WEBVTT - Tiffany Red

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<v Speaker 1>R and B Money. We are thanks take Valanti. We

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<v Speaker 1>are the authority on all things R and B. Ladies

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

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<v Speaker 1>this is the R and B Money Podcast, the authority

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<v Speaker 1>on all things R and B, all things, all things.

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<v Speaker 1>You heard them not playing whatever They encompassed a big

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<v Speaker 1>word again, Say it again, people, income encompass. You know

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<v Speaker 1>what the is going on? And today on the R

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<v Speaker 1>and B Money Podcast, we have singer singer songwriter grab

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

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<v Speaker 1>We say that? Okay? And and I'm not going to

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<v Speaker 1>say more importantly, but I want to say just as

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<v Speaker 1>important I would.

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<v Speaker 2>Say, I would say the line advocate activists, activists, Yeah,

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<v Speaker 2>for us period.

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<v Speaker 1>Tiffany Fred, come on in the building, Come on, come on, welcome, welcome.

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<v Speaker 1>You are in it.

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<v Speaker 2>Yeah I am.

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<v Speaker 1>You are not playing any games.

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<v Speaker 2>No, I'm not letting up.

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<v Speaker 1>And we're gonna have to figure out how to stand

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

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<v Speaker 1>So before we get to that, we like to start.

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<v Speaker 3>At the beginning and how you get into this thing?

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<v Speaker 1>How did you Tiffany Fred, when did somebody say to you?

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<v Speaker 1>When did you say to yourself? Nice? Oh? I got it?

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<v Speaker 2>So I started writing. I wrote my first song in college.

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<v Speaker 2>I was nineteen. I was randomly surrounded by a whole

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<v Speaker 2>bunch of people at this community college in Jersey that

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<v Speaker 2>were musicians. I had a friend named Blair and he

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<v Speaker 2>was just like, have you ever thought of turning your

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<v Speaker 2>poems into songs? And I was like no. We went

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<v Speaker 2>to the auditorium. He plays piano, and he just like

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<v Speaker 2>challenged me to write a song with him. Did you

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<v Speaker 2>guys write on the the you wrote?

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<v Speaker 1>Oh? We wrote okay?

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<v Speaker 2>So y'all wrote? Oh? So there was a song on

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<v Speaker 2>that project called Midnight? Did y'all write Midnight? Was that

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<v Speaker 2>Underdogs that album specifically, and Midnight's that song specifically? I

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<v Speaker 2>was like, damn, I fucking love this record, Like who

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<v Speaker 2>did this song? Like I want to work with them?

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<v Speaker 2>Like who did this? And so I looked in the

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<v Speaker 2>credits and it was Harvey and Damon and you know

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<v Speaker 2>whoever else? I think maybe Steve wrote on that song.

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<v Speaker 2>Google the Underdogs and I found their website and there

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<v Speaker 2>was like full CSI Oh, yeah, really good. I could

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<v Speaker 2>an't what I learned. I didn't realize then, but I'm

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<v Speaker 2>really good at connecting the dots and being like, I'm

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<v Speaker 2>really persistent, So like you could tell me no, but

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<v Speaker 2>that don't mean I'm not gonna ask you again. I'm

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<v Speaker 2>gonna just ask you another time. So I hit the

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

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<v Speaker 2>who any these people are, so I just clicked a

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<v Speaker 2>couple of them and I sent them my little demos

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<v Speaker 2>that I was recording in Brooklyn, and he hit me

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<v Speaker 2>back and he was just like, Yo, if you ever

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<v Speaker 2>in La, come fuck with us.

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<v Speaker 3>And I was like, all right, that was your invitation.

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<v Speaker 4>What I was like, look, these are the people who

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<v Speaker 4>write so cause then it was like once I figured

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<v Speaker 4>out that they did Midnight, then I just went on

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<v Speaker 4>a whole went down a rabbit hole, and it turned

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<v Speaker 4>out they did all these songs that I loved.

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<v Speaker 2>And so I was like, damn, I want to work

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<v Speaker 2>with them, like you know, And so I just shot

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<v Speaker 2>my shot and cold emailed and touch hit me back.

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<v Speaker 2>And so I like begged my parents to come to La.

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

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<v Speaker 2>I come out here. And my grandmom was like, you know,

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<v Speaker 2>you know, you got some cousins in LA. I got

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<v Speaker 2>some cousins out there. So she set me up with

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<v Speaker 2>my cousins, and I didn't know shit. I met my

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<v Speaker 2>cousins more people to watch over me. My cousins was

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<v Speaker 2>my mom's age, so it was like, oh, yeah, you

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<v Speaker 2>know what I'm saying. I was like, yeah, like I

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<v Speaker 2>don't you.

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<v Speaker 1>Come in here.

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<v Speaker 2>You don't pay no bills, you don't have no money.

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<v Speaker 2>She was right, I didn't. I will never forget that.

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<v Speaker 2>Like I first time I went to the studio, and

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<v Speaker 2>that was like the first studio that I had ever

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<v Speaker 2>been in that was like a for real studio that

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

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<v Speaker 2>And I just I'm like, wow, these are all the

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<v Speaker 2>plaques at all the songs that I fucking love. This

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<v Speaker 2>is fucking crazy. And I mean, I froze. I didn't

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<v Speaker 2>write shit. I was so scared. I was like, I mean,

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<v Speaker 2>they were like, get this girl out of here with

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<v Speaker 2>the fuck is.

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<v Speaker 3>She could with anything.

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<v Speaker 2>I was pet because I didn't really I mean, I

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

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<v Speaker 2>this was like James and Rob Knox and like whatever.

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<v Speaker 2>And so I remember like going like seeing James like

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<v Speaker 2>freestyle in the booth for the first time and being.

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<v Speaker 3>Lark Oh yeah, yeah, nigga, I.

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<v Speaker 2>Can't do that.

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<v Speaker 3>I got a different type of like.

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

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<v Speaker 2>Steve Luke, like everybody was like all right to going

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<v Speaker 2>on to my and I was just just like, first

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<v Speaker 2>of all, I don't know how to sing for real,

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

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<v Speaker 3>These are all the things that are going through your

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<v Speaker 3>mind as a young writer, yeah, in this industry, because

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<v Speaker 3>that I would love for you to expound. I mean,

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<v Speaker 3>you're actually already talking about it. But this is this

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<v Speaker 3>is something that's very important because when I first came

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<v Speaker 3>to LA, I went to a studio. I didn't freeze

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<v Speaker 3>because I didn't I did end up doing no writing

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<v Speaker 3>with him, but it made me throw away my songs mmmm,

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<v Speaker 3>because it was the first time I had walked into

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

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<v Speaker 2>Yeah, Like you was in a I was in a

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<v Speaker 2>room with profession.

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<v Speaker 3>I was in the big league.

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<v Speaker 2>Yeah, and you were like I'm a rookie, and then

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<v Speaker 2>you realized you.

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<v Speaker 3>Was a rookie, and I completely understand that. I was like,

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<v Speaker 3>oh ship, and your situation obviously was different because you

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<v Speaker 3>were there for that.

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<v Speaker 2>Yeah.

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<v Speaker 3>I was really kind of a fly on the wall

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<v Speaker 3>guy when I first, you know, my first trip to

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<v Speaker 3>l A as a as an adult, and I'm just

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<v Speaker 3>listening to all these songs that these guys are playing.

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

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<v Speaker 2>like that, don't That's how I felt too.

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<v Speaker 1>It's not that.

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<v Speaker 2>People like people's backgrounds. People's like sad.

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<v Speaker 3>Yes, sonics sh just was cleaning, and that's something that

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<v Speaker 3>the underdog we were known for. Yeah, I was sonically

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<v Speaker 3>it's crazy we top two, maybe not too sonically sonically

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<v Speaker 3>conically right, there were people with great records, but sonically

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<v Speaker 3>it was different. It was just different. Even even something

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<v Speaker 3>like that worth that good sounded great. Yes, yes, you've

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<v Speaker 3>hit on the fact that I wouldn't ever your ass

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<v Speaker 3>can sing now.

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

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<v Speaker 2>and to be it was confidence, but also like I

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<v Speaker 2>think there's a really big difference between studio singers and

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<v Speaker 2>live singers. So I didn't come up singing right. So

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<v Speaker 2>and I learned how to sing in the studio. I

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<v Speaker 2>learned how to sing through auto tune and reverb and

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<v Speaker 2>all these things. It's like singing with makeup on. You

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<v Speaker 2>know what I'm saying, Like, it's not you're you know

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<v Speaker 2>what I mean? Like it's and I feel like it's like.

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<v Speaker 3>So should I start telling niggas they got too much

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<v Speaker 3>makeup on?

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<v Speaker 2>For real?

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<v Speaker 1>Yes?

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

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<v Speaker 2>covering up. Like I feel like like AutoTunes specifically, right,

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<v Speaker 2>I feel like can really cover up the character in

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<v Speaker 2>somebody's voice, Like you can really miss, like you know,

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<v Speaker 2>trying to be perfect, you can really miss. It took

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<v Speaker 2>me a long time, on top of the fact that

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<v Speaker 2>I used to have people tell me I couldn't sing right,

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<v Speaker 2>so like why are you singing this demo? Like what

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<v Speaker 2>are you doing? Yeah, it was it was rough in

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<v Speaker 2>the beginning. Like I definitely had like people discourage me

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<v Speaker 2>about singing, and so I was never like no, like

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

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<v Speaker 2>I don't even know if she ever remember this, but

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<v Speaker 2>I remember I saw a Brandy at her at the Underdogs.

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<v Speaker 2>I ran into her in the kitchen and she was

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<v Speaker 2>like do you sing?

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<v Speaker 3>You know?

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<v Speaker 2>How were you? Like, I'm like do I? And also

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<v Speaker 2>I just didn't believe in myself. If she asked me

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<v Speaker 2>that today, I'll be like, yeah, but like, you know,

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<v Speaker 2>do you sing? And I was just like, well, you know,

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<v Speaker 2>I've given her all my disclaimers and ship. And then

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<v Speaker 2>she just told me about like not being confident in

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<v Speaker 2>her voice like you know when she was younger, or

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<v Speaker 2>like just giving me like I felt I felt that

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<v Speaker 2>same way too, And I was like what, like you're Brandy,

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<v Speaker 2>Like how could you feel like that your fucking voice

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<v Speaker 2>is perfection? What do you mean? And so I feel

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<v Speaker 2>like that was something that really stuck with me. Like

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<v Speaker 2>I just was like, you know, any time that I

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<v Speaker 2>wasn't feeling confident, like, I will always remind myself like

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<v Speaker 2>the people who are the greatest singers of all time

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<v Speaker 2>feel the same nerves that I feel doing this, you know,

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<v Speaker 2>because singing it's vulnerable, it's so vulnerable, and so yeah,

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<v Speaker 2>like it took me a long time to build up

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<v Speaker 2>to I have a voice, you know what I mean,

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<v Speaker 2>like to be confident enough to be like I'm going

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<v Speaker 2>to I'm going to sing the songs, or I want

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<v Speaker 2>to be an artist, or i want to you know, yeah, and.

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<v Speaker 1>Get your projects going.

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<v Speaker 3>Yeah, you come here, you work with the underdogs strictly

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

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<v Speaker 3>going to be a songwriter. Yes, So next step is publishing, Yes,

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<v Speaker 3>because that's what kicks in for songwriters. Yeah, that is

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<v Speaker 3>that is our record deal. Yep, that's a certain type

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<v Speaker 3>of record deal.

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<v Speaker 2>Yeah, because most.

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<v Speaker 3>People just look at it like, oh, you know in

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<v Speaker 3>the music visits, did you get a record deal? Right, Well,

0:10:01.920 --> 0:10:03.240
<v Speaker 3>if your song writer don't get a record.

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<v Speaker 2>You get a publishing, you get a published especially.

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<v Speaker 3>Then yeah, which is equivalent to having a record deal,

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<v Speaker 3>because these the publishers help shop your songs are supposed

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<v Speaker 3>to you need to be bullshiting it look.

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<v Speaker 2>Like it's like a stamp of approval, Okay, like the

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<v Speaker 2>valid dates your talent.

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<v Speaker 1>Yeah.

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<v Speaker 3>Yeah, and not all not all of these bullshiting, but

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<v Speaker 3>some just the same thing as when the artists gets

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<v Speaker 3>signed and it's the ant art is good, same type

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<v Speaker 3>of thing or whatever. So you have that within the

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<v Speaker 3>industry all together. But those are the that's that is

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<v Speaker 3>the I'm a professional, yeah, for a songwriter. So how

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<v Speaker 3>long does it take you to get a deal to

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<v Speaker 3>where you're now? You're being paid be a songwriter?

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<v Speaker 2>So I got a deal, So I moved to LA

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<v Speaker 2>when I was twenty. I did my deal when I

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<v Speaker 2>was twenty one. Okay, so the year Yeah, it was fast.

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<v Speaker 1>Yeah, that's quick.

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<v Speaker 2>Yeah it was fast. It was like I came to

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<v Speaker 2>LA and me and Stephen Russell did the song for

0:10:58.400 --> 0:11:04.800
<v Speaker 2>Jenniferson's Invisible and it got placed rather quickly, and so

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<v Speaker 2>it was just kind of like fast and I full transparency.

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<v Speaker 2>So okay. My experience with the Underdogs was also different

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<v Speaker 2>because I was the only female songwriter up there, so

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<v Speaker 2>I was like surrounded by men constantly. Right, So, like,

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<v Speaker 2>I feel like to your point about what you said

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<v Speaker 2>earlier before we started filming, when you were like, you know,

0:11:27.320 --> 0:11:29.000
<v Speaker 2>just talking about the differences as far as like how

0:11:29.040 --> 0:11:32.160
<v Speaker 2>women and men respond and stuff, right, Like I think

0:11:33.559 --> 0:11:37.080
<v Speaker 2>I was a young girl trying to navigate in a

0:11:37.320 --> 0:11:41.439
<v Speaker 2>completely male world, and so you know, and I also

0:11:41.559 --> 0:11:44.920
<v Speaker 2>obviously am outspoken, right, So I always was outspoken, So

0:11:45.679 --> 0:11:50.160
<v Speaker 2>you know, things weren't agreeable rather quickly on top of

0:11:50.160 --> 0:11:51.880
<v Speaker 2>the fact that I wasn't writing like that, so I

0:11:51.880 --> 0:11:54.160
<v Speaker 2>got thrown out the studio people get got kicked me

0:11:54.160 --> 0:11:56.520
<v Speaker 2>out all kind of shit, right, so I started.

0:11:56.120 --> 0:11:58.440
<v Speaker 3>To So you didn't have any studio etiquette in the beginning.

0:11:58.640 --> 0:12:00.840
<v Speaker 2>No, I didn't know. I didn't know what I was doing.

0:12:00.840 --> 0:12:02.920
<v Speaker 3>What were you doing to get kicked out the students?

0:12:02.600 --> 0:12:04.800
<v Speaker 3>And so that people that are watching.

0:12:06.880 --> 0:12:09.880
<v Speaker 2>They still the whole meeting about kicking me out, like

0:12:10.040 --> 0:12:12.920
<v Speaker 2>don't if you see Tivany, don't let her shout out

0:12:12.920 --> 0:12:16.960
<v Speaker 2>to Stephen Russell because he let me up. He was

0:12:17.040 --> 0:12:19.680
<v Speaker 2>like He's like, come on if like I got you.

0:12:20.040 --> 0:12:21.600
<v Speaker 2>And then me and him wrote that record and then

0:12:21.600 --> 0:12:27.480
<v Speaker 2>I was allowed on the third floor. I wasn't I

0:12:27.520 --> 0:12:30.080
<v Speaker 2>wasn't writing. I was just like I was just there.

0:12:30.240 --> 0:12:35.960
<v Speaker 2>I was there, freking weird, like what is she doing?

0:12:33.640 --> 0:12:40.240
<v Speaker 2>And I didn't know, just like.

0:12:40.200 --> 0:12:43.520
<v Speaker 3>You gotta at least be bringing like fresh, what are

0:12:43.520 --> 0:12:45.520
<v Speaker 3>you doing some more?

0:12:45.720 --> 0:12:50.320
<v Speaker 2>Just like right, yeah, like I just was frozen. I

0:12:50.400 --> 0:12:52.720
<v Speaker 2>was just stuck like and then also, like I said,

0:12:52.720 --> 0:12:55.319
<v Speaker 2>I was the only girl, So me being frozen and

0:12:55.440 --> 0:12:59.040
<v Speaker 2>stuck like Russ, I've grown. It was like look at

0:12:59.040 --> 0:13:02.440
<v Speaker 2>that and see like there was no one around me

0:13:02.480 --> 0:13:05.280
<v Speaker 2>that I could be like girl like, so I couldn't

0:13:05.320 --> 0:13:07.800
<v Speaker 2>do that, like you know, and so I just was

0:13:07.880 --> 0:13:11.080
<v Speaker 2>kind of like and they were like, I mean, I

0:13:11.080 --> 0:13:13.000
<v Speaker 2>guess they had had the meetings because I get her

0:13:13.040 --> 0:13:15.480
<v Speaker 2>the fuck out of here, and so I would do

0:13:15.600 --> 0:13:20.160
<v Speaker 2>y'all remember the security guard, Mike. Yeah, Mike was was

0:13:20.240 --> 0:13:23.240
<v Speaker 2>like he wouldn't let nobody upstairs, didn't matter how famous

0:13:23.280 --> 0:13:25.360
<v Speaker 2>you were. He was like, sorry, you're not.

0:13:25.720 --> 0:13:30.959
<v Speaker 3>Because of some other I mean, because people waiting to

0:13:31.000 --> 0:13:31.680
<v Speaker 3>park A lot of people.

0:13:33.120 --> 0:13:36.720
<v Speaker 2>I watched him deny some big ass artists, Like damn,

0:13:36.720 --> 0:13:38.080
<v Speaker 2>you're not gonna let him up. He's like, sorry, you're

0:13:38.080 --> 0:13:39.800
<v Speaker 2>not on a list. So of course I wasn't on

0:13:39.840 --> 0:13:41.880
<v Speaker 2>the list. So I come to the studio. They're like,

0:13:42.040 --> 0:13:44.439
<v Speaker 2>you know, unfortunately timany candairs, and I'm.

0:13:44.240 --> 0:13:45.600
<v Speaker 3>Like, damn, you know.

0:13:45.800 --> 0:13:45.920
<v Speaker 1>You know.

0:13:46.000 --> 0:13:49.760
<v Speaker 3>It's an interesting part of that too, though. Tank and

0:13:49.800 --> 0:13:53.120
<v Speaker 3>I were also buffers for artists.

0:13:53.240 --> 0:13:55.360
<v Speaker 2>So y'all were like, my Steve, same thing, like not

0:13:55.600 --> 0:13:56.280
<v Speaker 2>even not.

0:13:56.200 --> 0:14:01.080
<v Speaker 3>Even just that. Yeah, because in the earlier days, the

0:14:01.160 --> 0:14:05.400
<v Speaker 3>studios were getting overbooked, so they would be artists just

0:14:05.520 --> 0:14:13.520
<v Speaker 3>sitting literally sitting in the lobby literally sitting, but worse

0:14:14.760 --> 0:14:17.360
<v Speaker 3>might be in there waiting to get you, waiting to

0:14:17.360 --> 0:14:20.440
<v Speaker 3>get us, waiting to even get in concert with some.

0:14:20.440 --> 0:14:23.000
<v Speaker 2>Disc That's what we need that back. I like that.

0:14:23.160 --> 0:14:28.960
<v Speaker 3>I mean, okay for me, I you know, I'm a

0:14:29.000 --> 0:14:30.200
<v Speaker 3>person that values time.

0:14:30.560 --> 0:14:33.000
<v Speaker 2>Okay, I'm just saying that the level.

0:14:32.800 --> 0:14:35.920
<v Speaker 1>Of like for sure.

0:14:36.200 --> 0:14:38.840
<v Speaker 3>But like I said, I value time like I like

0:14:38.880 --> 0:14:40.720
<v Speaker 3>people to be on time. I like to be on time,

0:14:41.200 --> 0:14:44.320
<v Speaker 3>So I don't like to have somebody waiting. So Tank

0:14:44.360 --> 0:14:50.400
<v Speaker 3>and I we would literally go entertain our peers, like, okay,

0:14:50.640 --> 0:14:52.680
<v Speaker 3>I would go in there and make nigga shoot dice

0:14:52.680 --> 0:14:57.640
<v Speaker 3>and I'll be there gambling. I had the ship lit

0:14:59.800 --> 0:15:04.360
<v Speaker 3>on the full tables, don't don't, okay, like fully gambling,

0:15:04.400 --> 0:15:09.400
<v Speaker 3>I didn't. Yeah, I turn gamble and I think obviously

0:15:09.440 --> 0:15:14.880
<v Speaker 3>by the time you got there, yeah, TVs lined my

0:15:14.960 --> 0:15:19.520
<v Speaker 3>god playing Halo. But we were entertaining things and it was,

0:15:19.560 --> 0:15:21.200
<v Speaker 3>you know, it was just kind of done a little different.

0:15:21.240 --> 0:15:23.400
<v Speaker 3>So I understand that too. Where it was like you

0:15:23.480 --> 0:15:26.600
<v Speaker 3>might have saw artists because they didn't have the space

0:15:26.720 --> 0:15:30.200
<v Speaker 3>and time. Oh yeah, it was just it was everybody.

0:15:30.440 --> 0:15:33.560
<v Speaker 3>Mama was trying to get a under It was a factory.

0:15:33.600 --> 0:15:35.560
<v Speaker 3>They were trying to get an underdog record. It was

0:15:35.600 --> 0:15:39.160
<v Speaker 3>a very hot commodity. So I understand it. But you

0:15:39.320 --> 0:15:42.960
<v Speaker 3>being put on the don't because you had to take

0:15:43.000 --> 0:15:44.360
<v Speaker 3>an elevator if you can't get on it.

0:15:44.840 --> 0:15:52.200
<v Speaker 2>You got that five yeah, yeah, So Steve Russell.

0:15:55.560 --> 0:15:59.920
<v Speaker 3>For sneaking you back, you know, on the third floor,

0:16:00.160 --> 0:16:01.320
<v Speaker 3>give and getting you.

0:16:01.800 --> 0:16:06.920
<v Speaker 2>And get me a Grammy. And my dad loved my

0:16:07.000 --> 0:16:09.040
<v Speaker 2>dad loved Troops. It was I was like, Dad, I'm

0:16:09.040 --> 0:16:10.200
<v Speaker 2>working with Stephen Russell.

0:16:10.320 --> 0:16:13.600
<v Speaker 3>He's like, what, yeah, this is this is but this

0:16:13.680 --> 0:16:18.440
<v Speaker 3>is how the music business works. It's all about seizing

0:16:18.480 --> 0:16:23.760
<v Speaker 3>the opportunity and about the pull up and everybody's not.

0:16:24.400 --> 0:16:28.120
<v Speaker 3>Persistence sometimes goes against you. Sistence can make a nigga

0:16:28.200 --> 0:16:30.960
<v Speaker 3>be like yo, dog, like I'm die. But the pull

0:16:31.040 --> 0:16:35.720
<v Speaker 3>up is very important, meaning when someone grabs back. Because

0:16:35.720 --> 0:16:36.720
<v Speaker 3>Steve did not have.

0:16:36.640 --> 0:16:37.960
<v Speaker 2>To do it, did that.

0:16:38.640 --> 0:16:40.680
<v Speaker 3>He could have wrote that record by himself or with

0:16:40.800 --> 0:16:43.000
<v Speaker 3>another writer that was there. Maybe it's not the same song.

0:16:43.160 --> 0:16:43.240
<v Speaker 1>But.

0:16:44.720 --> 0:16:45.440
<v Speaker 2>He didn't have to do that.

0:16:45.480 --> 0:16:47.360
<v Speaker 3>He did not have to do that, and that is

0:16:47.400 --> 0:16:50.480
<v Speaker 3>something to me that is very important and that I

0:16:50.640 --> 0:16:55.280
<v Speaker 3>pray and hope that more of us do. It's important

0:16:55.360 --> 0:16:58.720
<v Speaker 3>when we identify talent, because you can't do it for everybody.

0:16:59.360 --> 0:17:01.480
<v Speaker 3>Every m talking about I got to hit for you.

0:17:01.640 --> 0:17:02.200
<v Speaker 3>That's different.

0:17:02.480 --> 0:17:04.840
<v Speaker 2>I think he saw that that I just kept showing

0:17:04.920 --> 0:17:07.840
<v Speaker 2>up like he was just like, clearly something is going on.

0:17:07.920 --> 0:17:09.080
<v Speaker 3>You know what I mean, write.

0:17:10.680 --> 0:17:12.280
<v Speaker 2>Well because I was scared. You know what I think

0:17:12.280 --> 0:17:14.760
<v Speaker 2>it was to I was scared to sing. I was

0:17:14.800 --> 0:17:16.840
<v Speaker 2>scared to sing because I just had people telling me

0:17:16.880 --> 0:17:18.840
<v Speaker 2>I couldn't sing. So that it was like, and I'm

0:17:18.840 --> 0:17:20.760
<v Speaker 2>around all these amazing Luke.

0:17:20.640 --> 0:17:21.480
<v Speaker 3>And everybody in there.

0:17:21.520 --> 0:17:24.040
<v Speaker 2>Could you would just be walking through the halls just

0:17:24.520 --> 0:17:25.720
<v Speaker 2>fucking doing all these runs.

0:17:25.800 --> 0:17:29.359
<v Speaker 3>Should would be like Fount LaRoy, Luke, Eric Dawkins.

0:17:29.760 --> 0:17:33.240
<v Speaker 2>I was like, I didn't do that. Like I was

0:17:33.280 --> 0:17:34.760
<v Speaker 2>just like, I can't do that, so I'm not gonna

0:17:34.760 --> 0:17:35.240
<v Speaker 2>do nothing.

0:17:35.359 --> 0:17:38.520
<v Speaker 4>I got all these lyrics and melody.

0:17:38.600 --> 0:17:39.840
<v Speaker 2>I had the whole song in.

0:17:39.800 --> 0:17:44.480
<v Speaker 3>My head, but I was poetry wasn't nothing there. It

0:17:44.560 --> 0:17:48.639
<v Speaker 3>wasn't she was coming there on some death comedy.

0:17:49.640 --> 0:17:51.960
<v Speaker 2>No, They was like jumping the booth. That's why I was.

0:17:51.920 --> 0:17:55.840
<v Speaker 3>Just like these melodies, those lyrics sound yeah yeah, and

0:17:55.880 --> 0:17:58.040
<v Speaker 3>I was not how do they read?

0:17:58.320 --> 0:17:58.560
<v Speaker 2>Yeah?

0:17:59.400 --> 0:17:59.560
<v Speaker 1>Yeah?

0:17:59.600 --> 0:18:02.640
<v Speaker 2>It was it was rough the begin but I mean

0:18:02.680 --> 0:18:05.040
<v Speaker 2>I figured it. I figured it out quick because I

0:18:05.080 --> 0:18:06.840
<v Speaker 2>wanted to do it though, so I was just like,

0:18:06.840 --> 0:18:08.280
<v Speaker 2>fuck it, I'm gonna just figure out how.

0:18:08.200 --> 0:18:09.760
<v Speaker 3>So once you got that record, you want a row.

0:18:10.160 --> 0:18:12.760
<v Speaker 2>So I got that record, and then like I started

0:18:12.800 --> 0:18:16.879
<v Speaker 2>bumping heads with with with some folks up there, and

0:18:16.920 --> 0:18:18.159
<v Speaker 2>so I just started to do my own thing.

0:18:18.160 --> 0:18:21.080
<v Speaker 3>I had you came back and bumped heads.

0:18:21.480 --> 0:18:23.480
<v Speaker 2>No, I mean I just feel like it was no

0:18:23.920 --> 0:18:27.000
<v Speaker 2>after I got kicked out, I did the record, and

0:18:27.040 --> 0:18:30.000
<v Speaker 2>then I signed to them, okay, and then we started

0:18:30.000 --> 0:18:32.919
<v Speaker 2>bumping heads when we started doing business and so or

0:18:32.960 --> 0:18:36.320
<v Speaker 2>no way, hold on, let me backtrack. So before I

0:18:36.400 --> 0:18:39.520
<v Speaker 2>signed to them, I when I was up there, people

0:18:39.600 --> 0:18:43.280
<v Speaker 2>like Brian Kennedy were there and like who else was there?

0:18:43.320 --> 0:18:47.760
<v Speaker 2>T Wiz was there. Yeah, and so like that was

0:18:47.800 --> 0:18:50.080
<v Speaker 2>where I like met some of my first like friends

0:18:50.119 --> 0:18:53.359
<v Speaker 2>in music. And so once I started making friends in music,

0:18:53.440 --> 0:18:55.400
<v Speaker 2>I just started working. Like I had worked with.

0:18:57.240 --> 0:18:57.879
<v Speaker 3>Different studios.

0:18:57.960 --> 0:18:59.800
<v Speaker 2>Yeah, I was going to different studios. Then I started

0:18:59.800 --> 0:19:02.280
<v Speaker 2>going to Atlanta. Polo hit me on my space like yo,

0:19:02.359 --> 0:19:02.880
<v Speaker 2>you want to work.

0:19:02.920 --> 0:19:03.400
<v Speaker 3>I was like.

0:19:05.040 --> 0:19:11.359
<v Speaker 2>Yeah yeah yeah, So He's like, yo, you want and

0:19:11.400 --> 0:19:16.160
<v Speaker 2>so I was like, yes, what two thousand and seven

0:19:16.240 --> 0:19:20.119
<v Speaker 2>Polo hit you what? Yes, I'm trying to get a

0:19:20.119 --> 0:19:24.400
<v Speaker 2>records Are you crazy? So yeah, then I went out

0:19:24.440 --> 0:19:25.800
<v Speaker 2>there and that was the first time I worked with

0:19:25.880 --> 0:19:30.160
<v Speaker 2>hip Boy and Chase, you know. So I like by

0:19:30.200 --> 0:19:33.320
<v Speaker 2>the time I did my deal, I was like all

0:19:33.359 --> 0:19:35.520
<v Speaker 2>over the place just doing a whole bunch of stuff

0:19:35.520 --> 0:19:37.760
<v Speaker 2>because I mean, full transparency, I knew they didn't fuck

0:19:37.800 --> 0:19:39.600
<v Speaker 2>with me, like you know what I mean. I knew

0:19:39.600 --> 0:19:40.960
<v Speaker 2>they didn't fuck with me, and so it was like

0:19:41.040 --> 0:19:43.440
<v Speaker 2>I didn't want to be somewhere where they didn't want

0:19:43.440 --> 0:19:45.119
<v Speaker 2>to fuck with me, you know what I mean. And

0:19:45.160 --> 0:19:46.719
<v Speaker 2>so I mean it kicked me out of the studio.

0:19:46.760 --> 0:19:48.520
<v Speaker 2>So I was just like, all right, well I'm gonna go.

0:19:48.840 --> 0:19:51.720
<v Speaker 2>I'm gonna keep doing this. This was an incredible opportunity.

0:19:51.760 --> 0:19:53.240
<v Speaker 2>I learned a whole bunch of shit and I just

0:19:53.240 --> 0:19:57.280
<v Speaker 2>started working. But when I was in Atlanta working, Touch

0:19:57.359 --> 0:20:00.960
<v Speaker 2>called me and was like, yo, they want to sign you.

0:20:01.200 --> 0:20:03.040
<v Speaker 2>And I was on my life, No, now they want

0:20:03.080 --> 0:20:17.840
<v Speaker 2>to fuck with me. And I was on my life, No,

0:20:17.840 --> 0:20:20.800
<v Speaker 2>now they want to fuck with me? You know, like

0:20:20.840 --> 0:20:23.359
<v Speaker 2>an emotional No, I want to be an emotional I

0:20:23.440 --> 0:20:24.320
<v Speaker 2>meant that as your friend.

0:20:24.359 --> 0:20:28.800
<v Speaker 3>I'm telling you this because in this business sometimes we

0:20:28.840 --> 0:20:33.120
<v Speaker 3>move with our emotions instead of our business mind, right,

0:20:33.440 --> 0:20:35.320
<v Speaker 3>we do. This is a This is a very real

0:20:35.359 --> 0:20:38.960
<v Speaker 3>thing because when you because I'm assessing it, because I

0:20:39.000 --> 0:20:41.000
<v Speaker 3>never knew what your situation was, but I'm assessing it

0:20:41.080 --> 0:20:41.800
<v Speaker 3>from the outside.

0:20:42.119 --> 0:20:43.360
<v Speaker 2>I got to give you the rest of the tea

0:20:43.400 --> 0:20:44.160
<v Speaker 2>before you assessed.

0:20:44.240 --> 0:20:46.240
<v Speaker 1>No, no, no, no, it's quick.

0:20:46.320 --> 0:20:50.200
<v Speaker 3>It's quick because I want this to be something that

0:20:50.880 --> 0:20:54.520
<v Speaker 3>younger generations of writers of artists, they just they understand

0:20:54.560 --> 0:20:58.720
<v Speaker 3>what they're what's going on in your position At that time,

0:20:58.840 --> 0:21:01.040
<v Speaker 3>you didn't fully know what was going on. You couldn't

0:21:01.080 --> 0:21:05.800
<v Speaker 3>fully look at it through a glass lens and say, oh, okay,

0:21:06.960 --> 0:21:08.439
<v Speaker 3>now I showed my worth.

0:21:09.119 --> 0:21:11.000
<v Speaker 2>Well, but so here's the other thing. I have other

0:21:11.040 --> 0:21:12.359
<v Speaker 2>deals on the table that were better.

0:21:12.480 --> 0:21:15.600
<v Speaker 3>Of course you did. And so it came from.

0:21:15.480 --> 0:21:19.320
<v Speaker 2>I know well, and so I was in that position

0:21:19.480 --> 0:21:24.560
<v Speaker 2>and it was like that was the tone. Yeah, And

0:21:24.600 --> 0:21:26.080
<v Speaker 2>so I was like, oh my god, I don't want

0:21:26.119 --> 0:21:27.280
<v Speaker 2>to fucking you know.

0:21:27.400 --> 0:21:31.040
<v Speaker 3>It's a valid tone. Sure no, not just sure, no,

0:21:31.119 --> 0:21:33.200
<v Speaker 3>it's a valid because we gotta okay, you gotta look

0:21:33.200 --> 0:21:35.120
<v Speaker 3>at you gotta look at it. At this as a business.

0:21:36.119 --> 0:21:37.879
<v Speaker 3>Gotta look at it as a business. No, no, no,

0:21:37.920 --> 0:21:40.600
<v Speaker 3>you can listen. You're here because I want you to

0:21:40.640 --> 0:21:43.560
<v Speaker 3>tell your I know, but I also I want you

0:21:43.640 --> 0:21:46.480
<v Speaker 3>to hear out all sides, and I want people to

0:21:46.560 --> 0:21:50.760
<v Speaker 3>hear out all sides of how our business works. Like

0:21:50.920 --> 0:21:53.960
<v Speaker 3>music is one thing. There's the nigga that works is

0:21:54.080 --> 0:21:56.760
<v Speaker 3>nine to five shift and just does music for the love?

0:21:57.080 --> 0:21:58.800
<v Speaker 2>Is it a deal for just the rec Like I

0:21:58.880 --> 0:22:02.840
<v Speaker 2>just I hear you. But I wasn't. But I couldn't though,

0:22:02.880 --> 0:22:04.960
<v Speaker 2>it's what I'm saying, Like I didn't have options, Like

0:22:05.040 --> 0:22:08.719
<v Speaker 2>I wasn't. I was twenty one, I was These were

0:22:08.760 --> 0:22:12.560
<v Speaker 2>a bunch of grown ass men, but I was. No,

0:22:12.960 --> 0:22:14.680
<v Speaker 2>I'm not saying that you're not grown I'm just saying

0:22:14.720 --> 0:22:16.600
<v Speaker 2>that these were a bunch of grown ass men talking

0:22:16.640 --> 0:22:18.000
<v Speaker 2>to me like grown ass men. And I was a

0:22:18.000 --> 0:22:20.960
<v Speaker 2>twenty one year old woman. I'm not a man, right,

0:22:21.680 --> 0:22:24.440
<v Speaker 2>so I mean talk to like a man even though

0:22:24.440 --> 0:22:29.359
<v Speaker 2>I'm not a man. And like I just felt like,

0:22:31.000 --> 0:22:33.679
<v Speaker 2>you know, because I knew they didn't fuck with me.

0:22:33.880 --> 0:22:35.160
<v Speaker 2>I didn't want to do the deal because I knew

0:22:35.160 --> 0:22:37.480
<v Speaker 2>didn't fuck with me. It wasn't even about like like

0:22:37.520 --> 0:22:39.440
<v Speaker 2>I didn't care about the money, Like I didn't care

0:22:39.480 --> 0:22:43.920
<v Speaker 2>about what like that was my dream. I came to

0:22:44.040 --> 0:22:47.000
<v Speaker 2>LA to work with the underdogs, so you know, it

0:22:47.080 --> 0:22:49.639
<v Speaker 2>wasn't about that, but it was like I knew what

0:22:49.760 --> 0:22:51.640
<v Speaker 2>it really was, and so I was just like, man,

0:22:51.680 --> 0:22:53.760
<v Speaker 2>I don't want to like that's not what I wanted.

0:22:54.040 --> 0:22:56.360
<v Speaker 2>I ended up doing it because I felt that pressure

0:22:56.880 --> 0:22:59.360
<v Speaker 2>of like, you know, I don't want it to come

0:22:59.400 --> 0:23:01.600
<v Speaker 2>off like I just came, you know, worked with y'all

0:23:01.640 --> 0:23:04.200
<v Speaker 2>for a year, did all this shit, met all these

0:23:04.240 --> 0:23:07.399
<v Speaker 2>people and dipped. I understand the business, you know what

0:23:07.480 --> 0:23:11.000
<v Speaker 2>I mean, But the emotional side comes from I mean,

0:23:11.000 --> 0:23:13.760
<v Speaker 2>we just didn't have a good relationship. So I didn't

0:23:13.760 --> 0:23:15.840
<v Speaker 2>want to do the deal because we didn't like each other,

0:23:16.480 --> 0:23:18.320
<v Speaker 2>you know what I'm saying, Like I just I wanted

0:23:18.359 --> 0:23:20.200
<v Speaker 2>to be signing somebody that I knew fucked with me

0:23:20.320 --> 0:23:22.520
<v Speaker 2>for real, Like and I just felt like I was

0:23:22.560 --> 0:23:25.760
<v Speaker 2>getting signed because I got a placement. Yeah what CHALL

0:23:25.840 --> 0:23:29.320
<v Speaker 2>understand from a business perspective, Sure, but I wasn't a

0:23:29.880 --> 0:23:32.040
<v Speaker 2>great writer when I got that placement. Yet I was

0:23:32.080 --> 0:23:34.200
<v Speaker 2>the reason why I came there was because they were

0:23:34.200 --> 0:23:37.000
<v Speaker 2>a production scene, right, So it was like I was

0:23:37.240 --> 0:23:40.160
<v Speaker 2>going to be able to learn and collaborate and work

0:23:40.200 --> 0:23:42.680
<v Speaker 2>with and do all the things you know in.

0:23:42.600 --> 0:23:47.600
<v Speaker 3>Your opinion for you personally, Yeah, do all those things

0:23:47.640 --> 0:23:50.720
<v Speaker 3>hold weight? What you you know? What you what you

0:23:50.800 --> 0:23:53.639
<v Speaker 3>went and learned what you know what I mean eventually

0:23:53.720 --> 0:23:56.080
<v Speaker 3>to that, like you can look at it like your

0:23:56.080 --> 0:23:57.439
<v Speaker 3>deal wasn't in favor of you.

0:23:58.680 --> 0:24:00.359
<v Speaker 2>And by the way, the deal wasn't bad.

0:24:00.640 --> 0:24:03.280
<v Speaker 3>But you know our first deal is No, it wasn't.

0:24:03.720 --> 0:24:06.240
<v Speaker 2>But I just want to say though, to be clear though,

0:24:06.359 --> 0:24:07.880
<v Speaker 2>But I just want to say, to be clear, though

0:24:07.920 --> 0:24:10.880
<v Speaker 2>my deal wasn't bad. It wasn't a bad publishing deal.

0:24:10.880 --> 0:24:14.040
<v Speaker 2>It was a proper deal for the time and for

0:24:14.080 --> 0:24:14.600
<v Speaker 2>where I was at.

0:24:15.320 --> 0:24:21.800
<v Speaker 3>Yeah, And because I'm using your experience as a teaching moment,

0:24:22.119 --> 0:24:24.520
<v Speaker 3>because sometimes people will look at it and I'm glad

0:24:24.560 --> 0:24:27.080
<v Speaker 3>you said that, like, no, my deal wasn't it wasn't

0:24:27.440 --> 0:24:30.520
<v Speaker 3>the other it wasn't bad. Because sometimes what happens is

0:24:31.760 --> 0:24:34.160
<v Speaker 3>when we get success.

0:24:34.400 --> 0:24:36.480
<v Speaker 2>We forget how we got there.

0:24:37.640 --> 0:24:40.640
<v Speaker 3>And this is something that runs rampant in our business. Sure,

0:24:41.160 --> 0:24:45.480
<v Speaker 3>I've watched it so many times where me, on the

0:24:45.520 --> 0:24:50.600
<v Speaker 3>other hand, I usually will give up more so somebody

0:24:51.200 --> 0:24:55.000
<v Speaker 3>will never have that conversation about me. I've taken less,

0:24:56.480 --> 0:24:59.159
<v Speaker 3>but that's not really my obligation. It's just who I

0:24:59.200 --> 0:25:01.399
<v Speaker 3>am and what I've shown and to do so that

0:25:02.200 --> 0:25:04.959
<v Speaker 3>I'm not in those type of conversations. But I usually

0:25:05.000 --> 0:25:08.760
<v Speaker 3>take less are sometimes nothing at all. But what I

0:25:08.840 --> 0:25:12.080
<v Speaker 3>find is that there are creatives because you know, artists

0:25:12.080 --> 0:25:15.760
<v Speaker 3>false under the creatives get that success and they just

0:25:15.800 --> 0:25:19.560
<v Speaker 3>don't remember what else went into that success of someone

0:25:19.600 --> 0:25:23.520
<v Speaker 3>giving them that opportunity, of somebody teaching them, of somebody

0:25:23.520 --> 0:25:26.399
<v Speaker 3>putting them in that room. Hell yeah, it is very

0:25:26.440 --> 0:25:29.320
<v Speaker 3>important when it goes into they took.

0:25:29.200 --> 0:25:33.600
<v Speaker 2>My Yeah, well see that's not my story. But yeah,

0:25:33.680 --> 0:25:35.359
<v Speaker 2>my story isn't that anything.

0:25:35.640 --> 0:25:39.879
<v Speaker 3>But you're the You're the first songwriter purely songwriter that

0:25:39.880 --> 0:25:43.399
<v Speaker 3>we've had on here. Okay, that's what you came to

0:25:43.920 --> 0:25:47.239
<v Speaker 3>this business is what I came to do. You end

0:25:47.320 --> 0:25:52.160
<v Speaker 3>up doing more things, but profession songwriter. So that's why

0:25:52.200 --> 0:25:56.240
<v Speaker 3>I want us to have more conversation about that process

0:25:56.960 --> 0:26:01.840
<v Speaker 3>and just about people who are creatives understanding like listen man, like, yeah,

0:26:01.920 --> 0:26:04.399
<v Speaker 3>the split is what is split is? But do you

0:26:04.440 --> 0:26:05.280
<v Speaker 3>know why that split?

0:26:05.320 --> 0:26:05.439
<v Speaker 1>Ist?

0:26:06.280 --> 0:26:08.239
<v Speaker 3>You know, I just just you know when people are like,

0:26:08.920 --> 0:26:10.959
<v Speaker 3>you know, the artist shall remain nameless, but oh, this

0:26:11.080 --> 0:26:16.280
<v Speaker 3>artist takes twenty five percent. Well, that artists their artistry

0:26:16.600 --> 0:26:19.760
<v Speaker 3>earned them more publishing on that song, or maybe earned

0:26:19.800 --> 0:26:21.560
<v Speaker 3>them publishing on the song that they actually did not

0:26:21.680 --> 0:26:24.280
<v Speaker 3>write because of what they're going to do to it

0:26:24.320 --> 0:26:27.040
<v Speaker 3>and what it's going to probably change your life. So

0:26:27.280 --> 0:26:31.480
<v Speaker 3>after I worked on in Sync and a Mama.

0:26:30.760 --> 0:26:33.439
<v Speaker 2>Was going to change your life, it don't change your

0:26:33.480 --> 0:26:34.000
<v Speaker 2>life no more.

0:26:34.080 --> 0:26:35.760
<v Speaker 3>It changed mine in Sync.

0:26:36.040 --> 0:26:37.400
<v Speaker 2>That shit don't change your life no more.

0:26:37.440 --> 0:26:39.520
<v Speaker 3>If you get a Drake placement, it's going to change

0:26:39.520 --> 0:26:42.280
<v Speaker 3>your life. It's going to change if you're gonna be honest.

0:26:42.840 --> 0:26:46.360
<v Speaker 3>Single Okay, well no, I'm about to break down why

0:26:46.440 --> 0:26:49.400
<v Speaker 3>it is even bigger than the single because now you're

0:26:49.480 --> 0:26:51.960
<v Speaker 3>part of a conversation. Oh for sure will get you

0:26:52.040 --> 0:26:54.439
<v Speaker 3>in a room that can lead you to.

0:26:55.520 --> 0:26:58.360
<v Speaker 2>But but but what I'm saying, both of you guys

0:26:58.400 --> 0:26:59.080
<v Speaker 2>are saying the same thing.

0:26:59.080 --> 0:27:01.920
<v Speaker 1>What I think comes from being a part of whatever

0:27:02.040 --> 0:27:05.280
<v Speaker 1>a Beyonce or a Drake process is the conversation right

0:27:05.320 --> 0:27:08.720
<v Speaker 1>in the room. What leading to what she's saying is

0:27:08.720 --> 0:27:13.800
<v Speaker 1>that in twenty in twenty twenty, or even up to

0:27:13.840 --> 0:27:17.960
<v Speaker 1>maybe twenty two thousand and seven, where it was still

0:27:18.000 --> 0:27:23.840
<v Speaker 1>speculative that conversation could lead to a greater game, like now, no,

0:27:24.080 --> 0:27:27.240
<v Speaker 1>it's such an analytical conversation, yeah.

0:27:27.200 --> 0:27:29.840
<v Speaker 2>And it's such a political conversation. And then also like

0:27:30.160 --> 0:27:32.840
<v Speaker 2>you can get it a Beyonce cut or a Drake cut,

0:27:32.880 --> 0:27:35.040
<v Speaker 2>but you can have two percent of that cut, right,

0:27:35.280 --> 0:27:38.320
<v Speaker 2>and then it might lead you to Justin Bieber, And

0:27:38.320 --> 0:27:40.160
<v Speaker 2>then you get two percent on a Justin Bieber cut.

0:27:40.200 --> 0:27:45.920
<v Speaker 2>It's still leading to the same role blocks. Do you

0:27:45.960 --> 0:27:48.240
<v Speaker 2>see how many writers are on these songs, how much POSI?

0:27:48.480 --> 0:27:50.119
<v Speaker 3>I think it's that I've never gotten two percent. I

0:27:50.160 --> 0:27:50.879
<v Speaker 3>don't even understand.

0:27:50.920 --> 0:27:53.440
<v Speaker 2>People are out here a getting little little pieces of

0:27:54.160 --> 0:27:57.000
<v Speaker 2>publishing if the splits are even done at all, right,

0:27:57.119 --> 0:28:02.240
<v Speaker 2>and so like, I agree with you, but I think

0:28:02.280 --> 0:28:07.160
<v Speaker 2>that that model it doesn't work anymore because it's not enough.

0:28:07.920 --> 0:28:11.920
<v Speaker 2>There's plenty of money, right, but it's not in majority

0:28:11.920 --> 0:28:13.480
<v Speaker 2>of It's not in publishing.

0:28:13.119 --> 0:28:13.720
<v Speaker 3>It just isn't.

0:28:13.800 --> 0:28:16.720
<v Speaker 2>It's in the sound recording, it's in live shows, in

0:28:16.840 --> 0:28:21.560
<v Speaker 2>merch and all these other things. And because these artists

0:28:21.600 --> 0:28:24.600
<v Speaker 2>are taking twenty five thirty whatever it are taking plus

0:28:24.640 --> 0:28:28.080
<v Speaker 2>samples and whatever, there's this little teeny tiny piece that's

0:28:28.200 --> 0:28:32.240
<v Speaker 2>left and for everybody else to split. And so it's

0:28:32.240 --> 0:28:36.399
<v Speaker 2>not like, yes, it gets you clout, but clout don't

0:28:36.400 --> 0:28:38.920
<v Speaker 2>pay your bills. It gets you into another room. But

0:28:38.960 --> 0:28:41.320
<v Speaker 2>then that's about whether you're good at other shit like

0:28:41.640 --> 0:28:45.360
<v Speaker 2>marketing yourself, branding, networking that don't have nothing to do

0:28:45.440 --> 0:28:47.440
<v Speaker 2>with being a good songwriter or being a good producer.

0:28:47.520 --> 0:28:48.680
<v Speaker 2>Now you got to know what to do with it.

0:28:48.760 --> 0:28:50.840
<v Speaker 2>Hit Like when I have replay, what I would do

0:28:50.880 --> 0:28:52.920
<v Speaker 2>with replay now versus what I did with replay then

0:28:53.080 --> 0:28:56.040
<v Speaker 2>is two totally different things because I didn't know how.

0:28:56.200 --> 0:28:58.880
<v Speaker 2>I didn't know, like, oh, I should have maybe hired

0:28:58.880 --> 0:29:03.200
<v Speaker 2>a publicist at that point. Maybe I should I do too.

0:29:03.400 --> 0:29:04.960
<v Speaker 2>And it's like, you know, I talk to writers in

0:29:05.000 --> 0:29:07.080
<v Speaker 2>the community all the time. They're like, yo, tip, I

0:29:07.080 --> 0:29:08.880
<v Speaker 2>don't got this and I don't got that. And I'm like,

0:29:08.960 --> 0:29:11.240
<v Speaker 2>you have to pay. If you want a billboard, you

0:29:11.280 --> 0:29:14.000
<v Speaker 2>need to call the billboard company and you need to

0:29:14.280 --> 0:29:16.320
<v Speaker 2>pay for that shit. And you need I'm like, because

0:29:16.400 --> 0:29:18.840
<v Speaker 2>all the shit you see is people's own money they

0:29:18.880 --> 0:29:23.480
<v Speaker 2>spend on theyself, right like, and but you know, you don't.

0:29:23.520 --> 0:29:26.080
<v Speaker 2>It's not like there's a whole bunch of that knowledge

0:29:26.120 --> 0:29:28.800
<v Speaker 2>is not readily available, you know what I mean, Or

0:29:28.800 --> 0:29:31.240
<v Speaker 2>it wasn't not when I was coming up, you know.

0:29:31.480 --> 0:29:35.160
<v Speaker 2>And so like unless things change, which is what I'm

0:29:35.440 --> 0:29:38.120
<v Speaker 2>obviously advocating for, right, unless things change. When it comes

0:29:38.160 --> 0:29:43.800
<v Speaker 2>to what other other royalty streams songwriters are included in

0:29:45.440 --> 0:29:48.360
<v Speaker 2>publishing isn't going to be enough long term anymore because

0:29:48.360 --> 0:29:52.920
<v Speaker 2>it's too oversaturated. Everybody got published. So like, while you

0:29:52.960 --> 0:29:54.840
<v Speaker 2>get a place, so while it might be a big

0:29:54.840 --> 0:29:56.560
<v Speaker 2>deal for you to get a Beyonce, placements about to

0:29:56.600 --> 0:29:58.360
<v Speaker 2>lead you to another place where you can only get publishing.

0:29:59.440 --> 0:30:01.480
<v Speaker 2>So if you can only get publishing, and you can

0:30:01.520 --> 0:30:06.400
<v Speaker 2>only get because we playing politics, But.

0:30:06.400 --> 0:30:10.800
<v Speaker 3>If you're but here we are with that. If you're

0:30:11.800 --> 0:30:17.320
<v Speaker 3>playing politics, and maybe you got a lesser percentage but

0:30:17.440 --> 0:30:22.840
<v Speaker 3>a bigger cachet off of working with a certain artist,

0:30:23.200 --> 0:30:27.880
<v Speaker 3>the next rooms you should walk into should and this

0:30:28.240 --> 0:30:32.800
<v Speaker 3>is and this is on the writer. So I'm a

0:30:32.800 --> 0:30:36.280
<v Speaker 3>songwriter at the heart of me, songwriter. This is what

0:30:36.360 --> 0:30:38.440
<v Speaker 3>I also came out here for. I then come out

0:30:38.440 --> 0:30:40.080
<v Speaker 3>here to saying, and come out here to manage, and

0:30:40.280 --> 0:30:43.480
<v Speaker 3>come out here to be fucking talking head. Podcasting came

0:30:43.480 --> 0:30:46.400
<v Speaker 3>out here to write songs for people. And I can

0:30:46.440 --> 0:30:50.640
<v Speaker 3>only give my own experiences, and I can give my

0:30:50.800 --> 0:30:53.640
<v Speaker 3>successes and my failures and how I moved within this

0:30:53.760 --> 0:30:57.880
<v Speaker 3>business and how I see fit that writers should move.

0:30:58.640 --> 0:31:01.840
<v Speaker 3>There are certain business you should make that will put

0:31:01.880 --> 0:31:05.760
<v Speaker 3>you in an advantageous place on your next go round. Now,

0:31:05.800 --> 0:31:09.080
<v Speaker 3>if your dumb ass, and I said dumb ass, because

0:31:09.120 --> 0:31:11.280
<v Speaker 3>I want you to feel like a dumb ass, if

0:31:11.320 --> 0:31:14.600
<v Speaker 3>you let that shit happen to you multiple.

0:31:14.200 --> 0:31:16.360
<v Speaker 2>Times, yea, then it's your fault.

0:31:16.440 --> 0:31:17.240
<v Speaker 3>Then it's your fault.

0:31:17.280 --> 0:31:19.080
<v Speaker 1>Yeah, yeah, right, I can't.

0:31:19.160 --> 0:31:24.560
<v Speaker 3>I can't hear this writer gripe about the fifth time I.

0:31:24.720 --> 0:31:26.800
<v Speaker 2>Agree with you, I'm the same way, like, don't come

0:31:26.800 --> 0:31:27.200
<v Speaker 2>to me, and.

0:31:27.160 --> 0:31:29.800
<v Speaker 3>You know we hear it for sure. Fifth time, I'm like,

0:31:30.040 --> 0:31:31.040
<v Speaker 3>well but you just.

0:31:31.160 --> 0:31:34.600
<v Speaker 2>But you know why though, because of industry standards.

0:31:34.680 --> 0:31:39.360
<v Speaker 3>Ain't no industry there are not it's not it's not

0:31:39.640 --> 0:31:43.800
<v Speaker 3>we broke them ships down their industry standards because it's

0:31:43.840 --> 0:31:46.880
<v Speaker 3>still implanted in our minds. Now, there are numbers that

0:31:46.920 --> 0:31:48.360
<v Speaker 3>are just what they are right now.

0:31:48.160 --> 0:31:49.800
<v Speaker 2>That's what I'm saying. So you don't have any control

0:31:49.880 --> 0:31:52.080
<v Speaker 2>over people, right, So, like if a writer goes into

0:31:52.080 --> 0:31:55.520
<v Speaker 2>the studio and they don't have the politics in their favor,

0:31:55.520 --> 0:31:58.280
<v Speaker 2>whether it be the relationship with the managers, the artists

0:31:58.360 --> 0:32:02.440
<v Speaker 2>or whoever. Like I'm just telling you from being advocate, right,

0:32:02.520 --> 0:32:06.320
<v Speaker 2>Like I get like I feel like the music industry

0:32:06.360 --> 0:32:09.600
<v Speaker 2>is fucking therapist, right, Like I got DMS. This happened,

0:32:09.600 --> 0:32:13.480
<v Speaker 2>and this happened, and it's a massive artist, big record.

0:32:13.640 --> 0:32:16.160
<v Speaker 3>It doesn't it doesn't matter, and yeah, that part don't matter, right.

0:32:16.200 --> 0:32:19.000
<v Speaker 2>And what I'm saying though, is that it's not just

0:32:19.640 --> 0:32:22.520
<v Speaker 2>how we try to do business, because if the business

0:32:22.600 --> 0:32:26.360
<v Speaker 2>is not received like us doing like for instance, like

0:32:26.920 --> 0:32:29.320
<v Speaker 2>I don't write songs for anybody anymore because I'm not

0:32:29.360 --> 0:32:33.720
<v Speaker 2>writing for free, right, I'm not showing up nowhere your time, yes,

0:32:33.880 --> 0:32:36.440
<v Speaker 2>And my rate is my rate. It's my decision, right,

0:32:36.840 --> 0:32:39.440
<v Speaker 2>So my rate is fifteen thousand. If you want me

0:32:39.480 --> 0:32:42.080
<v Speaker 2>to write a record, it's fifteen thousand to me.

0:32:44.880 --> 0:32:46.160
<v Speaker 3>I'm rolling with that, thank you.

0:32:46.320 --> 0:32:49.080
<v Speaker 1>I'm rolling with that because I was I was trying

0:32:49.080 --> 0:32:51.360
<v Speaker 1>to figure out a way to get into that cot

0:32:52.240 --> 0:32:53.000
<v Speaker 1>Gear Records.

0:32:53.320 --> 0:32:54.680
<v Speaker 3>Not getting no free reach, not get free.

0:32:55.120 --> 0:32:58.080
<v Speaker 2>You're not getting free nothing. No, you're not getting free anything.

0:32:58.160 --> 0:33:01.400
<v Speaker 2>Nothing in this life is free nothing, right, and so

0:33:01.440 --> 0:33:02.720
<v Speaker 2>the thing that I'd be trying to get people to

0:33:02.800 --> 0:33:05.480
<v Speaker 2>understand in the music business because it's like we always

0:33:05.960 --> 0:33:09.400
<v Speaker 2>like our deal in the one percenters. There's a massive

0:33:09.800 --> 0:33:12.520
<v Speaker 2>middle class in the music business that's writing all the

0:33:12.560 --> 0:33:15.640
<v Speaker 2>album cuts, not the singles. They writing the album cuts,

0:33:15.760 --> 0:33:21.120
<v Speaker 2>and they are not respected or given the same leverage

0:33:21.160 --> 0:33:24.640
<v Speaker 2>to negotiate the things that we're talking about, Like it's

0:33:24.720 --> 0:33:29.680
<v Speaker 2>easier for a bigger songwriter with more leverage because in

0:33:29.760 --> 0:33:32.080
<v Speaker 2>your leverage, like I'm going through this right now, right

0:33:32.200 --> 0:33:38.200
<v Speaker 2>like I'm I'm I feel like my advocacy has brought

0:33:38.320 --> 0:33:40.800
<v Speaker 2>taking me places that I never thought I would go, right,

0:33:41.400 --> 0:33:45.280
<v Speaker 2>and so I'm lit, but I'm lit for what I'm doing.

0:33:45.320 --> 0:33:47.600
<v Speaker 2>So my profile is raised because I'm in the press

0:33:47.640 --> 0:33:49.360
<v Speaker 2>and I'm into this and I'm into that, not because

0:33:49.400 --> 0:33:52.040
<v Speaker 2>I write great songs. So when I walk into the room, now,

0:33:52.120 --> 0:33:54.000
<v Speaker 2>all the other shit I do walk into the room

0:33:54.000 --> 0:33:56.360
<v Speaker 2>with me. So these big as songwriters and big ass producers,

0:33:56.920 --> 0:33:59.200
<v Speaker 2>they got they radio interviews walking in with them, they

0:33:59.240 --> 0:34:03.200
<v Speaker 2>got their relationship with the music exec that whoever. That's

0:34:03.240 --> 0:34:05.280
<v Speaker 2>how you're getting money. You're not getting money because of

0:34:05.320 --> 0:34:06.840
<v Speaker 2>your song, you getting money because of who you are

0:34:07.120 --> 0:34:09.239
<v Speaker 2>and what you bring to the table. And so if

0:34:09.239 --> 0:34:12.000
<v Speaker 2>you don't have that, because that don't have ship to

0:34:12.040 --> 0:34:14.600
<v Speaker 2>do with being a songwriter. Everything understand, I don't have

0:34:14.600 --> 0:34:19.160
<v Speaker 2>nothing to do with being a songwriter. And it doesn't

0:34:19.239 --> 0:34:21.560
<v Speaker 2>you have to do it. It didn't or it didn't.

0:34:21.680 --> 0:34:23.719
<v Speaker 3>You have to be you have to entertain This is

0:34:23.760 --> 0:34:26.280
<v Speaker 3>the entertainment. It's music business, but it's also entertainment.

0:34:26.719 --> 0:34:29.200
<v Speaker 2>I'm talking about. But every every.

0:34:29.120 --> 0:34:32.760
<v Speaker 3>Aspect of this business is entertainment, especially now with social media,

0:34:32.840 --> 0:34:35.800
<v Speaker 3>especially now with you know, the way that the algorithms

0:34:35.880 --> 0:34:38.799
<v Speaker 3>work to make somebody even pay attention to little old

0:34:38.920 --> 0:34:42.359
<v Speaker 3>me or you or whatever this thing is. It's it's

0:34:42.400 --> 0:34:45.200
<v Speaker 3>just a it's a bigger it's a bigger game than

0:34:45.239 --> 0:34:48.200
<v Speaker 3>it used to be. From that standpoint, like now you

0:34:48.280 --> 0:34:51.479
<v Speaker 3>have to put more. You can't just be one singular thing.

0:34:51.600 --> 0:34:53.960
<v Speaker 3>You just can't be that great songwriter. You also have

0:34:54.000 --> 0:34:55.680
<v Speaker 3>to have a personality to get to.

0:34:55.960 --> 0:34:57.480
<v Speaker 1>Well, here's a question, here's a question I want to

0:34:57.480 --> 0:35:00.680
<v Speaker 1>ask and that I think you can help answer as well.

0:35:02.120 --> 0:35:05.279
<v Speaker 1>How do we get to a place to where there

0:35:05.320 --> 0:35:12.279
<v Speaker 1>is a standard for songwriters to show up because with

0:35:12.360 --> 0:35:16.680
<v Speaker 1>the producer, you're always going to negotiate a fee. Whether

0:35:16.719 --> 0:35:20.279
<v Speaker 1>he's just starting out or whether he's a he's a

0:35:20.800 --> 0:35:22.960
<v Speaker 1>there's always a production, which is what I'm trying to.

0:35:22.960 --> 0:35:26.759
<v Speaker 2>Get, which is what So so we've been the one

0:35:26.840 --> 0:35:31.160
<v Speaker 2>hundred percenters have been working with Sony Music Publishing. We've

0:35:31.160 --> 0:35:33.600
<v Speaker 2>been working really closely with a big John and.

0:35:33.840 --> 0:35:35.480
<v Speaker 3>Let's shout out. Let's shout out all the people that

0:35:35.520 --> 0:35:38.160
<v Speaker 3>are behind that with you, like your your board of advisory.

0:35:39.920 --> 0:35:40.880
<v Speaker 3>Those are very important.

0:35:41.000 --> 0:35:46.239
<v Speaker 2>Yeah, okay, So our two associate directors other names are

0:35:46.280 --> 0:35:51.000
<v Speaker 2>Marie Alliance and Rosemary Tan and that's like Rosemary Tan,

0:35:51.120 --> 0:35:53.839
<v Speaker 2>and then a guy named Gamorrow. That's our executive team.

0:35:53.960 --> 0:35:56.480
<v Speaker 2>And then there's me. I'm an executive director where the

0:35:56.680 --> 0:36:00.120
<v Speaker 2>like brains behind and you know, the machine behind one

0:36:00.200 --> 0:36:03.799
<v Speaker 2>hundred Percenters. And then we have like a whole bunch

0:36:03.840 --> 0:36:06.800
<v Speaker 2>of different like volunteers. We have, you know, a little

0:36:06.840 --> 0:36:13.600
<v Speaker 2>crew Blush Micah, a guy named Zach Poor like really

0:36:13.600 --> 0:36:18.000
<v Speaker 2>really dope songwriters, a girl named Cadence and yeah, we

0:36:18.160 --> 0:36:20.160
<v Speaker 2>just like and then also I kind of feel like

0:36:20.520 --> 0:36:24.920
<v Speaker 2>our following is a bit like an extended kind of

0:36:24.920 --> 0:36:27.480
<v Speaker 2>thing because like a lot of the stuff that like

0:36:27.520 --> 0:36:29.359
<v Speaker 2>I post and talk about and stuff like that. They

0:36:29.480 --> 0:36:31.319
<v Speaker 2>be sending me all kind of like, Yo, you've seen this.

0:36:31.520 --> 0:36:32.840
<v Speaker 2>You seem like I don't even got to look for

0:36:32.840 --> 0:36:35.440
<v Speaker 2>shit anymore. They just dming me stuff. But yeah, so

0:36:35.480 --> 0:36:39.000
<v Speaker 2>that's that's our team. And then we have other organizations

0:36:39.000 --> 0:36:42.640
<v Speaker 2>that we work closely with. One of them is SONA.

0:36:43.320 --> 0:36:47.520
<v Speaker 2>Another one is NMPA. Do you know what NMPA is? Okay,

0:36:47.560 --> 0:36:53.600
<v Speaker 2>So and so NMPA is the National Music Publishing Association.

0:36:53.880 --> 0:36:57.440
<v Speaker 2>So they're the trade association that represents all of our

0:36:57.480 --> 0:37:01.400
<v Speaker 2>publishing companies. So they're like Board of Directors is Big John, Jody,

0:37:02.320 --> 0:37:05.000
<v Speaker 2>all the like CEOs of all of the head all

0:37:05.000 --> 0:37:09.560
<v Speaker 2>the publishing companies. Right, I work with the US Copyright Office.

0:37:10.040 --> 0:37:12.600
<v Speaker 2>From the outside, I'm sure it probably looks like I'm

0:37:12.640 --> 0:37:14.640
<v Speaker 2>just online talking shit all the time, like gosh, she

0:37:14.800 --> 0:37:18.960
<v Speaker 2>just always complaining, she just always But most of my

0:37:18.960 --> 0:37:23.759
<v Speaker 2>my Instagram and all of that is my megaphone. If

0:37:23.800 --> 0:37:26.400
<v Speaker 2>I'm talking about something, I'm usually talking to someone, and

0:37:26.440 --> 0:37:28.440
<v Speaker 2>it's usually about something that I'm trying to get done.

0:37:29.120 --> 0:37:32.880
<v Speaker 2>So if I'm advocating about something, it's because I'm talking

0:37:32.920 --> 0:37:36.000
<v Speaker 2>to that record label or publishing company or person's team

0:37:36.480 --> 0:37:38.279
<v Speaker 2>and I'm you know, I use it as a tool,

0:37:38.680 --> 0:37:40.920
<v Speaker 2>you know what I mean, and as a way to

0:37:40.960 --> 0:37:44.919
<v Speaker 2>get to people sometimes as well. And so what we've

0:37:44.960 --> 0:37:49.520
<v Speaker 2>been doing in this last year is like having the

0:37:49.560 --> 0:37:52.920
<v Speaker 2>conversations like with the publishing companies, so we you know,

0:37:52.960 --> 0:37:55.120
<v Speaker 2>were working with Sony. I just had a really great

0:37:55.120 --> 0:37:59.120
<v Speaker 2>meeting with warrener Chappel two days ago, and we are

0:37:59.719 --> 0:38:02.560
<v Speaker 2>having these real conversations like look like this is the

0:38:02.640 --> 0:38:06.360
<v Speaker 2>reality for songwriters, like and so because so many people

0:38:07.000 --> 0:38:09.319
<v Speaker 2>feel like they're not supposed to talk about any of

0:38:09.360 --> 0:38:11.879
<v Speaker 2>this stuff, like they don't people don't know what's going

0:38:11.920 --> 0:38:13.279
<v Speaker 2>on with they writers for real. And then also I

0:38:13.320 --> 0:38:14.920
<v Speaker 2>feel like people get in the room, people like Big

0:38:14.960 --> 0:38:18.239
<v Speaker 2>John and be like oh shit, like yeah, like where

0:38:18.280 --> 0:38:21.120
<v Speaker 2>I Like, I'm so grateful for my relationship with John

0:38:21.160 --> 0:38:27.040
<v Speaker 2>because like, oh my god, so dope, right he just

0:38:27.080 --> 0:38:29.560
<v Speaker 2>like I don't I don't know. I like so many

0:38:29.560 --> 0:38:31.799
<v Speaker 2>people I know that are like man, Big John helped

0:38:31.800 --> 0:38:33.719
<v Speaker 2>me with this. He helped me with that, like and

0:38:33.760 --> 0:38:35.239
<v Speaker 2>I got the same story. And me and Big John

0:38:35.239 --> 0:38:37.920
<v Speaker 2>didn't start like I started beefing with him on the internet,

0:38:37.960 --> 0:38:40.600
<v Speaker 2>Like that's how we for real. I called him out

0:38:40.640 --> 0:38:45.680
<v Speaker 2>on the internet and he was like who is this girl?

0:38:45.800 --> 0:38:47.680
<v Speaker 2>Like you know, but he was the first person that

0:38:47.800 --> 0:38:51.480
<v Speaker 2>was like what is this about? Like what is this about?

0:38:51.600 --> 0:38:54.480
<v Speaker 2>And he brought me out here to La, brought my

0:38:54.480 --> 0:38:57.239
<v Speaker 2>whole team in, and I sat down in one of

0:38:57.280 --> 0:39:00.799
<v Speaker 2>their like conference rooms, and I just was like, this

0:39:00.880 --> 0:39:03.440
<v Speaker 2>is the truth, Like this is the truth. Like I

0:39:03.480 --> 0:39:05.520
<v Speaker 2>don't have anything to lose anymore. I don't even care

0:39:05.520 --> 0:39:07.799
<v Speaker 2>about this shit. I don't write songs no more. I'm

0:39:07.840 --> 0:39:10.840
<v Speaker 2>not I don't even live here no more. So I

0:39:10.920 --> 0:39:14.560
<v Speaker 2>just was like I bear my soul and he just

0:39:14.680 --> 0:39:17.720
<v Speaker 2>hurt us, like in a way that I just didn't expect.

0:39:18.280 --> 0:39:22.520
<v Speaker 2>And I've been giving the opportunity to help with modernizing

0:39:22.560 --> 0:39:24.640
<v Speaker 2>all of this stuff. So these are all conversations that

0:39:24.680 --> 0:39:27.480
<v Speaker 2>we're having with the publishing companies, and we're putting together plans,

0:39:27.520 --> 0:39:29.080
<v Speaker 2>like I don't want to just be out here talking

0:39:29.080 --> 0:39:32.759
<v Speaker 2>shit'm We're putting together solutions like the solutions that like,

0:39:33.120 --> 0:39:36.440
<v Speaker 2>for instance, we're working on something called session fees for

0:39:36.719 --> 0:39:39.560
<v Speaker 2>songwriters and producers. So if y'all do, if we do

0:39:39.680 --> 0:39:42.040
<v Speaker 2>go do a session for Tank, whether Tank takes the

0:39:42.080 --> 0:39:44.080
<v Speaker 2>record or not, our money is an attached to the song.

0:39:44.200 --> 0:39:46.400
<v Speaker 2>Our money is attached to the session same way like

0:39:46.440 --> 0:39:50.600
<v Speaker 2>an engineer exactly. And so I think I think we've

0:39:50.640 --> 0:39:53.000
<v Speaker 2>all been talking about we need more money, but I

0:39:53.040 --> 0:39:55.279
<v Speaker 2>think no one's ever really sat down and like put it.

0:39:55.760 --> 0:39:58.319
<v Speaker 2>Put it yes, And so I was like, does this

0:39:58.360 --> 0:40:01.280
<v Speaker 2>doesn't have to be million like big money. It doesn't

0:40:01.320 --> 0:40:03.160
<v Speaker 2>have to be for it to be a livable wage.

0:40:03.239 --> 0:40:05.640
<v Speaker 2>So the liverable wage I think currently in California is

0:40:05.680 --> 0:40:08.600
<v Speaker 2>fifty eight thousand dollars a year. I'm like, can we

0:40:08.680 --> 0:40:11.080
<v Speaker 2>get you know what I'm saying?

0:40:11.120 --> 0:40:12.520
<v Speaker 1>Like, I mean, but if it was on a scale

0:40:12.600 --> 0:40:17.520
<v Speaker 1>based on a fifty eight thousand dollars a year, we

0:40:17.600 --> 0:40:18.680
<v Speaker 1>talked salary.

0:40:18.320 --> 0:40:20.520
<v Speaker 2>We're talking five hundred dollars a day or something exactly.

0:40:20.840 --> 0:40:22.560
<v Speaker 1>It's not like you're going to be working every day.

0:40:22.600 --> 0:40:24.239
<v Speaker 1>It's not like you you may not even get to

0:40:24.280 --> 0:40:25.240
<v Speaker 1>that fifty eight thousand.

0:40:25.280 --> 0:40:27.239
<v Speaker 2>But if there's but if you're getting paid something, if

0:40:27.239 --> 0:40:27.640
<v Speaker 2>there's a.

0:40:28.000 --> 0:40:31.360
<v Speaker 1>If there's just a rate scale, yes, that just says,

0:40:31.480 --> 0:40:34.319
<v Speaker 1>you know, if I'm in this room, it's a working Yet,

0:40:34.600 --> 0:40:35.279
<v Speaker 1>so is.

0:40:35.239 --> 0:40:39.440
<v Speaker 3>This for every writer? So this exists, do you have

0:40:39.560 --> 0:40:41.719
<v Speaker 3>is there a governing body they have to come through?

0:40:41.880 --> 0:40:43.719
<v Speaker 3>It would be for their players association.

0:40:44.000 --> 0:40:45.280
<v Speaker 1>You know, I think it will.

0:40:45.160 --> 0:40:46.880
<v Speaker 2>Be based on a label. It would be based on

0:40:46.880 --> 0:40:50.080
<v Speaker 2>a label. So like if you where we're asking for

0:40:50.200 --> 0:40:52.600
<v Speaker 2>is if your work. If a songwriter and a producer

0:40:52.640 --> 0:40:55.400
<v Speaker 2>are working with a signed artist, they should be getting

0:40:55.440 --> 0:40:58.440
<v Speaker 2>paid absolutely, So I agree, you know what I mean

0:40:58.560 --> 0:40:58.879
<v Speaker 2>like they.

0:40:58.760 --> 0:41:01.200
<v Speaker 3>Should be hold what I'm mean asking is you know

0:41:01.200 --> 0:41:05.640
<v Speaker 3>because in some of these situations there are writers that

0:41:06.440 --> 0:41:11.040
<v Speaker 3>just end up at the session like, how do you well? Engineering?

0:41:11.120 --> 0:41:12.799
<v Speaker 2>This is going to help. I think one of the

0:41:12.800 --> 0:41:15.000
<v Speaker 2>things that I think the session feed program is going

0:41:15.040 --> 0:41:17.399
<v Speaker 2>to do is help with quality control because think about

0:41:17.440 --> 0:41:20.680
<v Speaker 2>so this is I can't I can't like I will

0:41:20.680 --> 0:41:23.400
<v Speaker 2>tell y'all like more of the setup off of this

0:41:23.480 --> 0:41:25.400
<v Speaker 2>because I can't tell above the whole set up. But

0:41:25.760 --> 0:41:29.880
<v Speaker 2>if we knew that there was some set amount of

0:41:29.920 --> 0:41:33.080
<v Speaker 2>money for a session, would you let all your niggas

0:41:33.120 --> 0:41:35.280
<v Speaker 2>pull up or would you control?

0:41:35.560 --> 0:41:37.200
<v Speaker 3>We've always controlled.

0:41:37.280 --> 0:41:39.680
<v Speaker 2>What I'm saying, so but so what I'm saying is

0:41:39.680 --> 0:41:43.719
<v Speaker 2>that it would control itself because the less people that

0:41:43.760 --> 0:41:45.440
<v Speaker 2>are in a room, the more money you make in

0:41:45.600 --> 0:41:47.760
<v Speaker 2>is how we're setting it up so that it's.

0:41:47.680 --> 0:41:49.800
<v Speaker 1>Like you don't think it should be who's ever, whoever

0:41:50.000 --> 0:41:54.240
<v Speaker 1>signed on to be a part of the session versus yeah,

0:41:54.520 --> 0:41:56.479
<v Speaker 1>the amount well such, you know what I'm saying, because

0:41:56.480 --> 0:41:58.319
<v Speaker 1>if if the scale is the same for every writer

0:41:58.400 --> 0:42:01.040
<v Speaker 1>that's in the room, no one's money is more. It's

0:42:01.160 --> 0:42:03.719
<v Speaker 1>just that, Yeah, we are just the only people signed

0:42:03.760 --> 0:42:04.560
<v Speaker 1>to write this record.

0:42:04.680 --> 0:42:10.839
<v Speaker 2>Yes, well, and it just being way more communication between artists, management,

0:42:11.280 --> 0:42:13.960
<v Speaker 2>record label, because the other thing that we're trying to

0:42:13.960 --> 0:42:16.359
<v Speaker 2>solve with all of this stuff is like AMIN right,

0:42:16.440 --> 0:42:20.879
<v Speaker 2>because the AMIN is it's fucking ridiculous, right. And so

0:42:21.239 --> 0:42:23.600
<v Speaker 2>if there was more quality control, if there was more

0:42:23.800 --> 0:42:28.160
<v Speaker 2>communication from the time the session is scheduled, before the

0:42:28.200 --> 0:42:30.440
<v Speaker 2>song's even written, we already know who's in the room.

0:42:30.560 --> 0:42:32.560
<v Speaker 2>So when we're trying to do splits, who's in the

0:42:32.560 --> 0:42:34.239
<v Speaker 2>who was in the room? I can tell because this

0:42:34.280 --> 0:42:36.400
<v Speaker 2>is who we paid, This is who we paid. So

0:42:36.440 --> 0:42:38.320
<v Speaker 2>this is the writers, this is the producers, this is

0:42:38.360 --> 0:42:40.800
<v Speaker 2>their contact information because we got them as a vendor

0:42:40.840 --> 0:42:42.080
<v Speaker 2>in our system or whatever.

0:42:42.120 --> 0:42:42.279
<v Speaker 1>You know.

0:42:42.520 --> 0:42:45.479
<v Speaker 3>The other problem we have in urban music, yeah, is

0:42:45.840 --> 0:42:48.360
<v Speaker 3>those split She's not being done the day of session,

0:42:48.520 --> 0:42:51.880
<v Speaker 3>chasing somebody down to ask them how many d in

0:42:52.000 --> 0:42:56.480
<v Speaker 3>these and and why on this song? And oh I

0:42:56.520 --> 0:43:00.880
<v Speaker 3>wrote that one section before the was and I said, yeah,

0:43:00.960 --> 0:43:03.600
<v Speaker 3>it's fucking ridiculous. Yeah, it's out of control.

0:43:03.840 --> 0:43:06.520
<v Speaker 2>People don't know how to negotiate business people don't Talking

0:43:06.640 --> 0:43:10.160
<v Speaker 2>numbers is for some people intimidating, and so I think,

0:43:10.920 --> 0:43:14.359
<v Speaker 2>especially like you know, people be getting in fights over splits.

0:43:15.320 --> 0:43:17.879
<v Speaker 1>They rather steal behind your back now.

0:43:17.760 --> 0:43:20.759
<v Speaker 2>Necessarily right, Like they're not gonna tell you yea, I'm

0:43:20.760 --> 0:43:24.719
<v Speaker 2>about to like I feel like I should have thirty eighty. Yeah,

0:43:24.920 --> 0:43:27.279
<v Speaker 2>they're not gonna say that, and that's not gonna happen. Yeah,

0:43:27.320 --> 0:43:29.480
<v Speaker 2>it's not gonna happen this. But my thing is our

0:43:29.520 --> 0:43:31.839
<v Speaker 2>goal is more so on like I can't tell y'all

0:43:31.840 --> 0:43:33.840
<v Speaker 2>how to do your business. I just want to provide

0:43:33.880 --> 0:43:35.640
<v Speaker 2>a better way for you to do it. And if

0:43:35.680 --> 0:43:37.399
<v Speaker 2>you choose to do it that way, lit if not,

0:43:37.680 --> 0:43:39.680
<v Speaker 2>if you take some of these solutions and flip it

0:43:39.719 --> 0:43:42.320
<v Speaker 2>and do it your own way, because we're independent contractors,

0:43:42.360 --> 0:43:44.680
<v Speaker 2>so nobody can you know, all of these things will

0:43:44.680 --> 0:43:48.160
<v Speaker 2>look different. But I'm trying to create a floor. Like,

0:43:48.600 --> 0:43:50.680
<v Speaker 2>if you were a teacher, you're not about to start

0:43:50.680 --> 0:43:53.160
<v Speaker 2>making nothing. You're gonna start as an entry level teacher.

0:43:53.520 --> 0:43:56.680
<v Speaker 2>There should be an entry level songwriter, entry level producer,

0:43:56.960 --> 0:43:58.800
<v Speaker 2>entry you know what I mean, Like, we shouldn't be

0:43:58.880 --> 0:44:02.799
<v Speaker 2>making nothing because people are paying to work. Like I

0:44:02.880 --> 0:44:04.560
<v Speaker 2>talk to people that are like, oh, you know, I

0:44:04.560 --> 0:44:08.200
<v Speaker 2>got to get a babysitter, gases, a million fucking dollars,

0:44:08.239 --> 0:44:10.000
<v Speaker 2>all the things to just shoot your shot.

0:44:10.239 --> 0:44:10.880
<v Speaker 1>It's a job.

0:44:11.320 --> 0:44:12.440
<v Speaker 2>It's a job.

0:44:12.960 --> 0:44:13.840
<v Speaker 3>I paid to work.

0:44:14.719 --> 0:44:15.440
<v Speaker 2>I paid to work.

0:44:15.360 --> 0:44:18.120
<v Speaker 3>Get my initial into this thing as an adult, Like

0:44:18.160 --> 0:44:20.040
<v Speaker 3>I paid to work, like I you know, I paid

0:44:20.680 --> 0:44:22.920
<v Speaker 3>whatever dues I had to pay to get into it,

0:44:23.000 --> 0:44:25.600
<v Speaker 3>and how many sessions I had to go to that

0:44:25.680 --> 0:44:27.120
<v Speaker 3>didn't turn out to be anything.

0:44:27.320 --> 0:44:30.080
<v Speaker 2>Imagine if you got paid for all those sessions.

0:44:29.880 --> 0:44:32.319
<v Speaker 3>I might not have been as hungry. And this is

0:44:32.400 --> 0:44:35.440
<v Speaker 3>just me, And this is just me because what I

0:44:35.440 --> 0:44:38.760
<v Speaker 3>also find in our new industry is a lack of hunger,

0:44:39.040 --> 0:44:43.239
<v Speaker 3>not with everyone, but with a lot where the struggle

0:44:43.640 --> 0:44:48.200
<v Speaker 3>is just different. The struggle is different because it's way

0:44:48.440 --> 0:44:50.480
<v Speaker 3>easier to hit the lottery these days than it used

0:44:50.520 --> 0:44:53.479
<v Speaker 3>to be, because the you know, the gatekeeper's been pushed

0:44:53.520 --> 0:44:54.839
<v Speaker 3>out the way a little bit. The gates have been

0:44:54.840 --> 0:44:58.279
<v Speaker 3>pushed over to a certain degree where somebody can make

0:44:58.320 --> 0:45:01.520
<v Speaker 3>a you know, a hit record off their couch and

0:45:01.680 --> 0:45:06.319
<v Speaker 3>upload it. So I think sometimes some of the the

0:45:06.360 --> 0:45:10.520
<v Speaker 3>bystanders and in the audience just sees it as man,

0:45:10.560 --> 0:45:15.680
<v Speaker 3>we should be lit from the beginning. Yeah, and they

0:45:15.760 --> 0:45:20.799
<v Speaker 3>forget what goes into this ship, and they forget, you know,

0:45:21.040 --> 0:45:25.120
<v Speaker 3>or they don't even know. Forget they don't even know that,

0:45:25.520 --> 0:45:28.439
<v Speaker 3>you know, Jay Valentine slept on the floor for nine

0:45:28.440 --> 0:45:30.600
<v Speaker 3>months floor.

0:45:31.600 --> 0:45:34.239
<v Speaker 2>So and do you feel like you should have to

0:45:34.239 --> 0:45:38.240
<v Speaker 2>sleep on the floor because I think.

0:45:40.480 --> 0:45:43.920
<v Speaker 1>I think that the level of hunger that exists or

0:45:43.920 --> 0:45:48.680
<v Speaker 1>doesn't exist, I think, you know, that's gonna always that's

0:45:48.719 --> 0:45:50.480
<v Speaker 1>gonna always be there, no matter.

0:45:50.600 --> 0:45:52.399
<v Speaker 3>Because I also believe that you should have a job

0:45:52.440 --> 0:45:55.160
<v Speaker 3>while you're while you're working toward an actual deal.

0:45:55.320 --> 0:45:57.319
<v Speaker 1>But I think of it like this. You should work

0:45:57.480 --> 0:46:00.919
<v Speaker 1>if you if there is an entry level, if there's

0:46:00.920 --> 0:46:04.160
<v Speaker 1>an entry level pay, let's say entry level pay is

0:46:04.920 --> 0:46:07.919
<v Speaker 1>one hundred and fifty a session. It's just just hypothetically,

0:46:08.880 --> 0:46:16.879
<v Speaker 1>and you see guys who are making fifteen thousand a session. Well,

0:46:16.920 --> 0:46:20.400
<v Speaker 1>that within itself, he is going to create that. I

0:46:20.520 --> 0:46:24.480
<v Speaker 1>need that because all of that one you can eat

0:46:24.640 --> 0:46:29.359
<v Speaker 1>and get your ubers, but it ain't changing your life yet.

0:46:30.000 --> 0:46:30.840
<v Speaker 2>But it's enough for you.

0:46:30.920 --> 0:46:34.239
<v Speaker 1>But it's enough for you to do it, to just

0:46:34.400 --> 0:46:38.719
<v Speaker 1>do that, to hone in on be Like I think

0:46:38.760 --> 0:46:41.359
<v Speaker 1>we came up, all of us. Yes, we came up

0:46:41.440 --> 0:46:44.239
<v Speaker 1>and came up in an era where we had to

0:46:44.400 --> 0:46:49.480
<v Speaker 1>figure out how to be great in spite of no

0:46:49.520 --> 0:46:53.280
<v Speaker 1>matter what the conditions were. Like we're like the last

0:46:54.080 --> 0:47:00.640
<v Speaker 1>of the Mohicans of that space. We weren't given shit nothing.

0:47:00.719 --> 0:47:04.920
<v Speaker 1>We had you on the floor car like we were saying.

0:47:05.360 --> 0:47:10.720
<v Speaker 1>But but I think some of the advantage in giving

0:47:10.800 --> 0:47:15.960
<v Speaker 1>writers an opportunity to to live and work as a

0:47:15.960 --> 0:47:23.640
<v Speaker 1>writer's is the developmental process because it's like in a sense,

0:47:23.840 --> 0:47:26.879
<v Speaker 1>because it's like it's like it's like your son right

0:47:26.880 --> 0:47:30.680
<v Speaker 1>now in basketball, you know what I'm saying, Like, I

0:47:30.719 --> 0:47:33.160
<v Speaker 1>know you went to some camps or what have you,

0:47:33.239 --> 0:47:36.560
<v Speaker 1>But had your development, had you had the opportunity to

0:47:36.600 --> 0:47:41.960
<v Speaker 1>develop the way Deuce is developing, you're in a basketball player.

0:47:41.719 --> 0:47:43.719
<v Speaker 3>Different, Yeah, I get opportunity at least.

0:47:43.760 --> 0:47:46.640
<v Speaker 1>Yeah, definitely, you said. I'm saying, like, if you're asking me,

0:47:46.640 --> 0:47:50.600
<v Speaker 1>you're NBA basketball player, and with being able to just

0:47:50.760 --> 0:47:55.439
<v Speaker 1>focus on playing basketball, you know, And I think we're

0:47:55.480 --> 0:47:58.760
<v Speaker 1>moving into a space or the blessing into moving into

0:47:58.760 --> 0:48:03.040
<v Speaker 1>a space like that where writers can just write and

0:48:03.120 --> 0:48:05.920
<v Speaker 1>focus on writing. I think we get to a space

0:48:05.960 --> 0:48:08.320
<v Speaker 1>where we get the best out of people because I

0:48:08.320 --> 0:48:11.359
<v Speaker 1>didn't start making my best music until I was not

0:48:11.560 --> 0:48:12.640
<v Speaker 1>under durest making.

0:48:12.719 --> 0:48:16.400
<v Speaker 2>Oh my god, same where you're Yes, I didn't get

0:48:16.440 --> 0:48:18.440
<v Speaker 2>my best music. So we were suffering.

0:48:18.680 --> 0:48:25.320
<v Speaker 1>Yes, so we said let's do it our way. Everything everybody.

0:48:25.480 --> 0:48:28.399
<v Speaker 2>I feel like there's so much suffering attack. Like one

0:48:28.440 --> 0:48:32.120
<v Speaker 2>of the sayings that drive me crazy is a starving artist,

0:48:32.320 --> 0:48:36.920
<v Speaker 2>because that's the epitot, Like it's the problem with the music.

0:48:36.960 --> 0:48:39.080
<v Speaker 2>The music business is earning more money than it's ever

0:48:39.160 --> 0:48:43.040
<v Speaker 2>made historically, right, so like for there to be starting

0:48:43.200 --> 0:48:46.560
<v Speaker 2>starving artists is ridiculous. And I'm speaking only for like

0:48:46.600 --> 0:48:50.640
<v Speaker 2>I always say, like, God bless the up and comings,

0:48:51.000 --> 0:48:53.560
<v Speaker 2>God blessed independent artists, because I'm an independent artist. But

0:48:53.600 --> 0:48:55.600
<v Speaker 2>that's not who I'm talking about. I'm talking about the

0:48:55.600 --> 0:48:58.920
<v Speaker 2>people that are writing these songs that we tiktoking to

0:49:00.480 --> 0:49:03.600
<v Speaker 2>because they're the people who are hitting me. We have

0:49:03.640 --> 0:49:07.400
<v Speaker 2>a grant that's about to open in October. It is

0:49:07.400 --> 0:49:10.960
<v Speaker 2>called the Songwriter Stimulus Grant, and my goal is to

0:49:10.960 --> 0:49:13.240
<v Speaker 2>give out one hundred thousand dollars. The grants are twenty

0:49:13.239 --> 0:49:18.040
<v Speaker 2>five hundred dollars a piece. Songwriters only you have to

0:49:18.040 --> 0:49:21.320
<v Speaker 2>make under one hundred thousand dollars a year. Yeah, sorry,

0:49:22.960 --> 0:49:27.840
<v Speaker 2>army money.

0:49:28.040 --> 0:49:28.400
<v Speaker 3>You got to.

0:49:28.400 --> 0:49:29.120
<v Speaker 1>Donate to the river.

0:49:31.400 --> 0:49:33.680
<v Speaker 2>And but like, the people that are hitting me are

0:49:33.920 --> 0:49:38.760
<v Speaker 2>working songwriters. It's not these up and it's not them,

0:49:39.000 --> 0:49:43.960
<v Speaker 2>it's us. It's our folks that should not be struggling

0:49:44.080 --> 0:49:44.800
<v Speaker 2>people who.

0:49:44.640 --> 0:49:46.919
<v Speaker 1>Got records credit.

0:49:47.160 --> 0:49:49.840
<v Speaker 2>Yes, you know, and and I feel like that's the

0:49:49.880 --> 0:49:54.719
<v Speaker 2>part for me where it's like creating music is so amazing, right,

0:49:54.840 --> 0:49:58.960
<v Speaker 2>but like the business does such an incredible job at

0:49:59.080 --> 0:50:01.360
<v Speaker 2>exploiting piece Well, was ignorance.

0:50:10.000 --> 0:50:15.800
<v Speaker 1>Top five R and B artists? Man male or female group?

0:50:16.360 --> 0:50:17.080
<v Speaker 2>Oh man?

0:50:18.480 --> 0:50:21.160
<v Speaker 3>Like only you don't say, might not vote with you?

0:50:21.760 --> 0:50:25.040
<v Speaker 2>This is like they can only like yeah, but like

0:50:25.239 --> 0:50:27.120
<v Speaker 2>can they do other genres or is it.

0:50:27.520 --> 0:50:30.480
<v Speaker 3>Also do this point comes from the arn.

0:50:32.160 --> 0:50:34.239
<v Speaker 2>Well, I'm just gonna say my favorite artist of all

0:50:34.280 --> 0:50:36.480
<v Speaker 2>time because so my favorite artist of all time is

0:50:36.520 --> 0:50:39.600
<v Speaker 2>Janet Jackson. My favorite so my favorite song of all

0:50:39.640 --> 0:50:44.440
<v Speaker 2>time is that's the way? Sorry? Okay, five one, okay,

0:50:44.840 --> 0:50:46.680
<v Speaker 2>Janet Brandy.

0:50:47.000 --> 0:50:51.320
<v Speaker 3>Janet Brandy, amazing, amazing Stevie wonder.

0:50:52.600 --> 0:50:53.320
<v Speaker 1>That's great.

0:50:54.040 --> 0:50:58.280
<v Speaker 2>Another of my favorites is Usher Love Usher like somebody

0:50:58.320 --> 0:51:00.520
<v Speaker 2>that I'm really enjoying. Who's music I'm doing right now

0:51:00.680 --> 0:51:04.960
<v Speaker 2>is Lucky Day. I'm really enjoying his incredible artist. That's fine, right,

0:51:06.040 --> 0:51:06.759
<v Speaker 2>I'm really enjoying it.

0:51:06.960 --> 0:51:09.359
<v Speaker 1>I like that. Okay, Okay, I like that. Top five

0:51:09.480 --> 0:51:10.200
<v Speaker 1>R and B songs.

0:51:10.440 --> 0:51:13.120
<v Speaker 2>Okay, that's the way I love goes. It's my favorite

0:51:13.120 --> 0:51:20.959
<v Speaker 2>song ever. Top five arm B songs, my top five.

0:51:21.400 --> 0:51:25.359
<v Speaker 2>One of my favorite Brandy songs is Acapella. Okay, shout

0:51:25.400 --> 0:51:29.719
<v Speaker 2>out TC not gonna amazing. Oh my god, just the

0:51:29.800 --> 0:51:34.040
<v Speaker 2>vocal arrangement of that song is fucking crazy. That album damn,

0:51:34.080 --> 0:51:37.919
<v Speaker 2>I should have named O Wait, but I said Brandy full.

0:51:40.200 --> 0:51:42.120
<v Speaker 2>I mean the song that got my whole ship started

0:51:42.200 --> 0:51:52.640
<v Speaker 2>was Midnight by Omari made so Midnight. You know what

0:51:52.800 --> 0:51:55.920
<v Speaker 2>records I used to like. I used to like Maya

0:51:56.000 --> 0:51:59.239
<v Speaker 2>a lot back in the day. Maya Yo, Like I

0:51:59.280 --> 0:52:01.239
<v Speaker 2>was thinking about that song she had Fallen or like.

0:52:01.680 --> 0:52:03.520
<v Speaker 2>I mean, there's a whole bunch of Maya songs I like.

0:52:03.760 --> 0:52:06.960
<v Speaker 2>But I don't know a Maya record. Do I have

0:52:06.960 --> 0:52:09.120
<v Speaker 2>to pick it?

0:52:09.239 --> 0:52:11.240
<v Speaker 3>Because it's discovery, it's about discovering.

0:52:11.239 --> 0:52:13.919
<v Speaker 2>Okay, so I'm gonna say falling. I love Falling by Maya.

0:52:14.280 --> 0:52:16.040
<v Speaker 2>How many was that? Damn?

0:52:16.320 --> 0:52:16.640
<v Speaker 3>Okay?

0:52:17.160 --> 0:52:17.839
<v Speaker 2>Do I have the name?

0:52:17.880 --> 0:52:18.080
<v Speaker 3>Five?

0:52:18.280 --> 0:52:23.640
<v Speaker 1>Yeah? I can't get Okay.

0:52:23.880 --> 0:52:27.360
<v Speaker 3>Lock the doors yeah, okay, and make you sign this contract.

0:52:28.680 --> 0:52:32.279
<v Speaker 2>Talk about there wasn't no gun to your head because like,

0:52:32.280 --> 0:52:33.640
<v Speaker 2>but the doors was locked.

0:52:35.320 --> 0:52:35.920
<v Speaker 3>As lights.

0:52:36.280 --> 0:52:37.360
<v Speaker 1>I was the only girl.

0:52:40.680 --> 0:52:44.520
<v Speaker 2>Okay, don't always even go.

0:52:44.880 --> 0:52:46.680
<v Speaker 3>You don't know what it's going.

0:52:46.920 --> 0:52:47.600
<v Speaker 2>I love the record.

0:52:47.920 --> 0:52:48.560
<v Speaker 1>I love the record.

0:52:48.880 --> 0:52:53.319
<v Speaker 2>Okay, all stressful, God, like you don't know?

0:52:54.000 --> 0:53:03.640
<v Speaker 1>This is crazy? There we go. This is the activist

0:53:03.719 --> 0:53:06.719
<v Speaker 1>for R and B. Not just RB, no, just writer

0:53:06.800 --> 0:53:11.440
<v Speaker 1>spirit writers. I mean, but you know we mostly reside.

0:53:11.960 --> 0:53:13.400
<v Speaker 2>The same ship over and over again.

0:53:13.480 --> 0:53:16.680
<v Speaker 1>All right, Okay, here we go. We're building an R

0:53:16.719 --> 0:53:21.480
<v Speaker 1>and B vul trond, We're building an artist. Where do

0:53:21.520 --> 0:53:23.279
<v Speaker 1>you get the vocals from? Where do you get the

0:53:23.320 --> 0:53:28.759
<v Speaker 1>styling from? Where do you get and where do you

0:53:28.880 --> 0:53:32.560
<v Speaker 1>get the passion? The emotions start with the vocals.

0:53:32.600 --> 0:53:34.440
<v Speaker 3>Where do you get the vocals from Brandy?

0:53:35.120 --> 0:53:38.000
<v Speaker 1>I love it? Where do you get the styling from Rihanna?

0:53:38.800 --> 0:53:47.280
<v Speaker 1>You're going where you get the performance from? You're obviously

0:53:47.360 --> 0:53:51.800
<v Speaker 1>building artist, building a woman. If God was a woman.

0:53:51.880 --> 0:53:52.800
<v Speaker 1>That's what you're building.

0:53:54.920 --> 0:53:56.479
<v Speaker 3>And this is an amazing artist.

0:53:56.480 --> 0:53:59.880
<v Speaker 1>And if you are the emotion, the passion, who are

0:53:59.880 --> 0:54:00.560
<v Speaker 1>you getting that.

0:54:00.719 --> 0:54:02.560
<v Speaker 3>From your soul?

0:54:08.840 --> 0:54:13.520
<v Speaker 1>You might have built the best artists. Yeah in R

0:54:13.560 --> 0:54:14.640
<v Speaker 1>and B money.

0:54:14.360 --> 0:54:19.720
<v Speaker 3>History really Oh yeah, that artist is incredible. My god,

0:54:19.920 --> 0:54:25.040
<v Speaker 3>the voice of b, the style of Ree, the.

0:54:24.719 --> 0:54:29.640
<v Speaker 2>Performance in the passion of Mary.

0:54:29.840 --> 0:54:32.400
<v Speaker 1>Hy my god.

0:54:33.160 --> 0:54:35.920
<v Speaker 3>Yeah, it's out here, out here. If you're out there,

0:54:35.920 --> 0:54:36.319
<v Speaker 3>I want to.

0:54:36.239 --> 0:54:39.160
<v Speaker 2>Sign man, what and I'll come. I'll write a song

0:54:39.160 --> 0:54:39.440
<v Speaker 2>for free.

0:54:39.920 --> 0:54:43.520
<v Speaker 1>What's gonna show up that man?

0:54:44.640 --> 0:54:47.200
<v Speaker 3>Goden, good job.

0:54:47.120 --> 0:54:49.640
<v Speaker 1>You with that. She's back.

0:54:50.880 --> 0:54:52.360
<v Speaker 3>Recover ladies and gentleman.

0:54:52.800 --> 0:54:54.040
<v Speaker 1>Recover ladies and gentleman.

0:54:54.120 --> 0:54:56.960
<v Speaker 3>I have tank no no, no, oh.

0:54:57.800 --> 0:55:00.120
<v Speaker 1>I'm tanking and I want to tell you about.

0:54:59.800 --> 0:55:01.760
<v Speaker 3>So that has Yeah.

0:55:02.280 --> 0:55:03.440
<v Speaker 1>Yeah, oh.

0:55:05.800 --> 0:55:11.359
<v Speaker 3>You're going to be amazing at this game. Boy, it's card.

0:55:11.400 --> 0:55:14.839
<v Speaker 3>I ain't saying no names because I know you got

0:55:14.880 --> 0:55:21.600
<v Speaker 3>stories lord, amongst your travels. The only rules are you

0:55:21.640 --> 0:55:24.120
<v Speaker 3>can't say no names. The story can be funny or

0:55:24.120 --> 0:55:27.800
<v Speaker 3>fucked up or both. Just don't say their names. It

0:55:27.920 --> 0:55:29.840
<v Speaker 3>can't be me and such and such was that the

0:55:31.760 --> 0:55:34.719
<v Speaker 3>you can give all? Yeah, it was the this female

0:55:34.760 --> 0:55:38.920
<v Speaker 3>black artist or this male this basketball player that wanted

0:55:38.920 --> 0:55:43.120
<v Speaker 3>to be in the music business. But whatever, she can't

0:55:43.160 --> 0:55:43.960
<v Speaker 3>say their names.

0:55:45.080 --> 0:55:46.360
<v Speaker 2>Man, I have a lot of stories.

0:55:46.400 --> 0:55:47.040
<v Speaker 1>I know you do.

0:55:48.120 --> 0:55:52.520
<v Speaker 3>I know you do. Give us a good one without

0:55:52.520 --> 0:55:53.000
<v Speaker 3>saying that.

0:55:54.880 --> 0:55:57.200
<v Speaker 2>A funny, a fucked up one or and this is

0:55:57.239 --> 0:55:59.240
<v Speaker 2>just like a like a music business story.

0:55:59.440 --> 0:56:01.719
<v Speaker 1>No no, no, your journey amongst.

0:56:01.400 --> 0:56:03.400
<v Speaker 2>Your travels, amongst my travel.

0:56:03.600 --> 0:56:04.560
<v Speaker 3>Yeah. Yeah.

0:56:05.120 --> 0:56:10.400
<v Speaker 2>There was this one time that I went to the

0:56:10.480 --> 0:56:15.799
<v Speaker 2>studio and I was not working. I just like on

0:56:15.840 --> 0:56:18.200
<v Speaker 2>some like YO pull up type shit. So I'm like,

0:56:18.239 --> 0:56:24.440
<v Speaker 2>all right, cool. There was this artist there and the

0:56:24.560 --> 0:56:31.400
<v Speaker 2>artist had friends there and it was late. Shit was

0:56:31.480 --> 0:56:34.080
<v Speaker 2>like starting to feel weird. They was talking about weird

0:56:34.160 --> 0:56:38.040
<v Speaker 2>shit and I don't okay, so I don't do drugs.

0:56:38.080 --> 0:56:41.560
<v Speaker 2>I smoke hellowe, but I don't do like drugs. So

0:56:41.760 --> 0:56:44.799
<v Speaker 2>they had like I noticed that, like the girls were

0:56:44.800 --> 0:56:47.120
<v Speaker 2>like going to the bathroom a lot. I was like,

0:56:47.160 --> 0:56:50.640
<v Speaker 2>what are they doing, like you know, and the person

0:56:50.680 --> 0:56:52.800
<v Speaker 2>I was in studio was like, oh, they probably whatever.

0:56:53.280 --> 0:56:56.200
<v Speaker 2>And then there was like this really weird interaction with

0:56:56.320 --> 0:56:58.440
<v Speaker 2>the artist and like one of the girls that she

0:56:58.800 --> 0:57:01.440
<v Speaker 2>had with her seen before because she was a stripper.

0:57:01.480 --> 0:57:04.360
<v Speaker 2>I seen her. I was with my homegirl at the

0:57:04.360 --> 0:57:10.279
<v Speaker 2>strip clubs. Yeah, yeahs yeah, I was a girl at

0:57:10.280 --> 0:57:12.080
<v Speaker 2>the strip club. She want to go pick up somebody

0:57:12.080 --> 0:57:14.799
<v Speaker 2>and ship. She was like doing like a like a

0:57:14.840 --> 0:57:17.800
<v Speaker 2>walk through whatever. Yeah, so she wanted to go get

0:57:17.800 --> 0:57:19.720
<v Speaker 2>her money. She had like a birthday party or some ship.

0:57:19.720 --> 0:57:22.400
<v Speaker 2>She got some money and so but I saw that,

0:57:22.680 --> 0:57:24.480
<v Speaker 2>I was like, yo, I feel like I know this

0:57:24.640 --> 0:57:28.720
<v Speaker 2>girl that was in the studio. The stripper girl and

0:57:28.760 --> 0:57:32.200
<v Speaker 2>the artists were having like this weird ass argument and

0:57:32.240 --> 0:57:33.680
<v Speaker 2>it was just like really uncomfortable. I was like, I

0:57:33.720 --> 0:57:35.959
<v Speaker 2>think I'm about to leave, and the stripper was like.

0:57:38.040 --> 0:57:41.560
<v Speaker 5>Please, like please, don't do this to be please, And

0:57:41.640 --> 0:57:44.800
<v Speaker 5>the artist was like get out, and I was like,

0:57:44.880 --> 0:57:47.440
<v Speaker 5>what the fuck is She just was like and she

0:57:47.520 --> 0:57:50.120
<v Speaker 5>walked out, and I just was like, what the fuck?

0:57:50.200 --> 0:57:55.960
<v Speaker 2>Kind of weird ship and I left. That's my weird story, okay.

0:57:56.000 --> 0:57:57.080
<v Speaker 3>And they had a cocaine fight.

0:57:57.600 --> 0:57:59.840
<v Speaker 2>They had like a weird ass they had. They had

0:58:00.120 --> 0:58:03.120
<v Speaker 2>a weird like so the artist so the artist was like,

0:58:04.240 --> 0:58:06.040
<v Speaker 2>I'm trying to figure how to tell her without saying that.

0:58:06.120 --> 0:58:08.920
<v Speaker 2>So the artist isn't necessarily just the artist. The artist

0:58:08.960 --> 0:58:12.600
<v Speaker 2>was also like one of those people that you see

0:58:12.600 --> 0:58:16.960
<v Speaker 2>on like instad that, like how do I say? How

0:58:16.960 --> 0:58:21.160
<v Speaker 2>do I say this? Like the person's an influencer, very

0:58:21.240 --> 0:58:25.800
<v Speaker 2>like sexual and so like this person was like giving

0:58:25.840 --> 0:58:28.760
<v Speaker 2>everybody like lap dance is in the studio and like

0:58:28.920 --> 0:58:31.320
<v Speaker 2>just it just I just was sitting there really like

0:58:32.000 --> 0:58:35.280
<v Speaker 2>you know, I'm like, yeah, like I'm here to work,

0:58:35.320 --> 0:58:38.200
<v Speaker 2>like I don't know what's going on, and she's looking

0:58:38.200 --> 0:58:41.120
<v Speaker 2>at your neck like I don't know what they're doing

0:58:41.200 --> 0:58:43.600
<v Speaker 2>coke in the bathroom. She just cuss the stripper out.

0:58:43.840 --> 0:58:48.720
<v Speaker 2>I'm going home. I'm going home. That's my weird story,

0:58:50.400 --> 0:58:51.000
<v Speaker 2>just getting weird.

0:58:51.440 --> 0:58:52.800
<v Speaker 1>But your vultraun was amazing.

0:58:52.920 --> 0:58:56.120
<v Speaker 2>Thank you, You're like that was awful.

0:58:56.480 --> 0:59:02.000
<v Speaker 4>Sorry, so don't that in there.

0:59:03.320 --> 0:59:06.480
<v Speaker 2>That's I was just sitting here thinking about all That.

0:59:09.560 --> 0:59:11.360
<v Speaker 3>Is what it is.

0:59:17.160 --> 0:59:20.240
<v Speaker 1>And this is the R and B Money podcast. The

0:59:20.320 --> 0:59:23.520
<v Speaker 1>authority on all things R and B Tiffany Fred Will

0:59:23.720 --> 0:59:30.720
<v Speaker 1>value you. That you are doing is absolutely amazing. Keep pushing.

0:59:32.720 --> 0:59:36.960
<v Speaker 1>There has to be changed, There has to be and

0:59:37.080 --> 0:59:40.720
<v Speaker 1>there have to be people fighting for it, and those

0:59:40.720 --> 0:59:43.600
<v Speaker 1>people have to be supported. You have a supported on

0:59:43.760 --> 0:59:51.040
<v Speaker 1>her money.

0:59:51.320 --> 0:59:53.120
<v Speaker 3>R and B Money is a production of the Black

0:59:53.120 --> 0:59:57.760
<v Speaker 3>Effect Podcast Network. For more podcasts, from iHeart Radio, visit

0:59:57.840 --> 1:00:01.560
<v Speaker 3>the iHeartRadio app, Apple pod cast, or wherever you listen

1:00:01.600 --> 1:00:04.880
<v Speaker 3>to your favorite shows. Don't forget to subscribe to and

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<v Speaker 3>rate our show, and you can connect with us on

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<v Speaker 3>social media at Jay Valentine and at the Real Tank.

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<v Speaker 3>For the extended episode, subscribe to YouTube dot com or

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<v Speaker 3>slash r and b Money