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Speaker 1: What's way up with Angela Yee and long time? Look

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Speaker 1: at Fiasco is here with me. Congrats.

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Speaker 2: It's been a long time since I've seen you.

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Speaker 3: I feel like it's been a while.

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Speaker 1: You know what I was when they first said you

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Speaker 1: were coming up here. I was thinking about when you

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Speaker 1: had did that protest outside of Atlantic Records.

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Speaker 3: I didn't do that. Can we go? It started attaching

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Speaker 3: ornaments to me like Christmas Street. My fans okay did that?

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Speaker 3: They were like, yo, we want the album. I think

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Speaker 3: it was Lasers. So that was two thousand and eleven.

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Speaker 2: You were there, though you had to show up.

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Speaker 3: It was like, what do I do? Do I not

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Speaker 3: show up? So I showed up to see it was

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Speaker 3: a vibe. Police won't let me in the building. It

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Speaker 3: was crazy.

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Speaker 1: It was an amazing time because I've never seen something

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Speaker 1: like that happen before, where your fans actually start this

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Speaker 1: whole protest.

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Speaker 2: Some of the employees were outside too, I feel like, and.

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Speaker 3: It was a legit protest. They like went to the

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Speaker 3: City of New York, got a permit, police had to

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Speaker 3: come down. It was the whole thing. Yeah, some folks

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Speaker 3: who came out, I think Leo came out somebody else

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Speaker 3: came to appease the masses, right. I just went there

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Speaker 3: to say what's up, to show my support, and then

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Speaker 3: I left. The police made me leave.

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Speaker 1: Actually, at that point in time, what was your relationship

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Speaker 1: like with this You already know what that is.

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Speaker 3: It was bad, it was becoming bad. It was it

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Speaker 3: was like, uh, and it's just kind of culminated in

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Speaker 3: that because it was looking like, yo, they're gonna push

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Speaker 3: the album back. Fans like, nah, we need that the shot.

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Speaker 1: But that was the fans, right, That was the fans, okay,

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Speaker 1: because you know what you being there it looked like.

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Speaker 3: It wasn't me. The gun's not mine, no fingerprints, that's

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Speaker 3: not mine. But no, I had I mean I had

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Speaker 3: to show up for the I had to show up

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Speaker 3: for them, you know. I felt like it was important, Like, Okay,

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Speaker 3: what you're gonna choose? You know, the label gonna be

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Speaker 3: here even if you did your whole contract another sick

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Speaker 3: three albums, you know, ten years or something like that.

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Speaker 3: But these fans, like these people that be with you

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Speaker 3: for to the end of your career, you know, so

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Speaker 3: you pick you know, I felt I chose wisely.

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Speaker 1: Yeah, you had to show up. It would have been crazy.

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Speaker 1: It was nice that you were able to be there

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Speaker 1: with them. Let's go back before that, though, because that

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Speaker 1: wasn't your first deal, was it?

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Speaker 3: No?

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Speaker 2: No, it wasn't right. Yeah, this music business has been

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Speaker 2: a crazy one.

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Speaker 3: I've been in a music business for like twenty five years.

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Speaker 3: I've been a music business. My first deal, while I

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Speaker 3: was not gonna do some stupid math. I'm forty two.

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Speaker 3: I got my first record deal when I was eighteen. Okay,

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Speaker 3: so that's twenty what twenty years.

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Speaker 2: Twenty four yeah, twenty four years, twenty four years. So

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Speaker 2: where was your first deal?

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Speaker 3: I was on Sony, I was on Epic.

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Speaker 2: Records, Okay, And what happened there?

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Speaker 3: It was a group called the Pack.

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Speaker 2: Oh that's right.

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Speaker 3: We had a song called Armpits and then I think

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Speaker 3: it was fired. Oh for the time, you know Armpits.

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Speaker 3: That was my first deal.

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Speaker 2: With label issues. Is that why you guys broke up?

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Speaker 2: Or was it issues with each other?

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Speaker 3: It was like it was a put together. It was

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Speaker 3: like one of those. It was a time where it

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Speaker 3: was like, yo, he can rap, he can rap, he

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Speaker 3: can rap. Y'all just made each other tonight, Okay, cool, perfect,

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Speaker 3: y'all a group. Now right, we're gonna take this group,

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Speaker 3: packaged it up with some other joints, and then now

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Speaker 3: we're gonna get y'all a deal you know, at Epic Records.

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Speaker 3: That's kind of how it was. It was a deal

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Speaker 3: with a label called Raw Dope in Chicago, which which

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Speaker 3: had Crucial Conflict and some other acts, and so we

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Speaker 3: were kind of like the last of that era, and it.

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Speaker 2: Was it was.

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Speaker 3: It was a strange deal, super strange. You're going, you're

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Speaker 3: doing like a we're supposed to be like a showcase

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Speaker 3: freestyle battle thing, and then like, oh yo, he nicey, nicey,

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Speaker 3: nicey nice y'all all in the group, and oh it

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Speaker 3: was another dude who wasn't even there. Now we put

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Speaker 3: him in the group where y'all went to the cribs.

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Speaker 3: So now it's for y'all. And this is another thing.

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Speaker 3: But shout out to Dlo Butcher blast my man not V.

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Speaker 3: I mean, from time to time, my man one of

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Speaker 3: the dudes na V. He's a he does a lot

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Speaker 3: of like stunt man stuff, stuntman stuff, so he's on

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Speaker 3: like some TV shows and acting and stuff like that.

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Speaker 3: But yeah, he was like the jah rule. D M

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Speaker 3: X of the group. Uh, the other dude DLO. He

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Speaker 3: was like the the smooth what was he like like

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Speaker 3: m C eight kind of like kind of a guy.

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Speaker 3: And then Butcher was like the I can't even define Butcher,

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Speaker 3: and I guess I was like the nerdy rapper backpack.

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Speaker 2: All right. And so then after that solo, after that.

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Speaker 3: Solo that me and my man Chill. That's why I

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Speaker 3: met my man Chill. He was one of the managers

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Speaker 3: of the group, and we started a company and then

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Speaker 3: it was a solo thing and it was supposed to

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Speaker 3: be Rockefeller Records.

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Speaker 2: We was up there hanging out with Jay and I

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Speaker 2: saw you knocked on the door at the Peninsula.

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Speaker 3: J opened the door and I was like, Yo, what up?

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Speaker 3: What up? Rap? Yo, You're nice? And I was like, oh,

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Speaker 3: Jay Z think I'm nice.

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Speaker 2: So that that was the thing, and then offered you

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Speaker 2: a deal. Yeah yeah, okay did he said you're not

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Speaker 2: leaving this room.

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Speaker 3: No, I ain't doing nothing like that. We had we

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Speaker 3: had a different relationship, but how was it. It was

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Speaker 3: like old Rockefeller could potentially be a thing, and then

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Speaker 3: it was like, Yo, let's just start our own company.

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Speaker 3: So me and my man Chill started first and fifteenth.

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Speaker 1: So you met Chill through the group, yeah, the pack, yeah, okay,

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Speaker 1: and then y'all just really connected as far as management

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Speaker 1: and Okay.

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Speaker 3: Chill was in the music business in different capacities before that,

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Speaker 3: so he was with Rodeol Records, he did some stuff

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Speaker 3: with Dre. There's a bunch of just different little connects

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Speaker 3: and pieces and stuff here. And then he had a

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Speaker 3: management company called On the Rocks, So we were managed

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Speaker 3: by On the Rocks. Part of half of the group

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Speaker 3: was managed by On the Rocks and which included me.

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Speaker 3: So we dissolved On the Rocks. We started first and fifteenth,

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Speaker 3: and then we got a deal at Arista. Okay, so

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Speaker 3: my first like solo look as Young Fiasco Lupe Fiasco

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Speaker 3: was Arista Records.

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Speaker 2: And then what happened at Arista?

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Speaker 3: Uh so the aristas where I really learned how to

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Speaker 3: become an artist. Right, It was a lot of like

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Speaker 3: you know, real proper an r N. Right, who was there?

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Speaker 3: It was a bunch of people. I feel like like

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Speaker 3: Q Tip was there, It's Camala Abstract who else that

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Speaker 3: I remember? I feel like the Vine Mill so like

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Speaker 3: KG like his whole piece was there. There's a ton

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Speaker 3: of people that bad Boy was in there, who else

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Speaker 3: was slowing around? Because this is the la read years

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Speaker 3: aristaf from like two thousand and one up until like

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Speaker 3: two thousand and four, and what.

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Speaker 1: Type of deal was this? Was this a good deal

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Speaker 1: that you signed financially? Like did you get a nice

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Speaker 1: bonus or I mean assigning?

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Speaker 2: Did you get all the things?

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Speaker 3: We worked a little differently because we already had money

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Speaker 3: coming in, and then it was like this ain't money,

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Speaker 3: like this is just loans. So we always kept like

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Speaker 3: a production deal, label deal type arrangement. Whenever we did deals,

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Speaker 3: even with Atlantic, it was a label deal.

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Speaker 1: So you had vers in fifteen thirteen established. Okay, I'm

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Speaker 1: just trying to under see the whole too.

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Speaker 3: Yeah, it's far now, it's some, it's some. It's some

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Speaker 3: sneaky layers and things that are in there like most business,

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Speaker 3: but just straight up and down. It's like, we had

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Speaker 3: a production deal, so first and fifteen was doing all

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Speaker 3: the beats, responsible, putting album together, creative control, all that stuff.

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Speaker 3: But at the same time too, you know, we're on

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Speaker 3: a major label, you know, taking advantage of all the

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Speaker 3: things that major labels have to offer, and that's why

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Speaker 3: I said, like that part was really like the artist

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Speaker 3: development stage for me. Learn how to make records, learn

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Speaker 3: how to make pop records, learn how to make club records,

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Speaker 3: learning how to make because I'm going from being the

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Speaker 3: backpack rap dude in this random, put together group to

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Speaker 3: being like, now it's on you to kind of be

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Speaker 3: a solo artist and you need to be able to

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Speaker 3: make songs for this, make songs for that, make songs

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Speaker 3: for this.

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Speaker 1: That's so interesting you say that, because back then people

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Speaker 1: really did feel like if you could battle rap, or

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Speaker 1: if you were a backpack rapper, you wouldn't be able

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Speaker 1: to make those type of songs that could be on

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Speaker 1: the radio.

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Speaker 2: It was kind of like remember when they.

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Speaker 1: Used to do freestyle Fridays. Yeah, I one O six

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Speaker 1: and Park and all those battle rappers would never make

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Speaker 1: it to.

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Speaker 3: Like because it's it's a it's a it's an art

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Speaker 3: form in itself. It's not just something that you just

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Speaker 3: pick up because you know how to rap, like just

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Speaker 3: because you know how to rap on me and how

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Speaker 3: to make songs and a thing with me. I knew

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Speaker 3: how to rap and make songs. I didn't know how

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Speaker 3: to perform, So my performance was a trash, like real bad,

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Speaker 3: and I had to kind of learn that. I kind

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Speaker 3: of learned how to perform when I was at Atlantic.

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Speaker 2: That's good.

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Speaker 1: I'm glad you did you say that, because I do

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Speaker 1: feel like sometimes I get let down when I go

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Speaker 1: to see artists perform. And I could love the album

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Speaker 1: and listen to it, but then I go see the

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Speaker 1: show and I'm like, this is so boring.

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Speaker 3: There's a lot of and you know, I'm not naming

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Speaker 3: any names because they know, you know how in but

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Speaker 3: are as artists who know I'm talking about like established

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Speaker 3: artists who know like, oh, I probably will tell you like, yo,

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Speaker 3: I didn't know how to perform until this album, right right,

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Speaker 3: You're like, what, like, but your classic is this and

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Speaker 3: you did that and you did That's like yeah, but

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Speaker 3: I didn't really get my chops. And it really depends

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Speaker 3: on how exposed you are. I learned how to perform

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Speaker 3: because I was doing festivals and tours with like rock bands,

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Speaker 3: you know, and like different genres and different people. And

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Speaker 3: maybe that's because a kick push and the music I

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Speaker 3: was making it. I wasn't doing rec I wasn't doing

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Speaker 3: like like hip hop shows, right, you know, I was

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Speaker 3: doing like this random college show with this pop band

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Speaker 3: with such and such, because that's the lane and that's

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Speaker 3: where Atlantic kind of had us, and so I learned

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Speaker 3: how to entertain.

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Speaker 1: Even when Kick Push came out, that was something different

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Speaker 1: because prior to that, I can't think of too many skateboarding,

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Speaker 1: you know, hip hop.

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Speaker 3: There were some people deal Fun, Homo Sap, and there

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Speaker 3: was some folks who was like part of skate culture,

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Speaker 3: but not like no his this skateboard.

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Speaker 1: Song right exactly, because it wasn't that. You know, now

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Speaker 1: we see like Lil Wayne has skate parks and doing

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Speaker 1: things like that. But Kick Push it was early on.

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Speaker 3: I would say with that, Yeah, it was it's like

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Speaker 3: you made a decision and it's really really real. It

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Speaker 3: was like my man Chill had caught a case we

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Speaker 3: called a case in O three, and so from O

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Speaker 3: three into like O four he was locked up, so

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Speaker 3: he got on it. Oh four, we lost our deal

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Speaker 3: or what happened at Ariston La Reed got fired and

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Speaker 3: so all of those acts had to go to JIB

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Speaker 3: or go to get distributed out. We wanted to get

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Speaker 3: dropped so we could go to Atlantic because jay Z

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Speaker 3: was supposed to be going to Atlantic. Mark Pitts was

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Speaker 3: supposed to be going to Atlantic, so we looked at

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Speaker 3: it like, oh, all our homies, we're just gonna go

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Speaker 3: over to Atlantic and be over there. And so when

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Speaker 3: we got to Chill, when Chill came home to fight

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Speaker 3: the case, it was like a decision. It was like, hey,

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Speaker 3: do we stick because my old records was all like

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Speaker 3: Hood street shit, little blends of this that, and the

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Speaker 3: third it wasn't It definitely wasn't like kick push nerdy backpacks.

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Speaker 3: I have records with like three six months of y'all

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Speaker 3: type of crazy stuff. And it was a decision of like, Yo,

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Speaker 3: what do we want to be Because now this album's

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Speaker 3: coming out, you're gonna be you know, there's no more

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Speaker 3: artist development. You know this is going to come out.

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Speaker 3: What's the first thing you want the world to know

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Speaker 3: outside of your mixtapes all these other things? People know

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Speaker 3: you can app you know you got a little buzz

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Speaker 3: hear that. And it was like a choice do you

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Speaker 3: make this like hood street music to entertain the hood

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Speaker 3: or do you just do something that's just completely out

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Speaker 3: the box. And we had kick Push versus this other record.

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Speaker 3: I was like, let's kick What was the other record

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Speaker 3: I can't remember. Some hustlers something hustlers with a Z.

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Speaker 1: You just have a difficult time with those decisions because

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Speaker 1: they feel like once you go from that, from doing

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Speaker 1: like the Street records to doing something that's more pop

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Speaker 1: music or mainstream, it's hard to go back.

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Speaker 3: You can't go back, right, That's true. That's facts. Once

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Speaker 3: you put that into the DNA, it's locked and you

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Speaker 3: you there. You can touch it, you can like you know,

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Speaker 3: reference it. But nah, you will always be known as this.

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Speaker 3: I'm always be known as a skateboard dude. I'm not

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Speaker 3: even known as like the lyrical dude.

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Speaker 1: I think people know that skateboard people look at you

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Speaker 1: as the lyrical I'm.

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Speaker 3: Take everybody, like outside of hip hop, outside or whatever,

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Speaker 3: just the like random person on the street, Oh that's

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Speaker 3: loop A, that's the skateboard dude.

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Speaker 2: Did that bother you or you were okay safe.

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Speaker 1: I think some artists hate the fact that they made

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Speaker 1: that choice and now they're over here and now it's

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Speaker 1: like a it's a different genre, and sometimes it's not

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Speaker 1: maybe who you feel like you are.

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Speaker 3: No, I mean, it's better than being a shot at dude, Like,

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Speaker 3: oh that's a shot at dude like he always getting

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Speaker 3: shot at, Like nah, but it's a beautiful I skateboarder,

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Speaker 3: I was a little kid. Everybody had a little interaction

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Speaker 3: with it. I'm not no pro skater. I never was

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Speaker 3: trying to do freestyle tricks or anything like that. But

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Speaker 3: it's a part of my kind of DNA and the

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Speaker 3: story itself about that reckon we can move on. But

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Speaker 3: whatever the story about that is. The song's not about skateboarding, right,

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Speaker 3: it's about somebody who grew up and happened to skateboard

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Speaker 3: and skateboarding, which they're kind of like way out or

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Speaker 3: their pathway, the thing that brought them a certain level

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Speaker 3: of joy. So it's still like a story. It just

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Speaker 3: happens to be about somebody who you know, loves skating

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Speaker 3: and things like that. But it could have been just

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Speaker 3: as easy about somebody who loves the streets, or somebody

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Speaker 3: who loves a woman, or somebody who loves you know,

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Speaker 3: what have you. But yeah, it does put you in

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Speaker 3: different spaces, in different places.

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Speaker 1: Okay, all right, then Atlantic, things at first they seem cool, right,

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Speaker 1: like you felt like Atlantic was going to be behind you.

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Speaker 2: They really wanted you to come there.

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Speaker 3: Yeah, yeah, first, maybe there was like a there's always

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Speaker 3: the honeymoon period, right, there's always the honey Yeah, let's

300
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Speaker 3: have the meetings to do what. We just gave you

301
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Speaker 3: a check. But even stills weird because we didn't accept

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Speaker 3: a lot of money. So our deals were always like

303
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Speaker 3: we just need enough money to we honestly to not

304
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Speaker 3: even finish the record, Like were just taking this money

305
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Speaker 3: because it's like there. But like my first budget was

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Speaker 3: like a hundred thousand.

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Speaker 1: You know that's crazy because people will have always said

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Speaker 1: to me, get as much money as you can upfront

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Speaker 1: because you don't know what's gonna end up happening. Right,

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Speaker 1: So sometimes artists, you know, you do get dropped and

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Speaker 1: then I don't know what happens if you still owe money,

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Speaker 1: you do, so it's.

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Speaker 3: Like you get dropped, you're still old in that money.

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Speaker 3: So it's like that's to me, that's not money. Like

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Speaker 3: I would never take a loan deal, like never, like

316
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Speaker 3: we're good like any type of recoup never again. But

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Speaker 3: we never really did, so the relationship was kind of weird. Actually,

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Speaker 3: the money that we got, I'll just give you numbers.

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Speaker 3: The money that we got was like three hundred grand

320
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Speaker 3: and then a hundred for the record, the three hundred

321
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Speaker 3: advance was to bail Chill out of jail. So we

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Speaker 3: bailed Chill out of jail with the Atlantic.

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Speaker 4: Advances for real, that went straight to County jail.

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Speaker 3: Right. So the relationship has always been a little like

325
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Speaker 3: we're there. But the reason, the only reason we here

326
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Speaker 3: is because jay Z was supposed to come here and

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Speaker 3: he wound up going to death jail, and then because

328
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Speaker 3: Mark was supposed to be here, but he wound up

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Speaker 3: going to.

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Speaker 2: Those decisions.

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Speaker 3: But to Craig Kalman's credit, you know, he came and

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Speaker 3: visited Chill in jail and kind of you know, people

333
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Speaker 3: won't doing that. So you got the chairman of the

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Speaker 3: board coming to visit the homie. So it's it's like, okay, cool,

335
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Speaker 3: but it's still a weird relationship. And then it blew

336
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Speaker 3: up at Kick Push and.

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Speaker 1: So at that point in time, Now I know that

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Speaker 1: story about Kick Push, and I know during that time,

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Speaker 1: that's when artists were signing three sixty deals, not your

340
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Speaker 1: sixties didn't come until till later to the cool.

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Speaker 3: So two thousand and nine, okay, we got to We

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Speaker 3: got to Atlantic at two thousand and four, two thousand

343
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Speaker 3: and five. Food and Link came out in two thousand

344
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Speaker 3: and six into two thousand and six, so you just

345
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Speaker 3: started to have the inklings of what a three to

346
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Speaker 3: sixty deal in those two thousand and six, two thousand

347
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Speaker 3: and eight, two thousand and nine, and then after like

348
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Speaker 3: twenty eleven it became like standard.

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Speaker 2: Right, And if you weren't in that, it was kind

350
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Speaker 2: of like, oh yeah.

351
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Speaker 3: Leo was like, Yo, if you don't sign this deal

352
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Speaker 3: with not promoting any records, yeah, I was like, yo, nigga,

353
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Speaker 3: I got like six more albums to do. Like what

354
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Speaker 3: are you talking about?

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Speaker 1: And I want to break that down in a second,

356
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Speaker 1: But first let's go back to this Cook Pushy suation,

357
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Speaker 1: because I saw you and Joe Butten talking about that

358
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Speaker 1: yeah live and how basically you had that song before.

359
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Speaker 1: Yeah right, So explain to me if people didn't see

360
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Speaker 1: that that was a situation where it's.

361
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Speaker 3: Small and it may seem like you know, petty and

362
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Speaker 3: I know, maybe folks and fans and you know, members

363
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Speaker 3: of the community. I used to like big stories like

364
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Speaker 3: oh and then this big shit happened and the building

365
00:16:09,160 --> 00:16:12,040
Speaker 3: did this, and then you know, the street exploded and none.

366
00:16:12,680 --> 00:16:17,440
Speaker 3: But sometimes the most like pivotal and important moments in

367
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Speaker 3: somebody's career. All these really small things, like a small

368
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Speaker 3: thing happens, and that small thing is representative of this

369
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Speaker 3: wider problem that's about to become a bane in your

370
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Speaker 3: life for the next twenty years. And I was was

371
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Speaker 3: you know, first and fifteen Productions was always independent production company.

372
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Speaker 3: We weren't necessarily a record label because we didn't distribute right,

373
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Speaker 3: but we could get songs on the radio, you know,

374
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Speaker 3: we could do little things here and we had got

375
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Speaker 3: kick push on the radio in Chicago. So this is

376
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Speaker 3: pre you know, in the midst of Atlantic kind of

377
00:16:49,080 --> 00:16:51,600
Speaker 3: putting things together, this that and the third. So we

378
00:16:52,280 --> 00:16:53,880
Speaker 3: move in and groove in, shaking the bacon, doing what

379
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Speaker 3: we do, and the head of the radio station at

380
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Speaker 3: the time, the PD calls chill because you know, first

381
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Speaker 3: name basis cell phone, call me you need something, and

382
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Speaker 3: he was like, Yo, we just got a call from

383
00:17:09,000 --> 00:17:14,040
Speaker 3: Craig Kalman himself, the chairman of Atlantic Records, telling us

384
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Speaker 3: to slow down and on playing a record, like to

385
00:17:18,680 --> 00:17:20,760
Speaker 3: slow the spins down because we spin it up. So

386
00:17:21,280 --> 00:17:23,480
Speaker 3: we get through mix show, we get into rotation. Now

387
00:17:23,520 --> 00:17:26,560
Speaker 3: we're looking at power rotation. And at that point GCI,

388
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Speaker 3: the station in Chicago, was the big stick for the region,

389
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Speaker 3: so shout out to whatever Chicago was playing, you know

390
00:17:36,520 --> 00:17:39,080
Speaker 3: the rest you know, Milwaukee would play, and then Detroit

391
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Speaker 3: would play and in that region. So to get power

392
00:17:42,040 --> 00:17:44,680
Speaker 3: rotation meant like, oh, we one step away from being

393
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Speaker 3: national with a record independently without Atlantic doing anything. So

394
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Speaker 3: it's like, hey, once y'all tune in, Shout to Cres Bowl,

395
00:17:50,560 --> 00:17:52,920
Speaker 3: Shout to all the folks, the promotional folks at Atlantic.

396
00:17:53,480 --> 00:17:55,600
Speaker 3: It's like, okay, we've already built it up like this,

397
00:17:56,000 --> 00:17:57,760
Speaker 3: y'all just come in and knock it out the box,

398
00:17:57,840 --> 00:17:59,640
Speaker 3: take away the need to go. But that didn't happen.

399
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Speaker 3: To See was telling people to stop playing a record,

400
00:18:02,760 --> 00:18:05,639
Speaker 3: so he didn't think we would know. Come we have

401
00:18:05,760 --> 00:18:09,719
Speaker 3: a meeting at the label. I wasn't there, and uh,

402
00:18:10,359 --> 00:18:14,400
Speaker 3: he's talking something, you know, because again the honeymoon's over now, right,

403
00:18:14,640 --> 00:18:16,120
Speaker 3: you got the money we built you out of jail.

404
00:18:16,200 --> 00:18:20,280
Speaker 3: What you do for us now? And I was like, okay,

405
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Speaker 3: he said something, and Chill was like, yo, why don't

406
00:18:24,680 --> 00:18:27,520
Speaker 3: you tell him how you stopped playing them? And couldn't

407
00:18:27,520 --> 00:18:30,960
Speaker 3: nobody believe it? He was like what he was like, yeah,

408
00:18:31,040 --> 00:18:34,040
Speaker 3: like your Man's and map Seltom a man gene deal

409
00:18:34,160 --> 00:18:35,560
Speaker 3: for you. Other folks they stood up, was like yo,

410
00:18:36,119 --> 00:18:37,720
Speaker 3: like why would you do that? Why would you injure

411
00:18:37,760 --> 00:18:41,639
Speaker 3: a record like that? Right? And his excuse was like, yo,

412
00:18:42,440 --> 00:18:45,000
Speaker 3: I felt we weren't ready, you know about la dah.

413
00:18:45,119 --> 00:18:47,880
Speaker 3: But then it becomes again, that's that small thing where

414
00:18:47,920 --> 00:18:50,400
Speaker 3: people like, yeah, so somebody called because they weren't ready.

415
00:18:50,440 --> 00:18:53,800
Speaker 3: We could rationalize that, but it was it was a

416
00:18:53,920 --> 00:18:56,840
Speaker 3: symptom of a wider problem that Atlantic has. That not

417
00:18:56,920 --> 00:19:00,399
Speaker 3: anymore because that whole regime is gone, But it was

418
00:19:01,960 --> 00:19:05,760
Speaker 3: we're not signing you for you. We're not signing you

419
00:19:05,880 --> 00:19:09,280
Speaker 3: for you and your records. That's just proof for us

420
00:19:09,880 --> 00:19:12,199
Speaker 3: that when we send you into the studio with our records,

421
00:19:12,520 --> 00:19:15,720
Speaker 3: you're gonna be able to perform. Right. We're not interested

422
00:19:15,760 --> 00:19:18,760
Speaker 3: in your story and your life and your creative this

423
00:19:19,000 --> 00:19:21,119
Speaker 3: and that that. Then the third were just interested in

424
00:19:21,200 --> 00:19:23,200
Speaker 3: knowing that you're able to rap and perform or sing

425
00:19:23,280 --> 00:19:26,320
Speaker 3: or do whatever. Now that just got you up to here.

426
00:19:26,920 --> 00:19:29,720
Speaker 3: Now we need these big records, right, and you think like, okay, cool,

427
00:19:29,720 --> 00:19:32,320
Speaker 3: we need these big records. What you would okay, cool,

428
00:19:32,920 --> 00:19:34,760
Speaker 3: we can make big records if it's just about big

429
00:19:34,800 --> 00:19:39,000
Speaker 3: records because you know, superstars all of us, right, or

430
00:19:39,040 --> 00:19:40,680
Speaker 3: we can we know how to make big pop records.

431
00:19:40,720 --> 00:19:44,280
Speaker 3: I learned how to do that at Arista. No no, no, no,

432
00:19:44,560 --> 00:19:47,520
Speaker 3: we need. When we talk about big records, we talk

433
00:19:47,560 --> 00:19:51,000
Speaker 3: about records that are not only going to be distributed

434
00:19:51,040 --> 00:19:54,440
Speaker 3: and released through Atlantic, but also all the publishing is

435
00:19:54,520 --> 00:19:57,440
Speaker 3: owned by Wanna Chapel. The sample that you're going to

436
00:19:57,480 --> 00:19:59,880
Speaker 3: sample the record from is owned by Wanna Chapel. Cattle,

437
00:20:02,359 --> 00:20:05,879
Speaker 3: the songwriters who wrote the chorus are signed to Warner Chapel.

438
00:20:06,720 --> 00:20:10,520
Speaker 3: Warner Chapel is owned by Craig Callman and uh, what's

439
00:20:10,560 --> 00:20:12,320
Speaker 3: the other kid's name, I can't even think of this.

440
00:20:12,560 --> 00:20:16,520
Speaker 3: His name Mike Caron. Like they have actual personal investment

441
00:20:16,720 --> 00:20:21,199
Speaker 3: in this thing, the big pop records, and only because

442
00:20:21,359 --> 00:20:23,920
Speaker 3: only the only the big pop records that they have

443
00:20:24,000 --> 00:20:28,880
Speaker 3: at least three or four entry ways of finance into.

444
00:20:28,960 --> 00:20:31,119
Speaker 1: Okay, So they want to keep everything in house, so

445
00:20:31,240 --> 00:20:32,840
Speaker 1: that the money circulating in house.

446
00:20:32,960 --> 00:20:34,639
Speaker 3: So it's like if you came up to the labels

447
00:20:34,640 --> 00:20:37,680
Speaker 3: like yo, I got this song that I wrote that

448
00:20:37,800 --> 00:20:42,479
Speaker 3: I think would be great for Pink, right, they're like, oh,

449
00:20:42,560 --> 00:20:45,560
Speaker 3: that's that's cool. You know, look, why don't you sign

450
00:20:45,880 --> 00:20:47,280
Speaker 3: a ten song deal with us?

451
00:20:47,920 --> 00:20:48,160
Speaker 2: Okay?

452
00:20:48,280 --> 00:20:50,800
Speaker 3: Right, they wouldn't just say, Yo, that's dope, keep doing it.

453
00:20:50,960 --> 00:20:53,000
Speaker 3: You know, here's a check for that one record. You

454
00:20:53,080 --> 00:20:55,240
Speaker 3: get a little published and keep it moving, Like nah,

455
00:20:55,280 --> 00:20:57,200
Speaker 3: we need to own everything that you do from now on.

456
00:20:57,520 --> 00:20:59,639
Speaker 3: We need to own all the rights who else potentially

457
00:20:59,640 --> 00:21:01,399
Speaker 3: could have on it, We need to sign them. And

458
00:21:01,480 --> 00:21:03,760
Speaker 3: so by the time it gets to me, it's all

459
00:21:03,920 --> 00:21:09,040
Speaker 3: they've already they're triple dipping. And that was just it's

460
00:21:09,080 --> 00:21:12,560
Speaker 3: a it's genius business, but it's a it's a terrible

461
00:21:12,640 --> 00:21:14,000
Speaker 3: way to treat artists, right.

462
00:21:14,080 --> 00:21:16,199
Speaker 2: It's not a creative business. It's a business.

463
00:21:16,280 --> 00:21:18,560
Speaker 3: It's a business business, right, because in that it's like

464
00:21:19,359 --> 00:21:23,160
Speaker 3: your records whatever, we're not interested in your records, even

465
00:21:23,160 --> 00:21:24,920
Speaker 3: though they could be just as good or even better

466
00:21:25,000 --> 00:21:28,000
Speaker 3: or have more potential. And then that flip is and

467
00:21:28,080 --> 00:21:29,440
Speaker 3: that this is why I have no sympathy for them

468
00:21:29,680 --> 00:21:31,639
Speaker 3: or anything like that. And I tell artists because I

469
00:21:31,640 --> 00:21:34,159
Speaker 3: think it's important to let the artistic community know, like,

470
00:21:34,240 --> 00:21:36,080
Speaker 3: this is what you're really dealing with. I'm not making

471
00:21:36,160 --> 00:21:38,000
Speaker 3: this up. I'm not gasing anything. And I'll stand on

472
00:21:38,119 --> 00:21:39,760
Speaker 3: this in the court of law and just say the

473
00:21:39,840 --> 00:21:43,399
Speaker 3: same thing. You know. Leo was like, Yo, if you

474
00:21:43,440 --> 00:21:45,800
Speaker 3: don't sign this through sixty deal, we're not promoting your records.

475
00:21:46,280 --> 00:21:48,200
Speaker 3: Not only are we not promoting your records, we're not

476
00:21:48,280 --> 00:21:50,240
Speaker 3: promoting even the records that we give you.

477
00:21:50,760 --> 00:21:50,920
Speaker 2: Right.

478
00:21:51,160 --> 00:21:52,960
Speaker 1: I've heard that from artists if you don't sign a

479
00:21:53,040 --> 00:21:55,480
Speaker 1: three sixty deal, because they were artists who are already signed,

480
00:21:55,480 --> 00:21:58,160
Speaker 1: and then they want you to then rework your deal

481
00:21:58,280 --> 00:21:59,399
Speaker 1: to make it sixty deal.

482
00:21:59,440 --> 00:22:02,280
Speaker 2: So they're getting money from merch, they're getting money.

483
00:22:02,119 --> 00:22:03,159
Speaker 3: From torn now.

484
00:22:03,359 --> 00:22:07,119
Speaker 1: Yeah, streaming is happening now, so that's a whole nother situation.

485
00:22:07,359 --> 00:22:10,640
Speaker 3: They're invested in the streaming companies that but just personally

486
00:22:10,840 --> 00:22:13,760
Speaker 3: like they got their own personal investment into it because.

487
00:22:13,520 --> 00:22:14,479
Speaker 2: They're not making as much.

488
00:22:14,560 --> 00:22:16,080
Speaker 1: So they're like, if we're not going to we rather

489
00:22:16,200 --> 00:22:18,160
Speaker 1: put our all into another artist who's got a three

490
00:22:18,200 --> 00:22:21,240
Speaker 1: sixty deal than to an artist who doesn't and that

491
00:22:21,359 --> 00:22:23,440
Speaker 1: has his own situation, and it's just we're just doing

492
00:22:23,520 --> 00:22:25,880
Speaker 1: distribution that doesn't really make us any money.

493
00:22:26,160 --> 00:22:27,760
Speaker 3: It makes them a ton of money. Yeah, I mean

494
00:22:27,800 --> 00:22:29,480
Speaker 3: they got still got ton they still got a ton

495
00:22:29,520 --> 00:22:32,320
Speaker 3: of catalog. You still got all this, but but you're

496
00:22:32,320 --> 00:22:34,320
Speaker 3: going to spend that same amount of money managing it.

497
00:22:34,359 --> 00:22:37,040
Speaker 3: And that's what I told them, Like, Yo, let's let's

498
00:22:37,080 --> 00:22:39,600
Speaker 3: be business for real. I'm a really intelligent guy right

499
00:22:39,880 --> 00:22:41,720
Speaker 3: street side, business side, however you want to play it.

500
00:22:42,359 --> 00:22:44,800
Speaker 3: Let's be honest. You don't do this, Like you're not

501
00:22:44,960 --> 00:22:47,320
Speaker 3: known to sell merch, you're not known to book. Uta

502
00:22:47,359 --> 00:22:49,880
Speaker 3: is right across the street, right, I'm signed the CIA,

503
00:22:49,960 --> 00:22:52,760
Speaker 3: I'm signed to William Morris. Like, y'all do not do

504
00:22:52,920 --> 00:22:54,840
Speaker 3: agency work. So now you're trying to be an agency,

505
00:22:55,160 --> 00:22:57,800
Speaker 3: but you're still gonna have to spend money to build

506
00:22:57,840 --> 00:22:59,680
Speaker 3: that part of your business. So you you're gonna wind

507
00:22:59,720 --> 00:23:02,320
Speaker 3: up break even right to keep it a buck And

508
00:23:02,400 --> 00:23:04,280
Speaker 3: at the end of the day, you're going to own

509
00:23:04,320 --> 00:23:06,760
Speaker 3: the most valuable thing in this whole situation. Still, the

510
00:23:06,800 --> 00:23:10,440
Speaker 3: most valuable thing in any situation is the masters, right,

511
00:23:10,800 --> 00:23:13,159
Speaker 3: so I asked for. When Leo said that to me,

512
00:23:13,920 --> 00:23:16,600
Speaker 3: I was like, cool, I didn't like that. Wow. I

513
00:23:16,680 --> 00:23:19,760
Speaker 3: was like, okay, cool, Okay, I'm gonna need some collateral.

514
00:23:19,800 --> 00:23:23,800
Speaker 3: Won't you give me my masters? I'm only two albums in, right,

515
00:23:24,119 --> 00:23:25,640
Speaker 3: I don't mind. As a matter of fact, I'll help

516
00:23:25,680 --> 00:23:27,800
Speaker 3: you build out the three sixty piece at least when

517
00:23:27,840 --> 00:23:29,359
Speaker 3: it comes to fashion, because I know folks in the

518
00:23:29,400 --> 00:23:32,800
Speaker 3: fashion world up and down the chain, and then you

519
00:23:32,880 --> 00:23:36,280
Speaker 3: could really tailor make these these your merch deals to

520
00:23:36,400 --> 00:23:38,720
Speaker 3: the artists and do it through the whole system, like

521
00:23:38,960 --> 00:23:42,120
Speaker 3: fully vertically integrated through the whole system, from the designer

522
00:23:42,359 --> 00:23:44,600
Speaker 3: to the retail, to the pop up, to the manufacturing,

523
00:23:44,640 --> 00:23:46,960
Speaker 3: to the distribution to the whole to fulfillment the whole piece.

524
00:23:48,760 --> 00:23:51,600
Speaker 3: And it was kind of like, nah, we got a

525
00:23:51,640 --> 00:23:53,280
Speaker 3: guy that can do that. And it's like, well, I

526
00:23:53,280 --> 00:23:55,240
Speaker 3: don't trust that. What is that profile? Let me see

527
00:23:55,240 --> 00:23:57,000
Speaker 3: that piece because you're asking me to sign into six

528
00:23:57,080 --> 00:23:59,920
Speaker 3: different businesses now, right, and the same level.

529
00:24:00,000 --> 00:24:00,560
Speaker 2: Who's the guy?

530
00:24:00,800 --> 00:24:02,720
Speaker 3: Yeah, Like who is that? Who's gonna do who's gonna

531
00:24:02,720 --> 00:24:05,800
Speaker 3: be booking shows? You know, who's gonna be running sponsorships? Right?

532
00:24:05,920 --> 00:24:09,919
Speaker 3: Who's gonna be I get sinks and you know, pitching

533
00:24:10,040 --> 00:24:14,159
Speaker 3: things to TV shows and movies and stuff like that.

534
00:24:14,280 --> 00:24:16,800
Speaker 3: But I'm talking about like what's this random little speaking engagement,

535
00:24:16,880 --> 00:24:18,320
Speaker 3: Like who's going to be in charge of doing that?

536
00:24:18,680 --> 00:24:21,680
Speaker 3: It can't be Crespo, Like who you're gonna hire, but

537
00:24:21,760 --> 00:24:24,120
Speaker 3: then you gotta hire somebody. So now you're saying like, oh,

538
00:24:24,200 --> 00:24:26,720
Speaker 3: we're gonna make X amount of dollars, but you're finish

539
00:24:26,760 --> 00:24:29,720
Speaker 3: spend another X amount of dollars building that up. So

540
00:24:29,920 --> 00:24:32,000
Speaker 3: they had they had to miss me with the bullshit.

541
00:24:32,080 --> 00:24:34,000
Speaker 3: It was like, give this to dude, to give this

542
00:24:34,080 --> 00:24:36,600
Speaker 3: to WLD girl, you know, all blessings, but you're not

543
00:24:36,680 --> 00:24:38,680
Speaker 3: finna do that to me. So I didn't sign, and

544
00:24:38,840 --> 00:24:40,400
Speaker 3: my career was like goodbye.

545
00:24:40,720 --> 00:24:40,960
Speaker 2: Wow.

546
00:24:42,000 --> 00:24:44,080
Speaker 3: So my career ended at the at Lasers.

547
00:24:45,960 --> 00:24:48,160
Speaker 2: All right, So then you did Las Wow.

548
00:24:49,080 --> 00:24:52,000
Speaker 1: That's wild though, but why not also because clearly you

549
00:24:52,040 --> 00:24:54,440
Speaker 1: wanted to get off the label at that at that point, right.

550
00:24:54,440 --> 00:24:58,359
Speaker 3: It was when when when Leo told me that, I

551
00:24:58,600 --> 00:25:01,640
Speaker 3: was like, then there's nothing else to do here, right,

552
00:25:01,920 --> 00:25:03,800
Speaker 3: Like this is all from this point I can get

553
00:25:03,840 --> 00:25:07,639
Speaker 3: through Craig doing his little random shenanigans with songs and

554
00:25:07,720 --> 00:25:10,560
Speaker 3: double dipping and wanna chapel only release it like they

555
00:25:10,600 --> 00:25:14,560
Speaker 3: went out and bought, They went out and bought. I

556
00:25:14,680 --> 00:25:18,760
Speaker 3: give it to you like this. So kick Push is

557
00:25:18,800 --> 00:25:23,560
Speaker 3: a sample. It's a very very rare, unique sample from

558
00:25:23,960 --> 00:25:27,440
Speaker 3: that was released on some song in the Philippines back

559
00:25:27,520 --> 00:25:30,479
Speaker 3: in whatever, right, the local kind of thing.

560
00:25:30,600 --> 00:25:31,359
Speaker 2: So you got it cleared.

561
00:25:31,560 --> 00:25:34,680
Speaker 3: The only reason that we have that sample is because

562
00:25:34,720 --> 00:25:37,760
Speaker 3: the producer soundtrack is Filipino and it's part of his

563
00:25:38,080 --> 00:25:41,160
Speaker 3: kind of just he heard that song coming up as

564
00:25:41,200 --> 00:25:43,200
Speaker 3: a kid, was dad playing it? But we never heard

565
00:25:43,280 --> 00:25:47,240
Speaker 3: that back it before ever, non philip and shouting about Flipinos.

566
00:25:47,400 --> 00:25:49,760
Speaker 3: But like just that's not in the lu. So the

567
00:25:49,800 --> 00:25:53,120
Speaker 3: only reason it because it has this very regional piece soundtrack,

568
00:25:53,200 --> 00:25:56,320
Speaker 3: does it? We do the record? People love it pops

569
00:25:56,359 --> 00:25:59,800
Speaker 3: off atlantic part of so you think like, okay, Craig

570
00:25:59,880 --> 00:26:02,760
Speaker 3: is trying to slow the record down, Like why why'd

571
00:26:02,760 --> 00:26:04,680
Speaker 3: you try to slow a record down? Nobody? That doesn't

572
00:26:04,680 --> 00:26:06,800
Speaker 3: make any sense. It's popping. It's hard to get records

573
00:26:06,840 --> 00:26:09,239
Speaker 3: place at radio. It's a lot of competition. Fifties right here,

574
00:26:09,359 --> 00:26:12,200
Speaker 3: Little Wayne's right here, right here, here's the little record

575
00:26:12,240 --> 00:26:13,960
Speaker 3: that could trying to make it through. Why would you

576
00:26:14,040 --> 00:26:16,000
Speaker 3: do that, right? Why would you do that? Why would

577
00:26:16,000 --> 00:26:19,920
Speaker 3: the chairman of this public company make that decision so

578
00:26:20,200 --> 00:26:24,000
Speaker 3: detailed for him himself to call this little radio station

579
00:26:24,040 --> 00:26:25,920
Speaker 3: in Chicago to tell him to stop playing this record

580
00:26:26,080 --> 00:26:30,040
Speaker 3: before it goes national? Because at the same time that

581
00:26:30,119 --> 00:26:32,680
Speaker 3: they were doing that, they were flying somebody to the

582
00:26:32,720 --> 00:26:34,840
Speaker 3: Philippines to find this lady to buy the sample.

583
00:26:36,440 --> 00:26:37,160
Speaker 2: That's dedication.

584
00:26:38,400 --> 00:26:41,040
Speaker 3: That's what they did. They flew somebody to the Philippines

585
00:26:41,080 --> 00:26:44,320
Speaker 3: to find the person, and they bought the rights to

586
00:26:44,400 --> 00:26:47,399
Speaker 3: the record, so they own the kick Push sample.

587
00:26:48,000 --> 00:26:50,480
Speaker 2: So they were making money anyway off of it. But

588
00:26:50,520 --> 00:26:51,760
Speaker 2: they were waiting to get the sample.

589
00:26:52,280 --> 00:26:55,640
Speaker 3: Didn't go national yet because we don't own the record yet.

590
00:26:55,960 --> 00:26:58,680
Speaker 1: Now, when they called to ask GCI to slow it down,

591
00:26:59,000 --> 00:27:02,680
Speaker 1: does the program direct say yes or because you guys

592
00:27:02,720 --> 00:27:04,879
Speaker 1: have your own relationship, but he has to make a decision,

593
00:27:05,040 --> 00:27:06,480
Speaker 1: right because the artist.

594
00:27:06,520 --> 00:27:08,520
Speaker 3: It's other artists, and it's other things, and there's other

595
00:27:08,600 --> 00:27:11,719
Speaker 3: benefits to keeping your relationship. And who are we, right,

596
00:27:12,480 --> 00:27:15,240
Speaker 3: we in the city. We're gonna confine you, right, but

597
00:27:15,320 --> 00:27:17,600
Speaker 3: we're not gonna do that. So but at the end

598
00:27:17,600 --> 00:27:19,480
Speaker 3: of the day, that's the only thing you really got

599
00:27:19,560 --> 00:27:22,240
Speaker 3: to worry about with us. But with them, you gotta

600
00:27:22,280 --> 00:27:25,040
Speaker 3: worry about them blacklisting you from this artist if they

601
00:27:25,080 --> 00:27:29,320
Speaker 3: want to come perform at your birthday, summer bash, celebration,

602
00:27:29,520 --> 00:27:32,200
Speaker 3: content artists and they can't get none of our artists.

603
00:27:32,280 --> 00:27:34,200
Speaker 3: You can't do this, you can't do that, And so

604
00:27:35,119 --> 00:27:38,600
Speaker 3: it's genius business as a business, there are no rules.

605
00:27:39,000 --> 00:27:42,399
Speaker 3: Whatever I need to do, kidnap your grandmother, fine, p real, right.

606
00:27:43,400 --> 00:27:46,200
Speaker 3: But if we're trying to create a relationship like friends

607
00:27:46,320 --> 00:27:50,159
Speaker 3: and artists and creativity, nothing, So I think I just

608
00:27:50,280 --> 00:27:51,840
Speaker 3: wasn't built for that part because I was like, I

609
00:27:51,960 --> 00:27:53,280
Speaker 3: just came from the streets. I don't want to go

610
00:27:53,320 --> 00:27:54,680
Speaker 3: back to the streets. That's case we go back to

611
00:27:54,720 --> 00:27:55,119
Speaker 3: the streets.

612
00:27:55,480 --> 00:27:57,040
Speaker 2: Well, how did you end up getting off Atlantic?

613
00:27:57,119 --> 00:28:08,680
Speaker 4: Finally, Anonymous, the Hacker group.

614
00:28:08,760 --> 00:28:11,280
Speaker 3: We was on my fifth album. It was on my

615
00:28:11,359 --> 00:28:14,920
Speaker 3: fifth album. It was called Tatsuo on Youth and same thing.

616
00:28:16,280 --> 00:28:18,960
Speaker 3: Did a bunch of records? Did it? Like beat them

617
00:28:19,000 --> 00:28:20,840
Speaker 3: to the punch, knowing that y'all gonna come with all

618
00:28:20,880 --> 00:28:23,720
Speaker 3: these big, huge, big pop records with these big acts

619
00:28:23,720 --> 00:28:27,000
Speaker 3: and these gigantic hooks. Let me win to them first,

620
00:28:27,200 --> 00:28:29,800
Speaker 3: give me all your records. Let's just get this out

621
00:28:29,840 --> 00:28:32,119
Speaker 3: the way, because you're finna ruin this fucking album. If

622
00:28:32,240 --> 00:28:34,639
Speaker 3: I'm trying to put this album together the way I

623
00:28:34,720 --> 00:28:36,879
Speaker 3: want to do it, I know you're gonna come in

624
00:28:37,320 --> 00:28:39,880
Speaker 3: with these big ass records that ain't got nothing to

625
00:28:39,960 --> 00:28:42,120
Speaker 3: do with the concept of the theme, but none of

626
00:28:42,160 --> 00:28:44,440
Speaker 3: that because you don't really care. Okay, cool, let's get

627
00:28:44,480 --> 00:28:46,840
Speaker 3: that out the way and I'll build the album after

628
00:28:46,920 --> 00:28:50,840
Speaker 3: I have your records out the way. And then it

629
00:28:50,920 --> 00:28:52,240
Speaker 3: was like, they send me their records, they send me

630
00:28:52,280 --> 00:28:54,520
Speaker 3: their records to their records, and then it got into

631
00:28:54,560 --> 00:28:57,600
Speaker 3: this weird feedback loop was like, we don't like that record.

632
00:28:57,840 --> 00:29:00,800
Speaker 3: I'm like, is your record? You gave it to me, Like, well,

633
00:29:00,880 --> 00:29:02,520
Speaker 3: you know, we don't like it anymore. We want you

634
00:29:02,520 --> 00:29:04,840
Speaker 3: to do this. I'm not doing that. So then it

635
00:29:04,920 --> 00:29:06,560
Speaker 3: became like, well, you know, we might not put it out.

636
00:29:06,960 --> 00:29:09,360
Speaker 3: Same conversation. I was like, all right, well then if

637
00:29:09,400 --> 00:29:12,480
Speaker 3: that's the case, i'm gonna just go back and just

638
00:29:12,600 --> 00:29:16,640
Speaker 3: make a nine minute record of straight bars, which is

639
00:29:16,680 --> 00:29:18,840
Speaker 3: what Mirror was. I'm gonna pull off all of this

640
00:29:19,040 --> 00:29:21,880
Speaker 3: pop shit, this big radio shit. I'm gonna just make

641
00:29:22,000 --> 00:29:27,680
Speaker 3: a album with a bunch of dope ass records. But

642
00:29:27,800 --> 00:29:31,239
Speaker 3: this is this is happening prior to like what I'm

643
00:29:31,280 --> 00:29:34,480
Speaker 3: about to say, how I got off the label. So

644
00:29:34,600 --> 00:29:36,720
Speaker 3: we did same bullshit, send me your records. Now you

645
00:29:36,760 --> 00:29:38,440
Speaker 3: don't like your records. We finished. I'm not Finna spend

646
00:29:38,480 --> 00:29:41,200
Speaker 3: nine months chasing Lady Ganga. I'm not gonna do that, right,

647
00:29:45,280 --> 00:29:47,640
Speaker 3: Anonymous to hack. So I'm like, hey, y'all my fans

648
00:29:48,320 --> 00:29:53,120
Speaker 3: with fans, yo, you know album release date? What's the

649
00:29:53,160 --> 00:29:55,680
Speaker 3: release date? I don't know what all ship, but they

650
00:29:55,800 --> 00:29:58,000
Speaker 3: know now. So now the fans know, they like, Yo,

651
00:29:58,480 --> 00:30:00,640
Speaker 3: We've been through this, back three albums. Every album is

652
00:30:00,720 --> 00:30:04,320
Speaker 3: this release date? Shenanigan's okay. Cool. Some of my fans

653
00:30:04,360 --> 00:30:07,920
Speaker 3: happened to be computer hackers by the name of Anonymous, right,

654
00:30:07,960 --> 00:30:10,560
Speaker 3: So Anonymous if folks don't know, they're like the world's

655
00:30:11,760 --> 00:30:15,560
Speaker 3: anonymous computer hacker. They attack whole countries. They attacked the KKK,

656
00:30:15,800 --> 00:30:18,440
Speaker 3: they you know, did all types of crazy stuff North Korea.

657
00:30:18,640 --> 00:30:21,560
Speaker 3: Like they're wild right there. And it just happened to

658
00:30:21,640 --> 00:30:25,280
Speaker 3: be fans of Lube Fiasco because of Occupy Wall Street, Right,

659
00:30:26,920 --> 00:30:29,960
Speaker 3: I raised some money for Occupy Wall Street, did some

660
00:30:30,400 --> 00:30:32,680
Speaker 3: took some generators food all of different camps around the

661
00:30:32,680 --> 00:30:35,320
Speaker 3: country because I believed in it, right, money out of politics.

662
00:30:35,400 --> 00:30:39,680
Speaker 3: I believed in that. So those kids behind that, And now,

663
00:30:39,760 --> 00:30:41,360
Speaker 3: mind you, I don't know who who these people are.

664
00:30:41,360 --> 00:30:44,480
Speaker 3: They're anonymous, right, so I don't know who they are.

665
00:30:44,520 --> 00:30:46,640
Speaker 3: I didn't ask them to do anything, but once it

666
00:30:46,720 --> 00:30:49,640
Speaker 3: became like hinted like there's no release date for tatsu

667
00:30:49,800 --> 00:30:54,280
Speaker 3: On Youth. They at the time they were attacking. And

668
00:30:54,280 --> 00:30:57,360
Speaker 3: when I said attacking, like cyber attacking like North Korea

669
00:30:57,960 --> 00:31:00,280
Speaker 3: or something like that in North Korean government, and like

670
00:31:00,320 --> 00:31:03,440
Speaker 3: the klueplus Klan, right, doxing all the members of the

671
00:31:03,480 --> 00:31:06,640
Speaker 3: klueplusz Klan, right, because you have people in Atlanta that's

672
00:31:06,760 --> 00:31:08,760
Speaker 3: like police chiefs or whatever that are like members of

673
00:31:08,760 --> 00:31:10,720
Speaker 3: the Cluelus Clan. Not Atlanta, but like somewhere of random

674
00:31:10,760 --> 00:31:12,760
Speaker 3: town in Georgia. This dude's the police chief and just

675
00:31:12,800 --> 00:31:14,640
Speaker 3: happened to be the Grand Wizard of the Kruplus Clan.

676
00:31:16,040 --> 00:31:20,960
Speaker 3: So they was like, okay, pauls. Paul's that action. This

677
00:31:21,160 --> 00:31:23,440
Speaker 3: is a hate Atlantic Records because usually know how they

678
00:31:23,480 --> 00:31:26,160
Speaker 3: do the thingk Atlantic to do with the beef Thedata mask.

679
00:31:26,640 --> 00:31:30,240
Speaker 3: For real, Atlantic Records, you have a history of blah

680
00:31:30,280 --> 00:31:33,960
Speaker 3: blah blah with your artist. If you do not give

681
00:31:34,040 --> 00:31:37,600
Speaker 3: Lupe Fiasco a release date within twenty four hours for

682
00:31:37,800 --> 00:31:43,680
Speaker 3: his album, We're going to dos and cyber attack Atlantic Records,

683
00:31:43,720 --> 00:31:46,880
Speaker 3: Warner Music and all of your subsidiary companies, employees and everyone.

684
00:31:47,120 --> 00:31:50,000
Speaker 3: Now I got real family, like see the family at Atlantic, right,

685
00:31:51,000 --> 00:31:54,720
Speaker 3: But they're like, we fin the docks everyone everyone DDoS attack,

686
00:31:54,760 --> 00:31:57,360
Speaker 3: We're can shut down your servers, the whole shit. You

687
00:31:57,440 --> 00:32:00,160
Speaker 3: got twenty four hours and like twenty four I was

688
00:32:00,200 --> 00:32:03,040
Speaker 3: like it was like a release date, like this put

689
00:32:03,040 --> 00:32:04,480
Speaker 3: our release date and asked me what did I want

690
00:32:04,520 --> 00:32:06,240
Speaker 3: to do? And I'm gonna keep it up? And it

691
00:32:06,360 --> 00:32:07,680
Speaker 3: was like, yo, loop, I was like, I got ship

692
00:32:07,760 --> 00:32:11,000
Speaker 3: to do with this? What what Loupe? What's going on?

693
00:32:11,480 --> 00:32:15,560
Speaker 3: I was like, fuck them, don't get done. Why would

694
00:32:15,600 --> 00:32:19,320
Speaker 3: you submit to that? Right? Just take do whatever it

695
00:32:19,400 --> 00:32:21,959
Speaker 3: needs to do. Right, So they put out a release date.

696
00:32:22,360 --> 00:32:25,080
Speaker 3: Julie Greenwall called me, got in touch with Chill. It

697
00:32:25,200 --> 00:32:29,200
Speaker 3: was like yo, not only that, here's the release date,

698
00:32:29,280 --> 00:32:31,280
Speaker 3: but then also here's your release date.

699
00:32:31,680 --> 00:32:33,440
Speaker 2: Oh wow, you gotta go.

700
00:32:33,760 --> 00:32:35,360
Speaker 3: You gotta get up, you gotta get about it.

701
00:32:35,400 --> 00:32:42,400
Speaker 2: Here was that was that good news? Release date?

702
00:32:42,480 --> 00:32:44,920
Speaker 3: I mean absolutely absolutely that that. That period of the

703
00:32:44,920 --> 00:32:47,240
Speaker 3: time at Atlantic was very dark for me, suicidal, like

704
00:32:47,320 --> 00:32:49,280
Speaker 3: I want to hurt people. Like it was bad.

705
00:32:49,440 --> 00:32:52,520
Speaker 1: It was real bad, because yeah, I mean that's crazy.

706
00:32:52,600 --> 00:32:55,080
Speaker 1: So you really felt like because you were trapped.

707
00:32:54,960 --> 00:32:57,120
Speaker 3: Is yeah, yeah, yeah, I was trapped. I couldn't do it,

708
00:32:57,120 --> 00:33:00,320
Speaker 3: and you can't do nothing. It's like you want to

709
00:33:00,360 --> 00:33:03,800
Speaker 3: put people in the trunk, you know, for real, and

710
00:33:03,960 --> 00:33:06,840
Speaker 3: it's like you can't do that. You can't do that.

711
00:33:07,360 --> 00:33:13,040
Speaker 3: It deserves it, you know, but I don't. I don't

712
00:33:13,040 --> 00:33:14,040
Speaker 3: want to go to jail for this.

713
00:33:14,400 --> 00:33:18,160
Speaker 1: No, definitely like this stupid. And during this time, that's

714
00:33:18,200 --> 00:33:19,920
Speaker 1: when Chill got was also locked up.

715
00:33:19,960 --> 00:33:22,320
Speaker 3: You still locked up, shouldn't shouldn't get out until last year?

716
00:33:22,400 --> 00:33:23,560
Speaker 2: Yeah, yeah, he got out last year.

717
00:33:23,560 --> 00:33:25,440
Speaker 3: But so he was locked up, locked up, he couldn't.

718
00:33:25,480 --> 00:33:28,640
Speaker 3: His hands are tied. I'm going crazy. It took some

719
00:33:28,840 --> 00:33:32,640
Speaker 3: some folks at the label who actually lost their jobs

720
00:33:32,640 --> 00:33:35,680
Speaker 3: because they came to my defense to be like, yo,

721
00:33:35,760 --> 00:33:38,760
Speaker 3: come here, let me take you out of that. Put

722
00:33:38,840 --> 00:33:41,760
Speaker 3: you in this space. I can relate to what's going on,

723
00:33:43,160 --> 00:33:46,200
Speaker 3: but don't hurt yourself and don't hurt nobody else, you know.

724
00:33:46,640 --> 00:33:48,040
Speaker 3: And so for me, it was just kind of like

725
00:33:48,880 --> 00:33:50,920
Speaker 3: shot the big U. I remember Big big U hit

726
00:33:51,000 --> 00:33:54,040
Speaker 3: me up in the midst all this and was like yo,

727
00:33:55,440 --> 00:33:58,400
Speaker 3: out the blue. He's like, yo, we you know, we Muslims,

728
00:33:58,840 --> 00:34:02,000
Speaker 3: we men we stand on the things that we sign.

729
00:34:02,880 --> 00:34:05,680
Speaker 3: So you sign this contract with these people, finish it,

730
00:34:06,760 --> 00:34:08,680
Speaker 3: stick to your word, don't let them take you off

731
00:34:08,719 --> 00:34:11,200
Speaker 3: of that. And so big U was actually one of

732
00:34:11,480 --> 00:34:13,600
Speaker 3: the pieces in addition to kind of the soft sensitive

733
00:34:13,600 --> 00:34:15,800
Speaker 3: stuff that I needed. Like he was like, is this

734
00:34:16,120 --> 00:34:20,279
Speaker 3: street nigga I respect? Who was like, when we put

735
00:34:20,320 --> 00:34:22,000
Speaker 3: our name on some whether it's fucked up or not,

736
00:34:22,440 --> 00:34:25,160
Speaker 3: finish it. So I had down finished it with the

737
00:34:25,200 --> 00:34:26,920
Speaker 3: expectation that I was just going to be on Atlantic

738
00:34:27,040 --> 00:34:27,759
Speaker 3: until we were done.

739
00:34:28,120 --> 00:34:28,319
Speaker 2: Yeah.

740
00:34:28,680 --> 00:34:30,920
Speaker 1: You know that's so true, because I think in this business,

741
00:34:31,000 --> 00:34:33,359
Speaker 1: no matter what, you'll sign a contract somewhere, whether it's

742
00:34:33,360 --> 00:34:36,800
Speaker 1: a record deal, a management contract, or whatever kind of contract,

743
00:34:36,840 --> 00:34:39,239
Speaker 1: there's always contracts you'll sign that you wish you wouldn't have,

744
00:34:40,000 --> 00:34:43,080
Speaker 1: and you might spend more money getting sued, or you

745
00:34:43,160 --> 00:34:44,960
Speaker 1: might spend money trying to get out of it, or

746
00:34:45,000 --> 00:34:47,840
Speaker 1: you might try to ignore it and then have other issues.

747
00:34:47,920 --> 00:34:51,320
Speaker 1: But that is kind of good advice to just finish

748
00:34:51,360 --> 00:34:53,719
Speaker 1: out the contract if you have to, because it caused

749
00:34:53,719 --> 00:34:57,080
Speaker 1: you way more problems if you try to go around

750
00:34:57,120 --> 00:34:57,680
Speaker 1: it or do whatever.

751
00:34:57,800 --> 00:35:00,440
Speaker 2: Unless you can go reason with somebody. I'm not an

752
00:35:00,440 --> 00:35:01,399
Speaker 2: easy thing. To do either.

753
00:35:01,640 --> 00:35:04,239
Speaker 3: I absorbed that the reason we signed it was to

754
00:35:04,280 --> 00:35:06,400
Speaker 3: get Chill out of jail, and so I have no regrets.

755
00:35:06,440 --> 00:35:09,000
Speaker 3: I do that a thousand times. You know. That was

756
00:35:09,080 --> 00:35:11,560
Speaker 3: the goal to get my man out. And so that's

757
00:35:11,560 --> 00:35:11,960
Speaker 3: what we did.

758
00:35:12,160 --> 00:35:13,600
Speaker 2: And there was a period of time that you also

759
00:35:13,680 --> 00:35:15,080
Speaker 2: were like I retired.

760
00:35:15,320 --> 00:35:21,640
Speaker 3: Yeah, I retired a bunch of times. I mean, you can't,

761
00:35:21,800 --> 00:35:24,520
Speaker 3: because it is just saying you can't. You can't, you can't,

762
00:35:24,680 --> 00:35:28,759
Speaker 3: you can't, I can't. I've done something like I've done

763
00:35:28,800 --> 00:35:31,480
Speaker 3: some things recently even now, like that not Chills home

764
00:35:32,239 --> 00:35:35,520
Speaker 3: was able to kind of like not be so much

765
00:35:35,560 --> 00:35:38,640
Speaker 3: of a soldier, not be so much of like the

766
00:35:38,719 --> 00:35:41,040
Speaker 3: one man on me, and start to kind of like

767
00:35:42,040 --> 00:35:44,839
Speaker 3: like disengage from things that actually would tear me up.

768
00:35:44,880 --> 00:35:47,000
Speaker 3: So like social media was able to disengage from that

769
00:35:47,239 --> 00:35:49,560
Speaker 3: that somebody who handles and runs that, I guess somebody

770
00:35:49,600 --> 00:35:51,520
Speaker 3: who runs this for me. So now it's like I

771
00:35:51,640 --> 00:35:53,719
Speaker 3: told Chill, like listen, when you come home, all I

772
00:35:53,760 --> 00:35:55,560
Speaker 3: want to do, I want you to come take care

773
00:35:55,560 --> 00:35:56,960
Speaker 3: of my cars, because I got a bunch of cars

774
00:35:57,000 --> 00:36:00,279
Speaker 3: that's just sitting resting in my garage. Help me with

775
00:36:00,360 --> 00:36:02,560
Speaker 3: these cars and all I want to do is wrap.

776
00:36:02,760 --> 00:36:03,560
Speaker 2: I want to be an artist.

777
00:36:03,600 --> 00:36:05,520
Speaker 1: I just want to rap, right, But you need somebody

778
00:36:05,600 --> 00:36:08,120
Speaker 1: that you can trust, that can handle the business. So

779
00:36:08,239 --> 00:36:11,040
Speaker 1: he just came home last year. So how have things

780
00:36:11,120 --> 00:36:13,600
Speaker 1: changed for you since that happened? Because the new album

781
00:36:13,719 --> 00:36:16,360
Speaker 1: samuraise out right now too, and we'll talk about that

782
00:36:16,440 --> 00:36:17,640
Speaker 1: in a second. I know we've been talking about a

783
00:36:17,640 --> 00:36:20,080
Speaker 1: whole bunch of other things. But how did things change

784
00:36:20,200 --> 00:36:20,920
Speaker 1: when he came home?

785
00:36:21,960 --> 00:36:23,279
Speaker 2: That was what sixteen years?

786
00:36:23,840 --> 00:36:26,799
Speaker 3: He's in prison for like seventeen seventeen years, and then

787
00:36:26,880 --> 00:36:28,200
Speaker 3: that was that period of time where he was in

788
00:36:28,280 --> 00:36:31,640
Speaker 3: the county for like a year when we was right

789
00:36:31,680 --> 00:36:35,360
Speaker 3: in the heart of our deal with Arista, So eighteen

790
00:36:35,719 --> 00:36:37,479
Speaker 3: and whatever you want to call it. But then's somebody

791
00:36:37,480 --> 00:36:40,760
Speaker 3: I met when I was like seventeen, you know, wanted

792
00:36:40,800 --> 00:36:45,120
Speaker 3: to rap and built thingil built this structure around me

793
00:36:45,600 --> 00:36:48,840
Speaker 3: to achieve that goal for me, you know. So to me,

794
00:36:48,960 --> 00:36:51,920
Speaker 3: he's like family, father figure, that whole piece. And then

795
00:36:51,960 --> 00:36:54,320
Speaker 3: to kind of lose that right at the height, like

796
00:36:54,400 --> 00:36:57,680
Speaker 3: so superstar children in jail, you know. So now I'm

797
00:36:57,719 --> 00:37:01,200
Speaker 3: experiencing all this fame fortunate, but then all of the

798
00:37:01,239 --> 00:37:03,759
Speaker 3: dirty stuff that's that's building up under the scene, right right,

799
00:37:04,400 --> 00:37:06,480
Speaker 3: But all of the other beautiful stuff that's happening too.

800
00:37:06,960 --> 00:37:10,120
Speaker 3: But I'm like, I'm like by myself, you know, and

801
00:37:10,200 --> 00:37:11,920
Speaker 3: then trying to manage all that stuff. So an he

802
00:37:11,960 --> 00:37:14,120
Speaker 3: was shorn story short. For him to be home, it

803
00:37:14,280 --> 00:37:17,120
Speaker 3: was just kind of like a relief, you know, like

804
00:37:17,160 --> 00:37:18,400
Speaker 3: I ain't got to work but we But at the

805
00:37:18,440 --> 00:37:20,600
Speaker 3: same time too, he managing stuff over the phone, like

806
00:37:22,560 --> 00:37:25,160
Speaker 3: but he's still having meetings, business meeting and stuff like that,

807
00:37:25,320 --> 00:37:28,040
Speaker 3: trying to said album. So he's signed executive producing the

808
00:37:28,080 --> 00:37:32,560
Speaker 3: album he's never heard, right, but to keep his mind occupied,

809
00:37:32,640 --> 00:37:34,239
Speaker 3: to keep him feeling like he got something to do.

810
00:37:34,560 --> 00:37:35,840
Speaker 3: So when he and he did have something to do.

811
00:37:35,960 --> 00:37:38,280
Speaker 3: So when he come home, you know, it was beautiful.

812
00:37:38,320 --> 00:37:40,280
Speaker 3: He was in the studio. We got a big studio

813
00:37:40,320 --> 00:37:44,040
Speaker 3: in Chicago that he built when he's in jail, and

814
00:37:44,200 --> 00:37:46,360
Speaker 3: we just kind of like vibing, like.

815
00:37:46,640 --> 00:37:48,799
Speaker 2: Like like day one, you know, I know, he came

816
00:37:48,840 --> 00:37:50,520
Speaker 2: home and was like, Chicago has changed.

817
00:37:51,239 --> 00:37:56,279
Speaker 3: They ain't changed, nah, the only thing has changed. He

818
00:37:56,280 --> 00:37:58,640
Speaker 3: don't know, use his phones, that's it. Don't use a

819
00:37:58,680 --> 00:37:59,160
Speaker 3: small phone.

820
00:37:59,239 --> 00:38:02,560
Speaker 1: I was I did this story today about Chicago according

821
00:38:02,560 --> 00:38:06,120
Speaker 1: to Conde Nass Traveler. They said it's the number one

822
00:38:06,840 --> 00:38:09,560
Speaker 1: big city in the United States, like for people to visit.

823
00:38:09,800 --> 00:38:11,520
Speaker 3: Yeah, it's a vibe. You know, we got a lot

824
00:38:11,600 --> 00:38:14,160
Speaker 3: of I see all sides of it, you know, and

825
00:38:14,239 --> 00:38:16,080
Speaker 3: I grew up all in all different parts of the city.

826
00:38:16,280 --> 00:38:18,320
Speaker 3: So it's dead. You got a nice little lake situation,

827
00:38:18,480 --> 00:38:23,720
Speaker 3: a nice park on the boats today, nice little vintage

828
00:38:23,760 --> 00:38:25,600
Speaker 3: building situations. People are nice.

829
00:38:25,640 --> 00:38:29,400
Speaker 4: It's clean in certain parts, right yeah, yeah, even in

830
00:38:29,520 --> 00:38:32,120
Speaker 4: the trenches still kind.

831
00:38:32,000 --> 00:38:34,719
Speaker 2: Of to Chicago is like a clean New York. That's

832
00:38:34,760 --> 00:38:35,680
Speaker 2: how I look at Chicago.

833
00:38:35,760 --> 00:38:36,200
Speaker 3: I'll take that.

834
00:38:36,280 --> 00:38:38,000
Speaker 2: It's like a clean New York to me. Take that

835
00:38:39,000 --> 00:38:39,800
Speaker 2: and a little Windyer.

836
00:38:40,360 --> 00:38:42,680
Speaker 3: It's like a it's like a really really good Jersey city.

837
00:38:44,560 --> 00:38:48,040
Speaker 1: Okay, okay, I can see that. We're better shopping, yeah,

838
00:38:48,200 --> 00:38:51,000
Speaker 1: you know, more to do, step up. Okay, all right,

839
00:38:51,120 --> 00:38:53,719
Speaker 1: So now you have samur right, and congratulations on that.

840
00:38:53,840 --> 00:38:57,120
Speaker 1: And I know the whole inspiration behind that was not

841
00:38:57,239 --> 00:38:59,800
Speaker 1: that it's based on Amy Whitehouse, but just a quote

842
00:38:59,800 --> 00:39:01,960
Speaker 1: that you heard from her and her documentary. Yeah yeah,

843
00:39:01,960 --> 00:39:04,319
Speaker 1: all right, So explain that for for everyone to.

844
00:39:04,360 --> 00:39:07,480
Speaker 3: Hear during the pandemic was watching I think it's pandemic times.

845
00:39:08,080 --> 00:39:11,040
Speaker 3: A big documentary fan, watch a lot of our documentaries

846
00:39:11,080 --> 00:39:13,400
Speaker 3: this that, So whenever I'll pass on a ton of movies,

847
00:39:13,640 --> 00:39:14,600
Speaker 3: if a doc comes.

848
00:39:14,440 --> 00:39:18,600
Speaker 2: Up that's one of my favorite, I'll give it a

849
00:39:18,640 --> 00:39:19,080
Speaker 2: little peak.

850
00:39:19,239 --> 00:39:21,279
Speaker 3: So hers came up, of course, A big fan of

851
00:39:21,320 --> 00:39:24,480
Speaker 3: her music, and so I'm watching it. But it shows

852
00:39:24,520 --> 00:39:28,160
Speaker 3: the other side, and you know, all artists relate to that,

853
00:39:28,719 --> 00:39:31,960
Speaker 3: even if it's not a substance thing, even if it's

854
00:39:32,040 --> 00:39:35,040
Speaker 3: not like there's just something about being in the life

855
00:39:35,080 --> 00:39:38,359
Speaker 3: of an artist struggling, trying to create, get your music out,

856
00:39:38,400 --> 00:39:39,840
Speaker 3: do all your stuff, or you face a lot of

857
00:39:39,880 --> 00:39:42,640
Speaker 3: those things. How you cope with it in different ways, right,

858
00:39:45,000 --> 00:39:47,640
Speaker 3: But when she said that, you know, left a voicemail

859
00:39:47,719 --> 00:39:50,399
Speaker 3: for salam Remy and was like, yo, you know, keep

860
00:39:50,400 --> 00:39:53,400
Speaker 3: coming to Wu Tang, to keep coming to these battle wraps.

861
00:39:53,719 --> 00:39:56,120
Speaker 3: You know, if you want a battle come come give

862
00:39:56,200 --> 00:39:59,200
Speaker 3: me a cute because I'm a samurai. It was like, yo, bang,

863
00:39:59,480 --> 00:40:01,360
Speaker 3: I love it. You know that that gift with h

864
00:40:01,880 --> 00:40:05,600
Speaker 3: Leonardo DiCaprio where he snaps and points at the TV.

865
00:40:05,719 --> 00:40:07,239
Speaker 3: I don't know what movie they took it from, might

866
00:40:07,280 --> 00:40:08,719
Speaker 3: be from Wolf of Wall Street, but He's like, Yo,

867
00:40:08,840 --> 00:40:11,040
Speaker 3: that's that's how it was like on the couch, like, yo,

868
00:40:12,000 --> 00:40:14,840
Speaker 3: what if Amy one House was a battle rapper? Was

869
00:40:14,960 --> 00:40:16,400
Speaker 3: what did that look like? What does that feel like?

870
00:40:16,719 --> 00:40:19,040
Speaker 3: And so initially just started as like taking that that

871
00:40:19,200 --> 00:40:22,880
Speaker 3: what she said, I got these really neat uh very

872
00:40:22,920 --> 00:40:26,120
Speaker 3: beautiful betifully very very beautifully alliterated a little battle raps,

873
00:40:26,400 --> 00:40:28,280
Speaker 3: and so like, oh, I'm gonna just take that stock,

874
00:40:28,840 --> 00:40:30,600
Speaker 3: make a chorus out of that, and just build like

875
00:40:30,640 --> 00:40:34,640
Speaker 3: a little portrait of her, you know. And so you

876
00:40:34,760 --> 00:40:36,640
Speaker 3: just got this one song, and then that turns into

877
00:40:36,719 --> 00:40:39,279
Speaker 3: like what she was a battle rapper? You know, how

878
00:40:39,360 --> 00:40:41,120
Speaker 3: she get up powers, how she learned how to rap?

879
00:40:41,200 --> 00:40:43,080
Speaker 3: So then you tell it, now that's another song. Right

880
00:40:43,160 --> 00:40:44,960
Speaker 3: then it's like, well who does she battle? Then that's

881
00:40:45,000 --> 00:40:49,800
Speaker 3: like did you wins? And it actually it actually was

882
00:40:50,000 --> 00:40:52,400
Speaker 3: building a little project, a little side thing during the pandemic,

883
00:40:53,000 --> 00:40:56,239
Speaker 3: and Chill called me and was like, hey, I need

884
00:40:56,320 --> 00:40:58,600
Speaker 3: an album, like for what you in jail? Like what

885
00:40:58,680 --> 00:41:00,360
Speaker 3: are you gonna do with it? She's like, na, we

886
00:41:00,400 --> 00:41:02,439
Speaker 3: need we need an album. I was like, all right, cool,

887
00:41:02,480 --> 00:41:04,440
Speaker 3: I'm working on this thing right now. You know. It's

888
00:41:04,440 --> 00:41:05,920
Speaker 3: a little project right here, and I don't know if

889
00:41:05,920 --> 00:41:09,359
Speaker 3: it's when you're explaining it, it's just weird to somebody, like, yeah,

890
00:41:09,400 --> 00:41:10,879
Speaker 3: what if Amy Winehouse was a battle rapper?

891
00:41:10,880 --> 00:41:12,440
Speaker 1: Which you think about that and when you come up

892
00:41:12,480 --> 00:41:16,080
Speaker 1: with concepts, because you always have different concepts for your projects.

893
00:41:16,320 --> 00:41:18,960
Speaker 1: But I think that's what works, right because storytelling is

894
00:41:19,040 --> 00:41:19,880
Speaker 1: so important to me.

895
00:41:20,360 --> 00:41:23,920
Speaker 3: Yeah. Yeah, even if the music that makes up that

896
00:41:24,360 --> 00:41:29,279
Speaker 3: narrative is a little suspect, you know, there's something about

897
00:41:29,320 --> 00:41:32,719
Speaker 3: having a concept that's just intriguing and will carry the music,

898
00:41:32,880 --> 00:41:34,479
Speaker 3: you know, so some of it's like a little cheat

899
00:41:34,520 --> 00:41:37,160
Speaker 3: code when you do that. But he was like, nah,

900
00:41:37,760 --> 00:41:39,799
Speaker 3: I don't, let's not know. He's like whatever with that, Yeah,

901
00:41:39,880 --> 00:41:42,120
Speaker 3: not that way. I need something else, And I did.

902
00:41:42,719 --> 00:41:44,759
Speaker 3: I put Samurai to the side and I did drill

903
00:41:44,880 --> 00:41:48,040
Speaker 3: music and Zion for him and did done like three days,

904
00:41:48,400 --> 00:41:51,040
Speaker 3: and then then kind of like you go off into

905
00:41:51,080 --> 00:41:53,640
Speaker 3: promoting that doing that. And then when he came home,

906
00:41:54,239 --> 00:41:57,200
Speaker 3: I played like all of the little projects and stuff

907
00:41:57,280 --> 00:41:59,440
Speaker 3: that I've been working on since he been away, and

908
00:41:59,520 --> 00:42:01,840
Speaker 3: I was like, this is this one piece the summer,

909
00:42:01,880 --> 00:42:04,759
Speaker 3: I think, and it was unfinished. So he started listening

910
00:42:04,760 --> 00:42:06,120
Speaker 3: to it. He's like, yo, that's let's do that. I

911
00:42:06,200 --> 00:42:08,799
Speaker 3: was like, Nigga, that's the one I played to jail.

912
00:42:09,200 --> 00:42:12,400
Speaker 3: He's like, nah, that somebody else. So we finished it

913
00:42:13,520 --> 00:42:16,360
Speaker 3: and he actually properly executive produced that. When he arranged it,

914
00:42:16,440 --> 00:42:19,000
Speaker 3: did the whole thing, mixed it down, finished the records,

915
00:42:19,239 --> 00:42:21,239
Speaker 3: and was like, we're done. Because I was gonna do

916
00:42:21,280 --> 00:42:21,720
Speaker 3: more records.

917
00:42:22,040 --> 00:42:23,560
Speaker 1: So you had all kinds of plans, like to even

918
00:42:23,600 --> 00:42:27,400
Speaker 1: have a woman do it and maybe write someone else perform.

919
00:42:27,760 --> 00:42:29,800
Speaker 3: There's a couple of female cees I know that. I

920
00:42:30,000 --> 00:42:31,880
Speaker 3: was like, maybe I could get them to do it.

921
00:42:31,960 --> 00:42:32,880
Speaker 2: Who would you have thought of.

922
00:42:33,640 --> 00:42:36,879
Speaker 3: There's a woman by the name of Naira. There's another

923
00:42:37,160 --> 00:42:39,640
Speaker 3: MC c Blue I t she just went to college,

924
00:42:40,760 --> 00:42:43,160
Speaker 3: young MC. I was thinking maybe she should do it.

925
00:42:43,360 --> 00:42:45,640
Speaker 3: But it was like, like, what's the what's the optimal

926
00:42:45,680 --> 00:42:47,920
Speaker 3: way to do this? Right? Should it be a female

927
00:42:48,000 --> 00:42:50,280
Speaker 3: MC doing the battle parts? Maybe I'm just like narrating,

928
00:42:50,320 --> 00:42:52,480
Speaker 3: but when it's a part where it becomes like battling,

929
00:42:52,680 --> 00:42:55,319
Speaker 3: like a female MC does it. I was thinking about

930
00:42:55,320 --> 00:42:57,840
Speaker 3: just hiring like a voice actress to kind of do it.

931
00:42:59,239 --> 00:43:01,520
Speaker 3: But yeah, but Chill was like, no, we're done. We're done.

932
00:43:01,560 --> 00:43:04,520
Speaker 3: Homes like relax and so here you are. Now we're

933
00:43:04,560 --> 00:43:07,439
Speaker 3: doing how It's going, been out like maybe two months,

934
00:43:07,480 --> 00:43:10,759
Speaker 3: three months, very very good reviews, which is dope. We're

935
00:43:10,800 --> 00:43:12,959
Speaker 3: doing a tour now of the record.

936
00:43:13,000 --> 00:43:14,359
Speaker 2: Oh yeah, I said, you just kicked off the tour

937
00:43:14,400 --> 00:43:15,640
Speaker 2: in New York. It's the first day.

938
00:43:16,080 --> 00:43:18,839
Speaker 3: We got two more months, so we're gonna hit the US.

939
00:43:19,520 --> 00:43:21,640
Speaker 3: Last shows in LA November twenty fifth.

940
00:43:21,880 --> 00:43:23,960
Speaker 1: Where do you think is is Chicago the place when

941
00:43:24,000 --> 00:43:26,399
Speaker 1: you go perform there that it goes like people come

942
00:43:26,440 --> 00:43:28,880
Speaker 1: out the craziest or where would you say that is?

943
00:43:29,960 --> 00:43:32,200
Speaker 3: I mean, I got a huge fan base in New York. Yeah, right,

944
00:43:32,280 --> 00:43:35,080
Speaker 3: So New York always turns up. La always turns up.

945
00:43:35,160 --> 00:43:37,080
Speaker 3: It's really the major cities, but you'd be surprised at

946
00:43:37,120 --> 00:43:39,680
Speaker 3: certain little pockets, you know where people kind of pull

947
00:43:39,800 --> 00:43:43,840
Speaker 3: up Denver, you know, different spots, but the little major cities.

948
00:43:45,120 --> 00:43:47,680
Speaker 1: Because I could see this, maybe you should be writing

949
00:43:47,760 --> 00:43:48,759
Speaker 1: plays and things like that.

950
00:43:48,920 --> 00:43:51,560
Speaker 3: I did write a play. I wrote a musical. I

951
00:43:51,760 --> 00:43:55,680
Speaker 3: was secretly coming back and forth to New York over

952
00:43:55,719 --> 00:43:59,000
Speaker 3: the past couple of years at the at the Armory. Okay,

953
00:43:59,160 --> 00:44:03,839
Speaker 3: so shout to Rebecca Tuchman when knowledge and my man

954
00:44:03,920 --> 00:44:08,000
Speaker 3: Will Wells. So we sat and started to flesh out

955
00:44:08,120 --> 00:44:10,239
Speaker 3: a musical based around Drogout's wave.

956
00:44:10,680 --> 00:44:13,640
Speaker 1: Oh wow, that'd be amazing. Yeah, so that's gonna happen.

957
00:44:15,280 --> 00:44:16,480
Speaker 3: The first draft is done.

958
00:44:17,080 --> 00:44:19,520
Speaker 2: I love that. I'm going to pray so time, and

959
00:44:19,560 --> 00:44:20,840
Speaker 2: I feel like we need more of that.

960
00:44:21,080 --> 00:44:22,920
Speaker 1: And I can see the storytelling that you do that

961
00:44:22,960 --> 00:44:25,399
Speaker 1: could play out like you know, started off on off

962
00:44:25,440 --> 00:44:27,560
Speaker 1: Broadway and then get it to Broadway, just kind of

963
00:44:27,600 --> 00:44:29,959
Speaker 1: like how House Kitchen did. Yeah, I could see something

964
00:44:30,040 --> 00:44:31,680
Speaker 1: like that, and that'd be amazing to be able to see.

965
00:44:31,719 --> 00:44:33,279
Speaker 3: We'll see if we get the green light. But the

966
00:44:33,440 --> 00:44:35,840
Speaker 3: draft is done, and yes, so I've done that.

967
00:44:36,320 --> 00:44:37,359
Speaker 2: Do you write for other people?

968
00:44:38,400 --> 00:44:42,200
Speaker 3: I try not to, so no, no, I don't. There's

969
00:44:42,239 --> 00:44:43,840
Speaker 3: nothing that could really point to us. I wrote that,

970
00:44:45,400 --> 00:44:47,360
Speaker 3: but I try not to. You know, I think everybody

971
00:44:47,400 --> 00:44:49,920
Speaker 3: should tell their own story, okay to be honest, but

972
00:44:50,120 --> 00:44:52,120
Speaker 3: if I need to, I'm not a verse to it.

973
00:44:52,239 --> 00:44:52,600
Speaker 3: But Nah.

974
00:44:52,960 --> 00:44:55,040
Speaker 1: Another thing that you've been doing that's fascinating to me

975
00:44:55,239 --> 00:44:57,960
Speaker 1: is teaching at MIT. Yeah, and I say, you have

976
00:44:58,040 --> 00:44:59,640
Speaker 1: a course that you did two years. I know you're

977
00:44:59,680 --> 00:45:02,240
Speaker 1: trying to that's something more maybe permanent.

978
00:45:02,520 --> 00:45:04,400
Speaker 3: Well, yeah, they offered me I'm literally sitting on a

979
00:45:04,440 --> 00:45:06,959
Speaker 3: contract on my phone now that I'm posted to sign

980
00:45:07,280 --> 00:45:10,040
Speaker 3: for another three years there. So I spent two years

981
00:45:10,680 --> 00:45:13,400
Speaker 3: teaching being a visiting scholar with the MCL.

982
00:45:13,160 --> 00:45:15,920
Speaker 2: Program Rap Theory and Practice.

983
00:45:16,000 --> 00:45:17,640
Speaker 3: Rap Theory and Practice is named the class.

984
00:45:17,960 --> 00:45:20,360
Speaker 1: I like that because imagine you take a class like that.

985
00:45:20,400 --> 00:45:23,080
Speaker 1: I remember in college I took screenwriting and then at

986
00:45:23,120 --> 00:45:25,080
Speaker 1: the end you can have a whole script. And so

987
00:45:25,239 --> 00:45:27,759
Speaker 1: these kids can take rap theory and then the other

988
00:45:27,840 --> 00:45:29,800
Speaker 1: part that's practice and actually have an album.

989
00:45:30,040 --> 00:45:31,840
Speaker 3: Oh they do. So at the end they'll have the

990
00:45:31,920 --> 00:45:34,680
Speaker 3: first first version of the class, which is a bigger

991
00:45:34,719 --> 00:45:37,480
Speaker 3: class a lot of students. They have to do like

992
00:45:37,600 --> 00:45:40,680
Speaker 3: a seven song EP, so that was the final project.

993
00:45:40,719 --> 00:45:42,600
Speaker 2: That's a big deal because that's something they can take

994
00:45:42,719 --> 00:45:43,080
Speaker 2: and action.

995
00:45:43,239 --> 00:45:45,480
Speaker 3: Yeah okay, but short because it was like, I'm not

996
00:45:45,520 --> 00:45:47,759
Speaker 3: going to listen to like twenty albums, Like I'm not

997
00:45:47,800 --> 00:45:48,200
Speaker 3: gonna do that.

998
00:45:48,320 --> 00:45:50,000
Speaker 2: Anybody good enough that you would want to get them

999
00:45:50,040 --> 00:45:50,279
Speaker 2: a deal?

1000
00:45:50,320 --> 00:45:53,279
Speaker 3: Oh absolutely. That's folks who take the class who are

1001
00:45:53,280 --> 00:45:57,200
Speaker 3: already like releasing music. And then there's other other cats

1002
00:45:57,760 --> 00:46:02,480
Speaker 3: who are grass students. So if it's MIT course, but

1003
00:46:02,560 --> 00:46:04,560
Speaker 3: it's cross registers, so if you're a Harvard student, you

1004
00:46:04,560 --> 00:46:08,560
Speaker 3: can take the class mass Art Welzy and I forgot

1005
00:46:08,600 --> 00:46:12,400
Speaker 3: what the other school is Apologize but anyway, so you know,

1006
00:46:12,560 --> 00:46:15,200
Speaker 3: MIT students kind of get privileged on it, and then

1007
00:46:15,200 --> 00:46:17,719
Speaker 3: it's for undergrads and grad students. So there's some grad

1008
00:46:17,760 --> 00:46:22,680
Speaker 3: students who are like really could be signed to rhyme sayers,

1009
00:46:24,440 --> 00:46:27,239
Speaker 3: I can't guess, I just raped when it come to

1010
00:46:27,280 --> 00:46:30,520
Speaker 3: first fifteen, but they like super talented. And then way

1011
00:46:30,560 --> 00:46:32,680
Speaker 3: we structure the class. You know, you're learning about physics,

1012
00:46:32,680 --> 00:46:34,680
Speaker 3: you learn about physiology, you learn about all the things

1013
00:46:34,719 --> 00:46:36,680
Speaker 3: that you would expect from a class at MIT, even

1014
00:46:36,680 --> 00:46:40,239
Speaker 3: though it's in the Humanities department, but it's rich as deep.

1015
00:46:40,360 --> 00:46:43,040
Speaker 3: They did this this class this year was a smaller

1016
00:46:43,160 --> 00:46:45,880
Speaker 3: class on purpose because it's twenty five people. It's like

1017
00:46:45,920 --> 00:46:48,200
Speaker 3: a lot to do, you know, everybody doing the EP

1018
00:46:48,320 --> 00:46:49,960
Speaker 3: it was like a little crazy. But they did a

1019
00:46:50,040 --> 00:46:52,680
Speaker 3: freestyle competition. They did a eel dub freestyle competition. We

1020
00:46:52,760 --> 00:46:54,080
Speaker 3: had some of the folks from End of the Week

1021
00:46:54,120 --> 00:46:56,600
Speaker 3: come out and judge it. So they did that and

1022
00:46:56,680 --> 00:46:59,600
Speaker 3: then they did a recital with the Jazz Ensemble at MIT.

1023
00:46:59,800 --> 00:47:01,840
Speaker 3: So they did a big performance which went over like

1024
00:47:01,920 --> 00:47:04,239
Speaker 3: Gangbusters that they really love, and then they did the

1025
00:47:04,320 --> 00:47:06,640
Speaker 3: different little works and projects, and then some people still

1026
00:47:06,680 --> 00:47:08,479
Speaker 3: did that EP. So it's dope.

1027
00:47:08,560 --> 00:47:10,080
Speaker 2: It's dope to see that everybody want to be in

1028
00:47:10,160 --> 00:47:10,600
Speaker 2: that class.

1029
00:47:10,920 --> 00:47:13,640
Speaker 3: It's very popular. It's very popular. Yes.

1030
00:47:14,160 --> 00:47:16,040
Speaker 1: Is it wild to you that you can say something

1031
00:47:16,080 --> 00:47:18,360
Speaker 1: and like critique something and then it turns into a

1032
00:47:18,480 --> 00:47:20,720
Speaker 1: whole other snowball situation.

1033
00:47:20,680 --> 00:47:21,239
Speaker 2: Because it's you.

1034
00:47:21,840 --> 00:47:24,120
Speaker 3: Yeah, but you've got to be careful, you know. It's

1035
00:47:24,200 --> 00:47:26,720
Speaker 3: it's a responsibility, you know, So it can go both ways.

1036
00:47:26,760 --> 00:47:28,840
Speaker 3: I think that some people who like I tell them like,

1037
00:47:28,880 --> 00:47:31,600
Speaker 3: you don't need to take my class, right, and then

1038
00:47:32,080 --> 00:47:34,000
Speaker 3: people that do manage to get into my class. I

1039
00:47:34,040 --> 00:47:34,920
Speaker 3: try and have a range.

1040
00:47:35,440 --> 00:47:36,640
Speaker 2: I'm talking about on social media.

1041
00:47:36,719 --> 00:47:39,520
Speaker 3: You oh, we're jumping off into social media.

1042
00:47:40,080 --> 00:47:43,040
Speaker 1: We segued into that. You know, how many times do

1043
00:47:43,080 --> 00:47:47,200
Speaker 1: you start to type something in there? How many times

1044
00:47:47,239 --> 00:47:48,920
Speaker 1: do you start to type something and then delete it?

1045
00:47:49,000 --> 00:47:50,080
Speaker 1: Does that happen to you a lot?

1046
00:47:50,440 --> 00:47:51,720
Speaker 3: I'm not on social media anymore.

1047
00:47:51,760 --> 00:47:52,480
Speaker 2: Okay, that's that.

1048
00:47:52,760 --> 00:47:57,040
Speaker 3: That's that, just so we're clear, so everybody knows you didn't.

1049
00:47:57,360 --> 00:48:00,719
Speaker 3: I'm not I peek in I lerk that we have

1050
00:48:00,800 --> 00:48:02,880
Speaker 3: a team now like I should have had, you know,

1051
00:48:03,000 --> 00:48:06,920
Speaker 3: ten years ago. I talk about, Hey, I want to

1052
00:48:07,000 --> 00:48:12,160
Speaker 3: talk about this, let's do this. But I mean, I

1053
00:48:12,400 --> 00:48:15,200
Speaker 3: have a reputation for being the guy with the bad

1054
00:48:15,320 --> 00:48:20,800
Speaker 3: takes at the wrong time, right, and I don't know

1055
00:48:20,960 --> 00:48:26,400
Speaker 3: how to manage certain situations very well. I have a

1056
00:48:26,480 --> 00:48:31,520
Speaker 3: resting bitch face, and so you you you mix all

1057
00:48:31,600 --> 00:48:35,760
Speaker 3: that together and it just becomes like I hate Loupe Fiasco,

1058
00:48:36,000 --> 00:48:38,000
Speaker 3: like I hate him, like I love his music, and

1059
00:48:38,040 --> 00:48:41,080
Speaker 3: I like kick push and skateboard, but I dislike this

1060
00:48:41,360 --> 00:48:42,279
Speaker 3: dude because.

1061
00:48:42,000 --> 00:48:45,279
Speaker 2: He said, maybe you embraced being the heel.

1062
00:48:46,160 --> 00:48:48,840
Speaker 3: But no, I don't. I'll pull this back. I do

1063
00:48:48,960 --> 00:48:53,719
Speaker 3: think I'm a villain right for various reasons, but not

1064
00:48:53,880 --> 00:48:55,000
Speaker 3: for the reasons that people think.

1065
00:48:55,200 --> 00:48:56,680
Speaker 2: Okay, what are the reasons that you are?

1066
00:48:57,280 --> 00:49:00,400
Speaker 3: I'm a I can't get into that right now, knocking

1067
00:49:00,440 --> 00:49:05,279
Speaker 3: on this door and subpoena in this interview right here. No,

1068
00:49:05,440 --> 00:49:07,719
Speaker 3: but it's really just like I've seen a lot of

1069
00:49:07,920 --> 00:49:11,319
Speaker 3: terrible things, you know, And I've been around a lot

1070
00:49:11,400 --> 00:49:15,439
Speaker 3: of terrible people who get away with shit, Scott Free,

1071
00:49:16,400 --> 00:49:19,120
Speaker 3: you know, I've seen a lot of people get injured

1072
00:49:19,160 --> 00:49:21,560
Speaker 3: and a lot of people get, you know, mentally and

1073
00:49:21,800 --> 00:49:26,880
Speaker 3: spiritually destroyed around people who don't be knowing what the

1074
00:49:26,960 --> 00:49:30,560
Speaker 3: fuck they be talking about. You know. So I see

1075
00:49:30,680 --> 00:49:32,920
Speaker 3: dudes with all of the bells and whistles, and they

1076
00:49:33,000 --> 00:49:35,040
Speaker 3: got the backdrop, and they got the mic and the

1077
00:49:35,120 --> 00:49:38,000
Speaker 3: whole thing and the followers and twenty thousand people in

1078
00:49:38,040 --> 00:49:40,040
Speaker 3: the room and blah blah, blah blah, and for three

1079
00:49:40,080 --> 00:49:43,640
Speaker 3: straight hours talk about something that they have is zero

1080
00:49:44,000 --> 00:49:47,040
Speaker 3: idea about what it is. They're just giving their opinion, right,

1081
00:49:47,560 --> 00:49:51,400
Speaker 3: and they're not really giving you the three sixty opinion,

1082
00:49:51,480 --> 00:49:54,239
Speaker 3: no pun intended of like all of the I think

1083
00:49:54,280 --> 00:50:00,920
Speaker 3: a responsible critic of society or responsible voice, whatever culture

1084
00:50:01,239 --> 00:50:04,600
Speaker 3: it is, should it at least be informed to understand

1085
00:50:04,719 --> 00:50:06,919
Speaker 3: that the facts or the things that they're saying are wrong,

1086
00:50:07,719 --> 00:50:09,759
Speaker 3: you know, or that there's a there's a context to

1087
00:50:09,920 --> 00:50:12,400
Speaker 3: it that you're that you're either leaving out for the

1088
00:50:12,480 --> 00:50:15,360
Speaker 3: sake of this particular audience that you're trying to raise,

1089
00:50:16,320 --> 00:50:18,680
Speaker 3: you're trying to fuck somebody, or you're trying to get

1090
00:50:18,760 --> 00:50:21,280
Speaker 3: some money from somebody. And I know the rules change

1091
00:50:21,320 --> 00:50:23,960
Speaker 3: when it happens, so I have to I'll be recognizing, like, oh,

1092
00:50:24,000 --> 00:50:26,000
Speaker 3: this ain't what that is, like this dude trying to

1093
00:50:26,040 --> 00:50:28,279
Speaker 3: make money, this girl trying to make some money. This

1094
00:50:28,400 --> 00:50:30,640
Speaker 3: person's trying to do this, so that this is just

1095
00:50:30,719 --> 00:50:33,399
Speaker 3: a means to an end for them. And the flip

1096
00:50:33,440 --> 00:50:35,839
Speaker 3: side of that is, I've been around people that are

1097
00:50:35,920 --> 00:50:38,799
Speaker 3: so authentic, that are so real that I can tell

1098
00:50:38,840 --> 00:50:43,160
Speaker 3: the difference almost instantly, right, And I'm sitting in the

1099
00:50:43,200 --> 00:50:46,799
Speaker 3: spot where as an artist, the definition of the role

1100
00:50:46,840 --> 00:50:50,719
Speaker 3: of artists is supposed to play in a spokesperson in

1101
00:50:50,840 --> 00:50:54,200
Speaker 3: society is supposed to you supposed to go along with

1102
00:50:54,320 --> 00:50:57,680
Speaker 3: what the fuck we say? Right, Like you just supposed

1103
00:50:57,719 --> 00:51:00,440
Speaker 3: to tow the party line, right, You not posed to

1104
00:51:01,760 --> 00:51:04,520
Speaker 3: We had a crazy conversation in the car. We're not

1105
00:51:04,560 --> 00:51:07,000
Speaker 3: gonna do it, I know, but they know they know.

1106
00:51:07,640 --> 00:51:10,000
Speaker 3: So we having a conversation in the car where it's

1107
00:51:10,080 --> 00:51:18,320
Speaker 3: like something is said, that's wild, extra wild, right, but

1108
00:51:18,480 --> 00:51:19,000
Speaker 3: it's true.

1109
00:51:20,400 --> 00:51:23,880
Speaker 2: But if we ever said, that's over with, okay.

1110
00:51:24,560 --> 00:51:26,240
Speaker 3: So you got to sit there in a certain amount

1111
00:51:26,239 --> 00:51:30,720
Speaker 3: of silence. But also you talk to hundreds of thousands

1112
00:51:30,760 --> 00:51:33,080
Speaker 3: and millions of people, but you got to be silent

1113
00:51:33,200 --> 00:51:35,600
Speaker 3: and be honest. So it rips me apart.

1114
00:51:35,840 --> 00:51:39,000
Speaker 1: So that this music business is like in shambles right now,

1115
00:51:39,120 --> 00:51:42,120
Speaker 1: with so many things and there's a lot going on,

1116
00:51:42,320 --> 00:51:44,040
Speaker 1: I feel like every day is something else.

1117
00:51:44,239 --> 00:51:46,760
Speaker 3: No, I mean certain people are timing out, certain contracts

1118
00:51:46,800 --> 00:51:49,400
Speaker 3: are coming up the Atlantic people are trying to make

1119
00:51:49,440 --> 00:51:53,160
Speaker 3: and people are making connections that are like, No, that's

1120
00:51:53,200 --> 00:51:54,600
Speaker 3: not why dudes stepped down.

1121
00:51:54,520 --> 00:51:56,960
Speaker 2: That was the timing of it was already happening.

1122
00:51:58,800 --> 00:52:03,319
Speaker 3: Yeah, but I do think technology took a bite out

1123
00:52:03,360 --> 00:52:06,560
Speaker 3: of them. But this is what you gotta understand. They

1124
00:52:06,880 --> 00:52:11,719
Speaker 3: own Spotify, the label. Dudes who are stepping down, they

1125
00:52:11,800 --> 00:52:16,239
Speaker 3: already had, they got shares of the company. So for them,

1126
00:52:16,640 --> 00:52:18,839
Speaker 3: they're winning. Got to look at us like, this wasn't

1127
00:52:18,880 --> 00:52:22,520
Speaker 3: a community effort. This was a Craig Couman effort. This

1128
00:52:22,719 --> 00:52:25,600
Speaker 3: was for me personally to extract as much value out

1129
00:52:25,640 --> 00:52:28,239
Speaker 3: of my situation as I possibly could. And you all

1130
00:52:28,280 --> 00:52:32,160
Speaker 3: are just tools in that space, right, I'm the body

1131
00:52:32,320 --> 00:52:34,600
Speaker 3: your tools. That's a Mason reference for people out there

1132
00:52:34,640 --> 00:52:37,440
Speaker 3: who want to throw that out there. Everybody else is

1133
00:52:37,520 --> 00:52:41,120
Speaker 3: just a tool. Once you realize that and you think, like,

1134
00:52:41,480 --> 00:52:44,800
Speaker 3: is it in shambles? It was always in shambles.

1135
00:52:46,000 --> 00:52:48,160
Speaker 2: It was kind of set up to somebody, Yeah, it was.

1136
00:52:48,160 --> 00:52:50,480
Speaker 3: Set up to it was set up to extract value

1137
00:52:50,520 --> 00:52:54,000
Speaker 3: as an outpost. Colonially extract value from this place as

1138
00:52:54,120 --> 00:52:59,800
Speaker 3: much as we can, and then once the ecosystem starts

1139
00:52:59,840 --> 00:53:03,400
Speaker 3: to collapse, right, it's unsustainable to pull water out of

1140
00:53:03,480 --> 00:53:06,319
Speaker 3: the ground now because now you got these sinkholes, right,

1141
00:53:06,400 --> 00:53:08,200
Speaker 3: so we pulled all the water out. The ground is

1142
00:53:08,280 --> 00:53:10,680
Speaker 3: literally starting to collapse. We're gonna move on to something else.

1143
00:53:11,120 --> 00:53:13,359
Speaker 1: And you know it's good for you right now this time,

1144
00:53:13,440 --> 00:53:15,800
Speaker 1: I think because you have access to be able to

1145
00:53:15,840 --> 00:53:17,120
Speaker 1: do things how you want to do it, where you

1146
00:53:17,200 --> 00:53:20,719
Speaker 1: don't need to be part of that machine, so you

1147
00:53:20,800 --> 00:53:21,719
Speaker 1: can do what you need to do.

1148
00:53:22,480 --> 00:53:24,239
Speaker 3: I was in that machine, but it didn't want me,

1149
00:53:25,120 --> 00:53:26,680
Speaker 3: like you in the machine, and it don't want to

1150
00:53:26,680 --> 00:53:28,399
Speaker 3: put out your records. So it's like, what's the point

1151
00:53:29,160 --> 00:53:31,959
Speaker 3: you need your help? But to your point? To your point,

1152
00:53:32,000 --> 00:53:35,600
Speaker 3: like yes, when it's all said and done, I'm in

1153
00:53:35,600 --> 00:53:38,440
Speaker 3: a very beautiful place, right, I get to be around

1154
00:53:38,560 --> 00:53:41,080
Speaker 3: my friends in music. I get to see like I

1155
00:53:41,160 --> 00:53:43,080
Speaker 3: was with Robert Glass for last night in the experiment.

1156
00:53:43,280 --> 00:53:44,840
Speaker 2: I saw and him posting you.

1157
00:53:44,920 --> 00:53:48,000
Speaker 3: And I was in the crowd right, and it was

1158
00:53:48,400 --> 00:53:50,440
Speaker 3: it was like this is dope, Like this is this

1159
00:53:50,600 --> 00:53:53,400
Speaker 3: is what music is. Like Robert can go fill up

1160
00:53:53,440 --> 00:53:56,080
Speaker 3: a stadium for real, right, but he's at the Blue

1161
00:53:56,120 --> 00:53:59,040
Speaker 3: Note for the next like thirty days performing for just

1162
00:53:59,080 --> 00:54:01,360
Speaker 3: as many people as Blue Nok and Hole, right, And

1163
00:54:01,440 --> 00:54:03,680
Speaker 3: he's just up there doing what he does, which is

1164
00:54:03,960 --> 00:54:06,560
Speaker 3: played piano and make beautiful music. And I think at

1165
00:54:06,560 --> 00:54:08,640
Speaker 3: the end of the day, to be able to say, like, man,

1166
00:54:08,680 --> 00:54:10,839
Speaker 3: I'm able to go see my friends play beautiful music.

1167
00:54:11,560 --> 00:54:14,320
Speaker 3: I can jump on the train and go from Brooklyn

1168
00:54:14,440 --> 00:54:19,160
Speaker 3: to downtown and be chilling, right, but still be able

1169
00:54:19,239 --> 00:54:22,360
Speaker 3: to if I wanted to take that train to JFK

1170
00:54:23,200 --> 00:54:26,960
Speaker 3: and be in Tokyo tonight, you know, vibing in the

1171
00:54:27,000 --> 00:54:30,320
Speaker 3: club with my homies with the finest of the finest chilling,

1172
00:54:30,719 --> 00:54:32,480
Speaker 3: and then if I needed a Rose Royce to come

1173
00:54:32,520 --> 00:54:35,120
Speaker 3: pick me up, I could do that. Watch Freedom that

1174
00:54:35,640 --> 00:54:38,520
Speaker 3: I'm listen. Thank you Leo, thank you Craig you know,

1175
00:54:38,600 --> 00:54:41,800
Speaker 3: thank you Atlantic Records, thank you Anonymous, thank my fans,

1176
00:54:41,920 --> 00:54:45,040
Speaker 3: thank you Angela, thank every like, thank you all. Because

1177
00:54:45,080 --> 00:54:47,520
Speaker 3: at the end of the day it kind of coalesced

1178
00:54:47,600 --> 00:54:50,359
Speaker 3: into having, like I think at this point, to this point,

1179
00:54:50,440 --> 00:54:51,160
Speaker 3: a beautiful life.

1180
00:54:51,640 --> 00:54:53,759
Speaker 2: All right, Well, listen, thank you so much for coming through.

1181
00:54:53,800 --> 00:54:55,080
Speaker 2: The tour is happening right now.

1182
00:54:55,520 --> 00:54:55,800
Speaker 3: I know.

1183
00:54:56,360 --> 00:54:58,959
Speaker 2: Also, you are selling limited editions at each stop.

1184
00:54:59,040 --> 00:55:03,120
Speaker 3: Right of a mixed Yeah ten, it's I gotta funny part.

1185
00:55:03,120 --> 00:55:04,719
Speaker 3: I gotta go back to the hotel and put together.

1186
00:55:04,760 --> 00:55:07,400
Speaker 3: It's not even done. I gotta do some free announcement

1187
00:55:07,440 --> 00:55:09,840
Speaker 3: in advance. But it's happening, though. But what do you expect.

1188
00:55:09,880 --> 00:55:10,920
Speaker 3: You're going on like six songs.

1189
00:55:10,960 --> 00:55:15,759
Speaker 1: Relax, all right, so people can get it right, you

1190
00:55:15,840 --> 00:55:17,319
Speaker 1: have to buy one hundred The first people to buy

1191
00:55:17,320 --> 00:55:19,279
Speaker 1: a hundred dollars worth of mercy write this.

1192
00:55:19,440 --> 00:55:21,760
Speaker 2: I don't know that you go along.

1193
00:55:21,800 --> 00:55:23,600
Speaker 3: I'm not. I'm not. I'm making a mixtape up as

1194
00:55:23,640 --> 00:55:25,920
Speaker 3: that go along. But hundred dollars, Spende, hundred dolls of

1195
00:55:25,920 --> 00:55:27,840
Speaker 3: the merged booth we got. We got ten copies of

1196
00:55:27,880 --> 00:55:31,160
Speaker 3: the mixtape in each city. Hopefully there's only so many physicals,

1197
00:55:31,440 --> 00:55:33,239
Speaker 3: so once the physicals are going, it's gonna go to

1198
00:55:33,320 --> 00:55:36,120
Speaker 3: the digitals. We might do like a little mix five

1199
00:55:36,200 --> 00:55:38,720
Speaker 3: and five. But anyway, Spende hundred dollars, get get a mixtape,

1200
00:55:38,719 --> 00:55:41,000
Speaker 3: get some unreleased Loop A records, get some new records,

1201
00:55:41,000 --> 00:55:43,160
Speaker 3: get some remixes, right, get some other little banter and

1202
00:55:43,239 --> 00:55:44,960
Speaker 3: every whatever else I feel like I need to throw

1203
00:55:45,040 --> 00:55:46,680
Speaker 3: in there. But by the time we get to the

1204
00:55:46,760 --> 00:55:47,840
Speaker 3: end of it, so it's probably gonna be like one

1205
00:55:47,880 --> 00:55:50,040
Speaker 3: hundred songs and freestyles and all type of stuff on that.

1206
00:55:50,120 --> 00:55:52,319
Speaker 2: But anyway, but that's great. See, we gotta make sure

1207
00:55:52,320 --> 00:55:53,520
Speaker 2: we talk about all the things too.

1208
00:55:53,600 --> 00:55:54,560
Speaker 3: Yeah, thank you.

1209
00:55:54,840 --> 00:55:55,799
Speaker 2: All right, well, thank you lip.

1210
00:55:55,880 --> 00:55:58,640
Speaker 1: If you asking for coming through, Samurai is available right now,

1211
00:55:58,760 --> 00:55:59,680
Speaker 1: make sure you check that out.

1212
00:55:59,680 --> 00:56:01,479
Speaker 2: The two is happening right.

1213
00:56:01,400 --> 00:56:06,520
Speaker 1: Now, Hertford, Philly, Boston, for Collins, Denver, all these stuffs.

1214
00:56:06,560 --> 00:56:08,440
Speaker 2: Make sure you guys check it up, of course.

1215
00:56:08,600 --> 00:56:13,760
Speaker 1: Yeah, Norfolk, San Francisco, La, Cleveland, Columbus, all the places.

1216
00:56:13,800 --> 00:56:17,319
Speaker 2: It's way up, way up,