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Speaker 1: R and B Money. We are thanks take Valanti. We

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Speaker 1: are the authority on all things R and B. Ladies

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Speaker 1: and gentlemen, what's going on? I am tanked Valentine, And

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Speaker 1: this is the R and B Money Podcast, the authority

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Speaker 1: on all things R and B, all things, all things.

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Speaker 1: You heard them not playing whatever They encompassed a big

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Speaker 1: word again, Say it again, people, income encompass. You know

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Speaker 1: what the is going on? And today on the R

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Speaker 1: and B Money Podcast, we have singer singer songwriter grab

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Speaker 1: me award winning song list. Can we say that? Is it? Okay?

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Speaker 1: We say that? Okay? And and I'm not going to

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Speaker 1: say more importantly, but I want to say just as

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Speaker 1: important I would.

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Speaker 2: Say, I would say the line advocate activists, activists, Yeah,

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Speaker 2: for us period.

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Speaker 1: Tiffany Fred, come on in the building, Come on, come on, welcome, welcome.

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Speaker 1: You are in it.

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Speaker 2: Yeah I am.

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Speaker 1: You are not playing any games.

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Speaker 2: No, I'm not letting up.

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Speaker 1: And we're gonna have to figure out how to stand

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Speaker 1: beside you on a bunch of this because it's needed. Right.

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Speaker 1: So before we get to that, we like to start.

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Speaker 3: At the beginning and how you get into this thing?

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Speaker 1: How did you Tiffany Fred, when did somebody say to you?

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Speaker 1: When did you say to yourself? Nice? Oh? I got it?

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Speaker 2: So I started writing. I wrote my first song in college.

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Speaker 2: I was nineteen. I was randomly surrounded by a whole

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Speaker 2: bunch of people at this community college in Jersey that

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Speaker 2: were musicians. I had a friend named Blair and he

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Speaker 2: was just like, have you ever thought of turning your

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Speaker 2: poems into songs? And I was like no. We went

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Speaker 2: to the auditorium. He plays piano, and he just like

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Speaker 2: challenged me to write a song with him. Did you

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Speaker 2: guys write on the the you wrote?

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Speaker 1: Oh? We wrote okay?

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Speaker 2: So y'all wrote? Oh? So there was a song on

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Speaker 2: that project called Midnight? Did y'all write Midnight? Was that

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Speaker 2: Underdogs that album specifically, and Midnight's that song specifically? I

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Speaker 2: was like, damn, I fucking love this record, Like who

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Speaker 2: did this song? Like I want to work with them?

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Speaker 2: Like who did this? And so I looked in the

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Speaker 2: credits and it was Harvey and Damon and you know

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Speaker 2: whoever else? I think maybe Steve wrote on that song.

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Speaker 2: Google the Underdogs and I found their website and there

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Speaker 2: was like full CSI Oh, yeah, really good. I could

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Speaker 2: an't what I learned. I didn't realize then, but I'm

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Speaker 2: really good at connecting the dots and being like, I'm

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Speaker 2: really persistent, So like you could tell me no, but

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Speaker 2: that don't mean I'm not gonna ask you again. I'm

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Speaker 2: gonna just ask you another time. So I hit the

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Speaker 2: contact page and everybody's face popped up. I don't know

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Speaker 2: who any these people are, so I just clicked a

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Speaker 2: couple of them and I sent them my little demos

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Speaker 2: that I was recording in Brooklyn, and he hit me

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Speaker 2: back and he was just like, Yo, if you ever

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Speaker 2: in La, come fuck with us.

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Speaker 3: And I was like, all right, that was your invitation.

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Speaker 4: What I was like, look, these are the people who

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Speaker 4: write so cause then it was like once I figured

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Speaker 4: out that they did Midnight, then I just went on

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Speaker 4: a whole went down a rabbit hole, and it turned

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Speaker 4: out they did all these songs that I loved.

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Speaker 2: And so I was like, damn, I want to work

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Speaker 2: with them, like you know, And so I just shot

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Speaker 2: my shot and cold emailed and touch hit me back.

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Speaker 2: And so I like begged my parents to come to La.

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Speaker 2: They're like, all right, you know, whatever, help me out.

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Speaker 2: I come out here. And my grandmom was like, you know,

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Speaker 2: you know, you got some cousins in LA. I got

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Speaker 2: some cousins out there. So she set me up with

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Speaker 2: my cousins, and I didn't know shit. I met my

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Speaker 2: cousins more people to watch over me. My cousins was

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Speaker 2: my mom's age, so it was like, oh, yeah, you

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Speaker 2: know what I'm saying. I was like, yeah, like I

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Speaker 2: don't you.

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Speaker 1: Come in here.

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Speaker 2: You don't pay no bills, you don't have no money.

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Speaker 2: She was right, I didn't. I will never forget that.

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Speaker 2: Like I first time I went to the studio, and

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Speaker 2: that was like the first studio that I had ever

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Speaker 2: been in that was like a for real studio that

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Speaker 2: wasn't like in somebody's closet, you know what I'm saying.

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Speaker 2: And I just I'm like, wow, these are all the

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Speaker 2: plaques at all the songs that I fucking love. This

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Speaker 2: is fucking crazy. And I mean, I froze. I didn't

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Speaker 2: write shit. I was so scared. I was like, I mean,

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Speaker 2: they were like, get this girl out of here with

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Speaker 2: the fuck is.

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Speaker 3: She could with anything.

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Speaker 2: I was pet because I didn't really I mean, I

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Speaker 2: was a green songwriter. I wasn't around anybody yet, so

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Speaker 2: this was like James and Rob Knox and like whatever.

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Speaker 2: And so I remember like going like seeing James like

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Speaker 2: freestyle in the booth for the first time and being.

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Speaker 3: Lark Oh yeah, yeah, nigga, I.

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Speaker 2: Can't do that.

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Speaker 3: I got a different type of like.

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Speaker 2: I can't do well. And but everybody was doing that, him,

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Speaker 2: Steve Luke, like everybody was like all right to going

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Speaker 2: on to my and I was just just like, first

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Speaker 2: of all, I don't know how to sing for real,

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Speaker 2: Like I'm not confident in my voice, like I just got.

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Speaker 3: These are all the things that are going through your

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Speaker 3: mind as a young writer, yeah, in this industry, because

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Speaker 3: that I would love for you to expound. I mean,

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Speaker 3: you're actually already talking about it. But this is this

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Speaker 3: is something that's very important because when I first came

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Speaker 3: to LA, I went to a studio. I didn't freeze

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Speaker 3: because I didn't I did end up doing no writing

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Speaker 3: with him, but it made me throw away my songs mmmm,

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Speaker 3: because it was the first time I had walked into

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Speaker 3: a room and I felt like my music wasn't good enough.

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Speaker 2: Yeah, Like you was in a I was in a

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Speaker 2: room with profession.

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Speaker 3: I was in the big league.

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Speaker 2: Yeah, and you were like I'm a rookie, and then

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Speaker 2: you realized you.

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Speaker 3: Was a rookie, and I completely understand that. I was like,

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Speaker 3: oh ship, and your situation obviously was different because you

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Speaker 3: were there for that.

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Speaker 2: Yeah.

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Speaker 3: I was really kind of a fly on the wall

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Speaker 3: guy when I first, you know, my first trip to

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Speaker 3: l A as a as an adult, and I'm just

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Speaker 3: listening to all these songs that these guys are playing.

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Speaker 2: And I'm like, damn, you like my shit. Don't sound

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Speaker 2: like that, don't That's how I felt too.

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Speaker 1: It's not that.

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Speaker 2: People like people's backgrounds. People's like sad.

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Speaker 3: Yes, sonics sh just was cleaning, and that's something that

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Speaker 3: the underdog we were known for. Yeah, I was sonically

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Speaker 3: it's crazy we top two, maybe not too sonically sonically

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Speaker 3: conically right, there were people with great records, but sonically

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Speaker 3: it was different. It was just different. Even even something

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Speaker 3: like that worth that good sounded great. Yes, yes, you've

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Speaker 3: hit on the fact that I wouldn't ever your ass

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Speaker 3: can sing now.

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Speaker 2: I couldn't sing then, like I and to be unest well, yeah,

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Speaker 2: and to be it was confidence, but also like I

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Speaker 2: think there's a really big difference between studio singers and

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Speaker 2: live singers. So I didn't come up singing right. So

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Speaker 2: and I learned how to sing in the studio. I

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Speaker 2: learned how to sing through auto tune and reverb and

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Speaker 2: all these things. It's like singing with makeup on. You

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Speaker 2: know what I'm saying, Like, it's not you're you know

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Speaker 2: what I mean? Like it's and I feel like it's like.

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Speaker 3: So should I start telling niggas they got too much

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Speaker 3: makeup on?

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Speaker 2: For real?

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Speaker 1: Yes?

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Speaker 2: Like makeup. It's like, man, you're it's covering up. It's

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Speaker 2: covering up. Like I feel like like AutoTunes specifically, right,

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Speaker 2: I feel like can really cover up the character in

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Speaker 2: somebody's voice, Like you can really miss, like you know,

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Speaker 2: trying to be perfect, you can really miss. It took

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Speaker 2: me a long time, on top of the fact that

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Speaker 2: I used to have people tell me I couldn't sing right,

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Speaker 2: so like why are you singing this demo? Like what

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Speaker 2: are you doing? Yeah, it was it was rough in

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Speaker 2: the beginning. Like I definitely had like people discourage me

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Speaker 2: about singing, and so I was never like no, like

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Speaker 2: I didn't And you know what, I remember this one time.

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Speaker 2: I don't even know if she ever remember this, but

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Speaker 2: I remember I saw a Brandy at her at the Underdogs.

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Speaker 2: I ran into her in the kitchen and she was

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Speaker 2: like do you sing?

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Speaker 3: You know?

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Speaker 2: How were you? Like, I'm like do I? And also

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Speaker 2: I just didn't believe in myself. If she asked me

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Speaker 2: that today, I'll be like, yeah, but like, you know,

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Speaker 2: do you sing? And I was just like, well, you know,

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Speaker 2: I've given her all my disclaimers and ship. And then

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Speaker 2: she just told me about like not being confident in

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Speaker 2: her voice like you know when she was younger, or

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Speaker 2: like just giving me like I felt I felt that

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Speaker 2: same way too, And I was like what, like you're Brandy,

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Speaker 2: Like how could you feel like that your fucking voice

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Speaker 2: is perfection? What do you mean? And so I feel

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Speaker 2: like that was something that really stuck with me. Like

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Speaker 2: I just was like, you know, any time that I

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Speaker 2: wasn't feeling confident, like, I will always remind myself like

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Speaker 2: the people who are the greatest singers of all time

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Speaker 2: feel the same nerves that I feel doing this, you know,

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Speaker 2: because singing it's vulnerable, it's so vulnerable, and so yeah,

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Speaker 2: like it took me a long time to build up

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Speaker 2: to I have a voice, you know what I mean,

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Speaker 2: like to be confident enough to be like I'm going

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Speaker 2: to I'm going to sing the songs, or I want

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Speaker 2: to be an artist, or i want to you know, yeah, and.

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Speaker 1: Get your projects going.

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Speaker 3: Yeah, you come here, you work with the underdogs strictly

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Speaker 3: a songwriters. Are you in your mind You're like, I'm

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Speaker 3: going to be a songwriter. Yes, So next step is publishing, Yes,

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Speaker 3: because that's what kicks in for songwriters. Yeah, that is

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Speaker 3: that is our record deal. Yep, that's a certain type

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Speaker 3: of record deal.

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Speaker 2: Yeah, because most.

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Speaker 3: People just look at it like, oh, you know in

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Speaker 3: the music visits, did you get a record deal? Right, Well,

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Speaker 3: if your song writer don't get a record.

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Speaker 2: You get a publishing, you get a published especially.

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Speaker 3: Then yeah, which is equivalent to having a record deal,

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Speaker 3: because these the publishers help shop your songs are supposed

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Speaker 3: to you need to be bullshiting it look.

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Speaker 2: Like it's like a stamp of approval, Okay, like the

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Speaker 2: valid dates your talent.

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Speaker 1: Yeah.

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Speaker 3: Yeah, and not all not all of these bullshiting, but

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Speaker 3: some just the same thing as when the artists gets

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Speaker 3: signed and it's the ant art is good, same type

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Speaker 3: of thing or whatever. So you have that within the

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Speaker 3: industry all together. But those are the that's that is

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Speaker 3: the I'm a professional, yeah, for a songwriter. So how

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Speaker 3: long does it take you to get a deal to

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Speaker 3: where you're now? You're being paid be a songwriter?

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Speaker 2: So I got a deal, So I moved to LA

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Speaker 2: when I was twenty. I did my deal when I

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Speaker 2: was twenty one. Okay, so the year Yeah, it was fast.

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Speaker 1: Yeah, that's quick.

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Speaker 2: Yeah it was fast. It was like I came to

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Speaker 2: LA and me and Stephen Russell did the song for

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Speaker 2: Jenniferson's Invisible and it got placed rather quickly, and so

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Speaker 2: it was just kind of like fast and I full transparency.

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Speaker 2: So okay. My experience with the Underdogs was also different

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Speaker 2: because I was the only female songwriter up there, so

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Speaker 2: I was like surrounded by men constantly. Right, So, like,

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Speaker 2: I feel like to your point about what you said

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Speaker 2: earlier before we started filming, when you were like, you know,

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Speaker 2: just talking about the differences as far as like how

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Speaker 2: women and men respond and stuff, right, Like I think

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Speaker 2: I was a young girl trying to navigate in a

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Speaker 2: completely male world, and so you know, and I also

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Speaker 2: obviously am outspoken, right, So I always was outspoken, So

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Speaker 2: you know, things weren't agreeable rather quickly on top of

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Speaker 2: the fact that I wasn't writing like that, so I

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Speaker 2: got thrown out the studio people get got kicked me

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Speaker 2: out all kind of shit, right, so I started.

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Speaker 3: To So you didn't have any studio etiquette in the beginning.

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Speaker 2: No, I didn't know. I didn't know what I was doing.

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Speaker 3: What were you doing to get kicked out the students?

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Speaker 3: And so that people that are watching.

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Speaker 2: They still the whole meeting about kicking me out, like

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Speaker 2: don't if you see Tivany, don't let her shout out

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Speaker 2: to Stephen Russell because he let me up. He was

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Speaker 2: like He's like, come on if like I got you.

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Speaker 2: And then me and him wrote that record and then

248
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Speaker 2: I was allowed on the third floor. I wasn't I

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Speaker 2: wasn't writing. I was just like I was just there.

250
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Speaker 2: I was there, freking weird, like what is she doing?

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Speaker 2: And I didn't know, just like.

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Speaker 3: You gotta at least be bringing like fresh, what are

253
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Speaker 3: you doing some more?

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Speaker 2: Just like right, yeah, like I just was frozen. I

255
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Speaker 2: was just stuck like and then also, like I said,

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Speaker 2: I was the only girl, So me being frozen and

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Speaker 2: stuck like Russ, I've grown. It was like look at

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Speaker 2: that and see like there was no one around me

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Speaker 2: that I could be like girl like, so I couldn't

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Speaker 2: do that, like you know, and so I just was

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Speaker 2: kind of like and they were like, I mean, I

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Speaker 2: guess they had had the meetings because I get her

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Speaker 2: the fuck out of here, and so I would do

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Speaker 2: y'all remember the security guard, Mike. Yeah, Mike was was

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Speaker 2: like he wouldn't let nobody upstairs, didn't matter how famous

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Speaker 2: you were. He was like, sorry, you're not.

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Speaker 3: Because of some other I mean, because people waiting to

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Speaker 3: park A lot of people.

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Speaker 2: I watched him deny some big ass artists, Like damn,

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Speaker 2: you're not gonna let him up. He's like, sorry, you're

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Speaker 2: not on a list. So of course I wasn't on

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Speaker 2: the list. So I come to the studio. They're like,

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Speaker 2: you know, unfortunately timany candairs, and I'm.

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Speaker 3: Like, damn, you know.

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Speaker 1: You know.

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Speaker 3: It's an interesting part of that too, though. Tank and

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Speaker 3: I were also buffers for artists.

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Speaker 2: So y'all were like, my Steve, same thing, like not

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Speaker 2: even not.

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Speaker 3: Even just that. Yeah, because in the earlier days, the

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Speaker 3: studios were getting overbooked, so they would be artists just

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Speaker 3: sitting literally sitting in the lobby literally sitting, but worse

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Speaker 3: might be in there waiting to get you, waiting to

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Speaker 3: get us, waiting to even get in concert with some.

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Speaker 2: Disc That's what we need that back. I like that.

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Speaker 3: I mean, okay for me, I you know, I'm a

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Speaker 3: person that values time.

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Speaker 2: Okay, I'm just saying that the level.

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Speaker 1: Of like for sure.

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Speaker 3: But like I said, I value time like I like

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Speaker 3: people to be on time. I like to be on time,

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Speaker 3: So I don't like to have somebody waiting. So Tank

293
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Speaker 3: and I we would literally go entertain our peers, like, okay,

294
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Speaker 3: I would go in there and make nigga shoot dice

295
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Speaker 3: and I'll be there gambling. I had the ship lit

296
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Speaker 3: on the full tables, don't don't, okay, like fully gambling,

297
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Speaker 3: I didn't. Yeah, I turn gamble and I think obviously

298
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Speaker 3: by the time you got there, yeah, TVs lined my

299
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Speaker 3: god playing Halo. But we were entertaining things and it was,

300
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Speaker 3: you know, it was just kind of done a little different.

301
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Speaker 3: So I understand that too. Where it was like you

302
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Speaker 3: might have saw artists because they didn't have the space

303
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Speaker 3: and time. Oh yeah, it was just it was everybody.

304
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Speaker 3: Mama was trying to get a under It was a factory.

305
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Speaker 3: They were trying to get an underdog record. It was

306
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Speaker 3: a very hot commodity. So I understand it. But you

307
00:15:39,320 --> 00:15:42,960
Speaker 3: being put on the don't because you had to take

308
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Speaker 3: an elevator if you can't get on it.

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Speaker 2: You got that five yeah, yeah, So Steve Russell.

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Speaker 3: For sneaking you back, you know, on the third floor,

311
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Speaker 3: give and getting you.

312
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Speaker 2: And get me a Grammy. And my dad loved my

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Speaker 2: dad loved Troops. It was I was like, Dad, I'm

314
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Speaker 2: working with Stephen Russell.

315
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Speaker 3: He's like, what, yeah, this is this is but this

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00:16:13,680 --> 00:16:18,440
Speaker 3: is how the music business works. It's all about seizing

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00:16:18,480 --> 00:16:23,760
Speaker 3: the opportunity and about the pull up and everybody's not.

318
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Speaker 3: Persistence sometimes goes against you. Sistence can make a nigga

319
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Speaker 3: be like yo, dog, like I'm die. But the pull

320
00:16:31,040 --> 00:16:35,720
Speaker 3: up is very important, meaning when someone grabs back. Because

321
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Speaker 3: Steve did not have.

322
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Speaker 2: To do it, did that.

323
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Speaker 3: He could have wrote that record by himself or with

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Speaker 3: another writer that was there. Maybe it's not the same song.

325
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Speaker 1: But.

326
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Speaker 2: He didn't have to do that.

327
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Speaker 3: He did not have to do that, and that is

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Speaker 3: something to me that is very important and that I

329
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Speaker 3: pray and hope that more of us do. It's important

330
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Speaker 3: when we identify talent, because you can't do it for everybody.

331
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Speaker 3: Every m talking about I got to hit for you.

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Speaker 3: That's different.

333
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Speaker 2: I think he saw that that I just kept showing

334
00:17:04,920 --> 00:17:07,840
Speaker 2: up like he was just like, clearly something is going on.

335
00:17:07,920 --> 00:17:09,080
Speaker 3: You know what I mean, write.

336
00:17:10,680 --> 00:17:12,280
Speaker 2: Well because I was scared. You know what I think

337
00:17:12,280 --> 00:17:14,760
Speaker 2: it was to I was scared to sing. I was

338
00:17:14,800 --> 00:17:16,840
Speaker 2: scared to sing because I just had people telling me

339
00:17:16,880 --> 00:17:18,840
Speaker 2: I couldn't sing. So that it was like, and I'm

340
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Speaker 2: around all these amazing Luke.

341
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Speaker 3: And everybody in there.

342
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Speaker 2: Could you would just be walking through the halls just

343
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Speaker 2: fucking doing all these runs.

344
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Speaker 3: Should would be like Fount LaRoy, Luke, Eric Dawkins.

345
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Speaker 2: I was like, I didn't do that. Like I was

346
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Speaker 2: just like, I can't do that, so I'm not gonna

347
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Speaker 2: do nothing.

348
00:17:35,359 --> 00:17:38,520
Speaker 4: I got all these lyrics and melody.

349
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Speaker 2: I had the whole song in.

350
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Speaker 3: My head, but I was poetry wasn't nothing there. It

351
00:17:44,560 --> 00:17:48,639
Speaker 3: wasn't she was coming there on some death comedy.

352
00:17:49,640 --> 00:17:51,960
Speaker 2: No, They was like jumping the booth. That's why I was.

353
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Speaker 3: Just like these melodies, those lyrics sound yeah yeah, and

354
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Speaker 3: I was not how do they read?

355
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Speaker 2: Yeah?

356
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Speaker 1: Yeah?

357
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Speaker 2: It was it was rough the begin but I mean

358
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Speaker 2: I figured it. I figured it out quick because I

359
00:18:05,080 --> 00:18:06,840
Speaker 2: wanted to do it though, so I was just like,

360
00:18:06,840 --> 00:18:08,280
Speaker 2: fuck it, I'm gonna just figure out how.

361
00:18:08,200 --> 00:18:09,760
Speaker 3: So once you got that record, you want a row.

362
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Speaker 2: So I got that record, and then like I started

363
00:18:12,800 --> 00:18:16,879
Speaker 2: bumping heads with with with some folks up there, and

364
00:18:16,920 --> 00:18:18,159
Speaker 2: so I just started to do my own thing.

365
00:18:18,160 --> 00:18:21,080
Speaker 3: I had you came back and bumped heads.

366
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Speaker 2: No, I mean I just feel like it was no

367
00:18:23,920 --> 00:18:27,000
Speaker 2: after I got kicked out, I did the record, and

368
00:18:27,040 --> 00:18:30,000
Speaker 2: then I signed to them, okay, and then we started

369
00:18:30,000 --> 00:18:32,919
Speaker 2: bumping heads when we started doing business and so or

370
00:18:32,960 --> 00:18:36,320
Speaker 2: no way, hold on, let me backtrack. So before I

371
00:18:36,400 --> 00:18:39,520
Speaker 2: signed to them, I when I was up there, people

372
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Speaker 2: like Brian Kennedy were there and like who else was there?

373
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Speaker 2: T Wiz was there. Yeah, and so like that was

374
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Speaker 2: where I like met some of my first like friends

375
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Speaker 2: in music. And so once I started making friends in music,

376
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Speaker 2: I just started working. Like I had worked with.

377
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Speaker 3: Different studios.

378
00:18:57,960 --> 00:18:59,800
Speaker 2: Yeah, I was going to different studios. Then I started

379
00:18:59,800 --> 00:19:02,280
Speaker 2: going to Atlanta. Polo hit me on my space like yo,

380
00:19:02,359 --> 00:19:02,880
Speaker 2: you want to work.

381
00:19:02,920 --> 00:19:03,400
Speaker 3: I was like.

382
00:19:05,040 --> 00:19:11,359
Speaker 2: Yeah yeah yeah, So He's like, yo, you want and

383
00:19:11,400 --> 00:19:16,160
Speaker 2: so I was like, yes, what two thousand and seven

384
00:19:16,240 --> 00:19:20,119
Speaker 2: Polo hit you what? Yes, I'm trying to get a

385
00:19:20,119 --> 00:19:24,400
Speaker 2: records Are you crazy? So yeah, then I went out

386
00:19:24,440 --> 00:19:25,800
Speaker 2: there and that was the first time I worked with

387
00:19:25,880 --> 00:19:30,160
Speaker 2: hip Boy and Chase, you know. So I like by

388
00:19:30,200 --> 00:19:33,320
Speaker 2: the time I did my deal, I was like all

389
00:19:33,359 --> 00:19:35,520
Speaker 2: over the place just doing a whole bunch of stuff

390
00:19:35,520 --> 00:19:37,760
Speaker 2: because I mean, full transparency, I knew they didn't fuck

391
00:19:37,800 --> 00:19:39,600
Speaker 2: with me, like you know what I mean. I knew

392
00:19:39,600 --> 00:19:40,960
Speaker 2: they didn't fuck with me, and so it was like

393
00:19:41,040 --> 00:19:43,440
Speaker 2: I didn't want to be somewhere where they didn't want

394
00:19:43,440 --> 00:19:45,119
Speaker 2: to fuck with me, you know what I mean. And

395
00:19:45,160 --> 00:19:46,719
Speaker 2: so I mean it kicked me out of the studio.

396
00:19:46,760 --> 00:19:48,520
Speaker 2: So I was just like, all right, well I'm gonna go.

397
00:19:48,840 --> 00:19:51,720
Speaker 2: I'm gonna keep doing this. This was an incredible opportunity.

398
00:19:51,760 --> 00:19:53,240
Speaker 2: I learned a whole bunch of shit and I just

399
00:19:53,240 --> 00:19:57,280
Speaker 2: started working. But when I was in Atlanta working, Touch

400
00:19:57,359 --> 00:20:00,960
Speaker 2: called me and was like, yo, they want to sign you.

401
00:20:01,200 --> 00:20:03,040
Speaker 2: And I was on my life, No, now they want

402
00:20:03,080 --> 00:20:17,840
Speaker 2: to fuck with me. And I was on my life, No,

403
00:20:17,840 --> 00:20:20,800
Speaker 2: now they want to fuck with me? You know, like

404
00:20:20,840 --> 00:20:23,359
Speaker 2: an emotional No, I want to be an emotional I

405
00:20:23,440 --> 00:20:24,320
Speaker 2: meant that as your friend.

406
00:20:24,359 --> 00:20:28,800
Speaker 3: I'm telling you this because in this business sometimes we

407
00:20:28,840 --> 00:20:33,120
Speaker 3: move with our emotions instead of our business mind, right,

408
00:20:33,440 --> 00:20:35,320
Speaker 3: we do. This is a This is a very real

409
00:20:35,359 --> 00:20:38,960
Speaker 3: thing because when you because I'm assessing it, because I

410
00:20:39,000 --> 00:20:41,000
Speaker 3: never knew what your situation was, but I'm assessing it

411
00:20:41,080 --> 00:20:41,800
Speaker 3: from the outside.

412
00:20:42,119 --> 00:20:43,360
Speaker 2: I got to give you the rest of the tea

413
00:20:43,400 --> 00:20:44,160
Speaker 2: before you assessed.

414
00:20:44,240 --> 00:20:46,240
Speaker 1: No, no, no, no, it's quick.

415
00:20:46,320 --> 00:20:50,200
Speaker 3: It's quick because I want this to be something that

416
00:20:50,880 --> 00:20:54,520
Speaker 3: younger generations of writers of artists, they just they understand

417
00:20:54,560 --> 00:20:58,720
Speaker 3: what they're what's going on in your position At that time,

418
00:20:58,840 --> 00:21:01,040
Speaker 3: you didn't fully know what was going on. You couldn't

419
00:21:01,080 --> 00:21:05,800
Speaker 3: fully look at it through a glass lens and say, oh, okay,

420
00:21:06,960 --> 00:21:08,439
Speaker 3: now I showed my worth.

421
00:21:09,119 --> 00:21:11,000
Speaker 2: Well, but so here's the other thing. I have other

422
00:21:11,040 --> 00:21:12,359
Speaker 2: deals on the table that were better.

423
00:21:12,480 --> 00:21:15,600
Speaker 3: Of course you did. And so it came from.

424
00:21:15,480 --> 00:21:19,320
Speaker 2: I know well, and so I was in that position

425
00:21:19,480 --> 00:21:24,560
Speaker 2: and it was like that was the tone. Yeah, And

426
00:21:24,600 --> 00:21:26,080
Speaker 2: so I was like, oh my god, I don't want

427
00:21:26,119 --> 00:21:27,280
Speaker 2: to fucking you know.

428
00:21:27,400 --> 00:21:31,040
Speaker 3: It's a valid tone. Sure no, not just sure, no,

429
00:21:31,119 --> 00:21:33,200
Speaker 3: it's a valid because we gotta okay, you gotta look

430
00:21:33,200 --> 00:21:35,120
Speaker 3: at you gotta look at it. At this as a business.

431
00:21:36,119 --> 00:21:37,879
Speaker 3: Gotta look at it as a business. No, no, no,

432
00:21:37,920 --> 00:21:40,600
Speaker 3: you can listen. You're here because I want you to

433
00:21:40,640 --> 00:21:43,560
Speaker 3: tell your I know, but I also I want you

434
00:21:43,640 --> 00:21:46,480
Speaker 3: to hear out all sides, and I want people to

435
00:21:46,560 --> 00:21:50,760
Speaker 3: hear out all sides of how our business works. Like

436
00:21:50,920 --> 00:21:53,960
Speaker 3: music is one thing. There's the nigga that works is

437
00:21:54,080 --> 00:21:56,760
Speaker 3: nine to five shift and just does music for the love?

438
00:21:57,080 --> 00:21:58,800
Speaker 2: Is it a deal for just the rec Like I

439
00:21:58,880 --> 00:22:02,840
Speaker 2: just I hear you. But I wasn't. But I couldn't though,

440
00:22:02,880 --> 00:22:04,960
Speaker 2: it's what I'm saying, Like I didn't have options, Like

441
00:22:05,040 --> 00:22:08,719
Speaker 2: I wasn't. I was twenty one, I was These were

442
00:22:08,760 --> 00:22:12,560
Speaker 2: a bunch of grown ass men, but I was. No,

443
00:22:12,960 --> 00:22:14,680
Speaker 2: I'm not saying that you're not grown I'm just saying

444
00:22:14,720 --> 00:22:16,600
Speaker 2: that these were a bunch of grown ass men talking

445
00:22:16,640 --> 00:22:18,000
Speaker 2: to me like grown ass men. And I was a

446
00:22:18,000 --> 00:22:20,960
Speaker 2: twenty one year old woman. I'm not a man, right,

447
00:22:21,680 --> 00:22:24,440
Speaker 2: so I mean talk to like a man even though

448
00:22:24,440 --> 00:22:29,359
Speaker 2: I'm not a man. And like I just felt like,

449
00:22:31,000 --> 00:22:33,679
Speaker 2: you know, because I knew they didn't fuck with me.

450
00:22:33,880 --> 00:22:35,160
Speaker 2: I didn't want to do the deal because I knew

451
00:22:35,160 --> 00:22:37,480
Speaker 2: didn't fuck with me. It wasn't even about like like

452
00:22:37,520 --> 00:22:39,440
Speaker 2: I didn't care about the money, Like I didn't care

453
00:22:39,480 --> 00:22:43,920
Speaker 2: about what like that was my dream. I came to

454
00:22:44,040 --> 00:22:47,000
Speaker 2: LA to work with the underdogs, so you know, it

455
00:22:47,080 --> 00:22:49,639
Speaker 2: wasn't about that, but it was like I knew what

456
00:22:49,760 --> 00:22:51,640
Speaker 2: it really was, and so I was just like, man,

457
00:22:51,680 --> 00:22:53,760
Speaker 2: I don't want to like that's not what I wanted.

458
00:22:54,040 --> 00:22:56,360
Speaker 2: I ended up doing it because I felt that pressure

459
00:22:56,880 --> 00:22:59,360
Speaker 2: of like, you know, I don't want it to come

460
00:22:59,400 --> 00:23:01,600
Speaker 2: off like I just came, you know, worked with y'all

461
00:23:01,640 --> 00:23:04,200
Speaker 2: for a year, did all this shit, met all these

462
00:23:04,240 --> 00:23:07,399
Speaker 2: people and dipped. I understand the business, you know what

463
00:23:07,480 --> 00:23:11,000
Speaker 2: I mean, But the emotional side comes from I mean,

464
00:23:11,000 --> 00:23:13,760
Speaker 2: we just didn't have a good relationship. So I didn't

465
00:23:13,760 --> 00:23:15,840
Speaker 2: want to do the deal because we didn't like each other,

466
00:23:16,480 --> 00:23:18,320
Speaker 2: you know what I'm saying, Like I just I wanted

467
00:23:18,359 --> 00:23:20,200
Speaker 2: to be signing somebody that I knew fucked with me

468
00:23:20,320 --> 00:23:22,520
Speaker 2: for real, Like and I just felt like I was

469
00:23:22,560 --> 00:23:25,760
Speaker 2: getting signed because I got a placement. Yeah what CHALL

470
00:23:25,840 --> 00:23:29,320
Speaker 2: understand from a business perspective, Sure, but I wasn't a

471
00:23:29,880 --> 00:23:32,040
Speaker 2: great writer when I got that placement. Yet I was

472
00:23:32,080 --> 00:23:34,200
Speaker 2: the reason why I came there was because they were

473
00:23:34,200 --> 00:23:37,000
Speaker 2: a production scene, right, So it was like I was

474
00:23:37,240 --> 00:23:40,160
Speaker 2: going to be able to learn and collaborate and work

475
00:23:40,200 --> 00:23:42,680
Speaker 2: with and do all the things you know in.

476
00:23:42,600 --> 00:23:47,600
Speaker 3: Your opinion for you personally, Yeah, do all those things

477
00:23:47,640 --> 00:23:50,720
Speaker 3: hold weight? What you you know? What you what you

478
00:23:50,800 --> 00:23:53,639
Speaker 3: went and learned what you know what I mean eventually

479
00:23:53,720 --> 00:23:56,080
Speaker 3: to that, like you can look at it like your

480
00:23:56,080 --> 00:23:57,439
Speaker 3: deal wasn't in favor of you.

481
00:23:58,680 --> 00:24:00,359
Speaker 2: And by the way, the deal wasn't bad.

482
00:24:00,640 --> 00:24:03,280
Speaker 3: But you know our first deal is No, it wasn't.

483
00:24:03,720 --> 00:24:06,240
Speaker 2: But I just want to say though, to be clear though,

484
00:24:06,359 --> 00:24:07,880
Speaker 2: But I just want to say, to be clear, though

485
00:24:07,920 --> 00:24:10,880
Speaker 2: my deal wasn't bad. It wasn't a bad publishing deal.

486
00:24:10,880 --> 00:24:14,040
Speaker 2: It was a proper deal for the time and for

487
00:24:14,080 --> 00:24:14,600
Speaker 2: where I was at.

488
00:24:15,320 --> 00:24:21,800
Speaker 3: Yeah, And because I'm using your experience as a teaching moment,

489
00:24:22,119 --> 00:24:24,520
Speaker 3: because sometimes people will look at it and I'm glad

490
00:24:24,560 --> 00:24:27,080
Speaker 3: you said that, like, no, my deal wasn't it wasn't

491
00:24:27,440 --> 00:24:30,520
Speaker 3: the other it wasn't bad. Because sometimes what happens is

492
00:24:31,760 --> 00:24:34,160
Speaker 3: when we get success.

493
00:24:34,400 --> 00:24:36,480
Speaker 2: We forget how we got there.

494
00:24:37,640 --> 00:24:40,640
Speaker 3: And this is something that runs rampant in our business. Sure,

495
00:24:41,160 --> 00:24:45,480
Speaker 3: I've watched it so many times where me, on the

496
00:24:45,520 --> 00:24:50,600
Speaker 3: other hand, I usually will give up more so somebody

497
00:24:51,200 --> 00:24:55,000
Speaker 3: will never have that conversation about me. I've taken less,

498
00:24:56,480 --> 00:24:59,159
Speaker 3: but that's not really my obligation. It's just who I

499
00:24:59,200 --> 00:25:01,399
Speaker 3: am and what I've shown and to do so that

500
00:25:02,200 --> 00:25:04,959
Speaker 3: I'm not in those type of conversations. But I usually

501
00:25:05,000 --> 00:25:08,760
Speaker 3: take less are sometimes nothing at all. But what I

502
00:25:08,840 --> 00:25:12,080
Speaker 3: find is that there are creatives because you know, artists

503
00:25:12,080 --> 00:25:15,760
Speaker 3: false under the creatives get that success and they just

504
00:25:15,800 --> 00:25:19,560
Speaker 3: don't remember what else went into that success of someone

505
00:25:19,600 --> 00:25:23,520
Speaker 3: giving them that opportunity, of somebody teaching them, of somebody

506
00:25:23,520 --> 00:25:26,399
Speaker 3: putting them in that room. Hell yeah, it is very

507
00:25:26,440 --> 00:25:29,320
Speaker 3: important when it goes into they took.

508
00:25:29,200 --> 00:25:33,600
Speaker 2: My Yeah, well see that's not my story. But yeah,

509
00:25:33,680 --> 00:25:35,359
Speaker 2: my story isn't that anything.

510
00:25:35,640 --> 00:25:39,879
Speaker 3: But you're the You're the first songwriter purely songwriter that

511
00:25:39,880 --> 00:25:43,399
Speaker 3: we've had on here. Okay, that's what you came to

512
00:25:43,920 --> 00:25:47,239
Speaker 3: this business is what I came to do. You end

513
00:25:47,320 --> 00:25:52,160
Speaker 3: up doing more things, but profession songwriter. So that's why

514
00:25:52,200 --> 00:25:56,240
Speaker 3: I want us to have more conversation about that process

515
00:25:56,960 --> 00:26:01,840
Speaker 3: and just about people who are creatives understanding like listen man, like, yeah,

516
00:26:01,920 --> 00:26:04,399
Speaker 3: the split is what is split is? But do you

517
00:26:04,440 --> 00:26:05,280
Speaker 3: know why that split?

518
00:26:05,320 --> 00:26:05,439
Speaker 1: Ist?

519
00:26:06,280 --> 00:26:08,239
Speaker 3: You know, I just just you know when people are like,

520
00:26:08,920 --> 00:26:10,959
Speaker 3: you know, the artist shall remain nameless, but oh, this

521
00:26:11,080 --> 00:26:16,280
Speaker 3: artist takes twenty five percent. Well, that artists their artistry

522
00:26:16,600 --> 00:26:19,760
Speaker 3: earned them more publishing on that song, or maybe earned

523
00:26:19,800 --> 00:26:21,560
Speaker 3: them publishing on the song that they actually did not

524
00:26:21,680 --> 00:26:24,280
Speaker 3: write because of what they're going to do to it

525
00:26:24,320 --> 00:26:27,040
Speaker 3: and what it's going to probably change your life. So

526
00:26:27,280 --> 00:26:31,480
Speaker 3: after I worked on in Sync and a Mama.

527
00:26:30,760 --> 00:26:33,439
Speaker 2: Was going to change your life, it don't change your

528
00:26:33,480 --> 00:26:34,000
Speaker 2: life no more.

529
00:26:34,080 --> 00:26:35,760
Speaker 3: It changed mine in Sync.

530
00:26:36,040 --> 00:26:37,400
Speaker 2: That shit don't change your life no more.

531
00:26:37,440 --> 00:26:39,520
Speaker 3: If you get a Drake placement, it's going to change

532
00:26:39,520 --> 00:26:42,280
Speaker 3: your life. It's going to change if you're gonna be honest.

533
00:26:42,840 --> 00:26:46,360
Speaker 3: Single Okay, well no, I'm about to break down why

534
00:26:46,440 --> 00:26:49,400
Speaker 3: it is even bigger than the single because now you're

535
00:26:49,480 --> 00:26:51,960
Speaker 3: part of a conversation. Oh for sure will get you

536
00:26:52,040 --> 00:26:54,439
Speaker 3: in a room that can lead you to.

537
00:26:55,520 --> 00:26:58,360
Speaker 2: But but but what I'm saying, both of you guys

538
00:26:58,400 --> 00:26:59,080
Speaker 2: are saying the same thing.

539
00:26:59,080 --> 00:27:01,920
Speaker 1: What I think comes from being a part of whatever

540
00:27:02,040 --> 00:27:05,280
Speaker 1: a Beyonce or a Drake process is the conversation right

541
00:27:05,320 --> 00:27:08,720
Speaker 1: in the room. What leading to what she's saying is

542
00:27:08,720 --> 00:27:13,800
Speaker 1: that in twenty in twenty twenty, or even up to

543
00:27:13,840 --> 00:27:17,960
Speaker 1: maybe twenty two thousand and seven, where it was still

544
00:27:18,000 --> 00:27:23,840
Speaker 1: speculative that conversation could lead to a greater game, like now, no,

545
00:27:24,080 --> 00:27:27,240
Speaker 1: it's such an analytical conversation, yeah.

546
00:27:27,200 --> 00:27:29,840
Speaker 2: And it's such a political conversation. And then also like

547
00:27:30,160 --> 00:27:32,840
Speaker 2: you can get it a Beyonce cut or a Drake cut,

548
00:27:32,880 --> 00:27:35,040
Speaker 2: but you can have two percent of that cut, right,

549
00:27:35,280 --> 00:27:38,320
Speaker 2: and then it might lead you to Justin Bieber, And

550
00:27:38,320 --> 00:27:40,160
Speaker 2: then you get two percent on a Justin Bieber cut.

551
00:27:40,200 --> 00:27:45,920
Speaker 2: It's still leading to the same role blocks. Do you

552
00:27:45,960 --> 00:27:48,240
Speaker 2: see how many writers are on these songs, how much POSI?

553
00:27:48,480 --> 00:27:50,119
Speaker 3: I think it's that I've never gotten two percent. I

554
00:27:50,160 --> 00:27:50,879
Speaker 3: don't even understand.

555
00:27:50,920 --> 00:27:53,440
Speaker 2: People are out here a getting little little pieces of

556
00:27:54,160 --> 00:27:57,000
Speaker 2: publishing if the splits are even done at all, right,

557
00:27:57,119 --> 00:28:02,240
Speaker 2: and so like, I agree with you, but I think

558
00:28:02,280 --> 00:28:07,160
Speaker 2: that that model it doesn't work anymore because it's not enough.

559
00:28:07,920 --> 00:28:11,920
Speaker 2: There's plenty of money, right, but it's not in majority

560
00:28:11,920 --> 00:28:13,480
Speaker 2: of It's not in publishing.

561
00:28:13,119 --> 00:28:13,720
Speaker 3: It just isn't.

562
00:28:13,800 --> 00:28:16,720
Speaker 2: It's in the sound recording, it's in live shows, in

563
00:28:16,840 --> 00:28:21,560
Speaker 2: merch and all these other things. And because these artists

564
00:28:21,600 --> 00:28:24,600
Speaker 2: are taking twenty five thirty whatever it are taking plus

565
00:28:24,640 --> 00:28:28,080
Speaker 2: samples and whatever, there's this little teeny tiny piece that's

566
00:28:28,200 --> 00:28:32,240
Speaker 2: left and for everybody else to split. And so it's

567
00:28:32,240 --> 00:28:36,399
Speaker 2: not like, yes, it gets you clout, but clout don't

568
00:28:36,400 --> 00:28:38,920
Speaker 2: pay your bills. It gets you into another room. But

569
00:28:38,960 --> 00:28:41,320
Speaker 2: then that's about whether you're good at other shit like

570
00:28:41,640 --> 00:28:45,360
Speaker 2: marketing yourself, branding, networking that don't have nothing to do

571
00:28:45,440 --> 00:28:47,440
Speaker 2: with being a good songwriter or being a good producer.

572
00:28:47,520 --> 00:28:48,680
Speaker 2: Now you got to know what to do with it.

573
00:28:48,760 --> 00:28:50,840
Speaker 2: Hit Like when I have replay, what I would do

574
00:28:50,880 --> 00:28:52,920
Speaker 2: with replay now versus what I did with replay then

575
00:28:53,080 --> 00:28:56,040
Speaker 2: is two totally different things because I didn't know how.

576
00:28:56,200 --> 00:28:58,880
Speaker 2: I didn't know, like, oh, I should have maybe hired

577
00:28:58,880 --> 00:29:03,200
Speaker 2: a publicist at that point. Maybe I should I do too.

578
00:29:03,400 --> 00:29:04,960
Speaker 2: And it's like, you know, I talk to writers in

579
00:29:05,000 --> 00:29:07,080
Speaker 2: the community all the time. They're like, yo, tip, I

580
00:29:07,080 --> 00:29:08,880
Speaker 2: don't got this and I don't got that. And I'm like,

581
00:29:08,960 --> 00:29:11,240
Speaker 2: you have to pay. If you want a billboard, you

582
00:29:11,280 --> 00:29:14,000
Speaker 2: need to call the billboard company and you need to

583
00:29:14,280 --> 00:29:16,320
Speaker 2: pay for that shit. And you need I'm like, because

584
00:29:16,400 --> 00:29:18,840
Speaker 2: all the shit you see is people's own money they

585
00:29:18,880 --> 00:29:23,480
Speaker 2: spend on theyself, right like, and but you know, you don't.

586
00:29:23,520 --> 00:29:26,080
Speaker 2: It's not like there's a whole bunch of that knowledge

587
00:29:26,120 --> 00:29:28,800
Speaker 2: is not readily available, you know what I mean, Or

588
00:29:28,800 --> 00:29:31,240
Speaker 2: it wasn't not when I was coming up, you know.

589
00:29:31,480 --> 00:29:35,160
Speaker 2: And so like unless things change, which is what I'm

590
00:29:35,440 --> 00:29:38,120
Speaker 2: obviously advocating for, right, unless things change. When it comes

591
00:29:38,160 --> 00:29:43,800
Speaker 2: to what other other royalty streams songwriters are included in

592
00:29:45,440 --> 00:29:48,360
Speaker 2: publishing isn't going to be enough long term anymore because

593
00:29:48,360 --> 00:29:52,920
Speaker 2: it's too oversaturated. Everybody got published. So like, while you

594
00:29:52,960 --> 00:29:54,840
Speaker 2: get a place, so while it might be a big

595
00:29:54,840 --> 00:29:56,560
Speaker 2: deal for you to get a Beyonce, placements about to

596
00:29:56,600 --> 00:29:58,360
Speaker 2: lead you to another place where you can only get publishing.

597
00:29:59,440 --> 00:30:01,480
Speaker 2: So if you can only get publishing, and you can

598
00:30:01,520 --> 00:30:06,400
Speaker 2: only get because we playing politics, But.

599
00:30:06,400 --> 00:30:10,800
Speaker 3: If you're but here we are with that. If you're

600
00:30:11,800 --> 00:30:17,320
Speaker 3: playing politics, and maybe you got a lesser percentage but

601
00:30:17,440 --> 00:30:22,840
Speaker 3: a bigger cachet off of working with a certain artist,

602
00:30:23,200 --> 00:30:27,880
Speaker 3: the next rooms you should walk into should and this

603
00:30:28,240 --> 00:30:32,800
Speaker 3: is and this is on the writer. So I'm a

604
00:30:32,800 --> 00:30:36,280
Speaker 3: songwriter at the heart of me, songwriter. This is what

605
00:30:36,360 --> 00:30:38,440
Speaker 3: I also came out here for. I then come out

606
00:30:38,440 --> 00:30:40,080
Speaker 3: here to saying, and come out here to manage, and

607
00:30:40,280 --> 00:30:43,480
Speaker 3: come out here to be fucking talking head. Podcasting came

608
00:30:43,480 --> 00:30:46,400
Speaker 3: out here to write songs for people. And I can

609
00:30:46,440 --> 00:30:50,640
Speaker 3: only give my own experiences, and I can give my

610
00:30:50,800 --> 00:30:53,640
Speaker 3: successes and my failures and how I moved within this

611
00:30:53,760 --> 00:30:57,880
Speaker 3: business and how I see fit that writers should move.

612
00:30:58,640 --> 00:31:01,840
Speaker 3: There are certain business you should make that will put

613
00:31:01,880 --> 00:31:05,760
Speaker 3: you in an advantageous place on your next go round. Now,

614
00:31:05,800 --> 00:31:09,080
Speaker 3: if your dumb ass, and I said dumb ass, because

615
00:31:09,120 --> 00:31:11,280
Speaker 3: I want you to feel like a dumb ass, if

616
00:31:11,320 --> 00:31:14,600
Speaker 3: you let that shit happen to you multiple.

617
00:31:14,200 --> 00:31:16,360
Speaker 2: Times, yea, then it's your fault.

618
00:31:16,440 --> 00:31:17,240
Speaker 3: Then it's your fault.

619
00:31:17,280 --> 00:31:19,080
Speaker 1: Yeah, yeah, right, I can't.

620
00:31:19,160 --> 00:31:24,560
Speaker 3: I can't hear this writer gripe about the fifth time I.

621
00:31:24,720 --> 00:31:26,800
Speaker 2: Agree with you, I'm the same way, like, don't come

622
00:31:26,800 --> 00:31:27,200
Speaker 2: to me, and.

623
00:31:27,160 --> 00:31:29,800
Speaker 3: You know we hear it for sure. Fifth time, I'm like,

624
00:31:30,040 --> 00:31:31,040
Speaker 3: well but you just.

625
00:31:31,160 --> 00:31:34,600
Speaker 2: But you know why though, because of industry standards.

626
00:31:34,680 --> 00:31:39,360
Speaker 3: Ain't no industry there are not it's not it's not

627
00:31:39,640 --> 00:31:43,800
Speaker 3: we broke them ships down their industry standards because it's

628
00:31:43,840 --> 00:31:46,880
Speaker 3: still implanted in our minds. Now, there are numbers that

629
00:31:46,920 --> 00:31:48,360
Speaker 3: are just what they are right now.

630
00:31:48,160 --> 00:31:49,800
Speaker 2: That's what I'm saying. So you don't have any control

631
00:31:49,880 --> 00:31:52,080
Speaker 2: over people, right, So, like if a writer goes into

632
00:31:52,080 --> 00:31:55,520
Speaker 2: the studio and they don't have the politics in their favor,

633
00:31:55,520 --> 00:31:58,280
Speaker 2: whether it be the relationship with the managers, the artists

634
00:31:58,360 --> 00:32:02,440
Speaker 2: or whoever. Like I'm just telling you from being advocate, right,

635
00:32:02,520 --> 00:32:06,320
Speaker 2: Like I get like I feel like the music industry

636
00:32:06,360 --> 00:32:09,600
Speaker 2: is fucking therapist, right, Like I got DMS. This happened,

637
00:32:09,600 --> 00:32:13,480
Speaker 2: and this happened, and it's a massive artist, big record.

638
00:32:13,640 --> 00:32:16,160
Speaker 3: It doesn't it doesn't matter, and yeah, that part don't matter, right.

639
00:32:16,200 --> 00:32:19,000
Speaker 2: And what I'm saying though, is that it's not just

640
00:32:19,640 --> 00:32:22,520
Speaker 2: how we try to do business, because if the business

641
00:32:22,600 --> 00:32:26,360
Speaker 2: is not received like us doing like for instance, like

642
00:32:26,920 --> 00:32:29,320
Speaker 2: I don't write songs for anybody anymore because I'm not

643
00:32:29,360 --> 00:32:33,720
Speaker 2: writing for free, right, I'm not showing up nowhere your time, yes,

644
00:32:33,880 --> 00:32:36,440
Speaker 2: And my rate is my rate. It's my decision, right,

645
00:32:36,840 --> 00:32:39,440
Speaker 2: So my rate is fifteen thousand. If you want me

646
00:32:39,480 --> 00:32:42,080
Speaker 2: to write a record, it's fifteen thousand to me.

647
00:32:44,880 --> 00:32:46,160
Speaker 3: I'm rolling with that, thank you.

648
00:32:46,320 --> 00:32:49,080
Speaker 1: I'm rolling with that because I was I was trying

649
00:32:49,080 --> 00:32:51,360
Speaker 1: to figure out a way to get into that cot

650
00:32:52,240 --> 00:32:53,000
Speaker 1: Gear Records.

651
00:32:53,320 --> 00:32:54,680
Speaker 3: Not getting no free reach, not get free.

652
00:32:55,120 --> 00:32:58,080
Speaker 2: You're not getting free nothing. No, you're not getting free anything.

653
00:32:58,160 --> 00:33:01,400
Speaker 2: Nothing in this life is free nothing, right, and so

654
00:33:01,440 --> 00:33:02,720
Speaker 2: the thing that I'd be trying to get people to

655
00:33:02,800 --> 00:33:05,480
Speaker 2: understand in the music business because it's like we always

656
00:33:05,960 --> 00:33:09,400
Speaker 2: like our deal in the one percenters. There's a massive

657
00:33:09,800 --> 00:33:12,520
Speaker 2: middle class in the music business that's writing all the

658
00:33:12,560 --> 00:33:15,640
Speaker 2: album cuts, not the singles. They writing the album cuts,

659
00:33:15,760 --> 00:33:21,120
Speaker 2: and they are not respected or given the same leverage

660
00:33:21,160 --> 00:33:24,640
Speaker 2: to negotiate the things that we're talking about, Like it's

661
00:33:24,720 --> 00:33:29,680
Speaker 2: easier for a bigger songwriter with more leverage because in

662
00:33:29,760 --> 00:33:32,080
Speaker 2: your leverage, like I'm going through this right now, right

663
00:33:32,200 --> 00:33:38,200
Speaker 2: like I'm I'm I feel like my advocacy has brought

664
00:33:38,320 --> 00:33:40,800
Speaker 2: taking me places that I never thought I would go, right,

665
00:33:41,400 --> 00:33:45,280
Speaker 2: and so I'm lit, but I'm lit for what I'm doing.

666
00:33:45,320 --> 00:33:47,600
Speaker 2: So my profile is raised because I'm in the press

667
00:33:47,640 --> 00:33:49,360
Speaker 2: and I'm into this and I'm into that, not because

668
00:33:49,400 --> 00:33:52,040
Speaker 2: I write great songs. So when I walk into the room, now,

669
00:33:52,120 --> 00:33:54,000
Speaker 2: all the other shit I do walk into the room

670
00:33:54,000 --> 00:33:56,360
Speaker 2: with me. So these big as songwriters and big ass producers,

671
00:33:56,920 --> 00:33:59,200
Speaker 2: they got they radio interviews walking in with them, they

672
00:33:59,240 --> 00:34:03,200
Speaker 2: got their relationship with the music exec that whoever. That's

673
00:34:03,240 --> 00:34:05,280
Speaker 2: how you're getting money. You're not getting money because of

674
00:34:05,320 --> 00:34:06,840
Speaker 2: your song, you getting money because of who you are

675
00:34:07,120 --> 00:34:09,239
Speaker 2: and what you bring to the table. And so if

676
00:34:09,239 --> 00:34:12,000
Speaker 2: you don't have that, because that don't have ship to

677
00:34:12,040 --> 00:34:14,600
Speaker 2: do with being a songwriter. Everything understand, I don't have

678
00:34:14,600 --> 00:34:19,160
Speaker 2: nothing to do with being a songwriter. And it doesn't

679
00:34:19,239 --> 00:34:21,560
Speaker 2: you have to do it. It didn't or it didn't.

680
00:34:21,680 --> 00:34:23,719
Speaker 3: You have to be you have to entertain This is

681
00:34:23,760 --> 00:34:26,280
Speaker 3: the entertainment. It's music business, but it's also entertainment.

682
00:34:26,719 --> 00:34:29,200
Speaker 2: I'm talking about. But every every.

683
00:34:29,120 --> 00:34:32,760
Speaker 3: Aspect of this business is entertainment, especially now with social media,

684
00:34:32,840 --> 00:34:35,800
Speaker 3: especially now with you know, the way that the algorithms

685
00:34:35,880 --> 00:34:38,799
Speaker 3: work to make somebody even pay attention to little old

686
00:34:38,920 --> 00:34:42,359
Speaker 3: me or you or whatever this thing is. It's it's

687
00:34:42,400 --> 00:34:45,200
Speaker 3: just a it's a bigger it's a bigger game than

688
00:34:45,239 --> 00:34:48,200
Speaker 3: it used to be. From that standpoint, like now you

689
00:34:48,280 --> 00:34:51,479
Speaker 3: have to put more. You can't just be one singular thing.

690
00:34:51,600 --> 00:34:53,960
Speaker 3: You just can't be that great songwriter. You also have

691
00:34:54,000 --> 00:34:55,680
Speaker 3: to have a personality to get to.

692
00:34:55,960 --> 00:34:57,480
Speaker 1: Well, here's a question, here's a question I want to

693
00:34:57,480 --> 00:35:00,680
Speaker 1: ask and that I think you can help answer as well.

694
00:35:02,120 --> 00:35:05,279
Speaker 1: How do we get to a place to where there

695
00:35:05,320 --> 00:35:12,279
Speaker 1: is a standard for songwriters to show up because with

696
00:35:12,360 --> 00:35:16,680
Speaker 1: the producer, you're always going to negotiate a fee. Whether

697
00:35:16,719 --> 00:35:20,279
Speaker 1: he's just starting out or whether he's a he's a

698
00:35:20,800 --> 00:35:22,960
Speaker 1: there's always a production, which is what I'm trying to.

699
00:35:22,960 --> 00:35:26,759
Speaker 2: Get, which is what So so we've been the one

700
00:35:26,840 --> 00:35:31,160
Speaker 2: hundred percenters have been working with Sony Music Publishing. We've

701
00:35:31,160 --> 00:35:33,600
Speaker 2: been working really closely with a big John and.

702
00:35:33,840 --> 00:35:35,480
Speaker 3: Let's shout out. Let's shout out all the people that

703
00:35:35,520 --> 00:35:38,160
Speaker 3: are behind that with you, like your your board of advisory.

704
00:35:39,920 --> 00:35:40,880
Speaker 3: Those are very important.

705
00:35:41,000 --> 00:35:46,239
Speaker 2: Yeah, okay, So our two associate directors other names are

706
00:35:46,280 --> 00:35:51,000
Speaker 2: Marie Alliance and Rosemary Tan and that's like Rosemary Tan,

707
00:35:51,120 --> 00:35:53,839
Speaker 2: and then a guy named Gamorrow. That's our executive team.

708
00:35:53,960 --> 00:35:56,480
Speaker 2: And then there's me. I'm an executive director where the

709
00:35:56,680 --> 00:36:00,120
Speaker 2: like brains behind and you know, the machine behind one

710
00:36:00,200 --> 00:36:03,799
Speaker 2: hundred Percenters. And then we have like a whole bunch

711
00:36:03,840 --> 00:36:06,800
Speaker 2: of different like volunteers. We have, you know, a little

712
00:36:06,840 --> 00:36:13,600
Speaker 2: crew Blush Micah, a guy named Zach Poor like really

713
00:36:13,600 --> 00:36:18,000
Speaker 2: really dope songwriters, a girl named Cadence and yeah, we

714
00:36:18,160 --> 00:36:20,160
Speaker 2: just like and then also I kind of feel like

715
00:36:20,520 --> 00:36:24,920
Speaker 2: our following is a bit like an extended kind of

716
00:36:24,920 --> 00:36:27,480
Speaker 2: thing because like a lot of the stuff that like

717
00:36:27,520 --> 00:36:29,359
Speaker 2: I post and talk about and stuff like that. They

718
00:36:29,480 --> 00:36:31,319
Speaker 2: be sending me all kind of like, Yo, you've seen this.

719
00:36:31,520 --> 00:36:32,840
Speaker 2: You seem like I don't even got to look for

720
00:36:32,840 --> 00:36:35,440
Speaker 2: shit anymore. They just dming me stuff. But yeah, so

721
00:36:35,480 --> 00:36:39,000
Speaker 2: that's that's our team. And then we have other organizations

722
00:36:39,000 --> 00:36:42,640
Speaker 2: that we work closely with. One of them is SONA.

723
00:36:43,320 --> 00:36:47,520
Speaker 2: Another one is NMPA. Do you know what NMPA is? Okay,

724
00:36:47,560 --> 00:36:53,600
Speaker 2: So and so NMPA is the National Music Publishing Association.

725
00:36:53,880 --> 00:36:57,440
Speaker 2: So they're the trade association that represents all of our

726
00:36:57,480 --> 00:37:01,400
Speaker 2: publishing companies. So they're like Board of Directors is Big John, Jody,

727
00:37:02,320 --> 00:37:05,000
Speaker 2: all the like CEOs of all of the head all

728
00:37:05,000 --> 00:37:09,560
Speaker 2: the publishing companies. Right, I work with the US Copyright Office.

729
00:37:10,040 --> 00:37:12,600
Speaker 2: From the outside, I'm sure it probably looks like I'm

730
00:37:12,640 --> 00:37:14,640
Speaker 2: just online talking shit all the time, like gosh, she

731
00:37:14,800 --> 00:37:18,960
Speaker 2: just always complaining, she just always But most of my

732
00:37:18,960 --> 00:37:23,759
Speaker 2: my Instagram and all of that is my megaphone. If

733
00:37:23,800 --> 00:37:26,400
Speaker 2: I'm talking about something, I'm usually talking to someone, and

734
00:37:26,440 --> 00:37:28,440
Speaker 2: it's usually about something that I'm trying to get done.

735
00:37:29,120 --> 00:37:32,880
Speaker 2: So if I'm advocating about something, it's because I'm talking

736
00:37:32,920 --> 00:37:36,000
Speaker 2: to that record label or publishing company or person's team

737
00:37:36,480 --> 00:37:38,279
Speaker 2: and I'm you know, I use it as a tool,

738
00:37:38,680 --> 00:37:40,920
Speaker 2: you know what I mean, and as a way to

739
00:37:40,960 --> 00:37:44,919
Speaker 2: get to people sometimes as well. And so what we've

740
00:37:44,960 --> 00:37:49,520
Speaker 2: been doing in this last year is like having the

741
00:37:49,560 --> 00:37:52,920
Speaker 2: conversations like with the publishing companies, so we you know,

742
00:37:52,960 --> 00:37:55,120
Speaker 2: were working with Sony. I just had a really great

743
00:37:55,120 --> 00:37:59,120
Speaker 2: meeting with warrener Chappel two days ago, and we are

744
00:37:59,719 --> 00:38:02,560
Speaker 2: having these real conversations like look like this is the

745
00:38:02,640 --> 00:38:06,360
Speaker 2: reality for songwriters, like and so because so many people

746
00:38:07,000 --> 00:38:09,319
Speaker 2: feel like they're not supposed to talk about any of

747
00:38:09,360 --> 00:38:11,879
Speaker 2: this stuff, like they don't people don't know what's going

748
00:38:11,920 --> 00:38:13,279
Speaker 2: on with they writers for real. And then also I

749
00:38:13,320 --> 00:38:14,920
Speaker 2: feel like people get in the room, people like Big

750
00:38:14,960 --> 00:38:18,239
Speaker 2: John and be like oh shit, like yeah, like where

751
00:38:18,280 --> 00:38:21,120
Speaker 2: I Like, I'm so grateful for my relationship with John

752
00:38:21,160 --> 00:38:27,040
Speaker 2: because like, oh my god, so dope, right he just

753
00:38:27,080 --> 00:38:29,560
Speaker 2: like I don't I don't know. I like so many

754
00:38:29,560 --> 00:38:31,799
Speaker 2: people I know that are like man, Big John helped

755
00:38:31,800 --> 00:38:33,719
Speaker 2: me with this. He helped me with that, like and

756
00:38:33,760 --> 00:38:35,239
Speaker 2: I got the same story. And me and Big John

757
00:38:35,239 --> 00:38:37,920
Speaker 2: didn't start like I started beefing with him on the internet,

758
00:38:37,960 --> 00:38:40,600
Speaker 2: Like that's how we for real. I called him out

759
00:38:40,640 --> 00:38:45,680
Speaker 2: on the internet and he was like who is this girl?

760
00:38:45,800 --> 00:38:47,680
Speaker 2: Like you know, but he was the first person that

761
00:38:47,800 --> 00:38:51,480
Speaker 2: was like what is this about? Like what is this about?

762
00:38:51,600 --> 00:38:54,480
Speaker 2: And he brought me out here to La, brought my

763
00:38:54,480 --> 00:38:57,239
Speaker 2: whole team in, and I sat down in one of

764
00:38:57,280 --> 00:39:00,799
Speaker 2: their like conference rooms, and I just was like, this

765
00:39:00,880 --> 00:39:03,440
Speaker 2: is the truth, Like this is the truth. Like I

766
00:39:03,480 --> 00:39:05,520
Speaker 2: don't have anything to lose anymore. I don't even care

767
00:39:05,520 --> 00:39:07,799
Speaker 2: about this shit. I don't write songs no more. I'm

768
00:39:07,840 --> 00:39:10,840
Speaker 2: not I don't even live here no more. So I

769
00:39:10,920 --> 00:39:14,560
Speaker 2: just was like I bear my soul and he just

770
00:39:14,680 --> 00:39:17,720
Speaker 2: hurt us, like in a way that I just didn't expect.

771
00:39:18,280 --> 00:39:22,520
Speaker 2: And I've been giving the opportunity to help with modernizing

772
00:39:22,560 --> 00:39:24,640
Speaker 2: all of this stuff. So these are all conversations that

773
00:39:24,680 --> 00:39:27,480
Speaker 2: we're having with the publishing companies, and we're putting together plans,

774
00:39:27,520 --> 00:39:29,080
Speaker 2: like I don't want to just be out here talking

775
00:39:29,080 --> 00:39:32,759
Speaker 2: shit'm We're putting together solutions like the solutions that like,

776
00:39:33,120 --> 00:39:36,440
Speaker 2: for instance, we're working on something called session fees for

777
00:39:36,719 --> 00:39:39,560
Speaker 2: songwriters and producers. So if y'all do, if we do

778
00:39:39,680 --> 00:39:42,040
Speaker 2: go do a session for Tank, whether Tank takes the

779
00:39:42,080 --> 00:39:44,080
Speaker 2: record or not, our money is an attached to the song.

780
00:39:44,200 --> 00:39:46,400
Speaker 2: Our money is attached to the session same way like

781
00:39:46,440 --> 00:39:50,600
Speaker 2: an engineer exactly. And so I think I think we've

782
00:39:50,640 --> 00:39:53,000
Speaker 2: all been talking about we need more money, but I

783
00:39:53,040 --> 00:39:55,279
Speaker 2: think no one's ever really sat down and like put it.

784
00:39:55,760 --> 00:39:58,319
Speaker 2: Put it yes, And so I was like, does this

785
00:39:58,360 --> 00:40:01,280
Speaker 2: doesn't have to be million like big money. It doesn't

786
00:40:01,320 --> 00:40:03,160
Speaker 2: have to be for it to be a livable wage.

787
00:40:03,239 --> 00:40:05,640
Speaker 2: So the liverable wage I think currently in California is

788
00:40:05,680 --> 00:40:08,600
Speaker 2: fifty eight thousand dollars a year. I'm like, can we

789
00:40:08,680 --> 00:40:11,080
Speaker 2: get you know what I'm saying?

790
00:40:11,120 --> 00:40:12,520
Speaker 1: Like, I mean, but if it was on a scale

791
00:40:12,600 --> 00:40:17,520
Speaker 1: based on a fifty eight thousand dollars a year, we

792
00:40:17,600 --> 00:40:18,680
Speaker 1: talked salary.

793
00:40:18,320 --> 00:40:20,520
Speaker 2: We're talking five hundred dollars a day or something exactly.

794
00:40:20,840 --> 00:40:22,560
Speaker 1: It's not like you're going to be working every day.

795
00:40:22,600 --> 00:40:24,239
Speaker 1: It's not like you you may not even get to

796
00:40:24,280 --> 00:40:25,240
Speaker 1: that fifty eight thousand.

797
00:40:25,280 --> 00:40:27,239
Speaker 2: But if there's but if you're getting paid something, if

798
00:40:27,239 --> 00:40:27,640
Speaker 2: there's a.

799
00:40:28,000 --> 00:40:31,360
Speaker 1: If there's just a rate scale, yes, that just says,

800
00:40:31,480 --> 00:40:34,319
Speaker 1: you know, if I'm in this room, it's a working Yet,

801
00:40:34,600 --> 00:40:35,279
Speaker 1: so is.

802
00:40:35,239 --> 00:40:39,440
Speaker 3: This for every writer? So this exists, do you have

803
00:40:39,560 --> 00:40:41,719
Speaker 3: is there a governing body they have to come through?

804
00:40:41,880 --> 00:40:43,719
Speaker 3: It would be for their players association.

805
00:40:44,000 --> 00:40:45,280
Speaker 1: You know, I think it will.

806
00:40:45,160 --> 00:40:46,880
Speaker 2: Be based on a label. It would be based on

807
00:40:46,880 --> 00:40:50,080
Speaker 2: a label. So like if you where we're asking for

808
00:40:50,200 --> 00:40:52,600
Speaker 2: is if your work. If a songwriter and a producer

809
00:40:52,640 --> 00:40:55,400
Speaker 2: are working with a signed artist, they should be getting

810
00:40:55,440 --> 00:40:58,440
Speaker 2: paid absolutely, So I agree, you know what I mean

811
00:40:58,560 --> 00:40:58,879
Speaker 2: like they.

812
00:40:58,760 --> 00:41:01,200
Speaker 3: Should be hold what I'm mean asking is you know

813
00:41:01,200 --> 00:41:05,640
Speaker 3: because in some of these situations there are writers that

814
00:41:06,440 --> 00:41:11,040
Speaker 3: just end up at the session like, how do you well? Engineering?

815
00:41:11,120 --> 00:41:12,799
Speaker 2: This is going to help. I think one of the

816
00:41:12,800 --> 00:41:15,000
Speaker 2: things that I think the session feed program is going

817
00:41:15,040 --> 00:41:17,399
Speaker 2: to do is help with quality control because think about

818
00:41:17,440 --> 00:41:20,680
Speaker 2: so this is I can't I can't like I will

819
00:41:20,680 --> 00:41:23,400
Speaker 2: tell y'all like more of the setup off of this

820
00:41:23,480 --> 00:41:25,400
Speaker 2: because I can't tell above the whole set up. But

821
00:41:25,760 --> 00:41:29,880
Speaker 2: if we knew that there was some set amount of

822
00:41:29,920 --> 00:41:33,080
Speaker 2: money for a session, would you let all your niggas

823
00:41:33,120 --> 00:41:35,280
Speaker 2: pull up or would you control?

824
00:41:35,560 --> 00:41:37,200
Speaker 3: We've always controlled.

825
00:41:37,280 --> 00:41:39,680
Speaker 2: What I'm saying, so but so what I'm saying is

826
00:41:39,680 --> 00:41:43,719
Speaker 2: that it would control itself because the less people that

827
00:41:43,760 --> 00:41:45,440
Speaker 2: are in a room, the more money you make in

828
00:41:45,600 --> 00:41:47,760
Speaker 2: is how we're setting it up so that it's.

829
00:41:47,680 --> 00:41:49,800
Speaker 1: Like you don't think it should be who's ever, whoever

830
00:41:50,000 --> 00:41:54,240
Speaker 1: signed on to be a part of the session versus yeah,

831
00:41:54,520 --> 00:41:56,479
Speaker 1: the amount well such, you know what I'm saying, because

832
00:41:56,480 --> 00:41:58,319
Speaker 1: if if the scale is the same for every writer

833
00:41:58,400 --> 00:42:01,040
Speaker 1: that's in the room, no one's money is more. It's

834
00:42:01,160 --> 00:42:03,719
Speaker 1: just that, Yeah, we are just the only people signed

835
00:42:03,760 --> 00:42:04,560
Speaker 1: to write this record.

836
00:42:04,680 --> 00:42:10,839
Speaker 2: Yes, well, and it just being way more communication between artists, management,

837
00:42:11,280 --> 00:42:13,960
Speaker 2: record label, because the other thing that we're trying to

838
00:42:13,960 --> 00:42:16,359
Speaker 2: solve with all of this stuff is like AMIN right,

839
00:42:16,440 --> 00:42:20,879
Speaker 2: because the AMIN is it's fucking ridiculous, right. And so

840
00:42:21,239 --> 00:42:23,600
Speaker 2: if there was more quality control, if there was more

841
00:42:23,800 --> 00:42:28,160
Speaker 2: communication from the time the session is scheduled, before the

842
00:42:28,200 --> 00:42:30,440
Speaker 2: song's even written, we already know who's in the room.

843
00:42:30,560 --> 00:42:32,560
Speaker 2: So when we're trying to do splits, who's in the

844
00:42:32,560 --> 00:42:34,239
Speaker 2: who was in the room? I can tell because this

845
00:42:34,280 --> 00:42:36,400
Speaker 2: is who we paid, This is who we paid. So

846
00:42:36,440 --> 00:42:38,320
Speaker 2: this is the writers, this is the producers, this is

847
00:42:38,360 --> 00:42:40,800
Speaker 2: their contact information because we got them as a vendor

848
00:42:40,840 --> 00:42:42,080
Speaker 2: in our system or whatever.

849
00:42:42,120 --> 00:42:42,279
Speaker 1: You know.

850
00:42:42,520 --> 00:42:45,479
Speaker 3: The other problem we have in urban music, yeah, is

851
00:42:45,840 --> 00:42:48,360
Speaker 3: those split She's not being done the day of session,

852
00:42:48,520 --> 00:42:51,880
Speaker 3: chasing somebody down to ask them how many d in

853
00:42:52,000 --> 00:42:56,480
Speaker 3: these and and why on this song? And oh I

854
00:42:56,520 --> 00:43:00,880
Speaker 3: wrote that one section before the was and I said, yeah,

855
00:43:00,960 --> 00:43:03,600
Speaker 3: it's fucking ridiculous. Yeah, it's out of control.

856
00:43:03,840 --> 00:43:06,520
Speaker 2: People don't know how to negotiate business people don't Talking

857
00:43:06,640 --> 00:43:10,160
Speaker 2: numbers is for some people intimidating, and so I think,

858
00:43:10,920 --> 00:43:14,359
Speaker 2: especially like you know, people be getting in fights over splits.

859
00:43:15,320 --> 00:43:17,879
Speaker 1: They rather steal behind your back now.

860
00:43:17,760 --> 00:43:20,759
Speaker 2: Necessarily right, Like they're not gonna tell you yea, I'm

861
00:43:20,760 --> 00:43:24,719
Speaker 2: about to like I feel like I should have thirty eighty. Yeah,

862
00:43:24,920 --> 00:43:27,279
Speaker 2: they're not gonna say that, and that's not gonna happen. Yeah,

863
00:43:27,320 --> 00:43:29,480
Speaker 2: it's not gonna happen this. But my thing is our

864
00:43:29,520 --> 00:43:31,839
Speaker 2: goal is more so on like I can't tell y'all

865
00:43:31,840 --> 00:43:33,840
Speaker 2: how to do your business. I just want to provide

866
00:43:33,880 --> 00:43:35,640
Speaker 2: a better way for you to do it. And if

867
00:43:35,680 --> 00:43:37,399
Speaker 2: you choose to do it that way, lit if not,

868
00:43:37,680 --> 00:43:39,680
Speaker 2: if you take some of these solutions and flip it

869
00:43:39,719 --> 00:43:42,320
Speaker 2: and do it your own way, because we're independent contractors,

870
00:43:42,360 --> 00:43:44,680
Speaker 2: so nobody can you know, all of these things will

871
00:43:44,680 --> 00:43:48,160
Speaker 2: look different. But I'm trying to create a floor. Like,

872
00:43:48,600 --> 00:43:50,680
Speaker 2: if you were a teacher, you're not about to start

873
00:43:50,680 --> 00:43:53,160
Speaker 2: making nothing. You're gonna start as an entry level teacher.

874
00:43:53,520 --> 00:43:56,680
Speaker 2: There should be an entry level songwriter, entry level producer,

875
00:43:56,960 --> 00:43:58,800
Speaker 2: entry you know what I mean, Like, we shouldn't be

876
00:43:58,880 --> 00:44:02,799
Speaker 2: making nothing because people are paying to work. Like I

877
00:44:02,880 --> 00:44:04,560
Speaker 2: talk to people that are like, oh, you know, I

878
00:44:04,560 --> 00:44:08,200
Speaker 2: got to get a babysitter, gases, a million fucking dollars,

879
00:44:08,239 --> 00:44:10,000
Speaker 2: all the things to just shoot your shot.

880
00:44:10,239 --> 00:44:10,880
Speaker 1: It's a job.

881
00:44:11,320 --> 00:44:12,440
Speaker 2: It's a job.

882
00:44:12,960 --> 00:44:13,840
Speaker 3: I paid to work.

883
00:44:14,719 --> 00:44:15,440
Speaker 2: I paid to work.

884
00:44:15,360 --> 00:44:18,120
Speaker 3: Get my initial into this thing as an adult, Like

885
00:44:18,160 --> 00:44:20,040
Speaker 3: I paid to work, like I you know, I paid

886
00:44:20,680 --> 00:44:22,920
Speaker 3: whatever dues I had to pay to get into it,

887
00:44:23,000 --> 00:44:25,600
Speaker 3: and how many sessions I had to go to that

888
00:44:25,680 --> 00:44:27,120
Speaker 3: didn't turn out to be anything.

889
00:44:27,320 --> 00:44:30,080
Speaker 2: Imagine if you got paid for all those sessions.

890
00:44:29,880 --> 00:44:32,319
Speaker 3: I might not have been as hungry. And this is

891
00:44:32,400 --> 00:44:35,440
Speaker 3: just me, And this is just me because what I

892
00:44:35,440 --> 00:44:38,760
Speaker 3: also find in our new industry is a lack of hunger,

893
00:44:39,040 --> 00:44:43,239
Speaker 3: not with everyone, but with a lot where the struggle

894
00:44:43,640 --> 00:44:48,200
Speaker 3: is just different. The struggle is different because it's way

895
00:44:48,440 --> 00:44:50,480
Speaker 3: easier to hit the lottery these days than it used

896
00:44:50,520 --> 00:44:53,479
Speaker 3: to be, because the you know, the gatekeeper's been pushed

897
00:44:53,520 --> 00:44:54,839
Speaker 3: out the way a little bit. The gates have been

898
00:44:54,840 --> 00:44:58,279
Speaker 3: pushed over to a certain degree where somebody can make

899
00:44:58,320 --> 00:45:01,520
Speaker 3: a you know, a hit record off their couch and

900
00:45:01,680 --> 00:45:06,319
Speaker 3: upload it. So I think sometimes some of the the

901
00:45:06,360 --> 00:45:10,520
Speaker 3: bystanders and in the audience just sees it as man,

902
00:45:10,560 --> 00:45:15,680
Speaker 3: we should be lit from the beginning. Yeah, and they

903
00:45:15,760 --> 00:45:20,799
Speaker 3: forget what goes into this ship, and they forget, you know,

904
00:45:21,040 --> 00:45:25,120
Speaker 3: or they don't even know. Forget they don't even know that,

905
00:45:25,520 --> 00:45:28,439
Speaker 3: you know, Jay Valentine slept on the floor for nine

906
00:45:28,440 --> 00:45:30,600
Speaker 3: months floor.

907
00:45:31,600 --> 00:45:34,239
Speaker 2: So and do you feel like you should have to

908
00:45:34,239 --> 00:45:38,240
Speaker 2: sleep on the floor because I think.

909
00:45:40,480 --> 00:45:43,920
Speaker 1: I think that the level of hunger that exists or

910
00:45:43,920 --> 00:45:48,680
Speaker 1: doesn't exist, I think, you know, that's gonna always that's

911
00:45:48,719 --> 00:45:50,480
Speaker 1: gonna always be there, no matter.

912
00:45:50,600 --> 00:45:52,399
Speaker 3: Because I also believe that you should have a job

913
00:45:52,440 --> 00:45:55,160
Speaker 3: while you're while you're working toward an actual deal.

914
00:45:55,320 --> 00:45:57,319
Speaker 1: But I think of it like this. You should work

915
00:45:57,480 --> 00:46:00,919
Speaker 1: if you if there is an entry level, if there's

916
00:46:00,920 --> 00:46:04,160
Speaker 1: an entry level pay, let's say entry level pay is

917
00:46:04,920 --> 00:46:07,919
Speaker 1: one hundred and fifty a session. It's just just hypothetically,

918
00:46:08,880 --> 00:46:16,879
Speaker 1: and you see guys who are making fifteen thousand a session. Well,

919
00:46:16,920 --> 00:46:20,400
Speaker 1: that within itself, he is going to create that. I

920
00:46:20,520 --> 00:46:24,480
Speaker 1: need that because all of that one you can eat

921
00:46:24,640 --> 00:46:29,359
Speaker 1: and get your ubers, but it ain't changing your life yet.

922
00:46:30,000 --> 00:46:30,840
Speaker 2: But it's enough for you.

923
00:46:30,920 --> 00:46:34,239
Speaker 1: But it's enough for you to do it, to just

924
00:46:34,400 --> 00:46:38,719
Speaker 1: do that, to hone in on be Like I think

925
00:46:38,760 --> 00:46:41,359
Speaker 1: we came up, all of us. Yes, we came up

926
00:46:41,440 --> 00:46:44,239
Speaker 1: and came up in an era where we had to

927
00:46:44,400 --> 00:46:49,480
Speaker 1: figure out how to be great in spite of no

928
00:46:49,520 --> 00:46:53,280
Speaker 1: matter what the conditions were. Like we're like the last

929
00:46:54,080 --> 00:47:00,640
Speaker 1: of the Mohicans of that space. We weren't given shit nothing.

930
00:47:00,719 --> 00:47:04,920
Speaker 1: We had you on the floor car like we were saying.

931
00:47:05,360 --> 00:47:10,720
Speaker 1: But but I think some of the advantage in giving

932
00:47:10,800 --> 00:47:15,960
Speaker 1: writers an opportunity to to live and work as a

933
00:47:15,960 --> 00:47:23,640
Speaker 1: writer's is the developmental process because it's like in a sense,

934
00:47:23,840 --> 00:47:26,879
Speaker 1: because it's like it's like it's like your son right

935
00:47:26,880 --> 00:47:30,680
Speaker 1: now in basketball, you know what I'm saying, Like, I

936
00:47:30,719 --> 00:47:33,160
Speaker 1: know you went to some camps or what have you,

937
00:47:33,239 --> 00:47:36,560
Speaker 1: But had your development, had you had the opportunity to

938
00:47:36,600 --> 00:47:41,960
Speaker 1: develop the way Deuce is developing, you're in a basketball player.

939
00:47:41,719 --> 00:47:43,719
Speaker 3: Different, Yeah, I get opportunity at least.

940
00:47:43,760 --> 00:47:46,640
Speaker 1: Yeah, definitely, you said. I'm saying, like, if you're asking me,

941
00:47:46,640 --> 00:47:50,600
Speaker 1: you're NBA basketball player, and with being able to just

942
00:47:50,760 --> 00:47:55,439
Speaker 1: focus on playing basketball, you know, And I think we're

943
00:47:55,480 --> 00:47:58,760
Speaker 1: moving into a space or the blessing into moving into

944
00:47:58,760 --> 00:48:03,040
Speaker 1: a space like that where writers can just write and

945
00:48:03,120 --> 00:48:05,920
Speaker 1: focus on writing. I think we get to a space

946
00:48:05,960 --> 00:48:08,320
Speaker 1: where we get the best out of people because I

947
00:48:08,320 --> 00:48:11,359
Speaker 1: didn't start making my best music until I was not

948
00:48:11,560 --> 00:48:12,640
Speaker 1: under durest making.

949
00:48:12,719 --> 00:48:16,400
Speaker 2: Oh my god, same where you're Yes, I didn't get

950
00:48:16,440 --> 00:48:18,440
Speaker 2: my best music. So we were suffering.

951
00:48:18,680 --> 00:48:25,320
Speaker 1: Yes, so we said let's do it our way. Everything everybody.

952
00:48:25,480 --> 00:48:28,399
Speaker 2: I feel like there's so much suffering attack. Like one

953
00:48:28,440 --> 00:48:32,120
Speaker 2: of the sayings that drive me crazy is a starving artist,

954
00:48:32,320 --> 00:48:36,920
Speaker 2: because that's the epitot, Like it's the problem with the music.

955
00:48:36,960 --> 00:48:39,080
Speaker 2: The music business is earning more money than it's ever

956
00:48:39,160 --> 00:48:43,040
Speaker 2: made historically, right, so like for there to be starting

957
00:48:43,200 --> 00:48:46,560
Speaker 2: starving artists is ridiculous. And I'm speaking only for like

958
00:48:46,600 --> 00:48:50,640
Speaker 2: I always say, like, God bless the up and comings,

959
00:48:51,000 --> 00:48:53,560
Speaker 2: God blessed independent artists, because I'm an independent artist. But

960
00:48:53,600 --> 00:48:55,600
Speaker 2: that's not who I'm talking about. I'm talking about the

961
00:48:55,600 --> 00:48:58,920
Speaker 2: people that are writing these songs that we tiktoking to

962
00:49:00,480 --> 00:49:03,600
Speaker 2: because they're the people who are hitting me. We have

963
00:49:03,640 --> 00:49:07,400
Speaker 2: a grant that's about to open in October. It is

964
00:49:07,400 --> 00:49:10,960
Speaker 2: called the Songwriter Stimulus Grant, and my goal is to

965
00:49:10,960 --> 00:49:13,240
Speaker 2: give out one hundred thousand dollars. The grants are twenty

966
00:49:13,239 --> 00:49:18,040
Speaker 2: five hundred dollars a piece. Songwriters only you have to

967
00:49:18,040 --> 00:49:21,320
Speaker 2: make under one hundred thousand dollars a year. Yeah, sorry,

968
00:49:22,960 --> 00:49:27,840
Speaker 2: army money.

969
00:49:28,040 --> 00:49:28,400
Speaker 3: You got to.

970
00:49:28,400 --> 00:49:29,120
Speaker 1: Donate to the river.

971
00:49:31,400 --> 00:49:33,680
Speaker 2: And but like, the people that are hitting me are

972
00:49:33,920 --> 00:49:38,760
Speaker 2: working songwriters. It's not these up and it's not them,

973
00:49:39,000 --> 00:49:43,960
Speaker 2: it's us. It's our folks that should not be struggling

974
00:49:44,080 --> 00:49:44,800
Speaker 2: people who.

975
00:49:44,640 --> 00:49:46,919
Speaker 1: Got records credit.

976
00:49:47,160 --> 00:49:49,840
Speaker 2: Yes, you know, and and I feel like that's the

977
00:49:49,880 --> 00:49:54,719
Speaker 2: part for me where it's like creating music is so amazing, right,

978
00:49:54,840 --> 00:49:58,960
Speaker 2: but like the business does such an incredible job at

979
00:49:59,080 --> 00:50:01,360
Speaker 2: exploiting piece Well, was ignorance.

980
00:50:10,000 --> 00:50:15,800
Speaker 1: Top five R and B artists? Man male or female group?

981
00:50:16,360 --> 00:50:17,080
Speaker 2: Oh man?

982
00:50:18,480 --> 00:50:21,160
Speaker 3: Like only you don't say, might not vote with you?

983
00:50:21,760 --> 00:50:25,040
Speaker 2: This is like they can only like yeah, but like

984
00:50:25,239 --> 00:50:27,120
Speaker 2: can they do other genres or is it.

985
00:50:27,520 --> 00:50:30,480
Speaker 3: Also do this point comes from the arn.

986
00:50:32,160 --> 00:50:34,239
Speaker 2: Well, I'm just gonna say my favorite artist of all

987
00:50:34,280 --> 00:50:36,480
Speaker 2: time because so my favorite artist of all time is

988
00:50:36,520 --> 00:50:39,600
Speaker 2: Janet Jackson. My favorite so my favorite song of all

989
00:50:39,640 --> 00:50:44,440
Speaker 2: time is that's the way? Sorry? Okay, five one, okay,

990
00:50:44,840 --> 00:50:46,680
Speaker 2: Janet Brandy.

991
00:50:47,000 --> 00:50:51,320
Speaker 3: Janet Brandy, amazing, amazing Stevie wonder.

992
00:50:52,600 --> 00:50:53,320
Speaker 1: That's great.

993
00:50:54,040 --> 00:50:58,280
Speaker 2: Another of my favorites is Usher Love Usher like somebody

994
00:50:58,320 --> 00:51:00,520
Speaker 2: that I'm really enjoying. Who's music I'm doing right now

995
00:51:00,680 --> 00:51:04,960
Speaker 2: is Lucky Day. I'm really enjoying his incredible artist. That's fine, right,

996
00:51:06,040 --> 00:51:06,759
Speaker 2: I'm really enjoying it.

997
00:51:06,960 --> 00:51:09,359
Speaker 1: I like that. Okay, Okay, I like that. Top five

998
00:51:09,480 --> 00:51:10,200
Speaker 1: R and B songs.

999
00:51:10,440 --> 00:51:13,120
Speaker 2: Okay, that's the way I love goes. It's my favorite

1000
00:51:13,120 --> 00:51:20,959
Speaker 2: song ever. Top five arm B songs, my top five.

1001
00:51:21,400 --> 00:51:25,359
Speaker 2: One of my favorite Brandy songs is Acapella. Okay, shout

1002
00:51:25,400 --> 00:51:29,719
Speaker 2: out TC not gonna amazing. Oh my god, just the

1003
00:51:29,800 --> 00:51:34,040
Speaker 2: vocal arrangement of that song is fucking crazy. That album damn,

1004
00:51:34,080 --> 00:51:37,919
Speaker 2: I should have named O Wait, but I said Brandy full.

1005
00:51:40,200 --> 00:51:42,120
Speaker 2: I mean the song that got my whole ship started

1006
00:51:42,200 --> 00:51:52,640
Speaker 2: was Midnight by Omari made so Midnight. You know what

1007
00:51:52,800 --> 00:51:55,920
Speaker 2: records I used to like. I used to like Maya

1008
00:51:56,000 --> 00:51:59,239
Speaker 2: a lot back in the day. Maya Yo, Like I

1009
00:51:59,280 --> 00:52:01,239
Speaker 2: was thinking about that song she had Fallen or like.

1010
00:52:01,680 --> 00:52:03,520
Speaker 2: I mean, there's a whole bunch of Maya songs I like.

1011
00:52:03,760 --> 00:52:06,960
Speaker 2: But I don't know a Maya record. Do I have

1012
00:52:06,960 --> 00:52:09,120
Speaker 2: to pick it?

1013
00:52:09,239 --> 00:52:11,240
Speaker 3: Because it's discovery, it's about discovering.

1014
00:52:11,239 --> 00:52:13,919
Speaker 2: Okay, so I'm gonna say falling. I love Falling by Maya.

1015
00:52:14,280 --> 00:52:16,040
Speaker 2: How many was that? Damn?

1016
00:52:16,320 --> 00:52:16,640
Speaker 3: Okay?

1017
00:52:17,160 --> 00:52:17,839
Speaker 2: Do I have the name?

1018
00:52:17,880 --> 00:52:18,080
Speaker 3: Five?

1019
00:52:18,280 --> 00:52:23,640
Speaker 1: Yeah? I can't get Okay.

1020
00:52:23,880 --> 00:52:27,360
Speaker 3: Lock the doors yeah, okay, and make you sign this contract.

1021
00:52:28,680 --> 00:52:32,279
Speaker 2: Talk about there wasn't no gun to your head because like,

1022
00:52:32,280 --> 00:52:33,640
Speaker 2: but the doors was locked.

1023
00:52:35,320 --> 00:52:35,920
Speaker 3: As lights.

1024
00:52:36,280 --> 00:52:37,360
Speaker 1: I was the only girl.

1025
00:52:40,680 --> 00:52:44,520
Speaker 2: Okay, don't always even go.

1026
00:52:44,880 --> 00:52:46,680
Speaker 3: You don't know what it's going.

1027
00:52:46,920 --> 00:52:47,600
Speaker 2: I love the record.

1028
00:52:47,920 --> 00:52:48,560
Speaker 1: I love the record.

1029
00:52:48,880 --> 00:52:53,319
Speaker 2: Okay, all stressful, God, like you don't know?

1030
00:52:54,000 --> 00:53:03,640
Speaker 1: This is crazy? There we go. This is the activist

1031
00:53:03,719 --> 00:53:06,719
Speaker 1: for R and B. Not just RB, no, just writer

1032
00:53:06,800 --> 00:53:11,440
Speaker 1: spirit writers. I mean, but you know we mostly reside.

1033
00:53:11,960 --> 00:53:13,400
Speaker 2: The same ship over and over again.

1034
00:53:13,480 --> 00:53:16,680
Speaker 1: All right, Okay, here we go. We're building an R

1035
00:53:16,719 --> 00:53:21,480
Speaker 1: and B vul trond, We're building an artist. Where do

1036
00:53:21,520 --> 00:53:23,279
Speaker 1: you get the vocals from? Where do you get the

1037
00:53:23,320 --> 00:53:28,759
Speaker 1: styling from? Where do you get and where do you

1038
00:53:28,880 --> 00:53:32,560
Speaker 1: get the passion? The emotions start with the vocals.

1039
00:53:32,600 --> 00:53:34,440
Speaker 3: Where do you get the vocals from Brandy?

1040
00:53:35,120 --> 00:53:38,000
Speaker 1: I love it? Where do you get the styling from Rihanna?

1041
00:53:38,800 --> 00:53:47,280
Speaker 1: You're going where you get the performance from? You're obviously

1042
00:53:47,360 --> 00:53:51,800
Speaker 1: building artist, building a woman. If God was a woman.

1043
00:53:51,880 --> 00:53:52,800
Speaker 1: That's what you're building.

1044
00:53:54,920 --> 00:53:56,479
Speaker 3: And this is an amazing artist.

1045
00:53:56,480 --> 00:53:59,880
Speaker 1: And if you are the emotion, the passion, who are

1046
00:53:59,880 --> 00:54:00,560
Speaker 1: you getting that.

1047
00:54:00,719 --> 00:54:02,560
Speaker 3: From your soul?

1048
00:54:08,840 --> 00:54:13,520
Speaker 1: You might have built the best artists. Yeah in R

1049
00:54:13,560 --> 00:54:14,640
Speaker 1: and B money.

1050
00:54:14,360 --> 00:54:19,720
Speaker 3: History really Oh yeah, that artist is incredible. My god,

1051
00:54:19,920 --> 00:54:25,040
Speaker 3: the voice of b, the style of Ree, the.

1052
00:54:24,719 --> 00:54:29,640
Speaker 2: Performance in the passion of Mary.

1053
00:54:29,840 --> 00:54:32,400
Speaker 1: Hy my god.

1054
00:54:33,160 --> 00:54:35,920
Speaker 3: Yeah, it's out here, out here. If you're out there,

1055
00:54:35,920 --> 00:54:36,319
Speaker 3: I want to.

1056
00:54:36,239 --> 00:54:39,160
Speaker 2: Sign man, what and I'll come. I'll write a song

1057
00:54:39,160 --> 00:54:39,440
Speaker 2: for free.

1058
00:54:39,920 --> 00:54:43,520
Speaker 1: What's gonna show up that man?

1059
00:54:44,640 --> 00:54:47,200
Speaker 3: Goden, good job.

1060
00:54:47,120 --> 00:54:49,640
Speaker 1: You with that. She's back.

1061
00:54:50,880 --> 00:54:52,360
Speaker 3: Recover ladies and gentleman.

1062
00:54:52,800 --> 00:54:54,040
Speaker 1: Recover ladies and gentleman.

1063
00:54:54,120 --> 00:54:56,960
Speaker 3: I have tank no no, no, oh.

1064
00:54:57,800 --> 00:55:00,120
Speaker 1: I'm tanking and I want to tell you about.

1065
00:54:59,800 --> 00:55:01,760
Speaker 3: So that has Yeah.

1066
00:55:02,280 --> 00:55:03,440
Speaker 1: Yeah, oh.

1067
00:55:05,800 --> 00:55:11,359
Speaker 3: You're going to be amazing at this game. Boy, it's card.

1068
00:55:11,400 --> 00:55:14,839
Speaker 3: I ain't saying no names because I know you got

1069
00:55:14,880 --> 00:55:21,600
Speaker 3: stories lord, amongst your travels. The only rules are you

1070
00:55:21,640 --> 00:55:24,120
Speaker 3: can't say no names. The story can be funny or

1071
00:55:24,120 --> 00:55:27,800
Speaker 3: fucked up or both. Just don't say their names. It

1072
00:55:27,920 --> 00:55:29,840
Speaker 3: can't be me and such and such was that the

1073
00:55:31,760 --> 00:55:34,719
Speaker 3: you can give all? Yeah, it was the this female

1074
00:55:34,760 --> 00:55:38,920
Speaker 3: black artist or this male this basketball player that wanted

1075
00:55:38,920 --> 00:55:43,120
Speaker 3: to be in the music business. But whatever, she can't

1076
00:55:43,160 --> 00:55:43,960
Speaker 3: say their names.

1077
00:55:45,080 --> 00:55:46,360
Speaker 2: Man, I have a lot of stories.

1078
00:55:46,400 --> 00:55:47,040
Speaker 1: I know you do.

1079
00:55:48,120 --> 00:55:52,520
Speaker 3: I know you do. Give us a good one without

1080
00:55:52,520 --> 00:55:53,000
Speaker 3: saying that.

1081
00:55:54,880 --> 00:55:57,200
Speaker 2: A funny, a fucked up one or and this is

1082
00:55:57,239 --> 00:55:59,240
Speaker 2: just like a like a music business story.

1083
00:55:59,440 --> 00:56:01,719
Speaker 1: No no, no, your journey amongst.

1084
00:56:01,400 --> 00:56:03,400
Speaker 2: Your travels, amongst my travel.

1085
00:56:03,600 --> 00:56:04,560
Speaker 3: Yeah. Yeah.

1086
00:56:05,120 --> 00:56:10,400
Speaker 2: There was this one time that I went to the

1087
00:56:10,480 --> 00:56:15,799
Speaker 2: studio and I was not working. I just like on

1088
00:56:15,840 --> 00:56:18,200
Speaker 2: some like YO pull up type shit. So I'm like,

1089
00:56:18,239 --> 00:56:24,440
Speaker 2: all right, cool. There was this artist there and the

1090
00:56:24,560 --> 00:56:31,400
Speaker 2: artist had friends there and it was late. Shit was

1091
00:56:31,480 --> 00:56:34,080
Speaker 2: like starting to feel weird. They was talking about weird

1092
00:56:34,160 --> 00:56:38,040
Speaker 2: shit and I don't okay, so I don't do drugs.

1093
00:56:38,080 --> 00:56:41,560
Speaker 2: I smoke hellowe, but I don't do like drugs. So

1094
00:56:41,760 --> 00:56:44,799
Speaker 2: they had like I noticed that, like the girls were

1095
00:56:44,800 --> 00:56:47,120
Speaker 2: like going to the bathroom a lot. I was like,

1096
00:56:47,160 --> 00:56:50,640
Speaker 2: what are they doing, like you know, and the person

1097
00:56:50,680 --> 00:56:52,800
Speaker 2: I was in studio was like, oh, they probably whatever.

1098
00:56:53,280 --> 00:56:56,200
Speaker 2: And then there was like this really weird interaction with

1099
00:56:56,320 --> 00:56:58,440
Speaker 2: the artist and like one of the girls that she

1100
00:56:58,800 --> 00:57:01,440
Speaker 2: had with her seen before because she was a stripper.

1101
00:57:01,480 --> 00:57:04,360
Speaker 2: I seen her. I was with my homegirl at the

1102
00:57:04,360 --> 00:57:10,279
Speaker 2: strip clubs. Yeah, yeahs yeah, I was a girl at

1103
00:57:10,280 --> 00:57:12,080
Speaker 2: the strip club. She want to go pick up somebody

1104
00:57:12,080 --> 00:57:14,799
Speaker 2: and ship. She was like doing like a like a

1105
00:57:14,840 --> 00:57:17,800
Speaker 2: walk through whatever. Yeah, so she wanted to go get

1106
00:57:17,800 --> 00:57:19,720
Speaker 2: her money. She had like a birthday party or some ship.

1107
00:57:19,720 --> 00:57:22,400
Speaker 2: She got some money and so but I saw that,

1108
00:57:22,680 --> 00:57:24,480
Speaker 2: I was like, yo, I feel like I know this

1109
00:57:24,640 --> 00:57:28,720
Speaker 2: girl that was in the studio. The stripper girl and

1110
00:57:28,760 --> 00:57:32,200
Speaker 2: the artists were having like this weird ass argument and

1111
00:57:32,240 --> 00:57:33,680
Speaker 2: it was just like really uncomfortable. I was like, I

1112
00:57:33,720 --> 00:57:35,959
Speaker 2: think I'm about to leave, and the stripper was like.

1113
00:57:38,040 --> 00:57:41,560
Speaker 5: Please, like please, don't do this to be please, And

1114
00:57:41,640 --> 00:57:44,800
Speaker 5: the artist was like get out, and I was like,

1115
00:57:44,880 --> 00:57:47,440
Speaker 5: what the fuck is She just was like and she

1116
00:57:47,520 --> 00:57:50,120
Speaker 5: walked out, and I just was like, what the fuck?

1117
00:57:50,200 --> 00:57:55,960
Speaker 2: Kind of weird ship and I left. That's my weird story, okay.

1118
00:57:56,000 --> 00:57:57,080
Speaker 3: And they had a cocaine fight.

1119
00:57:57,600 --> 00:57:59,840
Speaker 2: They had like a weird ass they had. They had

1120
00:58:00,120 --> 00:58:03,120
Speaker 2: a weird like so the artist so the artist was like,

1121
00:58:04,240 --> 00:58:06,040
Speaker 2: I'm trying to figure how to tell her without saying that.

1122
00:58:06,120 --> 00:58:08,920
Speaker 2: So the artist isn't necessarily just the artist. The artist

1123
00:58:08,960 --> 00:58:12,600
Speaker 2: was also like one of those people that you see

1124
00:58:12,600 --> 00:58:16,960
Speaker 2: on like instad that, like how do I say? How

1125
00:58:16,960 --> 00:58:21,160
Speaker 2: do I say this? Like the person's an influencer, very

1126
00:58:21,240 --> 00:58:25,800
Speaker 2: like sexual and so like this person was like giving

1127
00:58:25,840 --> 00:58:28,760
Speaker 2: everybody like lap dance is in the studio and like

1128
00:58:28,920 --> 00:58:31,320
Speaker 2: just it just I just was sitting there really like

1129
00:58:32,000 --> 00:58:35,280
Speaker 2: you know, I'm like, yeah, like I'm here to work,

1130
00:58:35,320 --> 00:58:38,200
Speaker 2: like I don't know what's going on, and she's looking

1131
00:58:38,200 --> 00:58:41,120
Speaker 2: at your neck like I don't know what they're doing

1132
00:58:41,200 --> 00:58:43,600
Speaker 2: coke in the bathroom. She just cuss the stripper out.

1133
00:58:43,840 --> 00:58:48,720
Speaker 2: I'm going home. I'm going home. That's my weird story,

1134
00:58:50,400 --> 00:58:51,000
Speaker 2: just getting weird.

1135
00:58:51,440 --> 00:58:52,800
Speaker 1: But your vultraun was amazing.

1136
00:58:52,920 --> 00:58:56,120
Speaker 2: Thank you, You're like that was awful.

1137
00:58:56,480 --> 00:59:02,000
Speaker 4: Sorry, so don't that in there.

1138
00:59:03,320 --> 00:59:06,480
Speaker 2: That's I was just sitting here thinking about all That.

1139
00:59:09,560 --> 00:59:11,360
Speaker 3: Is what it is.

1140
00:59:17,160 --> 00:59:20,240
Speaker 1: And this is the R and B Money podcast. The

1141
00:59:20,320 --> 00:59:23,520
Speaker 1: authority on all things R and B Tiffany Fred Will

1142
00:59:23,720 --> 00:59:30,720
Speaker 1: value you. That you are doing is absolutely amazing. Keep pushing.

1143
00:59:32,720 --> 00:59:36,960
Speaker 1: There has to be changed, There has to be and

1144
00:59:37,080 --> 00:59:40,720
Speaker 1: there have to be people fighting for it, and those

1145
00:59:40,720 --> 00:59:43,600
Speaker 1: people have to be supported. You have a supported on

1146
00:59:43,760 --> 00:59:51,040
Speaker 1: her money.

1147
00:59:51,320 --> 00:59:53,120
Speaker 3: R and B Money is a production of the Black

1148
00:59:53,120 --> 00:59:57,760
Speaker 3: Effect Podcast Network. For more podcasts, from iHeart Radio, visit

1149
00:59:57,840 --> 01:00:01,560
Speaker 3: the iHeartRadio app, Apple pod cast, or wherever you listen

1150
01:00:01,600 --> 01:00:04,880
Speaker 3: to your favorite shows. Don't forget to subscribe to and

1151
01:00:05,080 --> 01:00:07,400
Speaker 3: rate our show, and you can connect with us on

1152
01:00:07,440 --> 01:00:11,000
Speaker 3: social media at Jay Valentine and at the Real Tank.

1153
01:00:11,400 --> 01:00:16,120
Speaker 3: For the extended episode, subscribe to YouTube dot com or

1154
01:00:16,320 --> 01:00:17,760
Speaker 3: slash r and b Money