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Speaker 1: Money. We all take valiche. We are the authority on

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Speaker 1: all things. Ladies and gentlemen. My name is Tank and

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Speaker 1: this don't be money podcasts. Well, we are the authority

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Speaker 1: on all things. And the lights, the lights, all the

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Speaker 1: lights on. They're okay, okay, because when when you talk,

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Speaker 1: when you talk this talk, the lights gotta be all

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Speaker 1: you know there there there are some individuals, right, and

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Speaker 1: when you are working with these individuals, when you are

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Speaker 1: in the presence of these individuals, you just shut the

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Speaker 1: funk up and do what they tell you to do.

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Speaker 1: Because it's rare. But there are those people, and one

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Speaker 1: of them is here today, our brother Mr Rico Love

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Speaker 1: What out? What up? Listen? It's it's it's very I

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Speaker 1: can count on one hand the people who have vocal

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Speaker 1: produced me, and I can count on an alien hand.

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Speaker 1: What are the three fingers? And then they got four

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Speaker 1: because they counted force the count of threes. The threes, well,

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Speaker 1: I know another alienation. That's why I'm going four by

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Speaker 1: eight bytes. Yes, alien talk, three binary code micro chips talk. Um,

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Speaker 1: it's it's rare, and and not even just from a

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Speaker 1: vocal production standpoint, but um just an overall understanding and

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Speaker 1: idea of where a song should go, and to be

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Speaker 1: able to sit up under you, pause and and take

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Speaker 1: those notes and instructions word for word, line for line,

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Speaker 1: like I felt great in that space, man, you know

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Speaker 1: what I'm saying. I felt I felt like I felt

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Speaker 1: like I was in school and I was learning something.

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Speaker 1: And at the end of this, at the end of

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Speaker 1: this semester, I was going to graduate. You know. It's

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Speaker 1: crazy was when I when I started the session with you,

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Speaker 1: after I wrote the song, I was about to step

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Speaker 1: out you and but he said are you going? You

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Speaker 1: said where you going? You're like, nah, no, and then

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Speaker 1: you just let me leave. That was amazing. That was

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Speaker 1: a great, great moment for me. Just so you know,

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Speaker 1: I mean, it's it's Harvey Mason JR. Oh yeah, you

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Speaker 1: coop When Jay is not poll j Jye Vocal produced me,

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Speaker 1: run the proteols, be watching NBA and on social media

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Speaker 1: all the same. I don't know how he does just

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Speaker 1: the time to say that ain't the chief JQ. Jake,

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Speaker 1: Jake was really dope, and you've done a lot of

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Speaker 1: work together. But in terms of me just getting to

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Speaker 1: where I know I need to go, I know how

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Speaker 1: to get there. But there are just some guys who

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Speaker 1: just hear things away. I want to hear them and

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Speaker 1: and make things away that I want to make them.

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Speaker 1: And I'm like, whatever you're doing, you want the record

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Speaker 1: to feel like that demo you heard, and then give

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Speaker 1: me that. Give me the suit that you're wearing, give

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Speaker 1: it to me. Just cut a little bit offsides and

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Speaker 1: you know what I'm saying, the tail of the arms,

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Speaker 1: maybe cut the sleeves off. I'd like to show my ship.

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Speaker 1: But that's like, that's an amazing gift that you have,

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Speaker 1: you know what I'm saying, And so I just wanted

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Speaker 1: to start there and say thank you, um, and give

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Speaker 1: you all the respect and love, you know what I mean.

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Speaker 1: They call it flowers or whatever else they want to

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Speaker 1: call it, but you know that's a respect thing. And

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Speaker 1: you're from the house, yeah, man, from the mill. You

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Speaker 1: know what I'm saying. And I know what kind of

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Speaker 1: guy you are. You don't know, it's in your blood, um.

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Speaker 1: But we always like to go to the beginning, you

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Speaker 1: know what I'm saying. We like to start at the

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Speaker 1: very beginning of of of where it happened for you,

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Speaker 1: where you felt like or somebody felt like you had

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Speaker 1: something different and something special to off crazy because I

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Speaker 1: started off as a rap artist and a lot of

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Speaker 1: people may have Yeah, yeah, so I started off as

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Speaker 1: a rap artist and I was signed as a rap artist.

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Speaker 1: I should just label us records and you slash slap record.

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Speaker 1: I remember all part of that. Remember performing for Clive,

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Speaker 1: because that's when you you couldn't just get up straight.

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Speaker 1: I want to you want to see him, and I

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Speaker 1: remember Clive standing up and clapping at a rap performance

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Speaker 1: of mine. So, but yeah, I signed to us you

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Speaker 1: as a rap artist. But I always thought, you know,

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Speaker 1: you have to understand, well, I sure put you on

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Speaker 1: TV with him as a gift in the curse, So

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Speaker 1: I thought I signed with him. He put me on

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Speaker 1: How I'm Living, and he put me on Diary, MTV Diary,

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Speaker 1: and I was just in the house. He introduces me

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Speaker 1: on Diary, introduces me on b TE How I'm Living.

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Speaker 1: So what happens is your family thinks, oh, he's got

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Speaker 1: a million dollars like he's This is before social media,

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Speaker 1: and this is social media exposed too much, I think,

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Speaker 1: maybe too much of what the business is to way

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Speaker 1: it eliminated the mystique. But that's a whole other conversation.

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Speaker 1: Hope believe we get it into that later. But the family,

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Speaker 1: my mom, I said, everybody thought is really up. So

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Speaker 1: everybody's just calling we need this, you know, grandmom and everybody.

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Speaker 1: So I remember thinking to myself, Yo, I'm entirely too

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Speaker 1: broke to have a record, dude, this is crazy. Had

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Speaker 1: to deal, Yeah, I had to deal. I hadn't did

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Speaker 1: We had performed for Clive, but we hadn't did the

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Speaker 1: actual deal with Jay Records. We had just did the

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Speaker 1: deal with US Records. So I did that deal. I remember.

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Speaker 1: So I remember going to Usher's office like every day,

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Speaker 1: just waiting, you know what I mean. I don't know

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Speaker 1: bully Ship, just waiting like where is he? Oh, he's

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Speaker 1: not here today. I'm like wait because I need some money.

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Speaker 1: So these people on my back exactly exactly. So I

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Speaker 1: showed up one day and he said us not here,

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Speaker 1: and I was getting ready to leave and he pulled up.

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Speaker 1: I never forget. He had a box to He had

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Speaker 1: this box to Porsch and he had on a yellow vest.

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Speaker 1: Remember the vest of people were and they were the

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Speaker 1: polo under it. He had the yellow vests. I never forget,

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Speaker 1: like the cloth and I just remember thinking himself at

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Speaker 1: that time, it just looks so rich, and I just

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Speaker 1: got angry. I'm like, I need some money, man, what's

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Speaker 1: going on? Because so I go there and my set bro,

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Speaker 1: I need some money, like we signed, I I need

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Speaker 1: some bread. He said, all right, listen, come here, come

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Speaker 1: and come in his off and he made a blank CD.

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Speaker 1: Made it, took a blank CD put in the record.

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Speaker 1: He had Terrence Carter burn this CD and he said,

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Speaker 1: here's a beat. We've been trying to write to this

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Speaker 1: beat for a very long time. We had everybody tried.

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Speaker 1: Nobody can nail the song for this. So what I

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Speaker 1: want you to do is I want you to write

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Speaker 1: a song for me. And his exact words to me,

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Speaker 1: the level of confidence was write a song for me.

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Speaker 1: You'll be good. I'm a cell ten million. So I said,

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Speaker 1: all right, I take the track and I got a tacke.

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Speaker 1: You have a lot of diamonds on it. He said

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Speaker 1: that to me. He said it with in those exact words,

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Speaker 1: I'm a Shelton million, you know what I mean. So

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Speaker 1: I was like, okay, I took the track. Um sitting

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Speaker 1: in a parking lot of red Zone studios, those don't

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Speaker 1: know the Red Zone. So you understand. I came up

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Speaker 1: in the community of writer's creators, rappers. It was myself

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Speaker 1: in one room. Dream was in another room. Nobody knew him.

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Speaker 1: Carry Holston would be in one of room. Sierra would

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Speaker 1: come down and from high school, drive down and work

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Speaker 1: in the studio. She was signed the Jazz Faye. It

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Speaker 1: was a whole community of us. I used to run

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Speaker 1: into a little young jock and t like we were

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Speaker 1: all trying to make it in the business. And I

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Speaker 1: sat in Red Zone parking lot because all the studios

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Speaker 1: were booked. Me and the corner boys had a room

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Speaker 1: in the back right. Shout out to the corner boy,

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Speaker 1: and I had a flip phone and I sang to

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Speaker 1: the beat and the beat was, uh, just blaze, You're

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Speaker 1: gonna want me back? And I sang throwback in the

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Speaker 1: phone and saved it on the on the notes, and

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Speaker 1: I tried to get Pierre mcdual. My brothers shout, I gotta,

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Speaker 1: I gotta give him shift for this. But I tried

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Speaker 1: to get Pierre to do the demo for me. He

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Speaker 1: didn't just didn't have time. So j Q was just

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Speaker 1: walking through the halls and he said, you need, you

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Speaker 1: need somebody to demo something, I'll demo it for you now.

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Speaker 1: Now I'm gonna tell you the truth about everything. I

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Speaker 1: don't like to leave things out. I don't want to

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Speaker 1: make sure everybody gets their credit. JQ demoed the song,

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Speaker 1: and although he didn't write lyrics on the song, he

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Speaker 1: did an ad lib on the song and said, I

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Speaker 1: wish I could throw it back to the way it

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Speaker 1: used to be. That was the ad lit that he added.

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Speaker 1: And he said to me, I was thinking because he

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Speaker 1: sent me he gave me the CD back after he

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Speaker 1: cut it, and he said, I was thinking, by the way,

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Speaker 1: we couldn't say we had to see me to give

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Speaker 1: me this. So he said, I was thinking that you

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Speaker 1: should call a song throwback at that time, two thousand

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Speaker 1: and three throwback jerseys, you know, And so I was like,

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Speaker 1: why does genius? So we called a song throwback and

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Speaker 1: heard that them when I played it for us, Terence

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Speaker 1: called a loss is my mark, pits loss my Usher,

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Speaker 1: loss is mine and the rest of just history. He

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Speaker 1: cut that record and it changed my life. That's how

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Speaker 1: my career started as a songwriter. So even when Usher

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Speaker 1: got rid of his label and moved on to other things.

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Speaker 1: He blessed me with something that nobody could ever take

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Speaker 1: away from me. He he unlocked something in me that

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Speaker 1: I didn't know existed. So I just kept right enofter that.

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Speaker 1: So that's why when people, you know, if you ever

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Speaker 1: been around me here, somebody talk bad about us, it

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Speaker 1: gets really bad for them. I just don't lie. I

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Speaker 1: just don't allow it. But that's how it should be,

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Speaker 1: you know what I mean, When when somebody gives you

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Speaker 1: those type of opportunities, you have to always stay loyal.

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Speaker 1: You know what I'm saying that. Now you may have

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Speaker 1: your own little personal things, yeah, we go, we go through,

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Speaker 1: but when somebody gives you that type of opportunity to

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Speaker 1: change your life, you gotta go with the And also

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Speaker 1: out of Usher had an R and B group signed

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Speaker 1: to him. One chance incredible, he had one chance on him.

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Speaker 1: But he would take me everywhere with him. It's the

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Speaker 1: craziest thing in the world. Usher would call me and say,

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Speaker 1: get on the plane. I'm gonna get a ticket for you.

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Speaker 1: Just bring an empty bag and the will fly to

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Speaker 1: l A. He was here for American Music Awards and

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Speaker 1: he would just take me shopping while I was like

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Speaker 1: there's like a real little brother. We just always connected.

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Speaker 1: We always have great talks and and I would give

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Speaker 1: him advice. He would give me advice, you know. He

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Speaker 1: always said, bro, you're so wise, like what you're thinking

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Speaker 1: about this the high level ship and he would just

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Speaker 1: put me on. So we would always hang out. When

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Speaker 1: he did the press run, he did read Just and

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Speaker 1: Kelly and did all those shows. I was with him

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Speaker 1: when he was going to do BT Awards. He would

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Speaker 1: just say, come with me and it would be myself,

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Speaker 1: Keith Thomas, and Usher and we would just hang out

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Speaker 1: and I'd be like, obviously, I felt so blessed. And

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Speaker 1: later on I realized that, you know, it's something special

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Speaker 1: in in in certain people that stands out and others

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Speaker 1: recognize that. So the gift of recogniz eysing something special

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Speaker 1: and another individual is a gift that I don't think

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Speaker 1: it's enough credit. Because he saw something incredible in me.

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Speaker 1: He helped me learn a bit, and he took me

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Speaker 1: on tour with him. Mind you. I rapped on Throwback

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Speaker 1: on the original version, but on the album version it

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Speaker 1: didn't make the album, you know what I mean, And

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Speaker 1: it was political. Jada Kiss was going to remix and repackage.

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Speaker 1: But I went on a tour with him, and I

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Speaker 1: would wrap my verse on tour in front of sixteen

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Speaker 1: thousand people every night on tour for two and a

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Speaker 1: half months. So it was a life changing experience. It

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Speaker 1: was like seeing the world from the lens of a

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Speaker 1: number one superstar in the world, so that I can understand.

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Speaker 1: I think God was just preparing me, like, Yo, we're

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Speaker 1: gonna get you to this level in some capacity. I'm

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Speaker 1: just gonna show you it from here. You know, So

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Speaker 1: is your is you coming up as a rapper? That's

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Speaker 1: your first You know that that that's your main state,

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Speaker 1: that's what you think you're getting ready, That's what I

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Speaker 1: thought I was gonna you had you ever thought about

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Speaker 1: writing R and never before that point, never to that day.

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Speaker 1: So that day that I wrote that song, I would

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Speaker 1: write hooks for myself. I write a song and write

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Speaker 1: an R and B hook type thing. But I never

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Speaker 1: ever had written a song. And my dad used to

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Speaker 1: tell me all the time, you could sing, why don't

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Speaker 1: you sing? And I was like, WHOA, I'm not no singer,

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Speaker 1: you know what I mean? Because it was a whole

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Speaker 1: thing about R and B back in the day. It

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Speaker 1: was like that false idea of what an R and

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Speaker 1: B artist was, even though the details and so many

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Speaker 1: R and B artists were contrary to that, you know

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Speaker 1: what I mean. They were the toughest guys in the

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Speaker 1: whole musical community. But I just was like nah. And

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Speaker 1: then I remember, and to skip away ahead, I remember

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Speaker 1: when Drake first came out and I had I had

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Speaker 1: been done being an artist at that point. I've already

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Speaker 1: been a successful as a writer. And when Drake first

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Speaker 1: came up, my dad called me and said, I told

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Speaker 1: you because singing rapped, you know what I mean? So yeah, yeah,

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Speaker 1: but I was originally a rapper. Wow, So because I'm

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Speaker 1: we're not gonna We're gonna stay here for man, because

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Speaker 1: there's a record that is my favorite song on that

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Speaker 1: project that you wrote that's purely not like I could Okay,

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Speaker 1: I could see a rapper coming in and writing to Throwback.

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Speaker 1: I can see that, right, great record, But I can

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Speaker 1: see a rapper right now Seduction. Yeah, but that's that's

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Speaker 1: myself and jam and Lewis and Usher of course, but

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Speaker 1: that's still a rapper in the mix writing Sduction like right,

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Speaker 1: like this is just my my opinion, Usher to me

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Speaker 1: was never fully a sex symbol until he had seduction.

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Speaker 1: You think, in my opinion, this is my opinion nicest slow,

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Speaker 1: but Nice and Slow was young. Nice and Slow was young.

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Speaker 1: Was a nice record, was a nice record and an

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Speaker 1: amazing record, but it was it about fucking no no no,

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Speaker 1: Nice and Slow, about nice and Slow as a love song. Yeah,

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Speaker 1: give me what you got whatever whatever you look at

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Speaker 1: a woman and that. Yeah. I watched Terry Lewis produced

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Speaker 1: that that vocal and he was feeding at lives like

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Speaker 1: that record, bro throwing out your best, get you out

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Speaker 1: of control, baby, And I was like, yeah, to beat,

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Speaker 1: I'm gonna be honest. And I came to that session late.

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Speaker 1: They had already been deep into the record. They allowed

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Speaker 1: me to add on to that record, you know what

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Speaker 1: I mean to They allowed me in that room to

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Speaker 1: add elements to it. And I think that it's a

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Speaker 1: learning opportunity to be in the room with Terry Lewis

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Speaker 1: producing the vocal and company vocal and you and you

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Speaker 1: learn how to write a song and you almost have

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Speaker 1: to keep up with his float. And if you don't

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Speaker 1: keep up, you really got to get out that room.

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Speaker 1: So I was able to kind of follow follow suit.

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Speaker 1: But honestly, like I said, when you have something in you,

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Speaker 1: it was kind of like something that was naturally in

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Speaker 1: me because I didn't realize was there. I was always

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Speaker 1: a humongous fan of R and B. Like even as

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Speaker 1: a rap artist, I always listened to mostly R and

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Speaker 1: B records. I was a student. I studied Luther, I studied,

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Speaker 1: you know, but I even studied like um um James

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Speaker 1: Taylor and just those soul full bluesy folk you know,

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Speaker 1: Jim Crazy, you know, and studying Carol King, and you know,

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Speaker 1: I just always loved great songwriting, the great singing, you know.

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Speaker 1: And I didn't even realize it, didn't even realize it.

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Speaker 1: And so then when it became my opportunity. But I

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Speaker 1: have to take it back one second. I have to

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Speaker 1: take this all the way back. When I first came

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Speaker 1: to Atlanta to try to make it in music, I

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Speaker 1: was living in Jagged Edges House in Cayl Norman's house,

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Speaker 1: and I remember the house was called the Corner. It

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Speaker 1: was a memorial drive. They called the house to the Corner.

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Speaker 1: That's where the Corner Boys were birth. They called the

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Speaker 1: Corner because that was the house. It was called the corner.

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Speaker 1: Everybody would pull up and it was like pulling up

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Speaker 1: to the corner. The corner boys were birth from the

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Speaker 1: corner right. So I would sleep on the couch at

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Speaker 1: the corner and Brandon and Brian would come to the

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Speaker 1: studio and I'm not exaggerating at eight in the morning

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Speaker 1: every day and they would write songs till six o'clock,

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Speaker 1: get something to eat, smoke, go back down, write something.

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Speaker 1: And if anybody knows what I mean by Brandon the Brian,

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Speaker 1: that's Jacket as twins from jacketas the legendary. The work

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Speaker 1: ethic was insane. They never wrote anything down. They went

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Speaker 1: in the booth and they would just right right all day,

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Speaker 1: right all day, some great songs, some not, so it

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Speaker 1: don't matter. Every day they were writing right and after

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Speaker 1: they wrote they would get in the car go to

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Speaker 1: Strokers in Atlanta. They would they would go to strokers,

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Speaker 1: hang out all night, sleep for two or three hours,

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Speaker 1: and go back to the studio. So the work ethic,

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Speaker 1: and then what I was told was that was how

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Speaker 1: Jermaine worked. Every day, early in the morning, get to

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Speaker 1: the studio, work all night through the week. I was

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Speaker 1: sleep for a few hours and then go back to work.

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Speaker 1: So that was a culture I was I was breeding into.

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Speaker 1: So when I got with Usher the idea of understanding

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Speaker 1: how to formulate a song, I had already been absorbed.

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Speaker 1: There your knee, guys. So when I got my opportunity,

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Speaker 1: it felt natural. It felt in. It felt like, you know,

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Speaker 1: like an instinct in me that I didn't even realize

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Speaker 1: what was there until it happens. It's like if somebody

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Speaker 1: swings at you and you just automatically, you just instinct,

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Speaker 1: you just know it's there. So I think that that

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Speaker 1: that school of you know, because you weren't signed to jack.

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Speaker 1: I was not signing Jack. I was begging Jackets to

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Speaker 1: sign me, and you were that was a rapper. I

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Speaker 1: wanted them to sign me as a rapper and they

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Speaker 1: always would say they would, but they just never got

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Speaker 1: around to doing it. And then uh Me and Cayl

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Speaker 1: got into a situation we got we fell out. So

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Speaker 1: then I stopped being able to come over to the

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Speaker 1: corner for a while, but then the corner boys allowed

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Speaker 1: me to come and I would sleep on their couch.

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Speaker 1: You're just gonnach couch, the couch whore straight or so

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Speaker 1: you fresh out of college. At this I was in

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Speaker 1: Are you still in school? I'm still in school. Told

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Speaker 1: catch the bus to Atlanta every weekend from Tallahassee from

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Speaker 1: fam you, So I would catch the bus to Atlanta

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Speaker 1: to every single weekend. So I would on Friday nights,

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Speaker 1: I didn't go to Cappa lou Al. I've never been

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Speaker 1: to uh Gorilla Thriller And anybody from family knows what

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Speaker 1: I'm talking about. I had never attended any of these

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Speaker 1: events because on the weekends, I was like, I'm going

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Speaker 1: to Atlanta because I gotta make it right. I would

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Speaker 1: always tell everybody this, y'all, I'm not gonna graduate. I'm

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Speaker 1: going to get a deal journalism. But I didn't even

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Speaker 1: get into journalism. I gotta I was in general studies.

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Speaker 1: I had never even made it to journalism yet, because honestly,

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Speaker 1: I was just like, I'm just here. Yeah, I'm just

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Speaker 1: taking liberal arts math, and but I was taking a

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Speaker 1: bus on Friday nights. I would take the bus to Atlanta.

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Speaker 1: Actually a Friday nights, it would be a flight a

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Speaker 1: bus that would take you five or five in the morning.

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Speaker 1: So I say, Saturday morning, I would take a bus

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Speaker 1: to Atlanta for seven hours. Because you had to stop

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Speaker 1: in between all these cities Greyhound bus. I would get

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Speaker 1: there Saturday, I would work all day. Sunday. I would

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Speaker 1: work all day Sunday night, I would get on the bus,

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Speaker 1: go back to school. I had a three point eight

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Speaker 1: g p A in college. Still I would go back

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Speaker 1: to Atlanta and we go back to tallas See, do

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Speaker 1: my school work, have good time, do the talent shows

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Speaker 1: at Lee Hall, go to the snake pit with a

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Speaker 1: little Steve and do all the little stuff. And then

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Speaker 1: I would get back on the bus every Friday going

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Speaker 1: to Atlanta to make it. People invite me to things,

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Speaker 1: don't come to this. I'm like, I'm going to Atlanta.

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Speaker 1: Then I found friends who would drive me there. My

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Speaker 1: man and Chad Roper would just drive me every weekend

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Speaker 1: and I would be going to Atlanta to make it.

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Speaker 1: That's all I wanted. So if I had gas money,

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Speaker 1: they'd be like yo. So I got a credit card.

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Speaker 1: They used to give out credit cards on campus too.

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Speaker 1: As soon as you get eighteen. I got a credit card.

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Speaker 1: I maxed out the credit card because I was like,

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Speaker 1: that's my bus trips and money to you know, get

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Speaker 1: to Atlanta. It was a limit and I think that

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Speaker 1: lasted me a few good good a good little while,

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Speaker 1: and I would go. So let me tell you the

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Speaker 1: crazy part about it. I get back to school one

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Speaker 1: week and they tell me you're no longer registered here,

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Speaker 1: your your financial aid is not was not accepted. And

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Speaker 1: I was like, yes it is, you know, you know,

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Speaker 1: And I called my mom and say, yoh, they're saying

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Speaker 1: I'm not in Roding school. My mother who I like,

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Speaker 1: my mom is my best friend, but at this time

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Speaker 1: it was a you know, she was a little angry.

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Speaker 1: She said, you're you're playing games. You don't want to

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Speaker 1: go to school, and you think you're you're playing because

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Speaker 1: I am looking at the paper right here. How are

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Speaker 1: you going to tell me? And I'm like Monty saying

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Speaker 1: I'm not in Rolling school. So what I used to

400
00:20:13,840 --> 00:20:16,320
Speaker 1: do each semester They would have my paperwork not ready,

401
00:20:16,400 --> 00:20:17,760
Speaker 1: or my money wouldn't all the way be in yet,

402
00:20:17,760 --> 00:20:19,680
Speaker 1: but I would still go to class. And you still

403
00:20:19,720 --> 00:20:21,960
Speaker 1: go to class, and by the time your paper is there,

404
00:20:22,160 --> 00:20:25,479
Speaker 1: you still caught up. You catch back up. I was

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00:20:25,600 --> 00:20:28,480
Speaker 1: told that I could no longer attend classes because my

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00:20:28,560 --> 00:20:30,120
Speaker 1: name wasn't on the road. They would take a role

407
00:20:30,440 --> 00:20:32,000
Speaker 1: if you're named in show up. You couldn't even come

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Speaker 1: in for the class. So I told my mom over

409
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Speaker 1: there tripping, I went down set in the financial aid

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Speaker 1: office of in the line because he'll be a line

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Speaker 1: for it's like six hours to get to the front

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Speaker 1: of the line is six hour line. The lines it

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00:20:45,040 --> 00:20:49,080
Speaker 1: looks like like players club when when uh when was

414
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Speaker 1: in line? You know, I don't go to college, but

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00:20:51,400 --> 00:20:54,000
Speaker 1: I don't know. It's more like it's more like ebt vibes,

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00:20:55,880 --> 00:21:00,800
Speaker 1: like more like food food stamp line by. So I

417
00:21:00,880 --> 00:21:03,679
Speaker 1: was sitting, I sat in there. I get there. The

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00:21:03,760 --> 00:21:08,000
Speaker 1: woman looks on the computer and she says, I'm looking

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Speaker 1: into your name is not here. After six hours and

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Speaker 1: six hours, your name is not here. You're not a

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00:21:11,720 --> 00:21:16,520
Speaker 1: student in school. So I go. I was upset, but

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Speaker 1: I go. I go to Atlanta on that Friday. I

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00:21:21,800 --> 00:21:25,240
Speaker 1: want to go to Atlanta. Friday. We get opportunity. The

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Speaker 1: week before I had rapped on this remix that Usher

425
00:21:27,800 --> 00:21:30,800
Speaker 1: had produced um us. She was doing a remix album.

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00:21:30,840 --> 00:21:32,280
Speaker 1: You don't know him then, though I don't know him,

427
00:21:32,280 --> 00:21:34,119
Speaker 1: you know us. She was doing a remix album. He

428
00:21:34,119 --> 00:21:35,800
Speaker 1: was looking for new producers to sign. He was not

429
00:21:35,920 --> 00:21:40,399
Speaker 1: even trying to sign artists. By the way, the Corner

430
00:21:40,440 --> 00:21:44,880
Speaker 1: Boys end up doing their deal with Red Zone because

431
00:21:45,000 --> 00:21:47,040
Speaker 1: I told Redson red Zone was looking for a rappers.

432
00:21:47,080 --> 00:21:48,760
Speaker 1: Here I went back for Red Zone was looking for

433
00:21:48,760 --> 00:21:51,000
Speaker 1: a rapper. Tell Us, tell us who who red Zone it?

434
00:21:51,560 --> 00:21:55,960
Speaker 1: Red Zone, Tricky Stewart, Stewart Stewart brothers. Who did you

435
00:21:56,000 --> 00:21:59,640
Speaker 1: discovered dreams? You don't did all that? Even by the way,

436
00:21:59,640 --> 00:22:06,160
Speaker 1: Tricky still that we get still and it's just one

437
00:22:06,160 --> 00:22:08,600
Speaker 1: of those incredible figures in my life and my career

438
00:22:08,600 --> 00:22:12,479
Speaker 1: and myself in the Corner Boys. So Tricky and Laney

439
00:22:12,520 --> 00:22:14,560
Speaker 1: want to sign me as a rap artist. I went

440
00:22:14,600 --> 00:22:17,360
Speaker 1: down there and I said, I'm not signing to anybody

441
00:22:17,400 --> 00:22:19,520
Speaker 1: unless the Corner Boys do my album. They said, well,

442
00:22:19,520 --> 00:22:22,000
Speaker 1: we're production team, so we only we want to sign

443
00:22:22,040 --> 00:22:23,600
Speaker 1: you because we want to do y'all. I said, no,

444
00:22:23,720 --> 00:22:25,800
Speaker 1: Corner Boys gotta do my mom or I'm not doing

445
00:22:25,840 --> 00:22:28,280
Speaker 1: a deal. So they said, f you, We're gonna sign

446
00:22:28,280 --> 00:22:33,040
Speaker 1: the Corner Boys. They signed the Corner Boys, you know,

447
00:22:33,160 --> 00:22:35,800
Speaker 1: did a deal for Peer Music Group. Right, So long

448
00:22:35,800 --> 00:22:37,520
Speaker 1: story short, that's all cool because it worked. That way's

449
00:22:37,560 --> 00:22:40,920
Speaker 1: supposed to work out. So I'm down there The Corner

450
00:22:40,920 --> 00:22:42,720
Speaker 1: Boys had did a remix to if I Want to,

451
00:22:42,840 --> 00:22:45,320
Speaker 1: If I want it, I could take you from your man.

452
00:22:45,440 --> 00:22:47,960
Speaker 1: It was my way out. Corner Boys remix it and

453
00:22:48,000 --> 00:22:55,399
Speaker 1: I wrapped on it. DJ Rogers Jr. I know. D

454
00:22:55,720 --> 00:23:01,600
Speaker 1: J Rogers tells Ussher, you need to hear this nigga.

455
00:23:02,960 --> 00:23:06,320
Speaker 1: You you and he said, he tells the story. He said,

456
00:23:06,359 --> 00:23:14,159
Speaker 1: I was about to fight everything. Every time. He like,

457
00:23:14,200 --> 00:23:16,840
Speaker 1: you know, I was about to fight. So he told

458
00:23:16,880 --> 00:23:19,000
Speaker 1: us you you better sign this kid, so USh you

459
00:23:19,200 --> 00:23:23,439
Speaker 1: had a showcase. I had the opportunity to wrap on

460
00:23:23,480 --> 00:23:28,720
Speaker 1: this song. That opportunity came on a Tuesday. I used

461
00:23:28,720 --> 00:23:31,919
Speaker 1: to go to Atlanta on a Friday and catch the

462
00:23:32,040 --> 00:23:36,080
Speaker 1: bus on what day on a Sunday. The opportunity came

463
00:23:36,119 --> 00:23:38,480
Speaker 1: to rap on the song on a Tuesday in the

464
00:23:38,480 --> 00:23:40,399
Speaker 1: middle of the week. I rapped on a song. A

465
00:23:40,440 --> 00:23:42,840
Speaker 1: few weeks later, I get back. I'm out of school

466
00:23:43,000 --> 00:23:45,760
Speaker 1: and I'm still there and I was able to be

467
00:23:45,800 --> 00:23:48,600
Speaker 1: invited to a showcase to perform for US f artists

468
00:23:48,600 --> 00:23:52,119
Speaker 1: he wanted to sign. I worked, I perform, I bust

469
00:23:52,200 --> 00:23:54,320
Speaker 1: my ass on the showcase. Then they had an MC

470
00:23:54,440 --> 00:23:56,200
Speaker 1: battle at the end of it, and it was a

471
00:23:56,240 --> 00:23:58,760
Speaker 1: kid named Nitty from Chicago, and he and I battled,

472
00:23:59,640 --> 00:24:04,840
Speaker 1: and respectfully, he didn't win. It was it was, it was.

473
00:24:04,920 --> 00:24:08,920
Speaker 1: It was a massacre. So plus, you gave me the opportunity.

474
00:24:08,960 --> 00:24:12,879
Speaker 1: End up signing me. Now after I get signed, and

475
00:24:12,920 --> 00:24:15,760
Speaker 1: this is gonna make all the Saints around the shout.

476
00:24:15,880 --> 00:24:19,280
Speaker 1: In five seconds after I get signed, I'm doing my thing.

477
00:24:19,320 --> 00:24:22,240
Speaker 1: I'm working. I'm working. I get a call from financial

478
00:24:22,280 --> 00:24:26,879
Speaker 1: aide department at Family and guess what they said, We

479
00:24:26,960 --> 00:24:32,159
Speaker 1: are so sorry, Mr Butler. Your name was spelled wrong

480
00:24:32,680 --> 00:24:34,959
Speaker 1: and a letter was missing and it didn't show up

481
00:24:34,960 --> 00:24:38,840
Speaker 1: in the computer. I'm gonna tell y'all, sometimes God will

482
00:24:38,880 --> 00:24:42,240
Speaker 1: just take a letter. Yeah, let me just move that.

483
00:24:43,200 --> 00:24:46,359
Speaker 1: And that's how I got my whole start. I would

484
00:24:46,359 --> 00:24:48,600
Speaker 1: have been in school and I would have missed that opportunity.

485
00:24:49,200 --> 00:24:50,920
Speaker 1: My whole life is different. And I'm gonna tell you

486
00:24:51,119 --> 00:24:55,280
Speaker 1: something even further. Every time life gets tricky and weird

487
00:24:55,359 --> 00:24:58,800
Speaker 1: for me or I went through some incredibly hard times

488
00:24:59,119 --> 00:25:02,840
Speaker 1: in two thousand, sixteen and seventeen, like terrible times, right.

489
00:25:03,200 --> 00:25:06,080
Speaker 1: I had to file for bankruptcy, lost my house, went

490
00:25:06,080 --> 00:25:08,199
Speaker 1: through the most. Everybody turned the back on me. It

491
00:25:08,280 --> 00:25:11,240
Speaker 1: was ugly for me. But I always think back to

492
00:25:11,440 --> 00:25:14,040
Speaker 1: God moving a letter out of the way to make

493
00:25:14,040 --> 00:25:16,600
Speaker 1: sure that I was there and the opportunity was made available.

494
00:25:24,960 --> 00:25:35,280
Speaker 1: Do you think, um, I'm because as as fellow rap singers, Um,

495
00:25:35,760 --> 00:25:40,639
Speaker 1: fellow rap singers, we both rap? Did you rap on

496
00:25:40,680 --> 00:25:49,720
Speaker 1: the T G T Trise? Did him he better rappers? No? Tresper?

497
00:25:50,280 --> 00:25:54,080
Speaker 1: Remember what tyres made? The double CD? The R and

498
00:25:54,080 --> 00:26:08,080
Speaker 1: B side was fired black Tie? Support you? And um,

499
00:26:09,080 --> 00:26:13,040
Speaker 1: do you feel like you as a rapper and just

500
00:26:13,040 --> 00:26:17,639
Speaker 1: just understanding you know, word play and phrasing and all

501
00:26:17,680 --> 00:26:24,200
Speaker 1: these things made you that much more ready for those

502
00:26:24,240 --> 00:26:27,199
Speaker 1: moments and those opportunities to put those words together on

503
00:26:27,320 --> 00:26:30,240
Speaker 1: R and B songs Because I find that I found

504
00:26:30,240 --> 00:26:34,480
Speaker 1: that writing R and B music was so easy, and

505
00:26:34,560 --> 00:26:36,359
Speaker 1: it was because to me, everybody laughing at me, but

506
00:26:36,359 --> 00:26:38,240
Speaker 1: I do come from a rap background, but then coming

507
00:26:38,280 --> 00:26:41,119
Speaker 1: from a gospel background where all these things are so

508
00:26:41,240 --> 00:26:44,720
Speaker 1: intricate and wordy, and then you get over to this

509
00:26:44,800 --> 00:26:48,160
Speaker 1: space where, especially early in the R and B days,

510
00:26:48,480 --> 00:26:51,160
Speaker 1: there was a real structure, you know what I mean,

511
00:26:51,280 --> 00:26:54,400
Speaker 1: And if you knew how to dance within that structure,

512
00:26:54,400 --> 00:26:56,680
Speaker 1: it was it was light like I was like it

513
00:26:56,800 --> 00:26:57,879
Speaker 1: was like, Yeah, we're gonna write a song, and I

514
00:26:57,920 --> 00:26:59,679
Speaker 1: was like, I'm gonna right, We're gonna like pencil it.

515
00:27:00,320 --> 00:27:01,920
Speaker 1: I didn't do any of that. I was like, the

516
00:27:01,960 --> 00:27:04,080
Speaker 1: words are coming so fast. I'm just telling the story

517
00:27:04,080 --> 00:27:05,840
Speaker 1: word for word. How it goes. Do you feel like

518
00:27:05,840 --> 00:27:09,800
Speaker 1: your rep I will say that is a science to

519
00:27:10,240 --> 00:27:17,480
Speaker 1: being melodically meticulous, understanding what a classic progression feels like,

520
00:27:17,600 --> 00:27:21,480
Speaker 1: and understanding how to place an inspiring melody over a

521
00:27:21,560 --> 00:27:27,560
Speaker 1: classic progression. Right, inspiring melody, you know when you think

522
00:27:27,600 --> 00:27:30,680
Speaker 1: about and I miss you like the desert, miss the rain,

523
00:27:31,119 --> 00:27:33,720
Speaker 1: when you think about I know you want to leave man,

524
00:27:34,000 --> 00:27:37,560
Speaker 1: But that's inspiring melody. When you think about Neo so sick,

525
00:27:37,880 --> 00:27:42,000
Speaker 1: you think about melodically it inspires whatever the subject is

526
00:27:42,040 --> 00:27:45,120
Speaker 1: and whatever the listeners, it inspires them to feel something. Right,

527
00:27:45,760 --> 00:27:48,480
Speaker 1: That part of it is not easy. Now, the part

528
00:27:48,520 --> 00:27:52,199
Speaker 1: that came natural for me was the melodic instinct. But

529
00:27:52,320 --> 00:27:55,200
Speaker 1: the part that also came much more with much more practice,

530
00:27:55,240 --> 00:27:57,040
Speaker 1: being as the rapper, was making sure that the lyric

531
00:27:57,160 --> 00:28:01,280
Speaker 1: was just as captivating. Now, writing rn be melody. If

532
00:28:01,320 --> 00:28:03,679
Speaker 1: you have that ability, that's one step of it. But

533
00:28:03,720 --> 00:28:06,800
Speaker 1: Elton John had an ability to write melodies. He didn't

534
00:28:06,840 --> 00:28:09,840
Speaker 1: have a lyrical ability, so his partner would write the

535
00:28:09,960 --> 00:28:14,200
Speaker 1: lyric and John would put the melody to T Bobs.

536
00:28:14,200 --> 00:28:17,200
Speaker 1: When she wrote I'm Pretty, she wrote it as a poem.

537
00:28:17,320 --> 00:28:19,960
Speaker 1: Somebody put a melody to it and made an incredible song.

538
00:28:20,280 --> 00:28:23,240
Speaker 1: So I don't like to use the word easy when

539
00:28:23,240 --> 00:28:25,359
Speaker 1: it comes to anything with R and B because we

540
00:28:25,440 --> 00:28:27,879
Speaker 1: don't get enough credit as it is right. But I

541
00:28:27,960 --> 00:28:31,080
Speaker 1: will say it's an instinct in R and B writers

542
00:28:31,119 --> 00:28:34,000
Speaker 1: to be melodic, but it's also an instinct in rappers

543
00:28:34,080 --> 00:28:37,359
Speaker 1: to make sure that you're saying something. So marriaging marrying

544
00:28:37,400 --> 00:28:39,880
Speaker 1: the two what I is, what I would believe was

545
00:28:39,920 --> 00:28:42,920
Speaker 1: be my strong point. When I wrote Sweet Dreams for Beyonce.

546
00:28:43,040 --> 00:28:45,080
Speaker 1: I remember her looking at me when I said, when

547
00:28:45,080 --> 00:28:46,640
Speaker 1: it says you can be a sweet dream or a

548
00:28:46,680 --> 00:28:49,280
Speaker 1: beautiful nightmare, either way, I want to wake up from you.

549
00:28:50,080 --> 00:28:52,680
Speaker 1: And she was like, because if you know Beyonce, she's

550
00:28:52,680 --> 00:28:56,200
Speaker 1: a lyric person. She's not gonna sing no fluff. And

551
00:28:57,320 --> 00:28:59,200
Speaker 1: so when I think about songs i've written it, and

552
00:28:59,240 --> 00:29:02,120
Speaker 1: I think about the time I take to make sure

553
00:29:02,160 --> 00:29:04,600
Speaker 1: that the words line up. Even when I teach, I

554
00:29:04,600 --> 00:29:07,240
Speaker 1: always tell people if you can't read it like a

555
00:29:07,320 --> 00:29:11,920
Speaker 1: sentence and it makes sense trash. It gotta from start

556
00:29:11,960 --> 00:29:13,360
Speaker 1: to finish you have You should be able to read

557
00:29:13,360 --> 00:29:16,240
Speaker 1: it like a novel. It should be that well put together.

558
00:29:16,400 --> 00:29:18,720
Speaker 1: It should be the detail, and you gotta inspire something

559
00:29:18,760 --> 00:29:20,320
Speaker 1: to people. You have to say the thing that's most

560
00:29:20,320 --> 00:29:22,120
Speaker 1: commonly said. A hit record is saying the thing that's

561
00:29:22,160 --> 00:29:24,880
Speaker 1: most commonly said in a way that's never been said before.

562
00:29:25,080 --> 00:29:27,080
Speaker 1: Because I have to do the work for you. If

563
00:29:27,120 --> 00:29:29,480
Speaker 1: you're if you're dating a girl and you really don't

564
00:29:29,480 --> 00:29:31,640
Speaker 1: know what to say to her, I'm that's my job.

565
00:29:32,000 --> 00:29:35,080
Speaker 1: All you does player the song. That's why we said

566
00:29:35,200 --> 00:29:36,920
Speaker 1: mixtape and I was coming up and you're just sending

567
00:29:36,920 --> 00:29:38,960
Speaker 1: a girl just dedicate. I want to dedicate this song

568
00:29:39,040 --> 00:29:40,760
Speaker 1: to Blah blah blah, because I don't know how to

569
00:29:40,800 --> 00:29:43,120
Speaker 1: say this. He said it for me. So if your

570
00:29:43,120 --> 00:29:46,040
Speaker 1: songs don't do that, don't speak to people, speak for people.

571
00:29:46,840 --> 00:29:49,240
Speaker 1: It's really a cheat. So when I think about easier,

572
00:29:49,280 --> 00:29:50,680
Speaker 1: I don't know if it's easier. I think that I

573
00:29:51,120 --> 00:29:54,840
Speaker 1: definitely lyrically required myself to to be at a certain

574
00:29:54,840 --> 00:29:57,200
Speaker 1: standard because I start off as a rapper. M hm,

575
00:29:58,600 --> 00:30:03,120
Speaker 1: you should a whole bunch of bars. But that's that

576
00:30:03,120 --> 00:30:06,600
Speaker 1: that is ultimately why you are who you are, right

577
00:30:06,600 --> 00:30:11,000
Speaker 1: because you've you're also well studied, and there are a

578
00:30:11,040 --> 00:30:14,920
Speaker 1: lot of talented people. But we're not always well studied,

579
00:30:15,480 --> 00:30:19,440
Speaker 1: you know, we're just talented. And a lot of those

580
00:30:19,560 --> 00:30:22,520
Speaker 1: just talented people come and go, yeah, you know. It's

581
00:30:22,600 --> 00:30:26,200
Speaker 1: it's it starts off with with with who with who

582
00:30:26,240 --> 00:30:28,040
Speaker 1: you know? We know, that's how you you know, you

583
00:30:28,360 --> 00:30:30,440
Speaker 1: name the people who got you to the places. But

584
00:30:30,480 --> 00:30:33,640
Speaker 1: then it then it turns into what you know. What

585
00:30:33,760 --> 00:30:37,200
Speaker 1: you know, and what you know determines who knows you

586
00:30:38,160 --> 00:30:39,800
Speaker 1: because they used to think it was who you know.

587
00:30:40,400 --> 00:30:41,760
Speaker 1: Then I learned it was what you know. And then

588
00:30:41,800 --> 00:30:44,680
Speaker 1: I realized that the gift of knowing much makes other

589
00:30:44,760 --> 00:30:47,880
Speaker 1: people interested in knowing who you are and inquiring about you.

590
00:30:48,280 --> 00:30:50,800
Speaker 1: So the thing that I like what you said was

591
00:30:50,840 --> 00:30:53,320
Speaker 1: a lot of people don't stick around because they don't

592
00:30:53,320 --> 00:30:56,880
Speaker 1: study and they're not well versed. But the greatest part

593
00:30:56,920 --> 00:31:02,000
Speaker 1: about being well versed is they are values, and a

594
00:31:02,040 --> 00:31:05,400
Speaker 1: person who understands and as a student can make it

595
00:31:05,400 --> 00:31:07,680
Speaker 1: through the valley. I watched for Rells work in the

596
00:31:07,800 --> 00:31:10,080
Speaker 1: room across from me, and it was a drought for

597
00:31:10,080 --> 00:31:13,040
Speaker 1: for Rell, and I was on fire five years in

598
00:31:13,040 --> 00:31:15,920
Speaker 1: a row, nothing but hit six years, just nothing but

599
00:31:16,040 --> 00:31:20,600
Speaker 1: hits NonStop. Farrell was working across the hall diligently and

600
00:31:20,640 --> 00:31:23,520
Speaker 1: he came in there and he played me Happy and

601
00:31:23,560 --> 00:31:26,400
Speaker 1: he played me the whole Despicable Me soundtrack and I said,

602
00:31:26,600 --> 00:31:28,560
Speaker 1: you need some help, Nope, I just wanted to play it.

603
00:31:29,040 --> 00:31:35,360
Speaker 1: Want to show you, show you right, because we're always

604
00:31:35,720 --> 00:31:39,600
Speaker 1: we being creatives right and being as competitive as we

605
00:31:39,600 --> 00:31:41,400
Speaker 1: were or we are we were at one point. At

606
00:31:41,480 --> 00:31:43,800
Speaker 1: one point it was NonStop turning lights on on the radio.

607
00:31:43,840 --> 00:31:46,720
Speaker 1: That's all you heard. Times will always shift. You have

608
00:31:46,760 --> 00:31:49,560
Speaker 1: to understand you're you're never gonna be that guy at

609
00:31:49,560 --> 00:31:53,080
Speaker 1: all times. But and a lot of people they think

610
00:31:53,120 --> 00:31:55,920
Speaker 1: that they can. You know you, you'll see people taunting

611
00:31:55,920 --> 00:31:58,200
Speaker 1: you and saying things like get back and you ain't

612
00:31:58,200 --> 00:32:00,320
Speaker 1: did nothing, blah blah blah. And you even though you know,

613
00:32:00,400 --> 00:32:03,120
Speaker 1: we're still working, we're still very active. But when you're

614
00:32:03,160 --> 00:32:06,440
Speaker 1: not working at that valume, sometimes people can believe that

615
00:32:06,800 --> 00:32:08,400
Speaker 1: you don't matter as much of the business. But I'm

616
00:32:08,400 --> 00:32:10,840
Speaker 1: gonna tell you about being well versed. When you're a student,

617
00:32:11,360 --> 00:32:14,240
Speaker 1: you can always figure out a pocket and when you

618
00:32:14,280 --> 00:32:17,840
Speaker 1: get that pocket. He did happy, he did, lucky, he did,

619
00:32:17,880 --> 00:32:20,840
Speaker 1: blurred lines, he did his album that came like he

620
00:32:21,000 --> 00:32:25,160
Speaker 1: was he got because he understands it. He's not a fluke.

621
00:32:25,480 --> 00:32:27,360
Speaker 1: The type of records and the amount of records, a

622
00:32:27,440 --> 00:32:30,400
Speaker 1: lot of people could not do a versus. They wouldn't

623
00:32:30,440 --> 00:32:32,400
Speaker 1: have the ability to to be able to be blessed

624
00:32:32,480 --> 00:32:35,480
Speaker 1: enough to say I could literally do a versus. That's tough.

625
00:32:36,480 --> 00:32:39,320
Speaker 1: People think that that's a thing. I see them throwing

626
00:32:39,400 --> 00:32:41,240
Speaker 1: around names like such and such and do it versus,

627
00:32:41,240 --> 00:32:44,600
Speaker 1: and I'll be like, yeah, you don't right, you don't know,

628
00:32:44,800 --> 00:32:47,719
Speaker 1: you don't have That's a real long time to go

629
00:32:47,800 --> 00:32:50,600
Speaker 1: back and forth. And it's not because you know. I'm

630
00:32:50,640 --> 00:32:54,480
Speaker 1: just it's because I understand, and I'm musical enough to

631
00:32:54,480 --> 00:32:57,280
Speaker 1: be a student and understand how to the ebbs and

632
00:32:57,320 --> 00:32:59,200
Speaker 1: flow of the business and understand how to talk the

633
00:32:59,280 --> 00:33:01,640
Speaker 1: language of the p when the culture, understanding how to

634
00:33:01,720 --> 00:33:04,720
Speaker 1: listen and be quiet. And what I'm learning now is

635
00:33:04,840 --> 00:33:06,840
Speaker 1: I've listened to so many I've listened to so many

636
00:33:06,880 --> 00:33:08,960
Speaker 1: songs that I've written recently, and I'm thinking to myself,

637
00:33:10,760 --> 00:33:15,680
Speaker 1: versus versus. The melody is not young enough, and that's

638
00:33:15,720 --> 00:33:17,280
Speaker 1: when you've got to be smart enough to know where

639
00:33:17,320 --> 00:33:20,920
Speaker 1: collaboration comes into play. Because I looked at nothing sounds

640
00:33:21,000 --> 00:33:23,640
Speaker 1: dated or cheesy, but I was thinking, like, this sounds

641
00:33:23,640 --> 00:33:26,600
Speaker 1: really good, it sounds classic. But if I just young

642
00:33:26,720 --> 00:33:29,200
Speaker 1: this thing up a little bit, if I get some

643
00:33:29,280 --> 00:33:30,920
Speaker 1: little nineteen year old to come in here and this

644
00:33:31,280 --> 00:33:36,080
Speaker 1: fun with this verse, that's the creative brilliance and understanding

645
00:33:36,120 --> 00:33:38,680
Speaker 1: the collaboration what it means. So I think that a

646
00:33:38,680 --> 00:33:41,160
Speaker 1: lot of us stick around the way, but it still exists.

647
00:33:41,320 --> 00:33:43,920
Speaker 1: I still do scores and movies. I just did pop Smoke,

648
00:33:44,160 --> 00:33:47,680
Speaker 1: Enjoy Yourself at this City, girls work, just this Romeo

649
00:33:47,760 --> 00:33:50,640
Speaker 1: Santos and justin timber Lake Sin Finn number one in

650
00:33:50,760 --> 00:33:54,560
Speaker 1: every Spanish country in the world. Still we still active,

651
00:33:54,600 --> 00:33:56,840
Speaker 1: we still making music. We're still relevant to the to

652
00:33:56,880 --> 00:34:01,800
Speaker 1: the culture. But it's not because Nick. I'm just Kanye

653
00:34:01,800 --> 00:34:04,080
Speaker 1: did not make all those great albums because he was

654
00:34:04,120 --> 00:34:05,880
Speaker 1: just the dopest. He was smiled all this great album

655
00:34:05,880 --> 00:34:09,120
Speaker 1: because he consistently was able to collaborate. He was not afraid.

656
00:34:09,200 --> 00:34:11,360
Speaker 1: Drake does not consistently do it because he's sitting in

657
00:34:11,400 --> 00:34:13,359
Speaker 1: the room with just him and forty He's smart enough

658
00:34:13,400 --> 00:34:15,399
Speaker 1: to say, you you, you just come in the room,

659
00:34:15,480 --> 00:34:18,560
Speaker 1: was ill work? And and tell me where I'm wrong at,

660
00:34:18,560 --> 00:34:20,480
Speaker 1: tell me what I'm missing, tell me when I sound

661
00:34:20,480 --> 00:34:22,040
Speaker 1: like the old thing, and when I need to sound

662
00:34:22,080 --> 00:34:25,520
Speaker 1: like the new thing. And people have lost sight of

663
00:34:25,600 --> 00:34:29,640
Speaker 1: what that collaboration looks like, what it means. Jay Z says,

664
00:34:29,680 --> 00:34:32,399
Speaker 1: all right, I like young Chris, I like this whole

665
00:34:32,440 --> 00:34:35,239
Speaker 1: Philly energy. I'm gonna go and I'm gonna borrow from that,

666
00:34:35,280 --> 00:34:37,880
Speaker 1: but I'm gonna still be jay Z. And somebody would say,

667
00:34:37,920 --> 00:34:39,560
Speaker 1: well he stoked, okay, if he stole it, then they

668
00:34:39,600 --> 00:34:41,160
Speaker 1: would be able to do it. What he did was

669
00:34:41,440 --> 00:34:44,480
Speaker 1: uh Pincy Jones said, the thief stills the genius balls

670
00:34:45,280 --> 00:34:47,080
Speaker 1: Jenius is able to say a lot. A little bit

671
00:34:47,120 --> 00:34:49,920
Speaker 1: of this resonates with me, a little bit, this resonation

672
00:34:49,960 --> 00:34:52,839
Speaker 1: with me, But this is me. I'm I'm gonna take

673
00:34:52,880 --> 00:34:55,400
Speaker 1: a piece of that influence, this piece of that influence.

674
00:34:55,480 --> 00:34:57,279
Speaker 1: How remember Jaden Smith did an interview and he said,

675
00:34:57,280 --> 00:34:58,400
Speaker 1: if I have to live in the world where I

676
00:34:58,400 --> 00:35:01,200
Speaker 1: can't borrow from anybody or poppy off anything, why the

677
00:35:01,239 --> 00:35:04,080
Speaker 1: fund do I even want to hear it? It's like

678
00:35:04,160 --> 00:35:05,840
Speaker 1: bringing me a plate of food and saying that's just

679
00:35:05,880 --> 00:35:10,160
Speaker 1: smell it looking, take it away. It's here for us

680
00:35:10,200 --> 00:35:13,440
Speaker 1: to borrow from sampling music, sampling track, It's here for

681
00:35:13,520 --> 00:35:16,319
Speaker 1: us to do that. If you're not prepared to understand

682
00:35:16,880 --> 00:35:20,000
Speaker 1: how beautiful that feels, to be able to take something

683
00:35:20,040 --> 00:35:22,960
Speaker 1: that was this, take something this is incomplete now when

684
00:35:22,960 --> 00:35:24,640
Speaker 1: you take it away. If I just take a piece

685
00:35:24,680 --> 00:35:27,319
Speaker 1: of a Tank song and a piece of JA Valentine song,

686
00:35:27,600 --> 00:35:29,480
Speaker 1: each one of those things now because they're just pieces,

687
00:35:29,480 --> 00:35:32,600
Speaker 1: are incomplete. But if I add who I am to that,

688
00:35:32,680 --> 00:35:34,759
Speaker 1: then I just made a whole new, complete concept and

689
00:35:34,800 --> 00:35:37,080
Speaker 1: the idea that's familiar to you because you're familiar with

690
00:35:37,120 --> 00:35:39,680
Speaker 1: these two people. It feels what do I know that?

691
00:35:39,719 --> 00:35:43,000
Speaker 1: What does it feel? Why do I know this? Because

692
00:35:43,000 --> 00:35:46,200
Speaker 1: they were able to borrow from incredible things and make

693
00:35:46,320 --> 00:35:49,560
Speaker 1: something new, that's it. It's like taking a drum loop.

694
00:35:49,800 --> 00:35:51,520
Speaker 1: The drum loop, You're just taking a drum loop, So

695
00:35:51,520 --> 00:35:53,600
Speaker 1: what are you gonna add to it? A breakbeat? What

696
00:35:53,680 --> 00:35:55,439
Speaker 1: am I going to add to it? Because if not,

697
00:35:55,719 --> 00:35:58,600
Speaker 1: I'm just taking a breakbeat. But collaboration comes in my

698
00:35:59,000 --> 00:36:02,399
Speaker 1: method of approaching what what what happens after that break?

699
00:36:02,440 --> 00:36:08,600
Speaker 1: Bet Sun I want to go back UM as a UM,

700
00:36:08,680 --> 00:36:14,680
Speaker 1: as a member of the hive of the UM. I'm

701
00:36:14,680 --> 00:36:21,520
Speaker 1: wear yellow UM yeah, yeah your custom. I want to

702
00:36:21,560 --> 00:36:29,800
Speaker 1: represent the Yeah on the rack I wanted Yeah, not

703
00:36:29,880 --> 00:36:36,600
Speaker 1: a These are special hangers, special hangers. These come on

704
00:36:37,160 --> 00:36:40,479
Speaker 1: in a bag, zip up bag. Yeah. Man, you gotta

705
00:36:40,520 --> 00:36:44,960
Speaker 1: walk out the store like that. Yeah, y'all too much.

706
00:36:51,040 --> 00:36:56,600
Speaker 1: UM the experience with Beyonce in in the studio because

707
00:36:57,320 --> 00:37:00,800
Speaker 1: you know, as we get to hear, you know, the

708
00:37:01,120 --> 00:37:07,919
Speaker 1: byproduct of of what we assume is just perfect from

709
00:37:08,000 --> 00:37:10,399
Speaker 1: let me sun up to sundown, you know what I mean,

710
00:37:10,480 --> 00:37:12,680
Speaker 1: and eventually it gets there. But what is that process

711
00:37:12,800 --> 00:37:15,920
Speaker 1: like with her? I'm gonna say this, and I want

712
00:37:15,920 --> 00:37:18,400
Speaker 1: to say this to every new artist, to say this

713
00:37:18,440 --> 00:37:21,600
Speaker 1: to every up and coming act. You just got a

714
00:37:21,600 --> 00:37:24,959
Speaker 1: record deal. He got a little buzz, you know, because

715
00:37:25,000 --> 00:37:26,920
Speaker 1: now you can't get a deal without a buzz. So

716
00:37:27,040 --> 00:37:28,759
Speaker 1: you know, you just got a little buzz going. You

717
00:37:28,800 --> 00:37:31,319
Speaker 1: getting a little attention. You show up two hours late

718
00:37:31,360 --> 00:37:33,480
Speaker 1: to the studio. You high, you know what I mean?

719
00:37:33,520 --> 00:37:35,879
Speaker 1: You got eight friends with you. You don't look make

720
00:37:35,920 --> 00:37:38,000
Speaker 1: eye contact with the producer that you're coming to work,

721
00:37:38,000 --> 00:37:40,160
Speaker 1: where you just kind of like what's up? You know,

722
00:37:40,800 --> 00:37:42,719
Speaker 1: I want you to understand that. Beyonce walks in the

723
00:37:42,760 --> 00:37:46,279
Speaker 1: studio and she greets everybody and she says, how are you?

724
00:37:46,400 --> 00:37:48,279
Speaker 1: And then she'll ask you a question about something and

725
00:37:48,320 --> 00:37:50,560
Speaker 1: you'll say that and the next time you see her,

726
00:37:50,960 --> 00:37:53,160
Speaker 1: I'm on later two months later and she'll say, how

727
00:37:53,280 --> 00:37:56,319
Speaker 1: was that thing that you told me about? And you're like,

728
00:37:57,280 --> 00:38:01,600
Speaker 1: you remember that, right? Beyonce walks the studio and she

729
00:38:01,840 --> 00:38:05,520
Speaker 1: is professional, and she asked questions and she inquires and

730
00:38:05,560 --> 00:38:10,680
Speaker 1: she It was the most professional experience that I've experienced

731
00:38:10,680 --> 00:38:14,920
Speaker 1: with a superstar ever. And I also would like to

732
00:38:14,960 --> 00:38:19,759
Speaker 1: say that she allowed me to produce her vocal, which

733
00:38:20,000 --> 00:38:23,600
Speaker 1: which surprised me, and she allowed and trusted me. When

734
00:38:23,600 --> 00:38:25,880
Speaker 1: she realized that I knew what I was doing, she

735
00:38:26,040 --> 00:38:28,120
Speaker 1: was like it was a certain level of comfort, like

736
00:38:28,719 --> 00:38:31,160
Speaker 1: do your thing, like you know what I mean? And

737
00:38:31,239 --> 00:38:36,279
Speaker 1: she let me rock. And the craziest story is the

738
00:38:36,360 --> 00:38:38,520
Speaker 1: second day that we were supposed to work, we work.

739
00:38:38,560 --> 00:38:40,200
Speaker 1: One day. I wrote a song called save the Hero,

740
00:38:40,600 --> 00:38:44,520
Speaker 1: which is on the Sastra Fist album, and she got

741
00:38:44,520 --> 00:38:46,560
Speaker 1: emotional when she heard it and she's sang it right,

742
00:38:46,600 --> 00:38:48,640
Speaker 1: Who's there to save the Hero? Who's say, who's there

743
00:38:48,640 --> 00:38:51,000
Speaker 1: to save the girl after she saves the world? That's

744
00:38:51,000 --> 00:38:55,239
Speaker 1: the lyric. So um, she came and the next day

745
00:38:55,280 --> 00:38:57,640
Speaker 1: she had to shoot an American Express commercial with Ellen,

746
00:38:57,800 --> 00:38:58,920
Speaker 1: so she had to leave it, go to l A

747
00:38:58,920 --> 00:39:01,920
Speaker 1: and then come back to Miami and circle around. By

748
00:39:01,920 --> 00:39:03,480
Speaker 1: the way, she came to Miami to work with me,

749
00:39:04,160 --> 00:39:06,600
Speaker 1: she understood that that's where I was comfortable. So she

750
00:39:06,760 --> 00:39:08,719
Speaker 1: came to me and a lot of people are stuck

751
00:39:08,719 --> 00:39:11,960
Speaker 1: in their ways and say, you gotta doing this. She

752
00:39:12,040 --> 00:39:16,120
Speaker 1: understood even though on Beyonce he's comfortable to get Yeah,

753
00:39:16,280 --> 00:39:18,680
Speaker 1: I'm gonna get the best out of him where he's comfortable.

754
00:39:19,040 --> 00:39:21,600
Speaker 1: And then so she left. It just so happened that

755
00:39:21,680 --> 00:39:25,080
Speaker 1: Jay was coming on tour with Mary J. Blige. So

756
00:39:25,160 --> 00:39:27,920
Speaker 1: she came in and her plane had to circle around

757
00:39:28,400 --> 00:39:31,200
Speaker 1: for like two and a half hours or some some craziness.

758
00:39:31,200 --> 00:39:32,880
Speaker 1: Her flight was delayed for a long time because it

759
00:39:32,920 --> 00:39:36,440
Speaker 1: was a bad storm in Miami. Uh. While I was waiting,

760
00:39:36,920 --> 00:39:38,799
Speaker 1: I wrote a song about the house, like some song

761
00:39:38,840 --> 00:39:40,920
Speaker 1: that I thought was just brilliant about it's a metaphor

762
00:39:41,040 --> 00:39:43,080
Speaker 1: by the house, and and I thought it was each

763
00:39:43,160 --> 00:39:48,799
Speaker 1: room is going to represent everybody has a Yeah. I

764
00:39:48,960 --> 00:39:57,920
Speaker 1: started myself like this it's gonna be like it exactly,

765
00:39:58,800 --> 00:40:01,520
Speaker 1: and the stairs talking to me and you know, oh,

766
00:40:01,560 --> 00:40:04,920
Speaker 1: by the way, I did right, paid this house and

767
00:40:04,920 --> 00:40:08,440
Speaker 1: that ship was good though you have already paid this house, Brandy,

768
00:40:08,520 --> 00:40:10,400
Speaker 1: that was a good one. Now. But I wrote this

769
00:40:10,440 --> 00:40:12,319
Speaker 1: song about the house that I thought was like this

770
00:40:12,400 --> 00:40:17,480
Speaker 1: is it like Grammy, Grammy anyone? So I was like,

771
00:40:17,480 --> 00:40:20,400
Speaker 1: all right, cool. Then I said, okay, she's she's not

772
00:40:20,480 --> 00:40:23,319
Speaker 1: here because of flame. Let me just all write another song.

773
00:40:24,200 --> 00:40:32,640
Speaker 1: So Wayne Wilkins and Jim Johnson played this loop boom boom,

774
00:40:32,640 --> 00:40:34,520
Speaker 1: and all her was turn of Light song. That's why

775
00:40:34,520 --> 00:40:38,280
Speaker 1: I keep hearing. Okay, let's go. So I wrote sweet

776
00:40:38,360 --> 00:40:41,680
Speaker 1: Dreams and before she showed up. So she walks in,

777
00:40:42,239 --> 00:40:45,000
Speaker 1: and when she walks in this time, she's in full

778
00:40:45,160 --> 00:40:51,279
Speaker 1: Beyonce apparel, diamonds, studied every hair done, make everything. He

779
00:40:51,480 --> 00:40:57,440
Speaker 1: was just looking like Jesus Christ, respectfully home. So she says,

780
00:40:57,520 --> 00:41:00,000
Speaker 1: I really don't have time to work. And then let's

781
00:41:00,000 --> 00:41:03,680
Speaker 1: what I'm talking about, character, I don't have time to record.

782
00:41:04,000 --> 00:41:06,399
Speaker 1: I wanted to come because I was late. I wanted

783
00:41:06,440 --> 00:41:10,000
Speaker 1: to make sure you saw my face. I'm sorry our

784
00:41:10,040 --> 00:41:12,319
Speaker 1: playing circled around. I couldn't make it, but I wanted

785
00:41:12,360 --> 00:41:14,520
Speaker 1: to make sure I came personally, so you because you

786
00:41:14,560 --> 00:41:16,600
Speaker 1: guys have been waiting here for hours and I want

787
00:41:16,680 --> 00:41:19,879
Speaker 1: to come and I class act. By the way, this

788
00:41:19,920 --> 00:41:22,479
Speaker 1: is the all time most winning this Grammy Award winning

789
00:41:22,520 --> 00:41:26,080
Speaker 1: artists of all time, and she's a class act. She

790
00:41:26,200 --> 00:41:29,279
Speaker 1: walks in. She says that, and I say, Beyonce, I

791
00:41:29,320 --> 00:41:32,280
Speaker 1: would love to play you a song that I just wrote.

792
00:41:33,040 --> 00:41:37,840
Speaker 1: And I played her the House song and she's like, nice, cool,

793
00:41:38,400 --> 00:41:39,919
Speaker 1: And I said, why, I just wrote this other one

794
00:41:40,160 --> 00:41:42,440
Speaker 1: before you got here, but it's I just finished it

795
00:41:42,480 --> 00:41:44,200
Speaker 1: literally the mix. It ain't even all the way there,

796
00:41:44,239 --> 00:41:45,320
Speaker 1: but I would love to play you that. And she

797
00:41:45,480 --> 00:41:47,200
Speaker 1: kind of like, yeah, I have to go, but all right,

798
00:41:47,600 --> 00:41:50,640
Speaker 1: and I played her Sweet Dreams. She looked at Angie.

799
00:41:51,160 --> 00:41:54,719
Speaker 1: Angie is her cousin assistant at the time, and she said,

800
00:41:54,880 --> 00:41:57,360
Speaker 1: how much time we got ange? She said, we probably

801
00:41:57,360 --> 00:42:00,960
Speaker 1: got twenty minutes, but you know, we got escorts, so

802
00:42:01,040 --> 00:42:04,520
Speaker 1: we get there to the American Airlines, stating, she took

803
00:42:04,520 --> 00:42:06,319
Speaker 1: her heels off, and she stook her earrings off, and

804
00:42:06,320 --> 00:42:11,000
Speaker 1: she cut Sweet Dreams. In fifteen minutes, she cut free

805
00:42:11,120 --> 00:42:12,560
Speaker 1: dreams of fifteen minutes and I'm gonna tell you what

806
00:42:12,640 --> 00:42:14,879
Speaker 1: happened back and listen to that guy. I'm gonna tell

807
00:42:14,880 --> 00:42:18,879
Speaker 1: you what changed my life. She my voice was saying,

808
00:42:18,920 --> 00:42:22,200
Speaker 1: turn of lights on. So when she stepped out the booth,

809
00:42:22,239 --> 00:42:23,520
Speaker 1: she said, oh wait, I didn't do the turn of

810
00:42:23,600 --> 00:42:34,840
Speaker 1: lights on her sick. She says, it's better enough because

811
00:42:35,000 --> 00:42:41,160
Speaker 1: I am going to be a hord. Do you understand

812
00:42:43,560 --> 00:42:45,920
Speaker 1: you better? And she went and she said, turning the

813
00:42:46,000 --> 00:43:02,320
Speaker 1: lights on under set. You've had records that just have

814
00:43:03,400 --> 00:43:05,960
Speaker 1: have no no, no, I have absolutely half. But we

815
00:43:06,040 --> 00:43:07,960
Speaker 1: got to talk about the past too. Yeah, we got

816
00:43:08,160 --> 00:43:09,680
Speaker 1: we have to know. No. Reason why I say have

817
00:43:09,920 --> 00:43:12,479
Speaker 1: is because we still have them right. And what people

818
00:43:12,560 --> 00:43:14,239
Speaker 1: say to me that I really kind of cringe when

819
00:43:14,239 --> 00:43:17,640
Speaker 1: they say I used to love that song. Why tell

820
00:43:17,680 --> 00:43:19,239
Speaker 1: me right though, because that's a song, right I want.

821
00:43:19,280 --> 00:43:20,839
Speaker 1: I want to know that to us because I still

822
00:43:20,920 --> 00:43:22,640
Speaker 1: love it and you still love it. When I listen

823
00:43:22,680 --> 00:43:24,239
Speaker 1: to Stevie Wonder, I don't say I used to love

824
00:43:24,320 --> 00:43:26,399
Speaker 1: that song. When I listen to Burn, but I don't

825
00:43:26,400 --> 00:43:30,000
Speaker 1: say I used to love when the song comes out. Still,

826
00:43:31,320 --> 00:43:33,960
Speaker 1: and we go particular about how we say things you

827
00:43:34,000 --> 00:43:36,040
Speaker 1: know what I mean. So that's what we have them.

828
00:43:36,360 --> 00:43:38,080
Speaker 1: You know what I mean? That still lies, They still

829
00:43:38,120 --> 00:43:46,160
Speaker 1: existing now past when when it comes to music, when

830
00:43:46,200 --> 00:43:48,680
Speaker 1: it comes to me, it's a gift, alright if it

831
00:43:48,760 --> 00:44:02,359
Speaker 1: keeps giving. Yeah, Tank has his piano. Did y'all tune

832
00:44:02,360 --> 00:44:05,680
Speaker 1: that it sounds better to? There? Can you even tune

833
00:44:05,760 --> 00:44:28,520
Speaker 1: this thing? Top five? You're top five, re equos top five.

834
00:44:30,280 --> 00:44:33,560
Speaker 1: I don't know what notes hev your top your top

835
00:44:33,960 --> 00:44:42,359
Speaker 1: five be so be honest, he makes it makes sense.

836
00:44:42,440 --> 00:44:49,160
Speaker 1: You know, you know you got somebody so so bad

837
00:44:49,880 --> 00:44:55,600
Speaker 1: you want to put in your top file A yeah,

838
00:44:56,400 --> 00:45:21,200
Speaker 1: yeah you reco loves talk fine, no get ready songs

839
00:45:23,080 --> 00:45:26,719
Speaker 1: songs Okay. By the way, first of all, no matter

840
00:45:26,800 --> 00:45:31,120
Speaker 1: what you people feel, Prince's ours. He belongs to us,

841
00:45:31,640 --> 00:45:35,000
Speaker 1: even a conversation because I had this come yeah, man,

842
00:45:35,040 --> 00:45:39,360
Speaker 1: all right, not here Prince R and B King Diamond's

843
00:45:39,360 --> 00:45:48,399
Speaker 1: imperiled by Prince Base Easy Human Nature by Michael Jackson.

844
00:45:49,239 --> 00:45:54,400
Speaker 1: I gotta follow it up? Yes, yes, you get it.

845
00:45:55,040 --> 00:45:57,680
Speaker 1: Come on with it. Number three. I'm gonna go with

846
00:45:58,200 --> 00:46:08,920
Speaker 1: so Sick by Neosens. Number four, I'm gonna go with

847
00:46:10,840 --> 00:46:16,880
Speaker 1: Sexual Healing by Marvin Gay Calling up get up, Get up,

848
00:46:16,960 --> 00:46:19,440
Speaker 1: Get up? Who's he talking to us? Make not tonight?

849
00:46:21,040 --> 00:46:27,000
Speaker 1: Land was next to dare you whisper? Number five, number five,

850
00:46:28,440 --> 00:46:36,320
Speaker 1: mm hmm. I'm gonna go with sorry, I have to

851
00:46:36,360 --> 00:46:42,319
Speaker 1: do it. You got a bad boss. You when you're

852
00:46:42,360 --> 00:46:45,080
Speaker 1: on the phone, hang up in your call right all

853
00:46:45,160 --> 00:46:48,400
Speaker 1: right back, called right back. And then if we go,

854
00:46:48,520 --> 00:46:50,000
Speaker 1: if we go down the list, I'm gonna say, because

855
00:46:50,000 --> 00:46:51,200
Speaker 1: we gotta go all the time, I'm gonna go to

856
00:46:51,360 --> 00:46:54,120
Speaker 1: my number like seven, because just randomly, because this came

857
00:46:54,160 --> 00:46:58,360
Speaker 1: to mind, jump down. I know this sounds crazy, but

858
00:46:58,560 --> 00:47:03,200
Speaker 1: when dream goes, I'm in love with your baby, and

859
00:47:03,520 --> 00:47:07,399
Speaker 1: I want you to know then I'm looked though your

860
00:47:07,600 --> 00:47:10,239
Speaker 1: bad Come on, man, I was just doing a three

861
00:47:10,320 --> 00:47:12,719
Speaker 1: part you just know what it is that record. Come on,

862
00:47:14,800 --> 00:47:16,920
Speaker 1: she rocking that thing that was just to me, and

863
00:47:17,000 --> 00:47:19,279
Speaker 1: she rocking that thing that was just he was just

864
00:47:20,280 --> 00:47:28,359
Speaker 1: like his attitude keeps. He got he got gotta jail, jail.

865
00:47:28,600 --> 00:47:31,279
Speaker 1: That's a great top five, great top You can't ready

866
00:47:31,320 --> 00:47:39,000
Speaker 1: with your ship, you know, clip for I had to

867
00:47:39,040 --> 00:47:41,399
Speaker 1: make sure that you know that song just I don't

868
00:47:41,400 --> 00:47:43,880
Speaker 1: know what every time I started thinking about the top

869
00:47:43,920 --> 00:47:46,160
Speaker 1: of this whole company, I'm like, damn, that song is

870
00:47:46,200 --> 00:47:48,799
Speaker 1: so special to me. Yeah you know. Okay, alright, your

871
00:47:48,840 --> 00:47:53,240
Speaker 1: top five R and B artists. Yeah, Usher Ship, Okay,

872
00:47:53,320 --> 00:47:57,480
Speaker 1: let's get Beyonce, Let's get there, luth Vangil, why not, Brandy,

873
00:48:00,120 --> 00:48:06,600
Speaker 1: Tank Milwaukee, do look at Milwaukee right here. Just get

874
00:48:06,760 --> 00:48:10,319
Speaker 1: honest to show up to the give it to the Tank.

875
00:48:10,320 --> 00:48:12,960
Speaker 1: I'm gonna tell you why. It's a group called Rain

876
00:48:14,760 --> 00:48:16,719
Speaker 1: and those guys grew up with those guys and they

877
00:48:16,800 --> 00:48:19,240
Speaker 1: had a record deal or they were signed to J Jacket.

878
00:48:19,560 --> 00:48:21,600
Speaker 1: They came back to them and they sang this song.

879
00:48:23,000 --> 00:48:25,879
Speaker 1: B J would sing this song when we turn out

880
00:48:26,000 --> 00:48:28,440
Speaker 1: the lights, the two of us. No, no, not, that's

881
00:48:28,480 --> 00:48:30,640
Speaker 1: the Joe. He would say, um no, it was the

882
00:48:30,719 --> 00:48:34,799
Speaker 1: song star with beings, bunch lonliness. But as soon as

883
00:48:34,920 --> 00:48:38,840
Speaker 1: I see you, the feelings of being blues gone, visions

884
00:48:38,880 --> 00:48:41,759
Speaker 1: of your lovely face of gone. And Tank wrote that

885
00:48:41,840 --> 00:48:47,640
Speaker 1: song for them five years ago. I was in high school.

886
00:48:48,120 --> 00:48:51,680
Speaker 1: They came back with that demo you remember Rain, you

887
00:48:51,719 --> 00:48:55,080
Speaker 1: don't read y b J. Mario and Tim and they

888
00:48:56,560 --> 00:49:06,560
Speaker 1: yeah you Tim Canniball and they and they came back

889
00:49:07,000 --> 00:49:08,920
Speaker 1: and they played that song and I listened to that

890
00:49:09,000 --> 00:49:11,719
Speaker 1: song everything I remember because I used to get really emotional,

891
00:49:11,840 --> 00:49:13,799
Speaker 1: by the way, like if I heard the album when

892
00:49:13,800 --> 00:49:15,000
Speaker 1: I but when I was trying to make it, I

893
00:49:15,120 --> 00:49:18,359
Speaker 1: was a kid um. Like instance, the album emotional about

894
00:49:18,360 --> 00:49:21,000
Speaker 1: Carl Thomas. When I first heard it, I cried, not

895
00:49:21,160 --> 00:49:23,680
Speaker 1: because it was so much, because I thought, if this

896
00:49:23,840 --> 00:49:25,840
Speaker 1: is what I have to make to make it in

897
00:49:25,880 --> 00:49:29,960
Speaker 1: the business, I'm never gonna make. That's how so I

898
00:49:30,080 --> 00:49:33,440
Speaker 1: remember hearing that song and I got emotions like I'm fucked, bro,

899
00:49:35,000 --> 00:49:37,120
Speaker 1: And I don't even I was a rapper, but I

900
00:49:37,200 --> 00:49:39,640
Speaker 1: just thought, if things have to be on this level.

901
00:49:39,880 --> 00:49:42,880
Speaker 1: That's how songs used to affect me. Used to get

902
00:49:43,440 --> 00:49:44,839
Speaker 1: sad as sleep. I used to get in the bed

903
00:49:44,840 --> 00:49:46,320
Speaker 1: then want to get out of bed because I'd be like,

904
00:49:46,400 --> 00:49:47,920
Speaker 1: what the funk am I gonna do? This is all

905
00:49:47,960 --> 00:49:50,759
Speaker 1: I want to do. And if this nick is making

906
00:49:50,760 --> 00:49:52,440
Speaker 1: ship like that, I gotta make stuff like this to

907
00:49:52,520 --> 00:49:56,359
Speaker 1: make it. I'm fucked. Yeah. So that's why I gotta

908
00:49:56,400 --> 00:50:00,279
Speaker 1: go on my number five, because we got history. It's

909
00:50:00,320 --> 00:50:07,120
Speaker 1: just gotta finish business. Let's do a voltron. Okay, let's

910
00:50:07,200 --> 00:50:10,520
Speaker 1: make your Let's make your Let's make your r and

911
00:50:10,560 --> 00:50:12,879
Speaker 1: b artists, your elite R and B artist. We want

912
00:50:12,920 --> 00:50:15,520
Speaker 1: to see who are you gonna pull the vocal from?

913
00:50:16,280 --> 00:50:19,080
Speaker 1: Who are you gonna pull the performance style from? Who

914
00:50:19,080 --> 00:50:23,440
Speaker 1: are gonna pull the styling from? And you're gonna pull uh,

915
00:50:24,040 --> 00:50:28,080
Speaker 1: the passion from? So what artists are you getting the

916
00:50:28,320 --> 00:50:32,359
Speaker 1: vocal from. I gotta get the vocal from Sam Cooke

917
00:50:33,040 --> 00:50:36,239
Speaker 1: ship and it's close because it's Donnie had the way

918
00:50:36,280 --> 00:50:38,560
Speaker 1: of Sam Cooke. But I gotta go Sam Cooked because

919
00:50:39,960 --> 00:50:41,880
Speaker 1: just a you know what he was like to it,

920
00:50:42,400 --> 00:50:47,640
Speaker 1: you know what I mean? So the stalling performance performance

921
00:50:47,680 --> 00:50:51,400
Speaker 1: style from I gotta go with Usher. I don't know

922
00:50:51,400 --> 00:50:57,680
Speaker 1: if anybody's been a Vegas because Michael was an incredible

923
00:50:57,760 --> 00:51:00,440
Speaker 1: showman and credible performer. But I don't think had to win,

924
00:51:01,560 --> 00:51:03,840
Speaker 1: you know what I mean? Ushers has the wind to

925
00:51:04,080 --> 00:51:06,640
Speaker 1: perform for three hours. I think Michael was so slim

926
00:51:06,760 --> 00:51:08,719
Speaker 1: and so you know, I'm going to stay out of this. Yeah,

927
00:51:08,840 --> 00:51:11,320
Speaker 1: I mean, I don't know. I don't feel not not

928
00:51:11,719 --> 00:51:13,279
Speaker 1: I'm not trying to say to sing the songs. So

929
00:51:13,360 --> 00:51:16,040
Speaker 1: he sounded great, but I just think Michael Usher just

930
00:51:16,160 --> 00:51:19,080
Speaker 1: had more has more wind to me in a three

931
00:51:19,120 --> 00:51:23,720
Speaker 1: hour performance. This is your vote, Troy. I'm staying you disagree,

932
00:51:23,760 --> 00:51:25,759
Speaker 1: all right, all right, so I'm gonna go because that's

933
00:51:25,880 --> 00:51:31,440
Speaker 1: that's okay. You do realize that Michael Jackson will perform

934
00:51:31,600 --> 00:51:36,200
Speaker 1: his songs anywhere from five to ten bpms fast. Yes,

935
00:51:36,320 --> 00:51:39,000
Speaker 1: that's true, that's very true. Yeah, you know, I just

936
00:51:39,080 --> 00:51:44,680
Speaker 1: I don't play about the Michaels, Michael Jordan's, Mike Tyson,

937
00:51:45,239 --> 00:51:50,200
Speaker 1: Michael Jackson, Michael Corleon. I just don't play. I don't

938
00:51:50,200 --> 00:51:53,520
Speaker 1: play about the Michaels. That's fair, that's fair. You gotta

939
00:51:53,600 --> 00:51:57,520
Speaker 1: you got, you got. I can accept when i'm but

940
00:51:57,520 --> 00:52:04,760
Speaker 1: I'm still gonna go with us performances styling the style

941
00:52:04,800 --> 00:52:07,640
Speaker 1: of that artist, what they're putting on, they're putting on

942
00:52:08,920 --> 00:52:18,800
Speaker 1: mm hmmm, staling. Let's say, I'm gonna go with and

943
00:52:18,920 --> 00:52:22,799
Speaker 1: this is this is my wild carkay, okay, the Five

944
00:52:22,840 --> 00:52:26,719
Speaker 1: Heart Beats, they didn't imagine aary, imagine a group. Yeah,

945
00:52:27,640 --> 00:52:29,960
Speaker 1: but when Flash joined the group, the whole style it

946
00:52:30,080 --> 00:52:34,319
Speaker 1: turned out they was definitely fly. They look rich, look

947
00:52:34,520 --> 00:52:37,000
Speaker 1: very rich. So I gotta go imagine a group with

948
00:52:37,040 --> 00:52:39,839
Speaker 1: that one with the look appealing. Yeah that you wan't

949
00:52:39,880 --> 00:52:45,879
Speaker 1: want people spot ye dang, where did he still had

950
00:52:45,960 --> 00:52:51,040
Speaker 1: that fear? They ripped that. They ripped it, brother dripped

951
00:52:51,080 --> 00:52:56,000
Speaker 1: sleeves off he had on the depiction of that was

952
00:52:56,160 --> 00:53:00,560
Speaker 1: so crazy. No, Robert, you shout out to Robert Man

953
00:53:00,800 --> 00:53:03,160
Speaker 1: genius because he's not He's not a singer. He's not

954
00:53:03,200 --> 00:53:05,320
Speaker 1: an R and B guy like obviously the R B

955
00:53:05,440 --> 00:53:09,920
Speaker 1: guy an amazing series. Acted his ass off the greatest,

956
00:53:10,320 --> 00:53:12,080
Speaker 1: by the way, By the way, the writing at the

957
00:53:12,239 --> 00:53:15,360
Speaker 1: end when he said, when when Eddie Kane saying I

958
00:53:15,400 --> 00:53:23,320
Speaker 1: feel like whole were precious, she said she did not

959
00:53:23,440 --> 00:53:27,759
Speaker 1: know what I saw. No, So yeah, yeah, incredible the

960
00:53:27,840 --> 00:53:29,879
Speaker 1: passion of that artist. Who are you getting the heart

961
00:53:29,920 --> 00:53:37,560
Speaker 1: from jarill LeVert easily? We've had to garill Leverts in

962
00:53:37,640 --> 00:53:40,640
Speaker 1: the passion section for sure. Yeah. And you can't go

963
00:53:40,760 --> 00:53:44,439
Speaker 1: wrong with you can't go wrong with ever any state,

964
00:53:44,520 --> 00:53:51,919
Speaker 1: any level. Yeah. Yeah, vocally yeah, fly fly, come on bear. Yeah.

965
00:53:52,560 --> 00:53:54,799
Speaker 1: Remember that episode Martin was on The Varnel Hill Show

966
00:53:54,840 --> 00:54:00,800
Speaker 1: and he slid across That's all He's gonna do it

967
00:54:00,840 --> 00:54:07,480
Speaker 1: because his daddy exactly in the suit I watched this daddy. Yeah,

968
00:54:07,760 --> 00:54:09,560
Speaker 1: and I'm just making a joke. At a hundred seven

969
00:54:09,640 --> 00:54:13,160
Speaker 1: years old on front of the stage, he was reading

970
00:54:14,360 --> 00:54:17,919
Speaker 1: rolled across the stage of the sweating out his suit,

971
00:54:18,440 --> 00:54:28,359
Speaker 1: give him full, all of it all. You know, I'm

972
00:54:28,400 --> 00:54:31,359
Speaker 1: like this, he is still getting to it. I used

973
00:54:31,400 --> 00:54:32,960
Speaker 1: to watch my show every now he come talk to

974
00:54:33,040 --> 00:54:35,160
Speaker 1: me to say, you know what, I gotta apologize again

975
00:54:35,160 --> 00:54:37,400
Speaker 1: because that Michael Ship was out of pocket. It was

976
00:54:37,440 --> 00:54:43,239
Speaker 1: out of pocket because I'm thinking about Jackson five. He's

977
00:54:43,280 --> 00:54:46,479
Speaker 1: been fucking conditioning since he was sucking two and a half.

978
00:54:46,920 --> 00:54:49,760
Speaker 1: I mean, if Michael Jackson takes a break, is because

979
00:54:49,800 --> 00:54:52,520
Speaker 1: he feels he like I need everybody to go watch

980
00:54:52,640 --> 00:54:58,160
Speaker 1: the Dancing Machine performance. Just go watch the Dancing Machine perform.

981
00:54:58,239 --> 00:55:02,120
Speaker 1: Is that a hand? Yeah, I'm apologize. I apologize Michael

982
00:55:02,160 --> 00:55:12,320
Speaker 1: and all of the I'll tell them. I know. So

983
00:55:13,880 --> 00:55:17,960
Speaker 1: why while we're here, we got another selection? You won't

984
00:55:17,960 --> 00:55:20,000
Speaker 1: give him a selection. You want to give him selection?

985
00:55:21,239 --> 00:55:24,880
Speaker 1: What speed you're gonna play? Okay, I'm gonna play the

986
00:55:24,920 --> 00:55:28,319
Speaker 1: fast speed. I ain't saying I ain't saying no names.

987
00:55:28,640 --> 00:55:31,120
Speaker 1: I ain't saying no names. I ain't saying no name.

988
00:55:31,360 --> 00:55:36,280
Speaker 1: He was you win what you did? Don't say Ship,

989
00:55:40,239 --> 00:55:53,440
Speaker 1: I ain't saying no name. Story funnier, fucked up man,

990
00:55:53,760 --> 00:55:56,200
Speaker 1: are funny and fucked up, Funny and fucked up. The

991
00:55:56,280 --> 00:55:59,480
Speaker 1: only rule is you can't say no names. Yeah, man,

992
00:56:00,360 --> 00:56:04,800
Speaker 1: so this is Rico. Actually, are you ready? This is

993
00:56:05,000 --> 00:56:11,600
Speaker 1: Rico loves Division One. Turner lights on the motivation man himself.

994
00:56:12,760 --> 00:56:19,480
Speaker 1: Huh there goes my baby, they thought, but they don't know.

995
00:56:21,080 --> 00:56:27,120
Speaker 1: They couldn't know. They couldn't know. I ain't saying no names.

996
00:56:27,760 --> 00:56:35,520
Speaker 1: Oh man, I ain't saying no names. But when I

997
00:56:35,719 --> 00:56:41,840
Speaker 1: was young, I'm I'm eliminate. I was on tour with ushers,

998
00:56:41,840 --> 00:56:47,120
Speaker 1: so that eliminates him because I'm not saying their names. Right. Yeah.

999
00:56:47,239 --> 00:56:50,080
Speaker 1: So I'm on tour and somebody I really loved and

1000
00:56:50,160 --> 00:56:53,960
Speaker 1: admire what was hanging out with me were back. We're

1001
00:56:54,000 --> 00:56:58,720
Speaker 1: hanging out, and uh I met a young lady, beautiful,

1002
00:56:58,719 --> 00:57:00,680
Speaker 1: probably one of the most beautiful guys I ever met

1003
00:57:00,719 --> 00:57:02,400
Speaker 1: in my life. I'm thinking to myself, you know what,

1004
00:57:03,040 --> 00:57:06,800
Speaker 1: And for some reason it's particularly even and Sky, very popular,

1005
00:57:07,239 --> 00:57:08,960
Speaker 1: very well. It comes to guy just hanging out with me.

1006
00:57:09,640 --> 00:57:11,759
Speaker 1: So he's like, yo, this vibeing with me, right, So

1007
00:57:11,840 --> 00:57:13,960
Speaker 1: I'm just like, all right, cool. We we're hanging out,

1008
00:57:14,040 --> 00:57:16,720
Speaker 1: and uh I met this young lady who I thought

1009
00:57:16,760 --> 00:57:20,160
Speaker 1: to myself easily going to be my my girlfriend. You know,

1010
00:57:20,320 --> 00:57:23,760
Speaker 1: first day, mita, this is it, This is it for me,

1011
00:57:24,200 --> 00:57:27,520
Speaker 1: This is all I need in my life. She was

1012
00:57:27,600 --> 00:57:30,160
Speaker 1: that beautiful and I'm just like thinking, like manny fie man.

1013
00:57:30,320 --> 00:57:32,640
Speaker 1: But Homeway he's around me, and I'm just thinking, oh,

1014
00:57:32,840 --> 00:57:36,760
Speaker 1: he must be this makes me look cooler because you

1015
00:57:36,840 --> 00:57:39,360
Speaker 1: know what I mean, make me make me look a

1016
00:57:39,400 --> 00:57:42,600
Speaker 1: lot cooler because I'm hanging with Homeway. So I uh,

1017
00:57:45,160 --> 00:57:48,240
Speaker 1: I say, yo, I'm gonna go step out in the

1018
00:57:48,280 --> 00:57:51,400
Speaker 1: second how let my man, because I gotta jump on stage,

1019
00:57:51,440 --> 00:57:53,880
Speaker 1: you know, because I'm on the cheop to I gonna perform.

1020
00:57:53,960 --> 00:57:57,200
Speaker 1: And I really really really like this girl. I'm thinking

1021
00:57:57,200 --> 00:57:59,400
Speaker 1: to myself, this is it's gonna be it for me

1022
00:57:59,520 --> 00:58:03,439
Speaker 1: in a lot pinkies, that type of energy walking Yeah

1023
00:58:04,120 --> 00:58:10,320
Speaker 1: yeah man. And uh not only not only was this

1024
00:58:10,480 --> 00:58:20,400
Speaker 1: man ravishing her when I returned, but he locked the door. Yeah,

1025
00:58:20,480 --> 00:58:23,880
Speaker 1: he locked the door. And he must have been experienced

1026
00:58:23,920 --> 00:58:33,240
Speaker 1: sexually because she because because because she was she was

1027
00:58:33,320 --> 00:58:36,560
Speaker 1: doing she's doing vocal exorcisey. I thought maybe they were

1028
00:58:36,720 --> 00:58:38,560
Speaker 1: they were doing At first, I thought like maybe he's

1029
00:58:38,600 --> 00:58:46,160
Speaker 1: training their vocus. I was like, they're doing vocal exorcise

1030
00:58:46,320 --> 00:58:51,240
Speaker 1: for sure. Y. Yeah. And then uh, and you said

1031
00:58:51,280 --> 00:58:53,560
Speaker 1: it wasn't that long. It was quick. Quick. I go

1032
00:58:53,680 --> 00:58:55,240
Speaker 1: up there and do the verse. I come back. I'm like,

1033
00:58:56,240 --> 00:58:57,880
Speaker 1: I'm you know, I'm not thinking. Maybe she's so oft

1034
00:58:57,880 --> 00:58:59,440
Speaker 1: from the side of the stage I gave you. I

1035
00:58:59,480 --> 00:59:00,720
Speaker 1: made a spot for her on the side of that

1036
00:59:00,760 --> 00:59:04,360
Speaker 1: did all access lambing lamb. Yeah, yeah, I took that

1037
00:59:04,440 --> 00:59:07,480
Speaker 1: lambing back. She came out of there. Yeah, so well, yeah,

1038
00:59:07,520 --> 00:59:11,800
Speaker 1: he was ravishing her, ravishing Rick rude. Yeah, yeah, it was,

1039
00:59:11,920 --> 00:59:14,080
Speaker 1: it was, it was, it was. Yeah. They had a

1040
00:59:14,160 --> 00:59:19,400
Speaker 1: time and then she walked out. She commenced, acting like

1041
00:59:19,520 --> 00:59:20,840
Speaker 1: she was gonna hang with me for the rest of

1042
00:59:20,880 --> 00:59:27,520
Speaker 1: the Yeah, this happened. What's happened? This happened? Did you

1043
00:59:27,600 --> 00:59:32,320
Speaker 1: let her hang out? I did? She was bad, she

1044
00:59:32,480 --> 00:59:41,880
Speaker 1: was helping. He's a lover. He's a lover, not a

1045
00:59:41,960 --> 00:59:49,120
Speaker 1: harm Oh my god, Drake said it best new to me,

1046
00:59:51,560 --> 00:59:56,800
Speaker 1: new to me? Oh yeah, man, that was great. Happened,

1047
00:59:57,000 --> 00:59:59,880
Speaker 1: that was real? He said he must have been experienced.

1048
01:00:00,560 --> 01:00:05,520
Speaker 1: Actually he definitely, he definitely knew his way around this

1049
01:00:05,640 --> 01:00:15,240
Speaker 1: way around the dressing room. Respectfully, I don't think it

1050
01:00:15,400 --> 01:00:20,080
Speaker 1: was Yeah, he was quick too, And I'm like, and

1051
01:00:20,160 --> 01:00:23,640
Speaker 1: now I realized he just really I'm thinking he's making

1052
01:00:23,680 --> 01:00:26,160
Speaker 1: me look like that nigga, Like, you know, I'm blah

1053
01:00:26,160 --> 01:00:31,000
Speaker 1: black and I'm just like, I'm all night and I'm

1054
01:00:31,040 --> 01:00:33,960
Speaker 1: sitting there, but I'm on you think it's you. You

1055
01:00:34,160 --> 01:00:37,080
Speaker 1: miss what I'm telling her, Like, Yo, get on this

1056
01:00:37,200 --> 01:00:40,040
Speaker 1: side of the stage right here when I get out,

1057
01:00:40,080 --> 01:00:41,640
Speaker 1: you know, I'm blah blah blah, get on the stage.

1058
01:00:41,640 --> 01:00:42,920
Speaker 1: I don't really see it, but I'm not a tripping

1059
01:00:42,920 --> 01:00:44,960
Speaker 1: because I just killed it and I'm just like, oh,

1060
01:00:45,000 --> 01:00:47,000
Speaker 1: this is a great performance. This is good. You know,

1061
01:00:47,560 --> 01:00:49,600
Speaker 1: I go back. I'm like, you know, where's you know,

1062
01:00:50,440 --> 01:00:57,760
Speaker 1: go to who dressing room? Yeah, annihilating, annihilating this young lady.

1063
01:00:58,760 --> 01:01:02,280
Speaker 1: You're respectfully and safely. But it was just sae. Yeah, yeah,

1064
01:01:02,280 --> 01:01:03,800
Speaker 1: it was. It was. It was a It was a

1065
01:01:04,400 --> 01:01:10,760
Speaker 1: learning experience, learning, absolute learning. Next yea exactly. I still

1066
01:01:10,840 --> 01:01:13,320
Speaker 1: hung out with a Pinkies. No more like the Pinkies.

1067
01:01:13,400 --> 01:01:18,000
Speaker 1: Was that I got standards ship. Listen, listen, I know

1068
01:01:18,080 --> 01:01:22,560
Speaker 1: you gotta go. It's a very important thing. I need

1069
01:01:22,640 --> 01:01:26,480
Speaker 1: you to give our audience a little bit of the

1070
01:01:26,600 --> 01:01:30,760
Speaker 1: rundown of the Recording Academy, the Grammys, and the Black

1071
01:01:30,880 --> 01:01:34,720
Speaker 1: Music coalition. How that collective, I'm sorry, how that all

1072
01:01:34,800 --> 01:01:37,680
Speaker 1: goes together, and the part that you're playing in that,

1073
01:01:37,840 --> 01:01:41,680
Speaker 1: and how important that is to up and coming and

1074
01:01:42,000 --> 01:01:48,360
Speaker 1: current established, established creative in this business. So I'm the

1075
01:01:48,880 --> 01:01:52,760
Speaker 1: vice chairman of the Recording Academy's board the Trustees, so um,

1076
01:01:53,440 --> 01:01:55,960
Speaker 1: and I'm also the chairman of the Black Music Collective.

1077
01:01:57,080 --> 01:02:01,240
Speaker 1: I always love watching the grand I always felt like

1078
01:02:01,360 --> 01:02:04,560
Speaker 1: this was music's biggest night. Not to sound like cliche,

1079
01:02:04,680 --> 01:02:07,560
Speaker 1: but I just felt like, this is this is it,

1080
01:02:07,640 --> 01:02:09,240
Speaker 1: This is super Bowl for us, This is the thing

1081
01:02:09,320 --> 01:02:14,360
Speaker 1: that we can say wow. And a while ago I

1082
01:02:14,760 --> 01:02:16,560
Speaker 1: became a member and I was joined, and I started

1083
01:02:16,640 --> 01:02:19,640
Speaker 1: understanding what it means and how you vote and how

1084
01:02:19,800 --> 01:02:21,920
Speaker 1: this operates. And I I used to be as angry

1085
01:02:21,960 --> 01:02:25,360
Speaker 1: with the Recording Academy as everybody else, until I realized

1086
01:02:25,920 --> 01:02:29,280
Speaker 1: that these are things. The issues inside the Recording Academy

1087
01:02:29,280 --> 01:02:31,680
Speaker 1: are things that can be fixed. It's just about us

1088
01:02:31,760 --> 01:02:36,680
Speaker 1: coming together. Right. If everyone decides that we're gonna walk

1089
01:02:36,760 --> 01:02:40,360
Speaker 1: away from the race, we don't. We don't harm or

1090
01:02:40,480 --> 01:02:42,280
Speaker 1: hurt the rest of the people in the race. We

1091
01:02:42,360 --> 01:02:46,000
Speaker 1: don't run as fast as us. We helped him. They

1092
01:02:46,120 --> 01:02:50,480
Speaker 1: benefit from our absence and participating in certain elements of it.

1093
01:02:51,640 --> 01:02:54,800
Speaker 1: People often say like, we should fight for our seats

1094
01:02:54,840 --> 01:02:57,760
Speaker 1: at the table, and I'm telling you we should not

1095
01:02:57,880 --> 01:03:00,040
Speaker 1: fight for our seats at the table. I'm telling you

1096
01:03:00,120 --> 01:03:04,320
Speaker 1: that my ancestors built the table. Their influences, their music,

1097
01:03:04,640 --> 01:03:09,280
Speaker 1: their soul, their energy created this table. Every artist that

1098
01:03:09,440 --> 01:03:12,200
Speaker 1: that's done great numbers and great things can always say

1099
01:03:12,240 --> 01:03:14,560
Speaker 1: there's a black artist that influenced them. This is a fact.

1100
01:03:15,120 --> 01:03:17,160
Speaker 1: So I'm not fighting for a seat. I'm claiming an

1101
01:03:17,160 --> 01:03:19,960
Speaker 1: inheritance that is let belongs to me, that's old to me.

1102
01:03:20,400 --> 01:03:22,360
Speaker 1: So when I'm in the sign of Recording Academy and

1103
01:03:22,400 --> 01:03:25,240
Speaker 1: I'm fighting to make sure that we raise awareness for

1104
01:03:25,320 --> 01:03:28,680
Speaker 1: black voting members. When I'm chairing a BMC, we're honoring

1105
01:03:28,800 --> 01:03:32,080
Speaker 1: this year. This week we honor Sylvia Own, Little Wayne,

1106
01:03:32,680 --> 01:03:35,720
Speaker 1: Missy Elliot, and Dr Dre. Little Wayne speech, he cried

1107
01:03:36,520 --> 01:03:39,120
Speaker 1: because we gave him the Global Impact Award. We didn't

1108
01:03:39,120 --> 01:03:41,120
Speaker 1: give him an award for a song, we didn't give

1109
01:03:41,160 --> 01:03:43,800
Speaker 1: him an award for an album. We said that you

1110
01:03:43,880 --> 01:03:47,080
Speaker 1: globally have impacted the world, your style, your energy, who

1111
01:03:47,160 --> 01:03:50,600
Speaker 1: you are, and that it's the awareness that I want

1112
01:03:50,600 --> 01:03:52,400
Speaker 1: to raise a lot of people say the Grammy's and

1113
01:03:52,440 --> 01:03:54,840
Speaker 1: NAT and I always ask them how does the Grammy's work?

1114
01:03:56,400 --> 01:03:58,560
Speaker 1: Every person that says fun the Grammys, I say, how

1115
01:03:58,600 --> 01:04:01,040
Speaker 1: does it work? M I heard people saying, well, this

1116
01:04:01,160 --> 01:04:02,480
Speaker 1: year they I know they ain't gonna to hell win

1117
01:04:02,520 --> 01:04:04,400
Speaker 1: this year, but next year it's because they blow the

1118
01:04:04,480 --> 01:04:07,680
Speaker 1: politics to day. And I'm like, there's a voting body.

1119
01:04:08,440 --> 01:04:13,920
Speaker 1: And if we make up of this streaming the best

1120
01:04:13,960 --> 01:04:18,440
Speaker 1: streaming music, but we only make two of the voting membership,

1121
01:04:18,640 --> 01:04:20,600
Speaker 1: how do we expect to be recognized when it's time

1122
01:04:20,680 --> 01:04:23,160
Speaker 1: to vote. So what I encourage us all to do

1123
01:04:23,280 --> 01:04:25,400
Speaker 1: is make sure that we've become voting members. Now. I

1124
01:04:25,440 --> 01:04:26,960
Speaker 1: don't know when this is gonna air, but I will

1125
01:04:27,000 --> 01:04:32,240
Speaker 1: say this February is when you can start submitting to

1126
01:04:32,400 --> 01:04:35,040
Speaker 1: be a voting member. You go to grammy dot com.

1127
01:04:35,640 --> 01:04:38,640
Speaker 1: You're clicking that top left corner tab is gonna come

1128
01:04:38,680 --> 01:04:40,880
Speaker 1: down in the middle is gonna say membership. Click on

1129
01:04:40,920 --> 01:04:44,280
Speaker 1: that membership. You get two people to co sign you,

1130
01:04:44,440 --> 01:04:48,120
Speaker 1: to give you letters to to to speak up for you. Right.

1131
01:04:49,280 --> 01:04:51,880
Speaker 1: They don't have to be established artists, they could be anybody.

1132
01:04:51,920 --> 01:04:53,840
Speaker 1: It helps if you know somebody inside the Academy, but

1133
01:04:53,920 --> 01:04:57,120
Speaker 1: if they, if you don't, it's okay, And then be

1134
01:04:57,640 --> 01:05:01,560
Speaker 1: active in the music business. Currently, every rapper, every R

1135
01:05:01,640 --> 01:05:03,880
Speaker 1: and B artist, who has friends in the business, who

1136
01:05:03,920 --> 01:05:06,640
Speaker 1: have an engineer, who has producers, all of those people

1137
01:05:06,680 --> 01:05:10,560
Speaker 1: should be voting members. When you're a phenomination or your

1138
01:05:10,720 --> 01:05:13,400
Speaker 1: peers of phenomination, people y'all like in support, they should

1139
01:05:13,400 --> 01:05:14,840
Speaker 1: be able to lean on you and say, hey, vote

1140
01:05:14,880 --> 01:05:17,520
Speaker 1: for me. Make sure you vote for me, because other

1141
01:05:17,640 --> 01:05:20,160
Speaker 1: races and other cultures are doing that. I do believe

1142
01:05:20,240 --> 01:05:22,360
Speaker 1: in the power of what the Recording Academy can do

1143
01:05:22,480 --> 01:05:25,120
Speaker 1: for you. Look at the stream spike for Harry Styles

1144
01:05:25,160 --> 01:05:27,760
Speaker 1: after winning the Album of the Year. All right, let's

1145
01:05:27,760 --> 01:05:31,160
Speaker 1: say anti even if the streams for the weekend even

1146
01:05:31,200 --> 01:05:34,160
Speaker 1: went crazy the day of the Grammys, Right, it's an

1147
01:05:34,200 --> 01:05:38,760
Speaker 1: opportunity with the opportunity that's given when you're on that stage,

1148
01:05:38,800 --> 01:05:40,560
Speaker 1: and when you win, it means so much for your

1149
01:05:40,640 --> 01:05:42,760
Speaker 1: career for the rest of your life. Your Grammy Award

1150
01:05:42,840 --> 01:05:45,800
Speaker 1: winning right or even Grammy nominated, it's for the rest

1151
01:05:45,840 --> 01:05:47,680
Speaker 1: of your career. And what it does for us is

1152
01:05:47,720 --> 01:05:50,200
Speaker 1: the people and make sure that we're represented on music's

1153
01:05:50,240 --> 01:05:52,840
Speaker 1: highest stage as we should. And I think that people

1154
01:05:52,880 --> 01:05:55,440
Speaker 1: say to us, we should make our own Grammys. They

1155
01:05:55,440 --> 01:05:57,360
Speaker 1: don't treat us right. Let's make our own Grammys. And

1156
01:05:57,440 --> 01:05:59,480
Speaker 1: it's like, as black people, we've been having to make

1157
01:05:59,480 --> 01:06:02,680
Speaker 1: our own thing after building their thing for too long.

1158
01:06:03,080 --> 01:06:06,080
Speaker 1: I'm not making another one. I made this one, My

1159
01:06:06,240 --> 01:06:09,040
Speaker 1: people made this one, and I want to be represented properly,

1160
01:06:09,120 --> 01:06:10,920
Speaker 1: and I'm gonna fight to make sure I am. And

1161
01:06:11,040 --> 01:06:12,800
Speaker 1: look at the changes that have been made. Look at

1162
01:06:12,840 --> 01:06:16,760
Speaker 1: that stage, look at that front, that whole, Lizzo winning

1163
01:06:16,760 --> 01:06:19,280
Speaker 1: to Perform, Look at Samara Joy winning Best New Artists.

1164
01:06:19,480 --> 01:06:23,000
Speaker 1: Think about Beyonce breaking the record on television. Think about

1165
01:06:23,280 --> 01:06:25,640
Speaker 1: last year when you've got Bruno Marza Innocent Pact getting

1166
01:06:25,680 --> 01:06:28,560
Speaker 1: on stage winning. What when you got Demles getting on

1167
01:06:28,680 --> 01:06:31,440
Speaker 1: stage on television on the telecast winning the WARLD. We

1168
01:06:31,560 --> 01:06:34,760
Speaker 1: got John Baptiques winning Best New Out, Best Album of

1169
01:06:34,800 --> 01:06:37,440
Speaker 1: the Year. Think about all these things to change. Our

1170
01:06:37,520 --> 01:06:40,040
Speaker 1: faces are being seen, our energy is being felt, but

1171
01:06:40,120 --> 01:06:42,280
Speaker 1: we just gotta keep pushing. We have to keep pushing.

1172
01:06:42,480 --> 01:06:44,680
Speaker 1: And by the way, I'm not saying this because I

1173
01:06:44,720 --> 01:06:46,920
Speaker 1: think the Grammys have gotten it right. I don't want

1174
01:06:46,960 --> 01:06:48,960
Speaker 1: you guys to think that I'm like I went to

1175
01:06:49,000 --> 01:06:52,040
Speaker 1: the Grammys, and it's just a new No. They have

1176
01:06:52,120 --> 01:06:54,760
Speaker 1: not always gotten it right, but they are hungry and

1177
01:06:54,880 --> 01:06:56,880
Speaker 1: starving to get it right. When I'm in the board rooms,

1178
01:06:56,880 --> 01:06:58,400
Speaker 1: I'm not gonna lie to you. I'm around a lot

1179
01:06:58,440 --> 01:07:00,880
Speaker 1: of people that don't look like me, and I'm expecting

1180
01:07:00,960 --> 01:07:02,840
Speaker 1: resistance when I say that this and this, this, and

1181
01:07:03,040 --> 01:07:05,400
Speaker 1: I'm not getting it. Bro, I'm being very honest with you,

1182
01:07:05,840 --> 01:07:07,840
Speaker 1: and I would say it. They're white people in that room.

1183
01:07:07,880 --> 01:07:10,040
Speaker 1: That says Rico, tell us what needs to happen? We

1184
01:07:10,240 --> 01:07:12,479
Speaker 1: all right, you closer to it. What needs to happen?

1185
01:07:12,600 --> 01:07:14,120
Speaker 1: Can we sit down with blah blah blah. You think

1186
01:07:14,120 --> 01:07:16,080
Speaker 1: they will come, You think they'll show up? And I

1187
01:07:16,160 --> 01:07:19,320
Speaker 1: asked artists a lot to show up. Let's talk about it.

1188
01:07:19,840 --> 01:07:22,120
Speaker 1: What don't you like, Let's fix it, Let's figure out

1189
01:07:22,120 --> 01:07:23,320
Speaker 1: how to do it, because a lot of a lot

1190
01:07:23,400 --> 01:07:25,720
Speaker 1: has changed. Now, a complete change is not gonna happen

1191
01:07:25,720 --> 01:07:28,560
Speaker 1: all at once. But if we become voting members, people

1192
01:07:28,600 --> 01:07:30,720
Speaker 1: from the outside looking in, the people in the comment section,

1193
01:07:30,760 --> 01:07:34,280
Speaker 1: they're always gonna have their whole conspiracy theories about whatever exists.

1194
01:07:34,520 --> 01:07:36,760
Speaker 1: But for those of us who are actually in the business,

1195
01:07:37,200 --> 01:07:39,240
Speaker 1: and I don't mean major label. You don't have to

1196
01:07:39,280 --> 01:07:41,640
Speaker 1: be major recording artists to be a voting member. Now

1197
01:07:41,960 --> 01:07:44,960
Speaker 1: you just have to meet the release requirements. You meet

1198
01:07:45,000 --> 01:07:47,800
Speaker 1: those released requirements and you're active. You get in front

1199
01:07:47,800 --> 01:07:49,920
Speaker 1: of that membership board and you will be a member.

1200
01:07:50,280 --> 01:07:52,200
Speaker 1: You vote every time it comes up. We sit on

1201
01:07:52,320 --> 01:07:55,959
Speaker 1: social media all day. Grab that phone when the voting

1202
01:07:56,040 --> 01:07:57,640
Speaker 1: comes up, and you vote for the people that you

1203
01:07:57,760 --> 01:07:59,919
Speaker 1: agree and believe should win, and you'll be a voice

1204
01:08:00,040 --> 01:08:02,440
Speaker 1: for the people who aren't getting a visibility. P J.

1205
01:08:02,640 --> 01:08:08,440
Speaker 1: Morton has four Grammys, My Man j I independently, my

1206
01:08:08,560 --> 01:08:11,760
Speaker 1: Man j I v just one Best Spoken Word Album

1207
01:08:11,880 --> 01:08:14,680
Speaker 1: and he was on the Tennessee State University album. So

1208
01:08:15,240 --> 01:08:17,120
Speaker 1: I look at those things that I say to myself,

1209
01:08:17,200 --> 01:08:20,960
Speaker 1: these are people who don't have national recognition, number one records.

1210
01:08:21,760 --> 01:08:24,720
Speaker 1: Robert Glass there in those room, and they're gonna be tough,

1211
01:08:25,040 --> 01:08:26,720
Speaker 1: even with the whole situation where they were like, why

1212
01:08:26,840 --> 01:08:29,839
Speaker 1: is Chris Brown and Robert glassber in the same category?

1213
01:08:30,080 --> 01:08:32,400
Speaker 1: You have to understand it. There are rooms put together

1214
01:08:32,479 --> 01:08:34,720
Speaker 1: for people to debate on how these things go and

1215
01:08:34,800 --> 01:08:37,280
Speaker 1: try to understand, and they're they're trying to figure things

1216
01:08:37,360 --> 01:08:40,160
Speaker 1: out and they have to make adjustments. But then sometimes

1217
01:08:40,160 --> 01:08:41,880
Speaker 1: you gotta understand if you're not in that room and

1218
01:08:41,960 --> 01:08:43,880
Speaker 1: knowing what they were up against. What if they were

1219
01:08:43,880 --> 01:08:45,800
Speaker 1: trying to put glass for in the best jazz and

1220
01:08:45,880 --> 01:08:47,200
Speaker 1: he was like, well, it's not a jazz record, and

1221
01:08:47,280 --> 01:08:48,800
Speaker 1: jazz say, we don't think it's jazz. And what if

1222
01:08:48,840 --> 01:08:50,240
Speaker 1: you're trying to put them in this category and they

1223
01:08:50,240 --> 01:08:52,519
Speaker 1: say it doesn't work this way. You never know that

1224
01:08:52,760 --> 01:08:55,760
Speaker 1: the situation either way. If they are changes that need

1225
01:08:55,840 --> 01:08:58,840
Speaker 1: to be made and things you don't agree with, staying

1226
01:08:58,840 --> 01:09:02,839
Speaker 1: on the outside is not gonna answer it. The problem

1227
01:09:02,960 --> 01:09:05,040
Speaker 1: is going to be solved if we get involved. And

1228
01:09:05,960 --> 01:09:09,920
Speaker 1: I have such a uh a voice in the building

1229
01:09:10,000 --> 01:09:11,960
Speaker 1: and they respected my voice. Think about this as a

1230
01:09:12,040 --> 01:09:14,840
Speaker 1: black man. I served as a governor in a Florida

1231
01:09:14,960 --> 01:09:17,600
Speaker 1: chapter for one term. I was elected to the Trustee

1232
01:09:17,720 --> 01:09:20,320
Speaker 1: National Board of Trustees after one term. After one term

1233
01:09:20,400 --> 01:09:23,000
Speaker 1: serving as a trustee, I'm not a vice chairman of

1234
01:09:23,040 --> 01:09:27,320
Speaker 1: a recording academy. Does that mean? That means that these

1235
01:09:27,400 --> 01:09:31,240
Speaker 1: people heard me, they felt my energy, and they trusted

1236
01:09:31,320 --> 01:09:33,679
Speaker 1: that I've had the best interests of the Recording Academy.

1237
01:09:33,840 --> 01:09:36,240
Speaker 1: And every day I speak up for African Americans, for

1238
01:09:36,320 --> 01:09:38,760
Speaker 1: people of color, for women, and they do not bat

1239
01:09:38,840 --> 01:09:41,640
Speaker 1: an eye. I don't get resistance. I don't get people saying, man,

1240
01:09:41,680 --> 01:09:44,439
Speaker 1: I don't. I go in there and we fight and

1241
01:09:44,520 --> 01:09:47,040
Speaker 1: we make things happen, and change has to happen over time.

1242
01:09:48,160 --> 01:09:50,599
Speaker 1: I just think that people should recognize all the change

1243
01:09:50,680 --> 01:09:53,920
Speaker 1: that is happening, understand that. I understand that there's a

1244
01:09:53,960 --> 01:09:56,240
Speaker 1: lot more change that needs to happen. But I need

1245
01:09:56,320 --> 01:09:58,799
Speaker 1: you all to come so as the chair of the BMC,

1246
01:09:58,960 --> 01:10:01,040
Speaker 1: and I'm gonna end here has a chair to BMC.

1247
01:10:01,479 --> 01:10:03,280
Speaker 1: My goal is to make sure that we have traveled

1248
01:10:03,320 --> 01:10:07,640
Speaker 1: this country, do many outreach events, reach out to the executives,

1249
01:10:08,040 --> 01:10:11,640
Speaker 1: independent artists, independent uh A, and if you want to

1250
01:10:11,680 --> 01:10:13,240
Speaker 1: be a manager, if you want to study in music

1251
01:10:13,280 --> 01:10:14,679
Speaker 1: in some way, we want to reach out our hands

1252
01:10:14,680 --> 01:10:16,519
Speaker 1: to you and build a relationship with you. And we

1253
01:10:16,560 --> 01:10:18,880
Speaker 1: want to make sure that the voting body reflects the

1254
01:10:19,000 --> 01:10:21,639
Speaker 1: music that's being created and being produced, that the people

1255
01:10:21,680 --> 01:10:24,200
Speaker 1: that vote look like us and understand where we come

1256
01:10:24,280 --> 01:10:27,200
Speaker 1: from and can and can relate to us. Jasmine Sullivan

1257
01:10:27,280 --> 01:10:31,679
Speaker 1: getting on that stage last year on television, it's major.

1258
01:10:32,560 --> 01:10:35,400
Speaker 1: That's an incredible look for a soul artist who has

1259
01:10:35,439 --> 01:10:39,479
Speaker 1: never had a pop hit, who's had hits, record strong records,

1260
01:10:39,680 --> 01:10:42,760
Speaker 1: but didn't cross her music over. She didn't. She didn't

1261
01:10:42,840 --> 01:10:45,280
Speaker 1: compromise who she was as a creative in order to

1262
01:10:45,360 --> 01:10:47,600
Speaker 1: get a Grammy or to sell a million records. She

1263
01:10:47,720 --> 01:10:50,160
Speaker 1: got up on that stage and one that has to

1264
01:10:50,200 --> 01:10:52,880
Speaker 1: show you that the ties are churning and things are changing,

1265
01:10:53,160 --> 01:10:54,559
Speaker 1: and I want to be a part of that change.

1266
01:10:54,560 --> 01:10:55,880
Speaker 1: But I also want you to be a part of

1267
01:10:55,920 --> 01:10:57,360
Speaker 1: that change with me. And I want you to be

1268
01:10:57,400 --> 01:10:58,920
Speaker 1: a part of that change with me, and I want

1269
01:10:59,000 --> 01:11:00,599
Speaker 1: us to be able to speak up, because either way,

1270
01:11:00,600 --> 01:11:02,280
Speaker 1: we're gonna speak up, right. Either way, we're gonna talk

1271
01:11:02,479 --> 01:11:04,560
Speaker 1: about what we don't like, right, absolutely, Why don't we

1272
01:11:04,600 --> 01:11:06,960
Speaker 1: talk ship from from the inside and say, let's change it.

1273
01:11:07,479 --> 01:11:09,600
Speaker 1: And if I feel like I'm in that place, and

1274
01:11:09,600 --> 01:11:11,320
Speaker 1: I give you guys my word, if I ever felt

1275
01:11:11,360 --> 01:11:12,960
Speaker 1: like I was in that space and I felt like

1276
01:11:13,040 --> 01:11:15,120
Speaker 1: nobody was respecting the change that I wanted to see,

1277
01:11:15,400 --> 01:11:18,200
Speaker 1: I would be out. I would walk away from it.

1278
01:11:19,000 --> 01:11:21,040
Speaker 1: But that's not what I'm seeing, that's not what I'm feeling.

1279
01:11:21,040 --> 01:11:22,840
Speaker 1: I'm feeling a lot of love and a lot of

1280
01:11:22,880 --> 01:11:25,679
Speaker 1: people who are just expressing and admitting to the certain

1281
01:11:25,720 --> 01:11:28,960
Speaker 1: ignorances that they may have about our culture. But they

1282
01:11:29,040 --> 01:11:31,800
Speaker 1: all recognize the influence that we've had on the world.

1283
01:11:32,360 --> 01:11:35,840
Speaker 1: And if they didn't, I wouldn't be involved because you

1284
01:11:35,880 --> 01:11:38,000
Speaker 1: already know what type of time. I'm always on. I'm on.

1285
01:11:38,280 --> 01:11:41,920
Speaker 1: I'm always about us, I'm always about the culture. Hey

1286
01:11:41,960 --> 01:11:50,120
Speaker 1: man cho love no man um. Thank you, Thank you guys,

1287
01:11:51,680 --> 01:11:53,920
Speaker 1: thank you for being here, and now we appreciate you.

1288
01:11:54,240 --> 01:11:59,160
Speaker 1: Thank you for that. Thank you. Listen. I'm and you

1289
01:11:59,240 --> 01:12:06,679
Speaker 1: got me excited. Ready between you, I want to chair,

1290
01:12:08,439 --> 01:12:11,920
Speaker 1: let's uh, let's talk. But I mean the key thing

1291
01:12:11,960 --> 01:12:16,639
Speaker 1: you said is that let's let's be the change. Let's

1292
01:12:16,640 --> 01:12:21,679
Speaker 1: get in here. And because the doors aren't closed to us. Yeah,

1293
01:12:21,920 --> 01:12:25,240
Speaker 1: and I think that's the part that that we all missed.

1294
01:12:25,280 --> 01:12:28,840
Speaker 1: I think the doors are open to its available. This

1295
01:12:29,000 --> 01:12:31,559
Speaker 1: is available. So I really want to get in here

1296
01:12:31,600 --> 01:12:35,840
Speaker 1: and do something. The R and B Money podcast family,

1297
01:12:35,920 --> 01:12:40,680
Speaker 1: the R and B Money family, we're getting involved absolutely,

1298
01:12:41,200 --> 01:12:45,760
Speaker 1: and we support the BMC. So I suggest we do

1299
01:12:46,560 --> 01:12:51,040
Speaker 1: an event here here in l A. We invite all musicians,

1300
01:12:51,160 --> 01:12:54,280
Speaker 1: all music creatives. We make it a whole BMC R

1301
01:12:54,320 --> 01:12:57,960
Speaker 1: and B Money collaboration we do something very sexy and fly,

1302
01:12:58,560 --> 01:13:00,960
Speaker 1: and we bring people together and then we pick out

1303
01:13:01,360 --> 01:13:05,040
Speaker 1: the top two or three incredibly talented artists who are

1304
01:13:05,080 --> 01:13:08,000
Speaker 1: on them on the verge we're coming up. We allowed

1305
01:13:08,040 --> 01:13:10,960
Speaker 1: them to perform, we talk to them and we educate

1306
01:13:11,040 --> 01:13:14,280
Speaker 1: them about the process and what the Recording Academy represents

1307
01:13:14,320 --> 01:13:16,200
Speaker 1: and how we invest in artists and how we make

1308
01:13:16,200 --> 01:13:18,680
Speaker 1: sure we protect artists with our Music Cares program, how

1309
01:13:18,760 --> 01:13:21,400
Speaker 1: we protect artists with our advocacy work. Believe it or not,

1310
01:13:21,640 --> 01:13:24,960
Speaker 1: the music the Grammys is a nonprofit organization. This is

1311
01:13:25,040 --> 01:13:27,719
Speaker 1: not They're not making a ton of money and banking money.

1312
01:13:27,960 --> 01:13:32,160
Speaker 1: We're giving money every year to music creators who need it.

1313
01:13:32,200 --> 01:13:34,439
Speaker 1: If a person is got a bad heart and they

1314
01:13:34,479 --> 01:13:36,960
Speaker 1: don't have insurance, but they do music full time, they

1315
01:13:37,000 --> 01:13:38,760
Speaker 1: come to Music Cares and we're gonna take care of them.

1316
01:13:38,760 --> 01:13:41,040
Speaker 1: So when you say the Grammys, you're saying funk. All

1317
01:13:41,080 --> 01:13:43,400
Speaker 1: the millions of dollars we've donated to helping other people

1318
01:13:43,439 --> 01:13:46,439
Speaker 1: without acting anything in return and without turning anybody away.

1319
01:13:47,200 --> 01:13:49,880
Speaker 1: So that show that we do is great. When you

1320
01:13:49,920 --> 01:13:52,000
Speaker 1: see us at the BMC Honors with our Texas and

1321
01:13:52,040 --> 01:13:54,439
Speaker 1: we're looking fly and y'all showing up for that. That's

1322
01:13:54,479 --> 01:13:56,680
Speaker 1: great that everybody who showed up. I'm asking you to

1323
01:13:56,760 --> 01:13:59,320
Speaker 1: do the work. Everybody begged me for tickets for BMC

1324
01:13:59,479 --> 01:14:01,640
Speaker 1: this year. Everybody's trying to be on the list next

1325
01:14:01,720 --> 01:14:03,960
Speaker 1: year already. All I'm saying is show up for the

1326
01:14:04,120 --> 01:14:06,719
Speaker 1: for the artists, and show for ourselves as black creatives,

1327
01:14:06,760 --> 01:14:08,679
Speaker 1: and make sure that we do the work. It's something

1328
01:14:08,680 --> 01:14:11,160
Speaker 1: I'm super passionate about. This is nothing you can fake

1329
01:14:11,240 --> 01:14:13,960
Speaker 1: the time that we've spent doing and stuff. It's genuine

1330
01:14:14,000 --> 01:14:16,560
Speaker 1: because I'm an artist and I'm a creative, and I

1331
01:14:16,680 --> 01:14:18,840
Speaker 1: believe in creatives, and I believe in developing the teaching

1332
01:14:18,880 --> 01:14:20,599
Speaker 1: and growing and holding my hand out there. And by

1333
01:14:20,640 --> 01:14:23,679
Speaker 1: the way, they support me. So let's do that. Let's

1334
01:14:23,680 --> 01:14:25,479
Speaker 1: do it. Let's create the R and R and B

1335
01:14:25,640 --> 01:14:29,240
Speaker 1: Money BMC Collaboration event, and we bring people there and

1336
01:14:29,320 --> 01:14:31,680
Speaker 1: we educate them on the Recording Academy. We have a

1337
01:14:31,760 --> 01:14:33,920
Speaker 1: dialogue like this, and we allow artists to come up

1338
01:14:33,960 --> 01:14:37,240
Speaker 1: and perform and and and give the voting members and

1339
01:14:37,280 --> 01:14:39,960
Speaker 1: the opportunity to see them. Imagine if you're in a

1340
01:14:40,080 --> 01:14:42,840
Speaker 1: room full of Grammy voting members and you perform and

1341
01:14:42,840 --> 01:14:45,040
Speaker 1: They're like, I remember you. So now when your name

1342
01:14:45,080 --> 01:14:48,080
Speaker 1: shows up on that ballot, people are like, oh, I remember,

1343
01:14:48,200 --> 01:14:50,719
Speaker 1: surely she was at the joint. I like her album.

1344
01:14:50,800 --> 01:14:52,400
Speaker 1: Let me check this out, let me vote for her.

1345
01:14:53,040 --> 01:14:55,200
Speaker 1: That's that's that's a sample. Let's do that. Let's make

1346
01:14:55,200 --> 01:14:57,080
Speaker 1: sure we make it. You already know how we get out. Yea,

1347
01:14:58,760 --> 01:15:02,240
Speaker 1: let's do it. Let's we're in. Let's make that happen.

1348
01:15:02,280 --> 01:15:10,120
Speaker 1: Great goose help us. Mr Yeah, um man, amazing creative,

1349
01:15:10,160 --> 01:15:13,320
Speaker 1: amazing human being. Um you know you you like a

1350
01:15:13,400 --> 01:15:20,080
Speaker 1: brother man. So um loving to hear the mountaintops and

1351
01:15:20,120 --> 01:15:23,519
Speaker 1: the valley loads and more mountaintops and more valley lows.

1352
01:15:23,600 --> 01:15:25,680
Speaker 1: You know what I'm saying, It's life. It's life, man,

1353
01:15:26,160 --> 01:15:29,280
Speaker 1: and and and I think that people really need to

1354
01:15:29,560 --> 01:15:33,439
Speaker 1: hear that and know that it's okay to go through that.

1355
01:15:34,520 --> 01:15:39,160
Speaker 1: It's fine. Yeah, it's another day. Jay always say this

1356
01:15:39,360 --> 01:15:41,560
Speaker 1: is like the lottery, right, and doing music is like

1357
01:15:41,640 --> 01:15:43,960
Speaker 1: the lot of lottery. You can write you one song,

1358
01:15:44,160 --> 01:15:50,120
Speaker 1: be broke yesterday and to mom change really say tomorrow, tomorrow, tomorrow,

1359
01:15:50,200 --> 01:15:54,160
Speaker 1: but tomorrow tom So we thank you for everything, man,

1360
01:15:54,400 --> 01:15:56,720
Speaker 1: and that that is a big thank you man. That

1361
01:15:56,840 --> 01:16:01,800
Speaker 1: encompasses the entire university, food and what you are Ladies,

1362
01:16:01,800 --> 01:16:04,240
Speaker 1: gentle My money was Tank. I'm Jay Valentine and this

1363
01:16:04,400 --> 01:16:06,960
Speaker 1: is the Money Podcast, the authority on All Things are

1364
01:16:07,040 --> 01:16:18,439
Speaker 1: and being here and um we go. Love Man R

1365
01:16:18,520 --> 01:16:21,479
Speaker 1: and Baby Money. R and B Money is a production

1366
01:16:21,560 --> 01:16:25,160
Speaker 1: of the Black Effect Podcast Network. For more podcasts from

1367
01:16:25,200 --> 01:16:29,240
Speaker 1: I Heart Radio, visit the I Heart Radio app, Apple Podcast,

1368
01:16:29,439 --> 01:16:32,639
Speaker 1: or wherever you listen to your favorite shows. Don't forget

1369
01:16:32,680 --> 01:16:35,479
Speaker 1: to subscribe to and rate our show, and you can

1370
01:16:35,520 --> 01:16:38,960
Speaker 1: connect with us on social media at Ja Valentine and

1371
01:16:39,080 --> 01:16:42,840
Speaker 1: at the Real Tank. For the extended episode, subscribe to

1372
01:16:43,040 --> 01:16:46,639
Speaker 1: YouTube dot com, forward Slash, R and B Money