1819 01:16:31,760 --> 01:16:33,280 Speaker 1: like I was just in a real dark spot in 1820 01:16:33,320 --> 01:16:36,080 Speaker 1: my life around that time, and I really had to 1821 01:16:36,240 --> 01:16:39,200 Speaker 1: make some adjustments. And I remember I reached a real 1822 01:16:39,240 --> 01:16:40,919 Speaker 1: low point. I remember I was like in a bookstore 1823 01:16:41,000 --> 01:16:43,120 Speaker 1: my ex girlfriend and I didn't have much money. I 1824 01:16:43,200 --> 01:16:44,840 Speaker 1: still love books, how much money? Like you didn't give 1825 01:16:44,840 --> 01:16:46,120 Speaker 1: me these books? Baby? She was like, no, man, you 1826 01:16:46,160 --> 01:16:47,120 Speaker 1: got a lot of books at home. Why do you 1827 01:16:47,120 --> 01:16:49,040 Speaker 1: need more books? And I'm like, man, I'm a fucking loser. 1828 01:16:51,200 --> 01:16:53,120 Speaker 1: And I just I just went home and I woke 1829 01:16:53,200 --> 01:16:54,920 Speaker 1: up in the morning. I was in um, I was 1830 01:16:54,960 --> 01:16:57,920 Speaker 1: in Jersey, and you know, you know, pray for everybody 1831 01:16:57,920 --> 01:17:00,599 Speaker 1: in New Jersey Transit that kid me. You know, Like 1832 01:17:00,640 --> 01:17:04,320 Speaker 1: I took the New Jersey Transit to the city and 1833 01:17:04,360 --> 01:17:06,160 Speaker 1: I had, like, I don't know much. I had eighty hollars, 1834 01:17:06,160 --> 01:17:08,479 Speaker 1: so I took like twenty dollars about a notebook and 1835 01:17:08,520 --> 01:17:10,000 Speaker 1: I wrote out my life and I was just like, 1836 01:17:10,080 --> 01:17:11,840 Speaker 1: you know what, this is how my life's gonna go. 1837 01:17:11,920 --> 01:17:14,400 Speaker 1: I'm like, this is what I'm just focused on. Artists 1838 01:17:14,400 --> 01:17:16,800 Speaker 1: developed me, I'm gonn focusing on. And I wrote out 1839 01:17:16,800 --> 01:17:18,679 Speaker 1: a page with a huge page, right, a whole page, 1840 01:17:18,960 --> 01:17:20,400 Speaker 1: and I fulled up the page and I kept in 1841 01:17:20,479 --> 01:17:23,040 Speaker 1: my pocket for like five years, you know what I'm saying. 1842 01:17:23,040 --> 01:17:24,519 Speaker 1: And I used to look at that every day and 1843 01:17:24,520 --> 01:17:26,240 Speaker 1: I just said, I'm not gonna give up. I'm not 1844 01:17:26,280 --> 01:17:28,760 Speaker 1: gonna just settle. I'm not going to be a victim. 1845 01:17:28,800 --> 01:17:30,200 Speaker 1: I'm not gonna blame it, you know what I mean. 1846 01:17:30,479 --> 01:17:32,000 Speaker 1: And I would just wake up every day. They said 1847 01:17:32,000 --> 01:17:34,920 Speaker 1: Winter Churchill has a quote like, you know, success is 1848 01:17:34,960 --> 01:17:37,960 Speaker 1: going from failure to failure with the same enthusiasm. And 1849 01:17:38,000 --> 01:17:40,320 Speaker 1: then what happened was the first the first break I 1850 01:17:40,439 --> 01:17:42,519 Speaker 1: got was doing the famous Factory shows with double X 1851 01:17:42,520 --> 01:17:45,000 Speaker 1: out and you know, I used to get talked to 1852 01:17:45,040 --> 01:17:46,960 Speaker 1: all the new artists. So we had people like Big Cred, 1853 01:17:47,240 --> 01:17:51,679 Speaker 1: Nipsey Hustle, Tomp Kennedy, Uh, Joel Ortiz, all these guys. 1854 01:17:51,720 --> 01:17:53,639 Speaker 1: And that got me in the new generation of hip 1855 01:17:53,640 --> 01:17:55,439 Speaker 1: hop because I was at the beginning another blog rap 1856 01:17:55,720 --> 01:17:58,280 Speaker 1: and what started really turned to some money when they 1857 01:17:58,320 --> 01:18:00,400 Speaker 1: first started really getting booking ages and things like that. 1858 01:18:00,400 --> 01:18:02,519 Speaker 1: That's when things started to change because because of the 1859 01:18:02,560 --> 01:18:04,920 Speaker 1: blog rap, they started getting on the radar of booking agents. 1860 01:18:04,920 --> 01:18:07,280 Speaker 1: A book and agent started treating him differently and that, 1861 01:18:07,439 --> 01:18:08,960 Speaker 1: and you know, I was before the booking agents went 1862 01:18:08,960 --> 01:18:12,240 Speaker 1: over went over crazily. So I'll do these curated shows 1863 01:18:12,240 --> 01:18:14,400 Speaker 1: in Brooklyn with Double xele and Double x Cell giving 1864 01:18:14,439 --> 01:18:16,920 Speaker 1: the platform, and it created like a new customer. And 1865 01:18:16,960 --> 01:18:20,040 Speaker 1: from that point on, I reinvented myself until like you know, 1866 01:18:20,040 --> 01:18:22,120 Speaker 1: a promoter and I had these new things. I'm like, okay, cool, 1867 01:18:22,120 --> 01:18:24,160 Speaker 1: I'm not gonna miss this shout up. And from there 1868 01:18:24,280 --> 01:18:27,680 Speaker 1: I went and got Richard deal with Wonder Brothers. And 1869 01:18:27,720 --> 01:18:29,720 Speaker 1: from the Wonder Brothers deal, I got the opportunity to 1870 01:18:29,760 --> 01:18:32,679 Speaker 1: be on Death Jam. And with the Death Sham deal, 1871 01:18:33,160 --> 01:18:36,360 Speaker 1: I end up meeting with Dirk and YG and working 1872 01:18:36,360 --> 01:18:38,800 Speaker 1: with Jeremy. You know, he did a lot with jem My. 1873 01:18:38,880 --> 01:18:41,320 Speaker 1: People don't really realize a lot. We didn't. What was 1874 01:18:41,320 --> 01:18:43,200 Speaker 1: the issue? Why was why was it always something He's 1875 01:18:43,200 --> 01:18:45,320 Speaker 1: always in this tumultuous thing with Death Jam? Like what's 1876 01:18:45,360 --> 01:18:48,200 Speaker 1: your opinion of that? Like why why didn't the music 1877 01:18:48,200 --> 01:18:49,760 Speaker 1: come out on time? Like why do you think a 1878 01:18:49,760 --> 01:18:51,320 Speaker 1: lot of that was? It was a lot of drama 1879 01:18:51,320 --> 01:18:53,040 Speaker 1: before I got there, you know what I mean? Because 1880 01:18:53,040 --> 01:18:55,599 Speaker 1: you think about he's with Death Jam early like birthday, 1881 01:18:55,600 --> 01:18:58,599 Speaker 1: saxon down on me and like I was just hear 1882 01:18:58,680 --> 01:19:02,559 Speaker 1: the music, and I remember his manager Dilla like reached 1883 01:19:02,560 --> 01:19:05,479 Speaker 1: out to me by m Dirk's own manager, I speak, 1884 01:19:06,320 --> 01:19:08,960 Speaker 1: and they liked the way Dirk was moving around Chicago. 1885 01:19:09,080 --> 01:19:10,840 Speaker 1: So Jeremy was willing to give me a shot. I 1886 01:19:10,880 --> 01:19:12,320 Speaker 1: want to give him, you know, shot out. And I 1887 01:19:12,320 --> 01:19:15,800 Speaker 1: started hearing the music, and he had all these amazing records, right, 1888 01:19:16,240 --> 01:19:18,120 Speaker 1: and I just don't think he was getting the attention 1889 01:19:18,360 --> 01:19:20,760 Speaker 1: for some political ship. But he was always had the 1890 01:19:20,800 --> 01:19:22,960 Speaker 1: talent and he had he was sending him bodies and 1891 01:19:23,040 --> 01:19:25,120 Speaker 1: bodies of work, and I was like, yo, man, let's 1892 01:19:25,120 --> 01:19:27,040 Speaker 1: put some of this stuff out, And the first record 1893 01:19:27,080 --> 01:19:30,000 Speaker 1: that we really worked on that was together was Don't 1894 01:19:30,040 --> 01:19:33,760 Speaker 1: Tell Him. Because I was originally a mixed show speed Um, 1895 01:19:33,920 --> 01:19:36,120 Speaker 1: which just his court producer who did birthday sex down 1896 01:19:36,160 --> 01:19:38,320 Speaker 1: on me, Do Do Do Do? So it was my 1897 01:19:38,360 --> 01:19:41,360 Speaker 1: idea to go get Mustard and YG. So Mustard co 1898 01:19:41,439 --> 01:19:44,559 Speaker 1: produced it and the YG jumped on it, and then boom. 1899 01:19:44,680 --> 01:19:46,479 Speaker 1: That was kind of like Okay, Cob were coming back. 1900 01:19:46,479 --> 01:19:48,400 Speaker 1: But at the time, on his own, he had um 1901 01:19:49,520 --> 01:19:53,479 Speaker 1: the fun all the time song. I thought that was 1902 01:19:53,520 --> 01:19:55,960 Speaker 1: the best song in the world. That's a good record. 1903 01:19:56,400 --> 01:19:58,240 Speaker 1: When they were taking him off records to right, he 1904 01:19:58,280 --> 01:20:00,519 Speaker 1: was mad, right yeah, and they take if he took 1905 01:20:00,560 --> 01:20:02,800 Speaker 1: him off a couple of kid Ink records, you know 1906 01:20:02,800 --> 01:20:04,760 Speaker 1: what I mean. And then he when he recorded down 1907 01:20:04,800 --> 01:20:07,080 Speaker 1: when he recorded it Don't Tell Him, he recorded that 1908 01:20:07,120 --> 01:20:08,519 Speaker 1: like like, look, I can make one of these kind 1909 01:20:08,560 --> 01:20:10,599 Speaker 1: of Mustard records and I can make it go crazy, 1910 01:20:11,000 --> 01:20:12,800 Speaker 1: and you know, that record end up charing bigger than 1911 01:20:12,840 --> 01:20:15,200 Speaker 1: the other two kid Ink records. You know what I'm saying. 1912 01:20:15,479 --> 01:20:19,680 Speaker 1: Jeremiah's Revenge that's still that's still the biggest record I've 1913 01:20:19,680 --> 01:20:22,400 Speaker 1: been a part of chart wise, and that was like 1914 01:20:22,479 --> 01:20:24,920 Speaker 1: number six on the Billboard. Hot Lund you so I 1915 01:20:24,960 --> 01:20:26,519 Speaker 1: SA the next goal. I want to get the number one. 1916 01:20:26,760 --> 01:20:28,639 Speaker 1: But that last time you ended up working on most 1917 01:20:28,640 --> 01:20:30,040 Speaker 1: of it though, even though he wasn't there when it 1918 01:20:30,080 --> 01:20:32,120 Speaker 1: came out. Well, you know, I think a lot of 1919 01:20:32,200 --> 01:20:34,240 Speaker 1: when you finished the album, A lot of part of 1920 01:20:34,280 --> 01:20:36,880 Speaker 1: being a great and was finishing like anybody could be 1921 01:20:36,920 --> 01:20:38,760 Speaker 1: a part of like certain records. I was there for 1922 01:20:38,800 --> 01:20:41,400 Speaker 1: a lot of those records, but I left before it 1923 01:20:41,600 --> 01:20:44,840 Speaker 1: was over. So I always feel like I always feel 1924 01:20:44,840 --> 01:20:48,519 Speaker 1: a little bit like I let like Jeremond Dirk down 1925 01:20:48,560 --> 01:20:51,559 Speaker 1: a little bit when I switched labels because I didn't 1926 01:20:51,560 --> 01:20:55,160 Speaker 1: see their projects so all the way through. So I gotta, 1927 01:20:55,280 --> 01:20:58,080 Speaker 1: you know, some regrets with that, because the closes the most. 1928 01:20:58,080 --> 01:21:00,320 Speaker 1: The closing of it is the most important all the part. 1929 01:21:00,400 --> 01:21:01,840 Speaker 1: You know, you can do all the records in the world, 1930 01:21:01,960 --> 01:21:04,559 Speaker 1: you get everything go on, but when it's time to close, 1931 01:21:04,680 --> 01:21:08,720 Speaker 1: like putting in the music business, putting h album to 1932 01:21:09,000 --> 01:21:12,519 Speaker 1: market is the absolutely hardest thing to do because that's 1933 01:21:12,560 --> 01:21:14,920 Speaker 1: when things get really tough. That's when the money is 1934 01:21:14,920 --> 01:21:16,960 Speaker 1: on the line. That's when the millions of dollars of promotion, 1935 01:21:17,040 --> 01:21:19,360 Speaker 1: That's when you better be right that's when it's no 1936 01:21:19,479 --> 01:21:21,439 Speaker 1: more creative. Like it's still creative, but it's still like 1937 01:21:21,479 --> 01:21:23,080 Speaker 1: you have to understand the market. You have to understand 1938 01:21:23,080 --> 01:21:25,559 Speaker 1: the competitive release schedule. You have to understand what else 1939 01:21:25,680 --> 01:21:27,920 Speaker 1: is coming out at that time. You have to understand 1940 01:21:28,200 --> 01:21:30,120 Speaker 1: why you're gonna drop it. What's a good time in 1941 01:21:30,160 --> 01:21:32,639 Speaker 1: a dropping Everybody is nervous, and you gotta be cool 1942 01:21:32,640 --> 01:21:34,559 Speaker 1: on the pressure, and you gotta be able to deliver, 1943 01:21:34,720 --> 01:21:36,760 Speaker 1: and you gotta deliver creatively for your artists, and you 1944 01:21:36,800 --> 01:21:38,559 Speaker 1: gotta make sure you don't flop, and you gotta make 1945 01:21:38,600 --> 01:21:41,000 Speaker 1: you a lot of things happen. Thanks do you think 1946 01:21:41,000 --> 01:21:45,519 Speaker 1: new artists make coming into the game. I think a 1947 01:21:45,560 --> 01:21:47,800 Speaker 1: lot of them don't do research. A lot of them 1948 01:21:47,880 --> 01:21:51,160 Speaker 1: just kind of like have bad teams. I think I 1949 01:21:51,160 --> 01:21:53,080 Speaker 1: would I would do more researcher, like who I'm gonna 1950 01:21:53,080 --> 01:21:55,000 Speaker 1: be a partner of, who I'm gonna work with, or 1951 01:21:55,040 --> 01:21:56,720 Speaker 1: why I'm gonna do things. I don't think a lot 1952 01:21:56,720 --> 01:21:59,040 Speaker 1: of them don't have any strategy. I think if you 1953 01:21:59,120 --> 01:22:00,679 Speaker 1: come up with with an I know a few artist 1954 01:22:00,680 --> 01:22:02,240 Speaker 1: are coming in with a bunch of hits, so you're like, 1955 01:22:02,320 --> 01:22:06,120 Speaker 1: we don't need anybody, but but you know, The hard 1956 01:22:06,160 --> 01:22:08,559 Speaker 1: part about being in this game or any game, and 1957 01:22:08,600 --> 01:22:11,120 Speaker 1: any as a business person or just incorporate or wherever 1958 01:22:11,160 --> 01:22:13,160 Speaker 1: you are in life is not to do when you're hot, 1959 01:22:13,320 --> 01:22:15,960 Speaker 1: when you're cold, what's your relationships like when you're not hot, 1960 01:22:16,200 --> 01:22:18,599 Speaker 1: let's picking up that phone? Who's returning your text? Yeah, 1961 01:22:18,600 --> 01:22:20,280 Speaker 1: So a lot of these new artists, they get hot, 1962 01:22:20,360 --> 01:22:23,479 Speaker 1: they saw curving people. They don't want to do things. 1963 01:22:23,680 --> 01:22:25,559 Speaker 1: You know what I'm saying, You don't you'll speak about 1964 01:22:25,680 --> 01:22:27,240 Speaker 1: one of the favorite things you talk about what we 1965 01:22:27,360 --> 01:22:29,720 Speaker 1: call the sign fatigue, Like sometimes all the sign and 1966 01:22:29,760 --> 01:22:31,920 Speaker 1: that's the big victory, and then they don't want to work. Yeah, 1967 01:22:32,240 --> 01:22:34,400 Speaker 1: they signed and retired. You go fight and you get 1968 01:22:34,400 --> 01:22:36,400 Speaker 1: these artists at one point three or four point five 1969 01:22:36,439 --> 01:22:39,280 Speaker 1: million dollar deal. They have a five hundred thousand dollar advance, 1970 01:22:39,320 --> 01:22:41,800 Speaker 1: They moved the house, they're chilling, smoke a weed. They 1971 01:22:41,960 --> 01:22:44,280 Speaker 1: that was the goal. They didn't know there was I 1972 01:22:44,320 --> 01:22:46,839 Speaker 1: gotta work now. They didn't know there was something else besides. 1973 01:22:46,880 --> 01:22:49,360 Speaker 1: Do you see anytime you see those big deals with 1974 01:22:49,400 --> 01:22:53,639 Speaker 1: people like I signed for multimillion dollars nine nineteen times 1975 01:22:53,640 --> 01:22:56,120 Speaker 1: out of twin They're gonna that's gonna fail. What do 1976 01:22:56,120 --> 01:22:57,800 Speaker 1: you think of artists though, like a jail ectrynic is 1977 01:22:57,840 --> 01:22:59,360 Speaker 1: that won't put his music out. But you also say 1978 01:22:59,400 --> 01:23:01,559 Speaker 1: there's also to be a courage and creation, like some 1979 01:23:01,680 --> 01:23:04,040 Speaker 1: artists never really feel to me comfortable to really findly 1980 01:23:04,080 --> 01:23:06,240 Speaker 1: let that go to the world, Like how do you 1981 01:23:06,240 --> 01:23:08,040 Speaker 1: get artis to feel that way? Now this is ready, 1982 01:23:08,080 --> 01:23:09,720 Speaker 1: It's time to share this with the world, Like we 1983 01:23:09,760 --> 01:23:11,280 Speaker 1: have to get this. That's what I think. That's what 1984 01:23:11,400 --> 01:23:12,920 Speaker 1: I think a big job is for the n R. 1985 01:23:13,080 --> 01:23:15,439 Speaker 1: You have to you gotta think about what making a 1986 01:23:15,479 --> 01:23:18,600 Speaker 1: song is like, right. Imagine is going in a in 1987 01:23:18,640 --> 01:23:21,720 Speaker 1: a dark room and just like coming up with something 1988 01:23:21,720 --> 01:23:24,320 Speaker 1: in your head and mumbling right and then doing it, 1989 01:23:24,479 --> 01:23:26,960 Speaker 1: like how does that sound right? And then the whole 1990 01:23:27,000 --> 01:23:30,760 Speaker 1: world judging it. It's like that's good, that's bad. It's 1991 01:23:30,880 --> 01:23:34,360 Speaker 1: instantly now, instantly, and it's the scariest thing in the world. 1992 01:23:34,360 --> 01:23:36,240 Speaker 1: So imagine that you're working on that for a year, 1993 01:23:36,479 --> 01:23:39,120 Speaker 1: two years, and you're working on this album and the 1994 01:23:39,160 --> 01:23:41,920 Speaker 1: whole world hasn't heard. They have to trust you because 1995 01:23:41,920 --> 01:23:44,960 Speaker 1: you're like the first fan. You're in there telling them, yeah, 1996 01:23:44,960 --> 01:23:47,519 Speaker 1: this is dope or this is whack, and they have 1997 01:23:47,600 --> 01:23:49,880 Speaker 1: to really you have to really make them comfortable to 1998 01:23:49,960 --> 01:23:53,200 Speaker 1: hand over that master, So like, YO, bring this home 1999 01:23:53,479 --> 01:23:55,600 Speaker 1: because they put their whole life into this and they 2000 01:23:55,600 --> 01:23:57,519 Speaker 1: don't want to be embarrassed. You don't want to be 2001 01:23:57,560 --> 01:23:59,960 Speaker 1: and then make something coin with Can you imagine drop 2002 01:24:00,000 --> 01:24:03,599 Speaker 1: know what the dropping a whack albums feel like? Think 2003 01:24:03,640 --> 01:24:06,439 Speaker 1: about it. Imagine imagine working on something for like a year, 2004 01:24:06,560 --> 01:24:09,519 Speaker 1: six months, two years and people just online roasting you, 2005 01:24:09,680 --> 01:24:17,800 Speaker 1: likesh put the Michael Jordan's face on your album. That 2006 01:24:19,160 --> 01:24:21,920 Speaker 1: has to be the absolute worst feeling in the whole world. 2007 01:24:23,200 --> 01:24:25,760 Speaker 1: This is this is your this is your artistic expression, 2008 01:24:26,120 --> 01:24:28,240 Speaker 1: and people are just shipping on you left the right. 2009 01:24:28,479 --> 01:24:30,040 Speaker 1: No one wants to feel like that. So you have 2010 01:24:30,080 --> 01:24:32,600 Speaker 1: to make the people feel comfortable that I'm not going 2011 01:24:32,640 --> 01:24:35,200 Speaker 1: to embarrass myself. This is gonna go great and people 2012 01:24:35,240 --> 01:24:37,240 Speaker 1: are gonna love it. But that moment before that the 2013 01:24:37,280 --> 01:24:39,240 Speaker 1: album is about to hit, it's the scariest time in 2014 01:24:39,240 --> 01:24:41,360 Speaker 1: the whole world. It's exciting, but it's scary because you 2015 01:24:41,360 --> 01:24:43,080 Speaker 1: don't know what people are gonna say. Are you just 2016 01:24:43,120 --> 01:24:45,120 Speaker 1: eating by standards? I think when you though you love 2017 01:24:45,160 --> 01:24:46,800 Speaker 1: to we'll get to watch your second album, we watch 2018 01:24:46,880 --> 01:24:48,479 Speaker 1: the first album. The fact that it came in like 2019 01:24:48,640 --> 01:24:51,040 Speaker 1: number two. You was upset about that, right, because you 2020 01:24:51,040 --> 01:24:53,400 Speaker 1: still have the creative goals, Like we didn't remember I 2021 01:24:53,479 --> 01:24:56,960 Speaker 1: took the market, you know, to understand the market. I didn't. 2022 01:24:57,000 --> 01:24:59,280 Speaker 1: I was not experienced as an executive. Is my first album. 2023 01:24:59,320 --> 01:25:01,920 Speaker 1: So we fought first certain release date, not knowing that 2024 01:25:02,000 --> 01:25:06,400 Speaker 1: the Frozen soundtrack was gonna come out. So when they 2025 01:25:06,439 --> 01:25:08,400 Speaker 1: were like, yeah, you guys probably gonna come in number 2026 01:25:08,400 --> 01:25:10,559 Speaker 1: two because of the Frozen soundtrack, I'm like, what's Frozen? 2027 01:25:12,040 --> 01:25:14,160 Speaker 1: I don't know that. You know, every other artist, probably 2028 01:25:14,160 --> 01:25:17,120 Speaker 1: being the country artist, being everybody in the Frozen cuntrack 2029 01:25:17,120 --> 01:25:20,120 Speaker 1: came out of nowhere, and that was like depressing because 2030 01:25:20,360 --> 01:25:23,000 Speaker 1: being number one, including with the Grammys and crive goals, 2031 01:25:23,040 --> 01:25:25,240 Speaker 1: that was another goal. So we came to number two 2032 01:25:25,240 --> 01:25:26,840 Speaker 1: and I was really I was really depressed for a 2033 01:25:26,840 --> 01:25:28,479 Speaker 1: little bit. I was thinking the house just like just 2034 01:25:28,560 --> 01:25:30,840 Speaker 1: I don't really want to go nowhere. People call me like, 2035 01:25:30,840 --> 01:25:32,639 Speaker 1: are you talking about people love the album? Still number 2036 01:25:32,640 --> 01:25:37,040 Speaker 1: one Hip hop R and B. It's so right, nah, nah, 2037 01:25:37,040 --> 01:25:40,160 Speaker 1: it's number two. So being but after a while, you know, 2038 01:25:40,200 --> 01:25:41,880 Speaker 1: you're still being the number one in the world a 2039 01:25:42,000 --> 01:25:44,400 Speaker 1: rap out. I'm still huge accomplishment. R and B being 2040 01:25:44,479 --> 01:25:46,479 Speaker 1: number two losing to the Frozen soundtrack, Like I watched 2041 01:25:46,479 --> 01:25:48,840 Speaker 1: the movie and I felt better. I think this movie 2042 01:25:48,920 --> 01:25:50,960 Speaker 1: is dope. Could you work with an artist that you 2043 01:25:51,000 --> 01:25:57,559 Speaker 1: don't like as a musically as a person, Like no, musically, Na, 2044 01:25:58,960 --> 01:26:00,479 Speaker 1: that's the tough part, Like you know what I'm saying. 2045 01:26:00,479 --> 01:26:02,120 Speaker 1: That's when you asked me, Like who am I working with? Next? 2046 01:26:02,240 --> 01:26:04,320 Speaker 1: Is like you gotta go like the artists work of 2047 01:26:04,360 --> 01:26:07,519 Speaker 1: the dopest, so like you're setting standard now right, Yeah, 2048 01:26:07,960 --> 01:26:10,040 Speaker 1: your friends with you would consider yourself real friends with 2049 01:26:10,479 --> 01:26:13,000 Speaker 1: great friends. But even if the record would sell and 2050 01:26:13,040 --> 01:26:15,519 Speaker 1: you just don't like it, you just wouldn't know. Because 2051 01:26:15,520 --> 01:26:17,640 Speaker 1: that goes against what I was talking about earlier. For 2052 01:26:17,760 --> 01:26:19,920 Speaker 1: I was like going to the store, like you know 2053 01:26:20,000 --> 01:26:21,640 Speaker 1: that the type of girls that I like to like 2054 01:26:22,160 --> 01:26:24,080 Speaker 1: places I like to go, I like, I like the 2055 01:26:24,120 --> 01:26:26,320 Speaker 1: cool ship. I like I like the ship that being dope, 2056 01:26:26,360 --> 01:26:27,760 Speaker 1: I like people going on to be like I really 2057 01:26:27,800 --> 01:26:32,240 Speaker 1: liked your album. If I can't make like um, I'm 2058 01:26:32,280 --> 01:26:34,600 Speaker 1: not sold a bunch of records and nobody really liked it, 2059 01:26:34,600 --> 01:26:36,040 Speaker 1: It's kind of like I would if I made like 2060 01:26:36,080 --> 01:26:38,320 Speaker 1: Chinning back in the day, how did you I was 2061 01:26:38,360 --> 01:26:43,400 Speaker 1: thinking about sold three million copies right, And I'm like, yo, 2062 01:26:43,439 --> 01:26:44,880 Speaker 1: may you want to go to the chine show tonight 2063 01:26:44,880 --> 01:26:48,599 Speaker 1: And she's like, get out of here, out my face. Man, 2064 01:26:49,160 --> 01:26:51,280 Speaker 1: I would hate myself, you know what I'm saying. It's 2065 01:26:51,280 --> 01:26:53,599 Speaker 1: still because it's still that's not dope, Like I still 2066 01:26:53,600 --> 01:26:55,759 Speaker 1: want to be dope. I never want like the sales 2067 01:26:55,840 --> 01:26:58,519 Speaker 1: is no, it's not my being dope and me and 2068 01:26:58,520 --> 01:27:00,919 Speaker 1: it was still number one to me out of everything 2069 01:27:01,120 --> 01:27:03,840 Speaker 1: I do. Like I even like I don't even like 2070 01:27:04,840 --> 01:27:07,800 Speaker 1: go crazy on social media or nothing because it's tough 2071 01:27:07,840 --> 01:27:09,439 Speaker 1: for me to do stuff. It's tough for me to 2072 01:27:09,520 --> 01:27:10,960 Speaker 1: do stuff like this because I'd be like, man, do 2073 01:27:11,000 --> 01:27:13,000 Speaker 1: interviews whack like you know what I mean? Like, but 2074 01:27:13,120 --> 01:27:15,160 Speaker 1: so I have to, like I really working. We did 2075 01:27:15,160 --> 01:27:17,720 Speaker 1: like the Rosenthalls and Mary Choy and these things. Yeah, 2076 01:27:18,439 --> 01:27:20,920 Speaker 1: Like I like, I think you guys are dope, Like 2077 01:27:20,960 --> 01:27:22,639 Speaker 1: you know what I mean. I listened to the podcast. 2078 01:27:22,720 --> 01:27:24,000 Speaker 1: I think it's dope. I think you guys do your 2079 01:27:24,040 --> 01:27:26,240 Speaker 1: research thing. It's ill like being a rap radar. It's ill, 2080 01:27:26,800 --> 01:27:28,280 Speaker 1: you know what I mean? What else is ill? That? 2081 01:27:28,360 --> 01:27:30,280 Speaker 1: No matter what, like you said, you felt kind of 2082 01:27:30,320 --> 01:27:33,559 Speaker 1: Funny leaving Jeremiah leaving Dirt, but you stay with YG 2083 01:27:33,720 --> 01:27:35,240 Speaker 1: like it was adamant that you was still gonna be 2084 01:27:35,280 --> 01:27:37,240 Speaker 1: involved with his second album even though you went off 2085 01:27:37,240 --> 01:27:39,880 Speaker 1: to you know, like how did you make that happen? Well, 2086 01:27:40,360 --> 01:27:42,800 Speaker 1: it's like me and y G I was like our 2087 01:27:42,880 --> 01:27:45,479 Speaker 1: first time. That was his debut album and that was 2088 01:27:45,520 --> 01:27:48,000 Speaker 1: my debut album, you know what I'm saying. So after 2089 01:27:48,040 --> 01:27:49,960 Speaker 1: you have a connection like that with somebody, like you're 2090 01:27:50,000 --> 01:27:52,439 Speaker 1: not gonna get that up, Like you know what I'm saying, 2091 01:27:52,439 --> 01:27:54,559 Speaker 1: Like you gotta see that all the way through. And 2092 01:27:54,640 --> 01:27:56,519 Speaker 1: you know, I hope to work with my whole life. 2093 01:27:56,760 --> 01:27:59,240 Speaker 1: I don't hope we do fifty albums together, you know 2094 01:27:59,280 --> 01:28:01,640 Speaker 1: what I'm saying, Like, is that that feeling that you 2095 01:28:01,640 --> 01:28:03,880 Speaker 1: guys did together, Like when we're just looking at each 2096 01:28:03,880 --> 01:28:05,720 Speaker 1: other like Okay, we gotta make this work, you know 2097 01:28:05,760 --> 01:28:08,479 Speaker 1: what I mean? Like that we experienced that together, we're 2098 01:28:08,479 --> 01:28:10,400 Speaker 1: almost like war buddies, you know what I'm saying, So 2099 01:28:10,479 --> 01:28:13,559 Speaker 1: like we're not. That was just incredible. So I can't 2100 01:28:13,560 --> 01:28:15,599 Speaker 1: I can't do that. So now, like that's the type 2101 01:28:15,600 --> 01:28:18,000 Speaker 1: of connection I'm used to with my artists, Like with Travis, 2102 01:28:18,040 --> 01:28:20,519 Speaker 1: I've known artist Travis for since two thousand and twelve 2103 01:28:20,520 --> 01:28:22,320 Speaker 1: and then for a long time because before you had 2104 01:28:22,320 --> 01:28:24,000 Speaker 1: his record there, you know, so to see him the 2105 01:28:24,040 --> 01:28:26,360 Speaker 1: number one album is one of the most gratifying things, 2106 01:28:26,400 --> 01:28:28,120 Speaker 1: like I haven't seen in my whole life, you know 2107 01:28:28,160 --> 01:28:31,160 Speaker 1: what I mean? Seeing why do you have platinum records? 2108 01:28:31,160 --> 01:28:32,920 Speaker 1: It's gratifying, Like you know what I mean. It's like 2109 01:28:32,920 --> 01:28:35,639 Speaker 1: your brothers getting something like when they when when when 2110 01:28:35,640 --> 01:28:38,400 Speaker 1: they do good? I do good? So you never you 2111 01:28:38,439 --> 01:28:41,160 Speaker 1: can't go work with like somebody whack over there and 2112 01:28:41,240 --> 01:28:42,880 Speaker 1: be like, yo, we're just doing it for money, because 2113 01:28:42,880 --> 01:28:45,640 Speaker 1: that's not when I'm selling the studio. I'm like, we 2114 01:28:45,640 --> 01:28:47,559 Speaker 1: gotta be the dopest, we gotta be the elliest, Like 2115 01:28:47,640 --> 01:28:49,760 Speaker 1: we gotta be number one. We gotta tap take out 2116 01:28:49,760 --> 01:28:52,400 Speaker 1: Who's number one? I can't start now being like no, 2117 01:28:52,600 --> 01:28:54,840 Speaker 1: this this play gonna work, you know what I mean? 2118 01:28:55,160 --> 01:28:56,640 Speaker 1: The fun out there, but what was the approach was 2119 01:28:56,680 --> 01:28:58,559 Speaker 1: still brazy and also he had to go through things 2120 01:28:58,600 --> 01:29:00,200 Speaker 1: like he got shot, Like how will you do with 2121 01:29:00,240 --> 01:29:02,439 Speaker 1: all that stuff? Still Crazy was just dope because the 2122 01:29:02,479 --> 01:29:04,280 Speaker 1: album is called Still Crazy for a little bit because 2123 01:29:04,280 --> 01:29:06,600 Speaker 1: we wanted to have like a continuation off because we 2124 01:29:06,600 --> 01:29:08,519 Speaker 1: have we had to have a continuation off of my 2125 01:29:08,600 --> 01:29:11,120 Speaker 1: crazy life. That was the idea, and that's why the 2126 01:29:11,360 --> 01:29:13,559 Speaker 1: intros the same had the father instead of the mother. 2127 01:29:13,640 --> 01:29:15,680 Speaker 1: It was a continuation of for my crazy life. I 2128 01:29:15,720 --> 01:29:18,120 Speaker 1: was always the whole time. And then um, you know 2129 01:29:18,200 --> 01:29:19,880 Speaker 1: we had like that's funny. The last song on the 2130 01:29:19,880 --> 01:29:21,800 Speaker 1: album is also the first song that we recorded, police 2131 01:29:21,800 --> 01:29:23,760 Speaker 1: get Away with Murder, and we wanted to put that 2132 01:29:23,760 --> 01:29:27,040 Speaker 1: out right away. We recorded like last m December two 2133 01:29:27,080 --> 01:29:32,000 Speaker 1: thousand and fourteen, generate to that fifteen. But you're like, nah, 2134 01:29:32,040 --> 01:29:35,760 Speaker 1: black people still gonna getting shot and unfortunately even more 2135 01:29:35,760 --> 01:29:38,080 Speaker 1: relevant now. Yeah, we're like and and it was crazy 2136 01:29:38,120 --> 01:29:39,800 Speaker 1: because at that time it was like a bunch of 2137 01:29:39,800 --> 01:29:41,960 Speaker 1: other people getting murdered. So that was the first thing 2138 01:29:42,000 --> 01:29:44,080 Speaker 1: and that we was going through it, you know, trying 2139 01:29:44,120 --> 01:29:46,040 Speaker 1: to figure out the records and records are coming slow. 2140 01:29:46,520 --> 01:29:48,880 Speaker 1: And then life happened. Life became over to her. You 2141 01:29:48,920 --> 01:29:50,720 Speaker 1: know that that was one of the worst nights ever, 2142 01:29:50,960 --> 01:29:53,360 Speaker 1: when you know, we were all in the studio. It 2143 01:29:53,439 --> 01:29:57,479 Speaker 1: was tacoed Tuesday. Um, everybody was chelling and I went 2144 01:29:57,520 --> 01:30:00,040 Speaker 1: out with a girl who just sing to eat on 2145 01:30:00,080 --> 01:30:02,840 Speaker 1: the black Roller Studio City and like I'm not a block, 2146 01:30:02,880 --> 01:30:05,160 Speaker 1: remember like five minutes away and you're like, yo, man, 2147 01:30:05,160 --> 01:30:09,200 Speaker 1: why you just got shot? And you know, like he's 2148 01:30:09,200 --> 01:30:11,400 Speaker 1: just it was just dark. It was just like man 2149 01:30:11,600 --> 01:30:13,920 Speaker 1: like that was just like like you know, it's somebody 2150 01:30:13,960 --> 01:30:16,080 Speaker 1: like y'all remember that everything I just described, like imagine 2151 01:30:16,120 --> 01:30:18,479 Speaker 1: that person, like you could lose them, you know what 2152 01:30:18,560 --> 01:30:20,800 Speaker 1: I mean. And that night at the hospital and being 2153 01:30:20,840 --> 01:30:23,840 Speaker 1: in I was just like a horrible place. But you 2154 01:30:23,880 --> 01:30:26,320 Speaker 1: know one thing about why g he's resilting. He popped up, 2155 01:30:26,479 --> 01:30:31,839 Speaker 1: crutches moving around, came in recorded um who caught it all? 2156 01:30:32,360 --> 01:30:35,320 Speaker 1: Who shot me? The next day? And crutches in the studio. 2157 01:30:35,400 --> 01:30:37,040 Speaker 1: It's one of the most amazing things I've ever seen. 2158 01:30:37,880 --> 01:30:40,519 Speaker 1: I feel like that album isn't as appreciated as My 2159 01:30:40,560 --> 01:30:43,479 Speaker 1: Crazy Life. Do you feel that way or Um? Creatively 2160 01:30:43,520 --> 01:30:45,439 Speaker 1: it is. I don't think it has to hit records 2161 01:30:45,439 --> 01:30:47,320 Speaker 1: on it like My Crazy Life had, And like that's 2162 01:30:47,360 --> 01:30:49,479 Speaker 1: like the other intangibles like maybe like the rollout could 2163 01:30:49,479 --> 01:30:51,479 Speaker 1: have been a little bit better, but as far as 2164 01:30:51,520 --> 01:30:54,200 Speaker 1: like sonically, I feel like I feel like, you know, remember, 2165 01:30:54,200 --> 01:30:56,840 Speaker 1: that's that's why the idea has to be, That's why 2166 01:30:56,880 --> 01:31:00,400 Speaker 1: your goals can't be a hundred percent into the all 2167 01:31:00,439 --> 01:31:02,479 Speaker 1: the other stuff. That's why I completed the idea. We 2168 01:31:02,520 --> 01:31:04,880 Speaker 1: completed the idea like we wanted to do, and I 2169 01:31:04,920 --> 01:31:06,840 Speaker 1: think we nailed it. You know, we didn't have to 2170 01:31:06,920 --> 01:31:09,240 Speaker 1: hit on it. It happens. We're gonna have more shots. 2171 01:31:09,320 --> 01:31:11,200 Speaker 1: But one thing that people are gonna be able to 2172 01:31:11,240 --> 01:31:12,880 Speaker 1: do is go back and say the album is dope. 2173 01:31:13,880 --> 01:31:17,599 Speaker 1: I look at the album like his American Gangster. They'll 2174 01:31:17,600 --> 01:31:20,280 Speaker 1: be appreciated more later, you know, later, Like American Gangster 2175 01:31:20,880 --> 01:31:23,920 Speaker 1: didn't have any hits, but now people say it's that. 2176 01:31:24,160 --> 01:31:25,639 Speaker 1: Lot of people say it's their favorite jay Z album. 2177 01:31:25,680 --> 01:31:27,000 Speaker 1: A lot of people say the Fairy Jayz. A lot 2178 01:31:27,000 --> 01:31:28,639 Speaker 1: of people say it's the top three jay Z album. 2179 01:31:28,760 --> 01:31:30,479 Speaker 1: You know what I'm saying. But like you know, rock 2180 01:31:30,520 --> 01:31:32,360 Speaker 1: Boys was in the hit, but it's dope or something 2181 01:31:32,439 --> 01:31:36,880 Speaker 1: him not not not the number of in any empire 2182 01:31:36,920 --> 01:31:39,160 Speaker 1: state of mind. I also feel like he doesn't get 2183 01:31:39,200 --> 01:31:41,519 Speaker 1: in a process. For Donald Trump, like obviously, you know, 2184 01:31:41,600 --> 01:31:43,720 Speaker 1: thinking of the world we're in right now, and how 2185 01:31:43,760 --> 01:31:45,680 Speaker 1: strong that statement that was, Like how did that come 2186 01:31:45,720 --> 01:31:47,400 Speaker 1: together that he was going to really heat that out 2187 01:31:47,400 --> 01:31:48,800 Speaker 1: of his own you know, And that's why I said 2188 01:31:48,880 --> 01:31:52,160 Speaker 1: one thing about what he's like. He always he's always growing, 2189 01:31:52,560 --> 01:31:55,320 Speaker 1: and you know he's he's not always been like the 2190 01:31:55,360 --> 01:31:58,200 Speaker 1: most political person. But he felt something and he went 2191 01:31:58,280 --> 01:32:00,479 Speaker 1: in and spoke his mind about it, and then and 2192 01:32:00,560 --> 01:32:02,360 Speaker 1: stuck to it and stuck to his guns, even with 2193 01:32:02,400 --> 01:32:05,120 Speaker 1: the pressure, even when the song and all that they 2194 01:32:05,160 --> 01:32:07,240 Speaker 1: wanted him to do, even when editing the song, even 2195 01:32:07,240 --> 01:32:10,360 Speaker 1: when um, you know, the Secret Service reaching out acting 2196 01:32:10,400 --> 01:32:12,280 Speaker 1: to see the lyrics to the whole album. You know 2197 01:32:12,280 --> 01:32:14,880 Speaker 1: what I'm saying, Like he could have went and done anything, 2198 01:32:14,880 --> 01:32:16,519 Speaker 1: he could have fell back. He just had it as 2199 01:32:16,640 --> 01:32:18,799 Speaker 1: a viral song. He pushed to get on his album 2200 01:32:19,120 --> 01:32:21,160 Speaker 1: and he named his toy that so like he's over there, 2201 01:32:21,200 --> 01:32:27,080 Speaker 1: like he's he's got the Donald Trump. He's campaigning, you know, 2202 01:32:28,040 --> 01:32:30,000 Speaker 1: and and and and so to the kids, that's like 2203 01:32:30,080 --> 01:32:32,760 Speaker 1: rock boys, Like that's not probably the biggest hit, but 2204 01:32:32,800 --> 01:32:36,960 Speaker 1: that song is probably the most important song in his career, 2205 01:32:37,000 --> 01:32:38,680 Speaker 1: taking off for life of his own. Wow, you think 2206 01:32:38,680 --> 01:32:40,840 Speaker 1: it's the most important song his career? And think about it, 2207 01:32:40,840 --> 01:32:42,160 Speaker 1: Like when he does the show, he closed the show, 2208 01:32:42,400 --> 01:32:44,080 Speaker 1: Donald Trump, You don't close with who do you love? 2209 01:32:44,200 --> 01:32:46,599 Speaker 1: You don't close with my nigger. He closed with Donald Trump, 2210 01:32:46,840 --> 01:32:49,280 Speaker 1: because that's what it's getting to the people, Like, that's 2211 01:32:49,280 --> 01:32:51,120 Speaker 1: what people feel, and that's what hip hop is about. 2212 01:32:51,160 --> 01:32:53,920 Speaker 1: You know. Hip hops about expressing what the people are feeling. 2213 01:32:54,040 --> 01:32:55,760 Speaker 1: And I feel really proud to be a part of 2214 01:32:55,800 --> 01:32:57,920 Speaker 1: something that was like pretty much one of the only 2215 01:32:57,920 --> 01:33:00,679 Speaker 1: protest records this year, and definitely the only protest records 2216 01:33:00,680 --> 01:33:02,799 Speaker 1: that were pushed, Like we pushed that as a record, 2217 01:33:02,880 --> 01:33:04,679 Speaker 1: like you know what I mean, like in the time, 2218 01:33:04,800 --> 01:33:06,840 Speaker 1: in a time where like it's a lot of things 2219 01:33:06,840 --> 01:33:08,400 Speaker 1: going on, like I was in the march. I was 2220 01:33:08,439 --> 01:33:11,160 Speaker 1: in the march and a Black Black Lives Ladder March. 2221 01:33:11,439 --> 01:33:13,680 Speaker 1: I'll shared on the video later and um in l 2222 01:33:13,720 --> 01:33:17,880 Speaker 1: A and we were marching in Inglewood was shutting down 2223 01:33:17,880 --> 01:33:20,680 Speaker 1: the four or five and then only two songs were 2224 01:33:20,760 --> 01:33:23,519 Speaker 1: chanted and hours We're gonna be all right and fun 2225 01:33:23,640 --> 01:33:26,400 Speaker 1: Donald Trump And when he saw the sharing, Donald Trump, 2226 01:33:26,439 --> 01:33:28,519 Speaker 1: I was like, Okay, cool, this is one. This is 2227 01:33:28,560 --> 01:33:30,640 Speaker 1: this is what, this is what it's all about, Like 2228 01:33:30,760 --> 01:33:33,320 Speaker 1: this is this is why I'm in the music business. 2229 01:33:33,400 --> 01:33:36,280 Speaker 1: And I don't work for Mit Sacks. Heally wanted to 2230 01:33:36,280 --> 01:33:39,680 Speaker 1: do I did, like towns and you wanted to work 2231 01:33:39,720 --> 01:33:41,720 Speaker 1: in Nike right now. I wanted to work in Nike 2232 01:33:41,800 --> 01:33:44,120 Speaker 1: town and I interned from going Mit Sacks in high school. 2233 01:33:44,600 --> 01:33:48,000 Speaker 1: So like in Fox News, ironically, I was gonna say 2234 01:33:48,000 --> 01:33:49,759 Speaker 1: that album stuff, I think this might be my favorite 2235 01:33:49,800 --> 01:33:52,960 Speaker 1: rap album this year. So why he did it again? 2236 01:33:53,000 --> 01:33:56,120 Speaker 1: Album a year so far, so good? Yeah, not two 2237 01:33:56,160 --> 01:33:59,280 Speaker 1: years the other year, right, yeah? More or less? Yeah 2238 01:33:59,720 --> 01:34:02,720 Speaker 1: were number We were number six on the Billboard list 2239 01:34:02,760 --> 01:34:05,000 Speaker 1: that came out the other day in all genres. So 2240 01:34:05,120 --> 01:34:07,679 Speaker 1: like that, That's like what I still get nervous about. 2241 01:34:07,680 --> 01:34:09,800 Speaker 1: It's like those year end lists, like I read all 2242 01:34:09,800 --> 01:34:13,040 Speaker 1: of them. You care about those? Oh yeah? Right? Are 2243 01:34:14,280 --> 01:34:18,200 Speaker 1: times we have to do the list. It's like you 2244 01:34:18,240 --> 01:34:19,920 Speaker 1: saw getting the ones. These are the ones that didn't 2245 01:34:19,920 --> 01:34:24,160 Speaker 1: make it. I'm like, I want, I want, I want 2246 01:34:24,160 --> 01:34:25,720 Speaker 1: to in it this year, you know what I mean? 2247 01:34:25,800 --> 01:34:27,720 Speaker 1: I want I want two albums and that motherfucker this year. 2248 01:34:27,720 --> 01:34:33,479 Speaker 1: And I expect every list of album Yeah, you know, 2249 01:34:33,560 --> 01:34:36,639 Speaker 1: I just and that's that's that's that's always the goals. 2250 01:34:36,760 --> 01:34:39,559 Speaker 1: But being number one is nice, and having something like 2251 01:34:39,600 --> 01:34:42,479 Speaker 1: Donald Trump being sold culturally relevant really nice. But speaking 2252 01:34:42,479 --> 01:34:44,080 Speaker 1: because what's going on with you with this cameraman? And 2253 01:34:44,120 --> 01:34:46,840 Speaker 1: also I think he took the fixed picture of Bill 2254 01:34:46,840 --> 01:34:48,800 Speaker 1: Clinton and Travis Scott. What the hell are they talking 2255 01:34:48,800 --> 01:34:51,360 Speaker 1: about it? America? Man, they looked too happy to be chatting. 2256 01:34:51,439 --> 01:34:54,080 Speaker 1: I have no idea what they was talking about. I 2257 01:34:54,120 --> 01:34:57,160 Speaker 1: was just there because what happened was, um, we're talking 2258 01:34:57,400 --> 01:34:59,880 Speaker 1: and got the guy's name. Man, this politician came at 2259 01:34:59,880 --> 01:35:01,600 Speaker 1: the traveling you want to go meet the president. So 2260 01:35:01,600 --> 01:35:04,440 Speaker 1: the whole time I'm thinking, like it was like, um, Obama, 2261 01:35:05,240 --> 01:35:07,640 Speaker 1: I think it's Obama. And we get there, it's like 2262 01:35:07,680 --> 01:35:09,479 Speaker 1: Bill Clinton, He's like, come with me, bring a camera, 2263 01:35:09,640 --> 01:35:11,760 Speaker 1: you know what I'm saying. So like we're getting close. 2264 01:35:11,760 --> 01:35:14,320 Speaker 1: We're getting close, and like it was just like it 2265 01:35:14,400 --> 01:35:16,320 Speaker 1: was like a round table. Like everybody in there. It's 2266 01:35:16,360 --> 01:35:19,760 Speaker 1: like Beyonce, Chance to wrapp U and Carmelo Anthony and 2267 01:35:19,840 --> 01:35:25,920 Speaker 1: it's just like, oh, man, I admit it. You bold 2268 01:35:25,960 --> 01:35:28,080 Speaker 1: man used to put your joint out like paparazzi. But 2269 01:35:28,240 --> 01:35:30,400 Speaker 1: now I was scared. I was scared because it was 2270 01:35:30,439 --> 01:35:32,880 Speaker 1: like it was like a round table with like jay 2271 01:35:32,960 --> 01:35:37,559 Speaker 1: Z Punch from t D, Travis and like Bill Clay 2272 01:35:37,800 --> 01:35:40,800 Speaker 1: just talking. I'm like, whoa, you know what I mean? 2273 01:35:41,320 --> 01:35:43,200 Speaker 1: And they were all like kind of in there and 2274 01:35:43,240 --> 01:35:46,000 Speaker 1: like um punch. His boy kind of taught me, like 2275 01:35:46,000 --> 01:35:53,200 Speaker 1: you want to take the photo like I tell you 2276 01:35:53,200 --> 01:36:01,040 Speaker 1: on my camera if the camera died. So I'm like, 2277 01:36:01,080 --> 01:36:02,599 Speaker 1: so Travis like keep looking like give me a camera, 2278 01:36:02,640 --> 01:36:04,960 Speaker 1: I'm gonna take the photo because he because he wanted 2279 01:36:04,960 --> 01:36:06,640 Speaker 1: to just take the photos himself, because he like he 2280 01:36:06,760 --> 01:36:10,240 Speaker 1: liked the grains of a camera, like destructions. So that 2281 01:36:10,280 --> 01:36:12,040 Speaker 1: other guy who's put clemon photographers like wy, don't you 2282 01:36:12,040 --> 01:36:13,720 Speaker 1: take my camera like not like six camera know how 2283 01:36:13,720 --> 01:36:15,439 Speaker 1: to use it that at all. Because Travis was the 2284 01:36:15,439 --> 01:36:17,719 Speaker 1: one who actually got me into give me the confidence 2285 01:36:17,720 --> 01:36:19,080 Speaker 1: to get a photography and I'm gona tell you have 2286 01:36:19,120 --> 01:36:21,000 Speaker 1: to tell the story, right. So then they gave me 2287 01:36:21,240 --> 01:36:22,760 Speaker 1: give me his phone, like you just take this phone, 2288 01:36:22,800 --> 01:36:24,639 Speaker 1: and he took the picture. And that's how to picture 2289 01:36:24,640 --> 01:36:26,920 Speaker 1: of my viral. And that's if it's I like, I 2290 01:36:26,960 --> 01:36:30,040 Speaker 1: like taking photos because it's like remember after the whole 2291 01:36:30,040 --> 01:36:32,920 Speaker 1: story of of the ups and downs, I don't take 2292 01:36:32,960 --> 01:36:34,679 Speaker 1: any of this shift for granted. No more, I don't 2293 01:36:34,720 --> 01:36:36,599 Speaker 1: take any day for grant. I don't take this for granted. 2294 01:36:36,960 --> 01:36:38,400 Speaker 1: I know one day I'm gonna be able to go 2295 01:36:38,439 --> 01:36:40,200 Speaker 1: back and I would like to see the pictures, Like 2296 01:36:40,600 --> 01:36:43,479 Speaker 1: you might forget a day like this, right, but if 2297 01:36:43,520 --> 01:36:46,400 Speaker 1: I have a photo of you guys, then I'll never 2298 01:36:46,439 --> 01:36:48,120 Speaker 1: forget it. You know what I'm saying, because I have 2299 01:36:48,280 --> 01:36:50,120 Speaker 1: put me right back to how I felt in that moment. 2300 01:36:50,320 --> 01:36:51,840 Speaker 1: And you know, it's the craziest thing you ever heard 2301 01:36:51,840 --> 01:36:54,599 Speaker 1: about digital archiving, you know what that said? Like, so 2302 01:36:54,680 --> 01:36:57,439 Speaker 1: like when our kids, when we die, our kids and 2303 01:36:57,479 --> 01:37:00,280 Speaker 1: grandkids are gonna know exactly who we are, Big Stone, 2304 01:37:00,280 --> 01:37:02,679 Speaker 1: who you are online? So all your snapshot, your tweets, 2305 01:37:02,680 --> 01:37:05,960 Speaker 1: your Facebook messages and Instagram, it's all going to be 2306 01:37:06,000 --> 01:37:08,640 Speaker 1: collected and then people are gonna look at that and 2307 01:37:08,680 --> 01:37:11,120 Speaker 1: feel like this is who my grandfather was, this is 2308 01:37:11,120 --> 01:37:15,120 Speaker 1: who my great uncle was. It's crazy, right think about it. Yeah, 2309 01:37:15,200 --> 01:37:16,800 Speaker 1: so I want I'm trying to document. I'm trying to 2310 01:37:16,800 --> 01:37:19,959 Speaker 1: carry minds when they see mine, Like, y, my granddad 2311 01:37:20,040 --> 01:37:22,240 Speaker 1: was dope, you know, like we can see his flies 2312 01:37:23,680 --> 01:37:26,519 Speaker 1: was let Yeah, exactly back to the Made of America 2313 01:37:26,720 --> 01:37:29,160 Speaker 1: Travis and Bill, Bill, even though it's musical, even know 2314 01:37:29,240 --> 01:37:31,599 Speaker 1: who you was. That was tripping me out. Like they 2315 01:37:31,640 --> 01:37:33,400 Speaker 1: were talking about the music, they were talking. It was 2316 01:37:33,479 --> 01:37:35,240 Speaker 1: just kicking it, like and t was a big day 2317 01:37:35,280 --> 01:37:36,720 Speaker 1: for Travis. He sent me a picture the other day 2318 01:37:36,720 --> 01:37:38,599 Speaker 1: like Y'll make sure, like, you know, get this frame. 2319 01:37:38,880 --> 01:37:40,960 Speaker 1: So it was like, I like that had a dope, yeah, 2320 01:37:42,600 --> 01:37:44,800 Speaker 1: you know, and Bill is a funny motherfucker man, so 2321 01:37:44,880 --> 01:37:46,680 Speaker 1: they over their cracking jokes, you know. I think like 2322 01:37:46,880 --> 01:37:48,439 Speaker 1: he was in there, you know, like that's kind of 2323 01:37:48,479 --> 01:37:51,000 Speaker 1: like Hillary, you want to be have that approach. But 2324 01:37:51,400 --> 01:37:52,800 Speaker 1: I think it's dope that they were in the field 2325 01:37:52,840 --> 01:37:55,720 Speaker 1: like that. That's crazy. Yeah. So I love I love 2326 01:37:55,760 --> 01:37:57,839 Speaker 1: taking the photos like I got im for two seventeen. 2327 01:37:57,920 --> 01:37:59,560 Speaker 1: My goal is to do a few galleries, you know 2328 01:37:59,600 --> 01:38:01,040 Speaker 1: what I mean, want to do like doing a lot 2329 01:38:01,080 --> 01:38:03,519 Speaker 1: of black and white too, right, Yeah, I read somewhere 2330 01:38:03,600 --> 01:38:05,880 Speaker 1: that like, you know, while some photographers are get to both, 2331 01:38:06,240 --> 01:38:07,920 Speaker 1: you better just to pick a color and stick with it. 2332 01:38:08,240 --> 01:38:10,040 Speaker 1: So like I'd rather just try to get good. So 2333 01:38:10,200 --> 01:38:12,320 Speaker 1: last year I was telling Travis I wanted to get 2334 01:38:12,360 --> 01:38:14,920 Speaker 1: in the photography, and he's really supportive, Like, you know, 2335 01:38:15,000 --> 01:38:17,639 Speaker 1: he's a great he's a great artist and multiple things. 2336 01:38:17,680 --> 01:38:19,240 Speaker 1: So he's like, if you didn't do it, do it 2337 01:38:19,320 --> 01:38:21,600 Speaker 1: black and white and do it on film. So the 2338 01:38:21,640 --> 01:38:24,599 Speaker 1: whole two dollars fifteen I just shot on film cameras 2339 01:38:24,640 --> 01:38:27,200 Speaker 1: for the whole year, and then this year I bought 2340 01:38:27,240 --> 01:38:29,240 Speaker 1: this cameras and gifts to myself to show like because 2341 01:38:29,240 --> 01:38:31,160 Speaker 1: this is digital, it's like a point of shoot. And 2342 01:38:31,200 --> 01:38:33,479 Speaker 1: then I was I'm just playing different styles, you know 2343 01:38:33,520 --> 01:38:35,360 Speaker 1: what I'm saying. So like now I was trying to 2344 01:38:35,400 --> 01:38:37,200 Speaker 1: shoot like the black and white I'm trying to do 2345 01:38:37,240 --> 01:38:39,200 Speaker 1: the tour lifestyle photos. And now what I'm doing is 2346 01:38:39,280 --> 01:38:42,200 Speaker 1: like a black and white paparazzi flash style, which is cool. 2347 01:38:42,360 --> 01:38:44,320 Speaker 1: So I'm gonna posting you guys. You guys wanna see 2348 01:38:44,320 --> 01:38:46,400 Speaker 1: it on my Instagram. It's like big bright like in 2349 01:38:46,479 --> 01:38:49,160 Speaker 1: your face. Is really cool. We're in it. Oh man, 2350 01:38:49,240 --> 01:38:51,040 Speaker 1: we out of man too much sick and more, too 2351 01:38:51,040 --> 01:38:53,040 Speaker 1: many jewels. Man, I gotta thank you too, My wife 2352 01:38:53,080 --> 01:38:54,880 Speaker 1: said hard cover. But you contributed to that. Thank you 2353 01:38:54,960 --> 01:38:57,200 Speaker 1: so much for I think Hall covers to the genius idea. Man. 2354 01:38:57,360 --> 01:38:59,799 Speaker 1: I showed love with that. Man, he was he inspired 2355 01:38:59,840 --> 01:39:01,479 Speaker 1: that to actually get it done. Man, when you had 2356 01:39:01,520 --> 01:39:02,880 Speaker 1: a great talk with her about it, like what it 2357 01:39:02,960 --> 01:39:05,720 Speaker 1: really meant because I grew up. You know, remember if 2358 01:39:05,760 --> 01:39:08,360 Speaker 1: I wasn't in music, I would be to take my 2359 01:39:08,479 --> 01:39:11,519 Speaker 1: job when I'm not. You wouldn't be the go to 2360 01:39:11,640 --> 01:39:13,760 Speaker 1: hip hop journalist. I'm not. I'm not. I'm not as 2361 01:39:13,760 --> 01:39:15,280 Speaker 1: good as to speaking as you are, you know what 2362 01:39:15,320 --> 01:39:17,640 Speaker 1: I'm saying. But I would. I definitely would have been 2363 01:39:17,640 --> 01:39:19,840 Speaker 1: a journalist. I would definitely probably work for a rap radar. 2364 01:39:20,320 --> 01:39:22,280 Speaker 1: I wouldn't been. I still think I'm a journalist. That's 2365 01:39:22,280 --> 01:39:24,280 Speaker 1: why I can't see that side coming out more you 2366 01:39:24,400 --> 01:39:26,040 Speaker 1: That's what I'm saying with the cameras. But I get 2367 01:39:26,080 --> 01:39:27,400 Speaker 1: you know, even when I used to blog for you, 2368 01:39:27,760 --> 01:39:29,560 Speaker 1: I used to get in a lot of trouble, Like 2369 01:39:29,680 --> 01:39:31,760 Speaker 1: I had people who were really because I was very oppinionated. 2370 01:39:31,840 --> 01:39:34,559 Speaker 1: My writing style was very comparative, you know what I'm saying. 2371 01:39:34,600 --> 01:39:36,519 Speaker 1: Oh yeah, what was your thing? He made a big 2372 01:39:36,600 --> 01:39:39,600 Speaker 1: statement about easy Wheezy and Jeezy right here. It was 2373 01:39:39,640 --> 01:39:42,200 Speaker 1: a new biggie jay Z and Nas for this generation. Yeah, 2374 01:39:42,680 --> 01:39:44,960 Speaker 1: the power of Easy Wheezy and Jeezy at that time, 2375 01:39:45,040 --> 01:39:47,320 Speaker 1: and like to really frame it against a Biggie jay 2376 01:39:47,360 --> 01:39:49,559 Speaker 1: and Nas. It was like that was a controversial statement 2377 01:39:49,640 --> 01:39:52,280 Speaker 1: back then, but people lost their ship, you know what 2378 01:39:52,320 --> 01:39:55,800 Speaker 1: I'm saying. So after a while after doing that and 2379 01:39:55,960 --> 01:39:57,960 Speaker 1: like because other people were right, they don't have to 2380 01:39:58,000 --> 01:39:59,720 Speaker 1: see people like in the office. So like imagine he 2381 01:39:59,800 --> 01:40:02,080 Speaker 1: roast something about somebody didn't have a meeting with them. 2382 01:40:02,120 --> 01:40:04,560 Speaker 1: The next day you're looking at you like you know 2383 01:40:05,680 --> 01:40:07,160 Speaker 1: this guy. So I was like, you know what, I 2384 01:40:07,200 --> 01:40:09,080 Speaker 1: got to find another medium, and I can't find that 2385 01:40:09,240 --> 01:40:12,120 Speaker 1: creative medium until um I did this. I'm gonna start 2386 01:40:12,120 --> 01:40:14,040 Speaker 1: a blog though i'mnn start writing again. I'm just gonna 2387 01:40:14,439 --> 01:40:16,760 Speaker 1: it's called I'm just like sick Moore dot Co. And 2388 01:40:16,800 --> 01:40:18,680 Speaker 1: I'm just gonna just start posting about stuff I just 2389 01:40:18,880 --> 01:40:21,200 Speaker 1: but it's like I gotta be like real easy about it, 2390 01:40:21,280 --> 01:40:23,200 Speaker 1: like what I post about. But I have opinions on ship, 2391 01:40:23,320 --> 01:40:24,400 Speaker 1: so I want to be like I'm not gonna be 2392 01:40:24,439 --> 01:40:26,360 Speaker 1: like Pete Rose. I'm not gonna really talking about the game. 2393 01:40:26,680 --> 01:40:28,519 Speaker 1: I think you should self published something like hardcover, or 2394 01:40:28,520 --> 01:40:30,960 Speaker 1: you should self published work too, because then you always 2395 01:40:31,000 --> 01:40:32,720 Speaker 1: want thing to have life, even though with such a 2396 01:40:32,760 --> 01:40:35,240 Speaker 1: digital age though, to have that tangible book though, like 2397 01:40:35,320 --> 01:40:36,960 Speaker 1: that will be there forever to you know, I was 2398 01:40:37,000 --> 01:40:38,360 Speaker 1: be those books. I want I want to I want 2399 01:40:38,360 --> 01:40:39,519 Speaker 1: to do that every year. I want to do like 2400 01:40:39,720 --> 01:40:41,360 Speaker 1: have a little books all on my photos and send 2401 01:40:41,400 --> 01:40:43,320 Speaker 1: it to my friends. With family frame photos, you know 2402 01:40:43,360 --> 01:40:45,320 Speaker 1: what I'm saying, just to have those memories, because I 2403 01:40:45,400 --> 01:40:47,800 Speaker 1: feel like if I just keep taking photos in like 2404 01:40:48,120 --> 01:40:50,360 Speaker 1: twenties ten five ten fetures, Like I look at old 2405 01:40:50,400 --> 01:40:52,679 Speaker 1: photos from like the nineties, and some of the photos 2406 01:40:52,720 --> 01:40:55,160 Speaker 1: aren't the illess photos, but they just like, in fact, 2407 01:40:55,160 --> 01:40:56,720 Speaker 1: do you even have a photo of him doing that? 2408 01:40:57,439 --> 01:40:59,360 Speaker 1: I remember this one biggie phone in particular, He's just 2409 01:40:59,520 --> 01:41:01,240 Speaker 1: chilling in and it's like a tape recorder there and 2410 01:41:01,280 --> 01:41:03,320 Speaker 1: he's just kind of zoned out. It's just dope that 2411 01:41:03,360 --> 01:41:05,160 Speaker 1: you had like a black and white biggie So like, 2412 01:41:05,240 --> 01:41:07,519 Speaker 1: I like all these photos of taking on the Travis 2413 01:41:07,720 --> 01:41:09,880 Speaker 1: and y G and each generation and you know, you 2414 01:41:09,960 --> 01:41:12,160 Speaker 1: guys just gonna it's gonna be big, Like we're gonna 2415 01:41:12,160 --> 01:41:14,120 Speaker 1: look back, like, man, I remember that shirt. Man I 2416 01:41:14,160 --> 01:41:15,960 Speaker 1: remember having that thing, like you know what I mean, 2417 01:41:16,080 --> 01:41:19,439 Speaker 1: Like it's it's it's it's on. And I'm getting a 2418 01:41:19,479 --> 01:41:22,200 Speaker 1: lot of support from the photography community, you know what 2419 01:41:22,240 --> 01:41:25,680 Speaker 1: I mean, Like the like the ravings, the vance stylethday 2420 01:41:26,280 --> 01:41:28,559 Speaker 1: birthday rave, you know what I mean. Ronal, I think 2421 01:41:28,600 --> 01:41:31,519 Speaker 1: it's incredible. This girl, y'am know who does a lot 2422 01:41:31,520 --> 01:41:34,400 Speaker 1: a lot of a lot of mellis. It's just incredible creatives, 2423 01:41:34,960 --> 01:41:36,559 Speaker 1: young creatives, and they give me a lot of support. 2424 01:41:36,600 --> 01:41:38,080 Speaker 1: They give me a lot of tips. That's how you 2425 01:41:38,080 --> 01:41:40,160 Speaker 1: got a story. Photos, that's what you gotta do. It's 2426 01:41:40,240 --> 01:41:43,360 Speaker 1: really really sick. So like I really appreciate that support 2427 01:41:43,400 --> 01:41:45,920 Speaker 1: of the photography community because I take that real serious. 2428 01:41:46,439 --> 01:41:48,000 Speaker 1: So go you know one day, maybe I'm just like, 2429 01:41:48,120 --> 01:41:55,960 Speaker 1: you know what i mean, I'm just anything music wise, 2430 01:41:56,000 --> 01:41:57,840 Speaker 1: we should go out for the guys. Some surprise signing 2431 01:41:57,840 --> 01:41:59,640 Speaker 1: you gonna do for Christmas or something? Many final things 2432 01:41:59,680 --> 01:42:02,080 Speaker 1: you want to say music wise or again, how can 2433 01:42:02,120 --> 01:42:04,040 Speaker 1: these young artists get sick of more to Dream? Would 2434 01:42:04,040 --> 01:42:05,479 Speaker 1: be sick of more to A and R the project? 2435 01:42:05,560 --> 01:42:09,760 Speaker 1: Like was there anything they can do to catch your eye? Um? Yeah, 2436 01:42:09,880 --> 01:42:11,479 Speaker 1: just it just can't reach out, you know what I mean. 2437 01:42:11,479 --> 01:42:14,280 Speaker 1: I think I'm thinking I'm like more accessible than most 2438 01:42:14,320 --> 01:42:16,000 Speaker 1: of the guys because like I'm not going to mix 2439 01:42:16,080 --> 01:42:18,280 Speaker 1: a lot, you know what I'm saying, Just like, but 2440 01:42:18,400 --> 01:42:20,120 Speaker 1: just come up there, don't just come up with numbers, 2441 01:42:20,160 --> 01:42:22,519 Speaker 1: talk about like what the vision is for the project. 2442 01:42:22,680 --> 01:42:24,160 Speaker 1: You know what I'm saying, because the guys who work 2443 01:42:24,200 --> 01:42:26,160 Speaker 1: where have a lot of vision. You know what I'm saying, 2444 01:42:26,200 --> 01:42:30,000 Speaker 1: and I like to make like bets and like my 2445 01:42:30,320 --> 01:42:32,240 Speaker 1: my two thousand seventeen that is going to be New 2446 01:42:32,320 --> 01:42:35,920 Speaker 1: York City. I think saying that, I think, I think 2447 01:42:35,960 --> 01:42:38,080 Speaker 1: your two thousands seventeen. You know, somebody my friend was 2448 01:42:38,160 --> 01:42:40,080 Speaker 1: telling me explain to me my friend Fatia, who does 2449 01:42:40,120 --> 01:42:42,400 Speaker 1: like protecting magic. She broke down to me. She was like, 2450 01:42:42,479 --> 01:42:45,360 Speaker 1: you know, numerology, a two thousand seventeen is a year 2451 01:42:45,360 --> 01:42:48,200 Speaker 1: of completion. It's seven plus one plus two, you know 2452 01:42:48,240 --> 01:42:49,720 Speaker 1: what I mean. That's where the year it comes home. 2453 01:42:49,840 --> 01:42:52,000 Speaker 1: So I really believe two thousands seventeen is going to 2454 01:42:52,000 --> 01:42:54,559 Speaker 1: be the year where New York City comes out into 2455 01:42:54,880 --> 01:43:00,439 Speaker 1: as a superpower again. Like don Que like t VS. 2456 01:43:00,520 --> 01:43:04,720 Speaker 1: I like what he Boogie's doing, young man. You know yeah, 2457 01:43:04,760 --> 01:43:06,200 Speaker 1: I think. I think if you if you look at 2458 01:43:06,240 --> 01:43:08,519 Speaker 1: everything that's going on and you think of all the 2459 01:43:08,640 --> 01:43:11,000 Speaker 1: other intangibles, like the you gotta think of something like 2460 01:43:11,080 --> 01:43:13,080 Speaker 1: Hamilton's you know what I mean, popping up. All this 2461 01:43:13,080 --> 01:43:15,160 Speaker 1: stuff works with each other. The art scene is really 2462 01:43:15,240 --> 01:43:17,360 Speaker 1: going crazy, like too Southern Beats the other day for 2463 01:43:17,439 --> 01:43:19,600 Speaker 1: like a David Bowie event, it was like popping then 2464 01:43:19,640 --> 01:43:22,080 Speaker 1: you gotta go the design scene is doing great. Then 2465 01:43:22,120 --> 01:43:24,880 Speaker 1: the sports is exciting. We have the most exciting it's 2466 01:43:24,880 --> 01:43:26,840 Speaker 1: got a little energy. Now we've got the most exciting 2467 01:43:26,840 --> 01:43:28,920 Speaker 1: football player in the whole game, like once the last time. 2468 01:43:28,960 --> 01:43:31,400 Speaker 1: That's the most exciting football playing the history of the Giants. 2469 01:43:31,680 --> 01:43:34,639 Speaker 1: You know, maybe an argument lt the most exciting those 2470 01:43:34,680 --> 01:43:37,120 Speaker 1: exciting offensive player we ever had. You know what I'm saying. 2471 01:43:37,160 --> 01:43:39,160 Speaker 1: The next half of New Look, the Yankees got a 2472 01:43:39,200 --> 01:43:41,960 Speaker 1: new kid. Gary Sanchez is really killing it like we gotta. 2473 01:43:42,040 --> 01:43:46,479 Speaker 1: It's the whole city's like cracking right now. Renaissance fabulis back. 2474 01:43:50,080 --> 01:43:52,000 Speaker 1: It's for two thousand seventeen. If I have to make it, 2475 01:43:52,080 --> 01:43:54,200 Speaker 1: bet if you you know, not even need stock tips. Man, 2476 01:43:55,040 --> 01:43:57,840 Speaker 1: I'll bet on New York. So we'll always bet on 2477 01:43:57,880 --> 01:44:00,519 Speaker 1: Sycamore Man, creative mom. Man, thank you so much. Man, 2478 01:44:00,600 --> 01:44:04,240 Speaker 1: this is a question. Man, yeah, man, sicklemore, wrap right up, podcasts. 2479 01:44:04,280 --> 01:44:05,240 Speaker 1: We are there right now.