Speaker 1: Wait that ass up in the morning Breakfast Club Morning.
Speaker 1: Everybody is DJ Envy Angela Yee, Charlomagne the guy. We
Speaker 1: are the Breakfast Club. We got a special guests joining
Speaker 1: us today. Indeed, you got Royce to five nine. Welcome back.
Speaker 1: Brother's up? What's up? What's up? Roy It's my brother
Speaker 1: Courtney Bell all right, Corney Belle, a long time friend
Speaker 1: and partner Keno Keno who are talked to times. Keo
Speaker 1: Keno and Royce looking very slim and vegan. Man, what's up?
Speaker 1: Nice healthy looking lifestyle on y'all, brothers. I can see ye,
Speaker 1: definitely a healthy lifestyle. Not quite vegan yet. Though not
Speaker 1: quite vegan yet. I'm not all the way converted, but
Speaker 1: I'm getting there. I'm getting what you've been up to.
Speaker 1: Royce's everything. I've been adjusting, man, adjusting to the pandemic,
Speaker 1: you know what I mean. Like it's tough. It's a
Speaker 1: tough time, you know what I mean. So I've been
Speaker 1: trying to keep myself mentally, mentally stable. I'm learning about myself.
Speaker 1: I'm learning. Uh. The biggest lesson I learned about myself
Speaker 1: is I don't need to be speaking all the time.
Speaker 1: I don't always I don't always need to be saying stuff,
Speaker 1: you know what I'm saying like that, I'm trying to
Speaker 1: get my filter together. I'm trying to learn how to
Speaker 1: protect my energy, especially on like Instagram, my timeline, What
Speaker 1: to look at? What should I just not look at? Correct?
Speaker 1: You know what I mean. So that's the biggest adjustment
Speaker 1: that I've been making. And then music, you know, I'm
Speaker 1: always making music, so you know, so right now we
Speaker 1: got a project card to having experience where I actually
Speaker 1: I took over ownership of a lot of my masters
Speaker 1: from back dating back, you know, which is I feel
Speaker 1: it's super important now, you know, I feel like the
Speaker 1: artists are artists should look at every song like a
Speaker 1: straight up asset. You know, we got all of these
Speaker 1: companies that for the most part, don't even need to
Speaker 1: even know about music anymore. They're just looking at it
Speaker 1: like an investment, which it is, you know what I mean.
Speaker 1: So now it's the best time to make sure that
Speaker 1: you've got ownership and make sure that you can figure
Speaker 1: out new things to be able to do with the
Speaker 1: masters when you get them. That's a lot of people say,
Speaker 1: you know, people want their masters, they want their ownership
Speaker 1: but don't know what to do it. They don't know
Speaker 1: what to do it when they get them, you know
Speaker 1: what I mean. So what's the purpose of having them
Speaker 1: and you don't know what to do it? You don't
Speaker 1: know how to monetize them. Well, think about this, Remember
Speaker 1: when they used to just be physical, just physical copies.
Speaker 1: You know, you sell it, it sales in the store
Speaker 1: at one time, and I sit now when you upload
Speaker 1: it to the streaming platforms, it may not pay out
Speaker 1: in one big ass lump like it may have before,
Speaker 1: but it's exists now because it's just present, you know
Speaker 1: what I'm saying. So think about it. A lot of
Speaker 1: these companies they're buying up all of these masters, they
Speaker 1: signing up all these artists, even at the lowest level.
Speaker 1: But then you know, it's all catalog and it all
Speaker 1: adds up, you know what I mean. So I think
Speaker 1: it's key to just make sure that you have as
Speaker 1: many things on platforms as possible, and then you know,
Speaker 1: other conversations can be opened up. So that's why this
Speaker 1: is happening, right, Because I'm looking at you like, you
Speaker 1: got fifteen songs, ten of them our best of us basically, right, Yeah,
Speaker 1: So this is why this trend of artists dropping projects
Speaker 1: with catalog, that's why this had become more popular. This
Speaker 1: because people getting the mass back. I'm not sure. I
Speaker 1: can't speak for anybody else. I know with me, with me,
Speaker 1: as soon as I got them, the first thing I
Speaker 1: wanted to do because we had to take them down,
Speaker 1: get them, and then now we need to put them
Speaker 1: back up. They're there, you know what I'm saying. And
Speaker 1: then from there, you know, we can have Sky's a
Speaker 1: limit on what the conversation could be. It was the
Speaker 1: process of getting it back, was it? You know, some
Speaker 1: people have to wait a certain amount of time, some
Speaker 1: people had to pay people. Was just a conversation. So
Speaker 1: what was the process with you getting your masters back?
Speaker 1: All of the abovesa. But you know when you when
Speaker 1: you have when you signed. You know, from our era
Speaker 1: when we did deals, it was standard for the for
Speaker 1: the labels to have control of the master for like
Speaker 1: seven years or something like that, you know what I mean.
Speaker 1: So some of it was just waiting out the seven years,
Speaker 1: going back and getting them. And then it's a process too.
Speaker 1: After that said, you know, you got to go through
Speaker 1: a whole process after that, and then some of it
Speaker 1: will say hold at me, buy that back, and then
Speaker 1: some of it. You know, it was all three, you
Speaker 1: know what I mean. So I'm constantly on that grind
Speaker 1: like I want everything, I want everything that I've ever done,
Speaker 1: you know. And then moving forward. Obviously Keeno and I
Speaker 1: are way more in the no now. So moving forward,
Speaker 1: there's no deal that we don't know how to do.
Speaker 1: Do you talk to a lot of the Detroit artis
Speaker 1: because it's Detroit, is a new wave of artists coming down. Um,
Speaker 1: do you get a chance to speak with the younger
Speaker 1: artists and say, hey, this is how you should be
Speaker 1: signing your deals? Or is it one of those things
Speaker 1: when you're like that we knew what we're doing. Anyway, No,
Speaker 1: I speak to him as much as I can. This
Speaker 1: is one of them. Let's dud. It's like enlightened beyond
Speaker 1: his years. He's not he's non problematic. But um, there's
Speaker 1: a few artists, a few young artists in my studio
Speaker 1: that I kind of mentor not to the degree of him,
Speaker 1: but um, there's a lot of companies I call them
Speaker 1: like middleman middleman guys, you know what I mean, Like
Speaker 1: they come with a bag of money. Um, they don't
Speaker 1: have much to offer, but since they have money upfront,
Speaker 1: and they're catching these guys at a time where they
Speaker 1: kind of need money or they feel like that they
Speaker 1: need money. Um, it's already in the contract. I actually
Speaker 1: read somebody's proposal and it said, um, we will have
Speaker 1: ownership of a master in perpetuity, and then we'll split
Speaker 1: everything sixty forty sixty US forty you and give you
Speaker 1: a five thousand dollars advance. And he was thinking about
Speaker 1: signing that for five thousand dollars guy, because yeah, because
Speaker 1: we don't number one. We programmed to think shortsided correct, definitely,
Speaker 1: we have no kind of like idea of how to
Speaker 1: place value on that master, so early on we don't
Speaker 1: know what it's gonna be worth until it comes out
Speaker 1: and then it goes and then it's like, damn, Okay,
Speaker 1: now I know a little bit more. Now I want
Speaker 1: to go get the master back. Now it's the same
Speaker 1: old song and dance publicly from a public platform, you
Speaker 1: bashing some company or something like that, which that shit
Speaker 1: don't look good either, you know what I mean? But
Speaker 1: you get it. I get it. You understand you signed
Speaker 1: that deal for five thousand, right, and this is what.
Speaker 1: This is what most people. It was something that somebody
Speaker 1: think though you make one hit, the label puts out
Speaker 1: that run hit. Now you're making Remember, artists don't make
Speaker 1: five thousand and ten thousand dollars to show if they
Speaker 1: got a hit. They're making forty fifty sixty thousand US
Speaker 1: show very rare, a lot of very thin. I think
Speaker 1: it's I think it's probably left. In conversation on the
Speaker 1: way here, I'm I'm we were looking at the jar
Speaker 1: and her interview. We was talking about RV's position, and
Speaker 1: I honestly see RV's position on it. I see labels position.
Speaker 1: That's probably why we we balanced what we do. If
Speaker 1: I'm a label, or if I'm a person and I
Speaker 1: give you five grand and it goes nowhere, you don't
Speaker 1: know me that five grand back, Yeah right, you know.
Speaker 1: But when it goes somewhere, it's an investment. You invest
Speaker 1: an Apple, Apple don't get the I'm you and say well,
Speaker 1: we're gonna take our stocks back because we're making too much.
Speaker 1: It's a deal. The problem is we don't always understand
Speaker 1: the complexity other deals because we don't come from homes
Speaker 1: where that type of business is discussed you can't be mad.
Speaker 1: You have to have an attorney. So that means your
Speaker 1: attorney looks over that paperwork in most cases. Yeah, but
Speaker 1: your attorney is the attorney. That's right. We got I
Speaker 1: give you an attorneys just to attorney. You can't have
Speaker 1: an attorney. But you know how that conversation came up
Speaker 1: in the car. I said, do you think it's possible
Speaker 1: for me, a black man, to cultivate a real meaningful
Speaker 1: relationship with an artist and on his masters And I
Speaker 1: said yeah, he said, for a period, for any period
Speaker 1: of time, I think, so there is there any point
Speaker 1: where that artist it's gonna get a little bit wiser,
Speaker 1: a little bit bigger, and then look look at it
Speaker 1: in retrospects, if possible for him or her not to
Speaker 1: harbor Yeah, I agree with you negotiate though, like when
Speaker 1: that artist catches that hit. It has to be a
Speaker 1: point where it said, okay, I made my money back
Speaker 1: after investment. Because it's not just five thousand dollars. You
Speaker 1: gotta pay for travel. You gotta pay for Warter. That's
Speaker 1: the bigger traveling you're paying for. What would your renegotiation be?
Speaker 1: It depends how big the record is like a perfect example, right, sorry,
Speaker 1: Cardi B. When Cardi B was first signed, they put
Speaker 1: a lot into Cardi B. But then she took off.
Speaker 1: That should have been to renegotiate right then, and there
Speaker 1: you got the one of the biggest female artists. Give
Speaker 1: it half the company she Cardi B. That's my opinion
Speaker 1: and for everybody. But let me once I recoup my money,
Speaker 1: me and her should be equal partners fifty. But then
Speaker 1: what happens when you got five Cardi bs on your label? Exactly?
Speaker 1: And that's what I was gonna say to about the
Speaker 1: masters conversation. It's about the investment you put in them.
Speaker 1: You know what I mean. I don't want none of
Speaker 1: your masters if I didn't make a large investment. But
Speaker 1: if I made a large investment, and I can see why,
Speaker 1: I gotta get it back, or we could we could
Speaker 1: do I think what we all should be doing, which is,
Speaker 1: as the older generation, we need to get through to
Speaker 1: the youth and let them see it's a different way
Speaker 1: to do it, right, because that's this is probably the
Speaker 1: biggest disparity between uh, the youth and the ogs that
Speaker 1: we've seen, right, We've all come in, we've all had mentors,
Speaker 1: that we've seen and and respected and learned a lot from.
Speaker 1: This is the first time where the youth is looking
Speaker 1: at us like there's there's a disconnect. And we think
Speaker 1: the disconnect is because as long as you could separate
Speaker 1: the youth from the experience, then it's easier to get
Speaker 1: them in these these quick deals and and and take
Speaker 1: them for a ride. And we're gonna be held to
Speaker 1: a different standard than the labels would be. I mean
Speaker 1: like that, Yeah, you here the way niggas talk about
Speaker 1: whole buff you know what I'm saying, Like I don't
Speaker 1: nobody talk about le or don't nobody talking about none
Speaker 1: of these labels, correct, But listen, let whole do something.
Speaker 1: That should do something, Let any of any of us
Speaker 1: do something. And it's just like, oh man, you wrong,
Speaker 1: how could you do that? You know what I mean.
Speaker 1: But when you're invest in somebody, like let's say him,
Speaker 1: you're investing them. You're paying for everything, right because he's
Speaker 1: getting the start. So you're paying for studio time. Right
Speaker 1: if people don't think studio time is expensive, but you're
Speaker 1: paying for studio time, You're paying for them lights to
Speaker 1: be on, you're paying for the engineer, you're paying for
Speaker 1: the food, the per diem, the water, traveling hotels, wardrobe.
Speaker 1: If they don't have it, now he has to make
Speaker 1: a record. If that record don't pop, you don't get
Speaker 1: none of that money back. And you're doing it on
Speaker 1: some family shit. You know, we're gonna spoil each other,
Speaker 1: you know what I mean, And that creates a sense
Speaker 1: of entitlement, you know what I'm saying. So it's just
Speaker 1: that's why, that's why I acts in the context of
Speaker 1: building cultivating the relationship, because you know, we do everything
Speaker 1: on some family shit, you know what I'm so it's
Speaker 1: difficult to be able to do that kind of business
Speaker 1: and cultivate a relationship. That's why I feel like labels
Speaker 1: have existed with the evolution of technology the way they
Speaker 1: have so long. It's because they can just keep it
Speaker 1: strictly business. Is that? The other problem too, though, that
Speaker 1: the black exact, dude do the family thing. We're a family,
Speaker 1: We we rocked for life, we bad boy for life.
Speaker 1: Isn't that Should it just be more business? That's what
Speaker 1: it always feels like, even when like you look at
Speaker 1: me sign in the raws or Drake and and you know,
Speaker 1: Nikki sign in the Wayne it's a family. It's a
Speaker 1: family when we win, Yeah, but then when you start
Speaker 1: throwing them bricks out, then it's f that person that
Speaker 1: you just called your family. You know, yeah, yeah, I know,
Speaker 1: I know. I don't know. I don't have to say
Speaker 1: that because we want when we come from now like
Speaker 1: we and our and our culture, we come from broken family.
Speaker 1: So the ability to make money with our family. It
Speaker 1: ain't just music. I mean, it could be the dope
Speaker 1: game too, right, it ain't too many differences from the
Speaker 1: way we approached the dope game and music. But at
Speaker 1: the end of the day, it's it's it's it still
Speaker 1: starts with leadership. Bro. I went out there. I went
Speaker 1: out there when when Puff was working on the press
Speaker 1: Play album, I went out there to work for him,
Speaker 1: and this nigga had me in like a midi room
Speaker 1: just writing versus over and over and over again while
Speaker 1: he was in the bigger, luxurious a room with all
Speaker 1: of his celebrity friends and shit. And I was just like, man,
Speaker 1: this nicka ain't paid me, you know what I'm saying,
Speaker 1: Like this nigga grind me. Man. About ten years later,
Speaker 1: after I was a little wiser, I looked at him
Speaker 1: in retrospect. Man, I had to hit him on the DM.
Speaker 1: I didn't have his numb. I had to hear him
Speaker 1: on the DM, man and tell him how much I
Speaker 1: appreciate him, how much I took from that, Like it
Speaker 1: was because of that process that I started to rewrite
Speaker 1: in my own creative process. Like I was like, I
Speaker 1: didn't even rewrite my own shit this much. Why don't
Speaker 1: I approach my ship? But this same kind of intensity
Speaker 1: I pulled that from it. And just the opportunity, you
Speaker 1: know what I mean, Like sometimes man, we take for
Speaker 1: granted the opportunity. And I looked at him and thought
Speaker 1: about how many great things he's contributed to the culture,
Speaker 1: and how how much all of the bad stuff or
Speaker 1: the quote unquote bad stuff is always placed in front
Speaker 1: of the same with Baby. I wish I could call
Speaker 1: Baby and tell him how great I think he is,
Speaker 1: you know what I mean? Because it's like every time
Speaker 1: you hear about these guys as well, they're on drugs,
Speaker 1: they're doing this, nig kissing, this nigga in the nigga
Speaker 1: doing this. But it's like, bro, these nigga's been existence
Speaker 1: since nineteen ninety seven. Nineteen ninety seven has not stopped.
Speaker 1: If that was anybody else from any other culture of people,
Speaker 1: them niggas would be they would be statute, verse, nor appreciate.
Speaker 1: Even Dame I was. I seen Dame this weekend and
Speaker 1: I was on a panel with him, and the middle
Speaker 1: of panel, I had to say thank you and he
Speaker 1: was like for what I was like back then when
Speaker 1: I was doing mixtapes, even though it was like ninety nine,
Speaker 1: I was like, you had an opportunity to do the
Speaker 1: Rockefeller mixtapes with Clue with S and S with Flex,
Speaker 1: but you said you wanted a young DJ at the time.
Speaker 1: You picked me, and I was like, thank you because
Speaker 1: you were cheap. You know. He was shot that I
Speaker 1: said thank you, But I was like, you know what,
Speaker 1: when you grow a little bit, you really understand how
Speaker 1: much of a how grateful it was to have that
Speaker 1: opportunity because you don't have those opportunities. Yeah, but I
Speaker 1: will say though ten years ago, you wasn't know new
Speaker 1: nigga Royce. No, no, no, no, I say in the
Speaker 1: room that you ain't no new ye I was saying
Speaker 1: ten years later from when that was, remember the press playout. Yeah,
Speaker 1: but even with that rush, the five not should have
Speaker 1: been treating with a little bit more respect, I think. No, no, no,
Speaker 1: I was on a private jet with him. We went
Speaker 1: to talk. Okay, just when we was up at daddy side.
Speaker 1: You remember how long ago, you know what I mean?
Speaker 1: I was, I was he definitely when he reached out
Speaker 1: to me, my man Slam shout out to my man
Speaker 1: Slam Wiz packs and ship. But he slam reached out
Speaker 1: to me. And I was definitely just sitting around Detroit
Speaker 1: at that time when he reached out, for sure, and
Speaker 1: I was gonna ask, you know, with everything you've been
Speaker 1: doing this industry, the ups downs, the group's solo projects,
Speaker 1: what makes you want to jump back into this on
Speaker 1: the on the executive side. I don't want to jump
Speaker 1: in on the executive side like that. I don't right now.
Speaker 1: I'm more focused on um mentorship, artist development because I'm
Speaker 1: an artist at heart, you know what I mean. And
Speaker 1: m Roy's hate the business side. No no, no no, no, no
Speaker 1: no no, see because he on it and he's on
Speaker 1: the he's on the executive side. He just don't want it.
Speaker 1: He don't want to sitting sitting in an interview with
Speaker 1: your artists. Been calling me, he's kind of e been
Speaker 1: calling me a suit for twenty five years. Man, he
Speaker 1: don't want admit it. Listen, I love I love doing business.
Speaker 1: I don't want to send the wrong I don't want
Speaker 1: to send the wrong sitting. I love doing business. I
Speaker 1: don't look forward to doing certain kinds of business with
Speaker 1: people who I have a relationship with. It's very difficult.
Speaker 1: I'm gonna cancer. It's very newtiful for me to separate
Speaker 1: business and personal. You know what I mean, somebody I
Speaker 1: care about, it's gonna be hard for me to like
Speaker 1: this nigga be like, yeah, okay, so this we're gonna do. We'
Speaker 1: gonna get him something standard. Baby can't do that, you
Speaker 1: know what I mean, don't. That's what we defer, you
Speaker 1: know what I'm saying, because he's more he's more of
Speaker 1: the business side. He's always been more focused on the
Speaker 1: business side, because that's all he's ever been. He's never
Speaker 1: been on the creative side. But you gotta go through
Speaker 1: it again. You're gonna have to go through talking to producers, Yeah,
Speaker 1: talking through artists, talking to DJ's. You're gonna have to
Speaker 1: go through the gamut again that people that you think
Speaker 1: his family. Until you got a new project in the
Speaker 1: life I don't know or you want to beat. And
Speaker 1: it's like for you, Royce, I do it for free.
Speaker 1: But for him, you know you're gonna have to go
Speaker 1: through that again. Man, Even when I'm doing albums, there's
Speaker 1: never been a time where I enjoyed calling people for features.
Speaker 1: I hate that part. He's the worst. That's why. That's
Speaker 1: why I stopped doing especially especially Yeah, you make sure
Speaker 1: you did album. Yes, And that's why I stopped. That's
Speaker 1: why CALLI lapped all of y'all. But he's greater that
Speaker 1: he doesn't He doesn't mind, he doesn't mind being persistent.
Speaker 1: I'm from a place where if I ask you once
Speaker 1: and you say yes, I shouldn't have to ask you
Speaker 1: that that's ego, though it is, that's ego. Your ego
Speaker 1: get wounded one time. Now you just want to fall back,
Speaker 1: like no, if you want something, go get it relentless.
Speaker 1: I tell people, I tell these kids, you have to
Speaker 1: have a DJ Khalid level of annoyance. The megan in
Speaker 1: this business. I don't even know if I don't even
Speaker 1: know if I would categorize that shit is annoying. You know,
Speaker 1: it's relentless. It's like I admire I wish I had that,
Speaker 1: you know what I mean? But I can't. I can't
Speaker 1: do it because I get inside my own heir real quick,
Speaker 1: you know what I'm saying, like this nigga, No, he's
Speaker 1: just nigga. No I'm calling him, but you name this
Speaker 1: to having experienced. I wanted to correct me from wrong.
Speaker 1: He didn't. Haven't want to name your children. No, Having
Speaker 1: is the name of my studio, your studio, name of
Speaker 1: my label? Got you? Yea having studios? So okay, it's
Speaker 1: like a hub, man, It's like I built like a hub.
Speaker 1: Why you never came to the studio, man, huh, We're
Speaker 1: coming back out there. I was just in Detroit drop
Speaker 1: dropping off packs. I'm gonna come about it, okay, Okay, Yeah,
Speaker 1: So it's it's like a it's like a hub that's
Speaker 1: kind of like where me and him got kind of
Speaker 1: tight at you know, I've been new I'm always been
Speaker 1: a fan of him. But it's a it's a hub
Speaker 1: for artists to come developed. And when I say developed,
Speaker 1: I don't mean just come and just make a bunch
Speaker 1: of music, you know, like obviously the doors are open
Speaker 1: for them to come and do that as well, but
Speaker 1: just to come half conversation man about life shit. You know,
Speaker 1: allow me to bestow some of my wisdom on your
Speaker 1: young process, because every single mistake you can think of
Speaker 1: that you're gonna make, I made them Tim's ten. That's
Speaker 1: where I learned all my greatest lessons, you know what
Speaker 1: I mean? And I feel like it's a part of it.
Speaker 1: It's a part of success and evolution to apply that
Speaker 1: back to the environment, apply that back to the generation
Speaker 1: coming behind you. Otherwise you can't consider what you're doing
Speaker 1: success part of it. What made you decide to work
Speaker 1: with with Royce? Same thing I've always been a fan
Speaker 1: of I'm a lyrics is, you know, I feel like
Speaker 1: coming from Detroit, that's what we bred on. I'm a
Speaker 1: fan of them. I'm a fan of Sean and even
Speaker 1: outside of the culture, the big Ales, the rock cams,
Speaker 1: like I studied that growing up, so like I studied
Speaker 1: his cadences when I first picked up my pen and
Speaker 1: I respect him as a man first outside of business,
Speaker 1: we have a real relationship with each other, Like we
Speaker 1: really kick it on an intimate level. So you know,
Speaker 1: it was divine that it happened more than anything. How
Speaker 1: do you feel about Detroit's rap game. Now, I feel
Speaker 1: like Detroite is like run record away from really being
Speaker 1: the next city that takes the next Are you crazy? Next?
Speaker 1: Memphisis I would say this Detroit street all day long,
Speaker 1: but memphisis street and radio when it comes to it.
Speaker 1: We're getting it away from that going because there's so
Speaker 1: many Detroite artists. That's we're missing the mentors though. We
Speaker 1: are missing the executive side because most of the people
Speaker 1: became executives. You know, Paul Rosenberg, he's here, I came
Speaker 1: here or you went to La right, So, but who
Speaker 1: Memphis got on the executives? Guy he's signed on the
Speaker 1: artist he signed, whether it's black, whether it's money back Yo,
Speaker 1: whether it is he's signed an artist. Like, that's the
Speaker 1: one thing I don't see in Detroit, an artists in tit.
Speaker 1: I think Memphis had that. Detroit might just be getting
Speaker 1: the dependence of it all because that goes back to
Speaker 1: three to six. Yeah, you know what I mean, Like
Speaker 1: and being your own label, having your own studios, put
Speaker 1: the artists you want to push. You didn't have. We
Speaker 1: didn't have a lot of people coming back home. You
Speaker 1: know what I'm saying? When when when when Mario wine
Speaker 1: is left. You know, Mario kind of left. You know
Speaker 1: when I left, I left like a lot of dudes
Speaker 1: from Memphis three six Carlos, six, tol Brody who who
Speaker 1: did a lot of puff like they went home, so
Speaker 1: they was able to get what we're talking about, right,
Speaker 1: But they were able to get I say as an
Speaker 1: executive side. But you know, Royce says Mentor, and we
Speaker 1: was just saying, I use the word um artist development
Speaker 1: when we talk about artists because I think it's gone
Speaker 1: beyond telling somebody how to write a song, Like artist
Speaker 1: development for me has been like how do you how
Speaker 1: do you get a hit record and come on here
Speaker 1: and not go home and die? How do you say
Speaker 1: to how do you learn how to have to write conversations?
Speaker 1: How do you get a million dollars and not go
Speaker 1: by rims or have everybody else your lawyer account? Everybody
Speaker 1: take their money, but there's no understanding of how wealth
Speaker 1: is created. So for us, arts development is and I
Speaker 1: think what roy says mentor, it's about really just giving
Speaker 1: them the tools and the resources and the strategies. Because
Speaker 1: the hit record can come and go. One hit record
Speaker 1: can set you up for life, or you had ten
Speaker 1: albums and just teaching them the importance of solidarity. I mean,
Speaker 1: that's what we're always missing Detroit. Obviously it's a little
Speaker 1: better now than it's been, but this is by far,
Speaker 1: by far, the best place Detroit has been in cultural
Speaker 1: you know what I'm saying, Like, we got so many
Speaker 1: artists popping right now, but we are missing with like
Speaker 1: what you said, we don't have that executive like Gotti
Speaker 1: come in and signing up everybody, which would help to
Speaker 1: kind of bring us all a little bit closer. You know,
Speaker 1: everybody's kind of like just all over the coach. Can't
Speaker 1: trying to sign every Detroit not the only ones Gazi
Speaker 1: trying to sign. Everybody's looking at Detroit right now. Last
Speaker 1: week I went through. I drove to Detroit. I think
Speaker 1: like seven eight artists. I went to the each each
Speaker 1: one of their hoods is to see how different it is.
Speaker 1: But just the fact that they get so much love
Speaker 1: in each one of their hoods and all that music
Speaker 1: is playing was like, damn, they just I just want
Speaker 1: to see it go, like go go, and that's like
Speaker 1: a Landa was like I think we're there though, yeah,
Speaker 1: I think, And that's what I was about to say,
Speaker 1: like just to answer your question, like before the industry
Speaker 1: came to the city, because I'm a part of that generation,
Speaker 1: the baby Faced Rais and all of them. We are
Speaker 1: our own celebrity in our neighborhoods and in the city.
Speaker 1: So outside of the culture, like we're we'll get a million,
Speaker 1: two million views alone just in Detroit before it catches
Speaker 1: and sparks outside of our culture. So like, I feel
Speaker 1: like that's the biggest thing with us, and you know,
Speaker 1: chiming in on what y'all said, it is pivotal that
Speaker 1: we have that connection between the ogs and my generation
Speaker 1: because now being in the age of social media, we're
Speaker 1: in a space to where it's like with us having
Speaker 1: that disconnect. Oh, I don't need you because now I
Speaker 1: have money like you have money. I have the resources
Speaker 1: like you have it, but we don't have the wisdom
Speaker 1: and the innerstanding of the business side. And they hustlers,
Speaker 1: Yeah for sure, they hustlers too, So they their concern
Speaker 1: is we coming and get the money. They don't necessarily
Speaker 1: give about hit records, you know what I'm saying. So
Speaker 1: I think that's that's why you don't see, you know,
Speaker 1: songs even structured like they're even trying to be on
Speaker 1: like radio like first day Out. Yeah, just incredible, incredible.
Speaker 1: It was like I'll see where they're coming from, like
Speaker 1: that vessel and code that records. I wonder if because
Speaker 1: I think about like Shady Aftermath, right, like, was was
Speaker 1: that the right machine? But at the time, it just
Speaker 1: wasn't a plethora of artists like it is now. Because
Speaker 1: m did what he could right like he had de twelve,
Speaker 1: he had obe him did an amazing job. Put the
Speaker 1: light on trick. Yeah, even when he was even when
Speaker 1: he wasn't trying, you know what i mean, Like just
Speaker 1: what he did opened up so many doors. Back then,
Speaker 1: it was Detroit was broken down like this. You had
Speaker 1: the street rapper side, which was the street niggas who
Speaker 1: rapped kind of like what you see now, and then
Speaker 1: you had hip hop nigga side that was us, the
Speaker 1: backpackers quote unquote from the hip hop shop. So myself
Speaker 1: proof everybody on our side got a deal. Every single
Speaker 1: person from that era on the hip hop side gotta deal.
Speaker 1: It was just our time, you know what I'm saying.
Speaker 1: And I'm gonna take it even further, like the Street Lords,
Speaker 1: cheddar Boys, rock Bottom, all of these crews that were
Speaker 1: making the street records back then, who were kind of
Speaker 1: in competition with us. They were making straight up club classic,
Speaker 1: street classic records that still play today. That they were
Speaker 1: the kind of records that y'all are talking about that
Speaker 1: the youngest now are missing. The youngest now are kind
Speaker 1: of like a derivative of these guys. Street Lord wand
Speaker 1: Blade Guy arrested Soul and it just wasn't the game
Speaker 1: hadn't caught up to what they were doing yet. Now
Speaker 1: the game has caught up to that. And the doors
Speaker 1: wide open for the vessels the side of the the babies,
Speaker 1: and they pick that ship through and they came stumping.
Speaker 1: But I wish I wish one of them would make
Speaker 1: no no no no no no no no. I wish
Speaker 1: one of them make one of them because if they
Speaker 1: do that, that's it. It's yeah. Now, I see you
Speaker 1: have a lot of people come to Heaven Studio. Chris
Speaker 1: Webber was just there. I think Jake Cole was there once.
Speaker 1: I think I saw you pick your cold. So what's
Speaker 1: going on? Is it records being made? Like? What is it? Yeah,
Speaker 1: it's records being made. Um see. Webb actually came the
Speaker 1: other day he played some beats. But um, we got
Speaker 1: some other stuff that we're doing. Um, can I talk
Speaker 1: about that In the marijuana business, we partnered up and
Speaker 1: we're doing some stuff canadaj the derogatory term he just got,
Speaker 1: well you know what it is, canceled. No, no, no no.
Speaker 1: But somebody told me who was in the cannabis business
Speaker 1: that marijuana was. It was a term that white people
Speaker 1: used to use for a weed coming out of Mexico,
Speaker 1: and so it's actually a bad kind of They look
Speaker 1: down the term cannabis. Okay, okay, cool, So I see weed,
Speaker 1: we probably okay, I'm gonna say, I'm gonna say cannabis.
Speaker 1: I'm gonna go with my attorney on this. So yeah,
Speaker 1: we were partnering it up on some stuff in the
Speaker 1: cannabis business. We're doing some NFT stuff together and we're
Speaker 1: gonna make some music together. And then he has a
Speaker 1: bunch of dope ideas on stuff that we can do.
Speaker 1: And it was just a long time coming. We met,
Speaker 1: We met like a while back, but we never really
Speaker 1: got a chance to connect like that. So we spent
Speaker 1: some time with each other and just seeing how like
Speaker 1: minded we were, and um, I'm into that right now,
Speaker 1: you know, just being around like minded people, real niggas,
Speaker 1: you know what I'm saying, building relationships and just figuring
Speaker 1: out ways that we can um use our viability that
Speaker 1: we bring to the table, put it together and figure
Speaker 1: out what we can do and just be real creative
Speaker 1: with what that could be. They got a lot of
Speaker 1: lies it too, though. First in Detroit, that's wild to me.
Speaker 1: They got to legalize it. You meant, well, you know
Speaker 1: it's only in Detroit, but it's crazy because you can
Speaker 1: go five minutes out into the white area and it's legal.
Speaker 1: But this little recreational which makes no sense, which makes
Speaker 1: no sense. You know, we don't. We don't give Chris Webbing,
Speaker 1: Jail and Rolls and Jimmy King and Ray Jackson and
Speaker 1: Juwan Howard the credit they deserve, right because I'm not
Speaker 1: even I'm not from Detroit, but I look at those brothers.
Speaker 1: They were so unapologetically black at a time when we
Speaker 1: didn't see that type of unapologetic blackness on TV and
Speaker 1: bracing hip hop the way that they did. But as
Speaker 1: a Detroit native, how how how did that impact? Man?
Speaker 1: It impacted me in a way that me and see
Speaker 1: Webb set and talked about that very thing you just
Speaker 1: said for five hours. Wow. The niggas they shifted to paradigm. Man,
Speaker 1: they changed the way that players wanted to dress like Yo.
Speaker 1: They first ones with the long baggy shorts, the big
Speaker 1: baggy jerseys, with the shirt T shirt under it, with
Speaker 1: the sleeves cut off. It was their idea to go
Speaker 1: with the haaraces that did not match the uniform. It
Speaker 1: was their idea for everybody to cut their hair ball.
Speaker 1: They Wow, and they were freshmen, all of them freshmen,
Speaker 1: all of them freshmen starting running shit. You know what
Speaker 1: I'm saying. It's just they paved the way for the
Speaker 1: AI paved it, and I you know, we need more
Speaker 1: of that, man, We need more people m for lack
Speaker 1: of a better phrase, obviously, but to kind of like
Speaker 1: give the system a little bit of pushback, you know
Speaker 1: what I mean? Like it's just necessary, man, It's not necessary.
Speaker 1: I gotta ask slaw the house of y'all back on
Speaker 1: good terms. I don't know what month this was, what
Speaker 1: week it was. I happened to term Instagram and I've
Speaker 1: seen y'all arguing on Instagram. You would you would you
Speaker 1: were the middle man, you would have one trying to
Speaker 1: calm things down, and they were going back and forth
Speaker 1: and I just turned to I was like, I can't
Speaker 1: see these bubbs argument anymore. So you're back good. I
Speaker 1: mean we never we never. I mean I could never
Speaker 1: say we're bad, you know what I mean? Like they listen, man,
Speaker 1: we've been We've spent ten years together. Man, damn there
Speaker 1: every day building something special, you know what I mean.
Speaker 1: And it just it just ended in a very unfortunate way.
Speaker 1: But I can't just sum it up like that. Man,
Speaker 1: I can't. I can't, I can't. I'm sorry. Man, it's
Speaker 1: my doorbell of the studio. I'm sorry. Probably just George
Speaker 1: Dash So so I can't just sum it up like, nah,
Speaker 1: we ain't good, you know what I mean. Now we
Speaker 1: haven't spoken. You know, two of the guys, Crooking and Joel,
Speaker 1: made some made some decisions that you know, we can't
Speaker 1: really come back from in terms of business, and that's
Speaker 1: really it. Decision was they decided to do their own
Speaker 1: group or do their own thing together. Nah they Um,
Speaker 1: I'm give you the short version. But me and Joe
Speaker 1: is sitting around minding our own business and we look
Speaker 1: up and they they release they start rolling out a project.
Speaker 1: The project was called The Rise and Fall of Slaughterhouse.
Speaker 1: They put this project out in the project is announcing
Speaker 1: to the world that the group is old. And this
Speaker 1: is why we had already went through a long negotiation
Speaker 1: with Shady to pull the group off the label so
Speaker 1: we can do things moving forward, so we can make
Speaker 1: another album, so we can relaunch merchandise, so we can
Speaker 1: relaunch everything slaughter House. And for whatever reason, so y'a
Speaker 1: were gonna do another album, even Joe was gonna do
Speaker 1: get in the studio and do another album at that time.
Speaker 1: Absolutely okay, absolutely, And so the whole album was basically
Speaker 1: about how Joe Knock gonna wrap Cricket came to the
Speaker 1: table with a deal idea. We didn't want to do it,
Speaker 1: so day over it. They're done, The group is done.
Speaker 1: And I just felt like that was a hell of
Speaker 1: a thing to blindside me with as a friend and
Speaker 1: as a business partner, because number one, if the group
Speaker 1: is gonna be over, that's fine. Things and things and
Speaker 1: all the time, let me know that. Send me a text,
Speaker 1: shoot me a text letting me know what you're done,
Speaker 1: or if you're gonna go public and say that you're
Speaker 1: done with the group, that's cool, but don't just go
Speaker 1: public and just announced that the group is done, you
Speaker 1: know what I mean. Like that's I expected more out
Speaker 1: of Crooked. I didn't have as much of a problem
Speaker 1: with Joel because you know, me and Joel always been
Speaker 1: been cool. But me and Crook, I thought we were
Speaker 1: better than that, you know what I mean. So it
Speaker 1: was more of a it's more of a personal more
Speaker 1: of a personal thing, you know what I mean. But
Speaker 1: I can't. I can't bring myself to a point where
Speaker 1: I can get on a public platform and bashing in
Speaker 1: them though, you know what I mean. I got too
Speaker 1: much love for him, and I think the amount of
Speaker 1: love I got for him is what made me so disappointed,
Speaker 1: you know what I mean. So it go back to
Speaker 1: what I was saying earlier, just about you know, airing
Speaker 1: out how I feel on public platforms. Bunn told me,
Speaker 1: like when we first, when Slaughterhouse first became a thing,
Speaker 1: he called me. Any time I ever aired out anything
Speaker 1: publicly if it involved family, I always regretted it, and
Speaker 1: that always resonated with me, and I've done I've went
Speaker 1: since that conversation, I went and done that probably fifty times,
Speaker 1: and I regretted it every time. So you know, so
Speaker 1: that's one of the things that I'm working on. So
Speaker 1: to answer your question, no, no more slaughter House, but
Speaker 1: still nothing beloved always I respect everything, as you said,
Speaker 1: And I feel like that should have been an easy
Speaker 1: conversation for crooking in Joel because Joe don't want to rap.
Speaker 1: So if you don't want to wrap, there's no slaughter house.
Speaker 1: So why shouldn't they be able to go do their
Speaker 1: own project. Well, it's easy to paint Joe as that
Speaker 1: because of how many things he said publicly, But when
Speaker 1: we having conference, when we're having conference calls and he's
Speaker 1: a part of every call and we having creative conversations
Speaker 1: about what we're gonna do next, you know what I mean?
Speaker 1: He was gonna get back and then do it. Joe
Speaker 1: staying is I'm not I'm retired. I'm doing I'm in
Speaker 1: the content space. But I'm really into ownership right now.
Speaker 1: I will wrap in slaughter House if we own it,
Speaker 1: but we got to own it. It can't be on
Speaker 1: Shady And if we decide to take it to another label,
Speaker 1: I would be particular on how we would do that
Speaker 1: deal because we already built this. This is something we
Speaker 1: built already, and I agree that it shouldn't just sit
Speaker 1: on Shady. It shouldn't just sit on Shady if Shady
Speaker 1: doesn't want to release it. And this is respectfully because
Speaker 1: I love them too. Always, it shouldn't just sit on Shady.
Speaker 1: We built it. It's ours. So when we got it
Speaker 1: off of Shady, man, I was like, that was like fulfilling.
Speaker 1: It was like it was bitter sweet. It was bitter
Speaker 1: sweet because it was like, damn, I had a vision
Speaker 1: for doing this with my good friend, you know what
Speaker 1: I mean, But it didn't work out for obvious reasons.
Speaker 1: So getting it off of there and still now having
Speaker 1: it back in our possession and having something that we built,
Speaker 1: the first tangible thing that we built in this business organically,
Speaker 1: you know, multimillion dollar brand that we built from the ground.
Speaker 1: When everybody told us, y'all been around the block, y'all
Speaker 1: can't man, y'all never be able to do festivals, y'all
Speaker 1: don't have songs, y'all don't have hooks, you know what
Speaker 1: I'm saying. Like, and we kind of like defied all
Speaker 1: of those odds, you know what I'm saying. So to
Speaker 1: get to that point with Joe being way more knowledgeable
Speaker 1: obviously myself being way more knowledgeable, and then just having
Speaker 1: it in our possession and for them to just jump
Speaker 1: the gun like that because of a deal that he
Speaker 1: put on the table, which he that's never been his
Speaker 1: role in the group. But I mean anything that anybody
Speaker 1: put on the table, I would consider it. But I
Speaker 1: think that we should be allowed to ask questions, right
Speaker 1: like if if if I put something on the table
Speaker 1: for us and you ask questions, or even if you
Speaker 1: say no, does that mean everything is over? Or does
Speaker 1: that mean we go to another label? We hadn't talked
Speaker 1: to any other labels yet. We hadn't even talked to
Speaker 1: a label in that situation. We talked to a guy
Speaker 1: who was talking to a label. We never had nothing
Speaker 1: on paper. There never was a proposal in black and
Speaker 1: white for us to look at. It was just a conversation.
Speaker 1: He didn't like how the conversation went, so he decided,
Speaker 1: fuck them, We're gonna go do this. I feel playing
Speaker 1: devil's advocate, right, do you feel like the white devil's advocate?
Speaker 1: We know Joe was doing well with his content, creating
Speaker 1: everything that he's doing you're obviously doing well. Could it
Speaker 1: be a situation where maybe Joel and Crooket weren't doing
Speaker 1: as well because the group was so much financial for them.
Speaker 1: I mean, y'all were going on tours, y'all. I don't
Speaker 1: think y'all ever really got the money that y'all deserved.
Speaker 1: Yet you feel like maybe that was their way of saying, look,
Speaker 1: I gotta feed my family at the end of the day.
Speaker 1: Possibly possibly, And I mean, listen, that makes it even
Speaker 1: worse because it's like, Bro, if that's what it was,
Speaker 1: we who are you supposed to have been talking to?
Speaker 1: You know what I'm saying, Like, who who wouldn't understand?
Speaker 1: Who would understand that more than your brother? Me, the
Speaker 1: guy who've been up and down, up and down just
Speaker 1: like anybody else in this business. You know what I'm saying, Like,
Speaker 1: I understand the ups and down. So if it's if
Speaker 1: this is a downtime and this is like something, because
Speaker 1: there's been plenty of things that I've done that I've
Speaker 1: done because one of my rules in the group was
Speaker 1: I don't like I'm not doing any three man shows.
Speaker 1: In three man all members gotta be there. There's been
Speaker 1: plenty of times Joe couldn't make it where they were like, yo, listen,
Speaker 1: we need you to come do this because we need
Speaker 1: the money. And I did it, you know what I mean?
Speaker 1: So what is that was just a bad deal, like
Speaker 1: Roy's gonna be. It was a bad deal. They possessioned
Speaker 1: a bad deal and they use a lot of stuff
Speaker 1: that was happening within the group. Um, it was just
Speaker 1: a bad deal, right person. There were times when when
Speaker 1: Joe was ready to wrap and we couldn't get crooked
Speaker 1: a rap. They don't talk about that shit, you know
Speaker 1: what I'm saying, Like I couldn't crook rap Crook Cooker
Speaker 1: always ready to wrap. Crook didn't want to know see
Speaker 1: see what I'm saying. See See, people got the wrong
Speaker 1: impression about people. And that's why Joe is easy to
Speaker 1: paint as a certain thing. He's easy talking. Yeah, look
Speaker 1: like they look like the blue collar guys, correct, you
Speaker 1: know the guys who you know willing the road, They
Speaker 1: sleeves a fuck all that Crook he had his ways
Speaker 1: about him the whole time. He always had some issue
Speaker 1: with Joe that he wouldn't address. It was always in
Speaker 1: the air. I can't quite put my finger on what
Speaker 1: that was. But this nigga that made Joe disrecords, he
Speaker 1: didn't did it. All types of shit, you know what
Speaker 1: I'm saying. People just didn't hear you know what I mean.
Speaker 1: But he did it. He did it, And there was
Speaker 1: a time where he was like, nah, I ain't rapping,
Speaker 1: you know what I mean. Nobody fucking went out and
Speaker 1: put out an album about him not rapping and saying
Speaker 1: that the group is over with. It's just it's messy.
Speaker 1: And then on the business side, it's like, Yo, you're
Speaker 1: not You're not sucking up our ship. You're sucking up
Speaker 1: your ship too, you know what I mean. We're all
Speaker 1: taking the same altogether. And then you know, like during
Speaker 1: the whole process, you painted me, You painted me in
Speaker 1: a certain light. You had to paint me in a
Speaker 1: certain light in order to be able to do that.
Speaker 1: And I'm just trying to figure out what what did
Speaker 1: I do to deserve that? Yeah, I mean, there's no
Speaker 1: record silent because I heard I heard people getting invited
Speaker 1: to the Frank stand on those those calls, right, I
Speaker 1: never did. Didn't somebody sayd SMD on one of those calls?
Speaker 1: Oh no, no, Joe, Joe, Joe, one of them. I
Speaker 1: was like, Joe, Yeah, Joe said that project, that project
Speaker 1: of SMD. He said that project that probably could suck
Speaker 1: my did Yeah yeah, yeah yeah, well maybe it was
Speaker 1: the project. Oh yeah, maybe that's not that's just yeah
Speaker 1: that when I started seeing it on lies, like you
Speaker 1: know what, enough, that was just that was just some
Speaker 1: Joe shit to say though, you know what I'm saying,
Speaker 1: like it, But it wasn't like Joel know how Joe talked,
Speaker 1: you know what I mean? So that wasn't that wasn't
Speaker 1: really nothing. That was one of them things where you
Speaker 1: can take it. You can take it super super offensive
Speaker 1: and personal if you if you choose to. But Joe
Speaker 1: Joel said a lot of He said a lot of
Speaker 1: weird stuff too, you know what I mean, Like everybody
Speaker 1: played their part. I'm I'm holding myself accountable for the
Speaker 1: for the part that I played to you know what
Speaker 1: I mean? But I meant, did you play you think?
Speaker 1: I mean, you're making it hard for me because I
Speaker 1: don't do much wrong. Charlotte Man, I just I just
Speaker 1: I just um I think um I did that thing
Speaker 1: that I was talking about. I went on Joe's show
Speaker 1: and I was I was frustrated in my reaction to
Speaker 1: what they did, caused Crook to react to how I reacted,
Speaker 1: you know what I mean, And then what he said,
Speaker 1: what he said made me block them, It made me
Speaker 1: block him on social media and made me block his
Speaker 1: number because I don't. I love them too much and
Speaker 1: I don't want nothing else to get said. That's gonna
Speaker 1: that's gonna turn me up, that's gonna put me up there,
Speaker 1: you know what I mean. So, and I don't feel
Speaker 1: like there's anything that should go on in the wrap
Speaker 1: space that should even bring you to that, you know
Speaker 1: what I mean. But we all we all gardened something,
Speaker 1: you know what I mean, Like we all gardened. Rather
Speaker 1: it's our egos. We come from environments where the measuring
Speaker 1: stick to cool and some souped up tough guys. Shit,
Speaker 1: you know what I mean. Like everybody's like, watch how
Speaker 1: you talk to me, respect me, But everybody ain't being
Speaker 1: so respectful, you know. So talk to me about the
Speaker 1: Loupe Fiasco thing, because I still don't understand what that
Speaker 1: went left. Ye're doing a podcast together the next thing,
Speaker 1: you know, it's disrecords flaming. I really don't know, Like
Speaker 1: I've tried to follow it. But I really don't know
Speaker 1: how that turns into that. And at first I thought
Speaker 1: it was friendly, just on something like I'm super ly
Speaker 1: Loupe super lyrical. Let's you know. It was friendly. It
Speaker 1: was friendly, it was friendly. But the same thing happened.
Speaker 1: There was a conversation on live stream on a on
Speaker 1: a on the platform, public platform for everybody to see,
Speaker 1: and Loupe um he made an assumption, he assumed because
Speaker 1: murder much and loaded luks Um. One of those who
Speaker 1: got one of those guys posed the question who would
Speaker 1: win in a battle between me and Louke. Now, now
Speaker 1: Urel had already reached out to us and asked us
Speaker 1: what we battled each other on the platform. We said no,
Speaker 1: We talked about it. We agreed that that's not even
Speaker 1: something that we would be interested in. I never even
Speaker 1: looked at lou as as like a um uhh, that
Speaker 1: he could be an op up mind, you know what
Speaker 1: I mean? Like, I don't feel like that he's that
Speaker 1: he's that kind of rapper. I think he's an amazing rapper, correct,
Speaker 1: But I don't think he's that kind of rapper. I
Speaker 1: don't think of guys like him when I think of
Speaker 1: if I thought, damn, if I was to battle somebody,
Speaker 1: who would it be? You know, I would think about
Speaker 1: people like sigh, Hi, you know, people who are more
Speaker 1: aggressive and you know, like attacking MC's kind of style,
Speaker 1: you know, lyric You know, louis more of like a cerebral,
Speaker 1: top tier amazing lyricists. So m so we said no.
Speaker 1: So when they when load of Lux and Move posed
Speaker 1: that question, they called Lou and start just hyping him up, saying,
Speaker 1: you know, like I think Lux was like, I think
Speaker 1: you will win, you know, So whatever they talked about,
Speaker 1: Lou assumed that I was the person who initiated that conversation,
Speaker 1: so he thought that I spoke to him and we
Speaker 1: agreed that we wouldn't battle, And then I turned around
Speaker 1: and went and sparked up a conversation trying to bait
Speaker 1: him back into going on that stage to battle me.
Speaker 1: And he didn't like that. But the way he did
Speaker 1: it with just it just wasn't cool. Or he dodn't
Speaker 1: call you and ask you that's what the fuck I'm saying.
Speaker 1: So he can't. So, so me and Young Guru we
Speaker 1: on live stream and then he's in the comments saying
Speaker 1: bring him in, so I bring him in. I was
Speaker 1: meet him young Guru. I think Muke was on there too,
Speaker 1: and we bring him home. This nigga ain't got no
Speaker 1: shirt on, like he walking around with it. Everything to
Speaker 1: do with it. Smoke, you want to smoke because it's
Speaker 1: like my nigga, I came up with a dad who
Speaker 1: used to cust me out not wearing no shirt all
Speaker 1: the time. You know. So he like he like I
Speaker 1: seen it immediately. He was turned up already as soon
Speaker 1: as he brought him on. Yeah, nigga, you're gonna keep
Speaker 1: bringing this ship up and making food lot of yourself.
Speaker 1: Get yourself embarrassed, nigga. And it was just like I said, Lou,
Speaker 1: put your shirt back. Put your shirt back on, I said,
Speaker 1: and calm down now now we're doing a podcast together.
Speaker 1: There were two other times that he kind of turned
Speaker 1: up on me and he get passionate and he just
Speaker 1: start kind of raising his voice, and you know, Luke,
Speaker 1: building a relationship with him was kind of like a
Speaker 1: case study man for me. It's like the challenge to
Speaker 1: me is building a relationship with somebody, coexisting with somebody
Speaker 1: who you know, you may have conflicting ideologies with um
Speaker 1: it's somebody who you may not necessarily have a relationship
Speaker 1: with if it weren't for the music space, which I
Speaker 1: think is I'm intrigued by that, right because I think
Speaker 1: he's such an incredible lyricism. I think he's so different
Speaker 1: from me. But I think that through through music we
Speaker 1: can we can we can find we can find the
Speaker 1: neutral things that we agree on, and we can also
Speaker 1: learn to agree to disagree on the things we don't
Speaker 1: agree on without having to try to change how each
Speaker 1: other feels. And you know, like, to me, that's the
Speaker 1: ultimate way of building solidarity because I think black people
Speaker 1: with us, black people in general, we feel like, shit,
Speaker 1: we got to be a monolith. We don't, you know
Speaker 1: what I mean? Like we all pretty much have the
Speaker 1: same goal. Did everybody's agenda starts to change a little bit,
Speaker 1: and everybody's pathway to get into that end goal it's different,
Speaker 1: but everybody thinks that their pathway is so superior to
Speaker 1: somebody else's. So and I think music is the only
Speaker 1: thing that can kind of neutralize that. So um, And
Speaker 1: I like Lou, I still do. I like him as
Speaker 1: a person. I think you're real cool. I disagree with
Speaker 1: a lot of shit did he has to say? But so, um,
Speaker 1: he started yelling. He yelled a couple of times at
Speaker 1: me on the podcast, and I just told him, it's
Speaker 1: not a problem. It's okay for you to like cross
Speaker 1: my boundary if you don't know my boundary, as long
Speaker 1: as when I let you know about it, you know
Speaker 1: you can make that correction moving on and we find
Speaker 1: So it never was like an argument or nothing, but
Speaker 1: it was just like, Yo, the yelling is the only
Speaker 1: thing that I'm not I can't really do. I don't
Speaker 1: do the yelling. I don't yell at nobody in my life,
Speaker 1: and nobody yells at me, you know what I mean.
Speaker 1: So that's just not something I'm willing to, you know,
Speaker 1: deal with. Some people are different. Some people are cool
Speaker 1: with that. Some people don't like when you lie. Some
Speaker 1: people don't like, Yo, don't yell at me, you know
Speaker 1: what I'm saying. So this was the third time he
Speaker 1: did that. So when he came onto the thing, he yelling,
Speaker 1: and I'm telling him, Luke, calm down, and I already knew.
Speaker 1: I was like, Yo, you think I think you think
Speaker 1: that I initiated this conversation. I ain't had nothing to
Speaker 1: do with this conversation. This is something that they just
Speaker 1: did on they came up with on their own. And
Speaker 1: I was like, calm down before you say some stupid shit,
Speaker 1: and he was, you know, when somebody already turned up,
Speaker 1: it's hard for them to calm down. So he kept
Speaker 1: yelling and yelling and yelling and yelling, and then I
Speaker 1: called him a bit, and that was that was the
Speaker 1: thing that I did that I gotta hold myself accountable.
Speaker 1: Do I regret it? I don't know if I don't
Speaker 1: know if regret it's the right word, but I don't.
Speaker 1: I'm not happy about saying that because I don't think
Speaker 1: he's a bit, you know what I mean. I don't
Speaker 1: think we should speak to each other that way, you know.
Speaker 1: But I do understand why I said. I understand why
Speaker 1: I said it because it was just a reaction. It
Speaker 1: was a point that I got pushed you, and I
Speaker 1: feel like I gave a lot of warning points. I
Speaker 1: gave a lot of a lot of lead into it.
Speaker 1: And that's me knowing myself. If it gets to a
Speaker 1: point where I start getting upset, I'm gonna just react
Speaker 1: and then I'm gonna go outside of my body. I'm
Speaker 1: gonna go I'm a vibrate lower, I'm gonna start doing
Speaker 1: shit that's not really reflective of the way I want
Speaker 1: to eve off and I don't. I don't, I don't.
Speaker 1: I don't feel good about it. I don't feel good
Speaker 1: about it, but I don't. I don't. I think I
Speaker 1: would regret it if um, if he hit apologize, then
Speaker 1: I definitely would apologize and then it would go down
Speaker 1: as a regret. But as of right now, you know,
Speaker 1: like the way that everything kind of got summed up,
Speaker 1: it it is what it is, but I don't feel
Speaker 1: good about it, no damn. And it turned into records
Speaker 1: were all actually going at it, the record with the record.
Speaker 1: When I did mind, it was still it was still
Speaker 1: in the friendly competition category. But after I did mine,
Speaker 1: that's when he unfollowed me. That's when he stopped the podcast.
Speaker 1: So to me, that's an official fallout. So so to me,
Speaker 1: that's no longer a battle, that's just a fallout. And
Speaker 1: now I regret the song. That's why I never responded
Speaker 1: to what he did. Who you think was the battle?
Speaker 1: Just musically? Anybody can't he can have it, he can
Speaker 1: have it. I don't. I don't. You know it wasn't.
Speaker 1: I'm not. First of all, I don't think anybody. I
Speaker 1: don't think anybody cares about um. It never was about
Speaker 1: who rap, who can rap better, who can win in
Speaker 1: the battle. It never really was about that man. It
Speaker 1: was just we sparked up conversation to have friendly conversation
Speaker 1: with a whole lot of different guys that speak to
Speaker 1: a whole lot of different audiences all together, so people
Speaker 1: can follow one clear, precise narrative, you know what I mean. Like,
Speaker 1: there was a point in my career where it was
Speaker 1: important to me to be the best lyricist. I've grown
Speaker 1: from that, you know what I mean. So I mean
Speaker 1: I think, I think, especially when you're talking about somebody
Speaker 1: like Lou who's so much different from how I am,
Speaker 1: it's just gonna come down to preference, you know what
Speaker 1: I mean. I don't think what he what he did,
Speaker 1: it's him at his best, in my opinion, not from
Speaker 1: me as a fan, it's him at his best. It
Speaker 1: was it was just sound like a bunch of angry shit,
Speaker 1: a bunch of angry, scathing shit that he said because
Speaker 1: he was mad. I heard that about both yal though
Speaker 1: I heard that about both the projects that both of
Speaker 1: the songs that No, it wasn't no venom in mind. No,
Speaker 1: I'm not talking about the people. Just was like, oh,
Speaker 1: this isn't either one of their best. But I think
Speaker 1: it's because of the expectation, because y'all are super lyricists, right,
Speaker 1: So you think in Loupay and Roy's at each other,
Speaker 1: you're about to hear some shit you ain't never heard before. No,
Speaker 1: it wasn't that kind of It wasn't that kind of um,
Speaker 1: that kind of atmosphere. You know, It wasn't it wasn't
Speaker 1: planned for us to, you know, just go at each
Speaker 1: other like that. Everything just kind of happened spurred the
Speaker 1: moment I blamed the pandemic too, and the way to
Speaker 1: Mickey Facts come in Mickey Facts just kind of he
Speaker 1: just kind of inserted himself. He just kind of inserted
Speaker 1: himself into it. And I think he just looked at
Speaker 1: it as an opportunity, opportunity to get in the mix
Speaker 1: because he was one of the he was one of
Speaker 1: the people that was that was involved in the combo
Speaker 1: that we were having, you know, but he was boosting
Speaker 1: it up like who would win between you and he
Speaker 1: was He was one of the people kind of talking
Speaker 1: about it. Um. But after the Me and Luke thing happened,
Speaker 1: I think he looked at it as an opportunity to
Speaker 1: jump in there, because he jumped on the live stream
Speaker 1: with me, and he didn't he didn't like the fact that, um,
Speaker 1: he was trying to get me to call him a
Speaker 1: top tier lyricist and I was just telling him I don't.
Speaker 1: I don't view him as that, but I do think
Speaker 1: he's dope. And he thought, since we were in front
Speaker 1: of the audience, that I was trying to play him.
Speaker 1: And then Joe came in and Joe Joe was kind
Speaker 1: of talking at him, you know what I'm saying, So
Speaker 1: he turned around and he did it, did his disc
Speaker 1: record and shit, And I think it was him and
Speaker 1: Lou were kind of like in cahoots with it, because
Speaker 1: Lou was kind of like, all right, now you do that.
Speaker 1: That mean now I don't have to I don't have
Speaker 1: to respond back and say nothing, you know what I mean,
Speaker 1: I don't have to keep going back and forth. Because
Speaker 1: I think I think part of part of Lou felt
Speaker 1: like that I had planned this ship the whole time,
Speaker 1: you know what I mean, So he thought that I
Speaker 1: was gonna keep going. So that was one of the
Speaker 1: reasons why I made sure that I didn't respond, because
Speaker 1: I didn't want it to even seem like that I
Speaker 1: had even planned that, you know what I'm saying, Like,
Speaker 1: I don't I don't want to. I don't want I
Speaker 1: don't want to put Lou in a position to where
Speaker 1: he viewed a certain way, you know what I mean.
Speaker 1: Like that ain't what I'm here to do, you know
Speaker 1: what I mean? So I just I just got it.
Speaker 1: I kind of had to let it go. The Mickey
Speaker 1: facts thing. People were like, Yo, you gotta respond to respond,
Speaker 1: And that's exactly why I didn't respond. I don't tell
Speaker 1: me I gotta respond. Shit, you know what I'm saying.
Speaker 1: That's another thing, man. The fans or the followers or
Speaker 1: whatever you want to call them, they think they think
Speaker 1: we work for them, you know. They think we like
Speaker 1: you know, steph and fetch it and shit, like we
Speaker 1: just wrap. We just rapp when they say we should
Speaker 1: because they want to be entertained. And yo, that's cool too.
Speaker 1: We can rap competitively to entertain if that's what we
Speaker 1: agree to do, as long as we keep it respectful.
Speaker 1: But if it turns into a fallout and it turns
Speaker 1: into real personal feelings. I'm not interested in that, man,
Speaker 1: I had enough of that in my career. Hip hop
Speaker 1: is exhausting. Yeah, and the male ego is so fragile,
Speaker 1: Like all of this stuff sound like it's this one
Speaker 1: phone conversation. You could like that so much it is? Yeah,
Speaker 1: I agree. Where where will we learn that communication from therapy?
Speaker 1: Name or rap? Name a rapper and therapy? Yeah, there
Speaker 1: ain't too many. It's more now, you know, it's so funny.
Speaker 1: It's more the younger generation that's embracing it, then the
Speaker 1: older few people who probably really need to process some
Speaker 1: of that unhealed Trump. You know what, Loue Page, he's
Speaker 1: just too He's so smart. He's so smart. He's too
Speaker 1: smart for his own good. I think I don't think
Speaker 1: he needs therapy. He needs therapy, definitely needs therapy. But
Speaker 1: I mean, you know, dog out, I got mad, I
Speaker 1: got mad. Love for lout. But let's let's get back
Speaker 1: to it. They haven't experienced it's out this week. You
Speaker 1: want to play what the time? Do you want to
Speaker 1: play what at the time? Yeah, let's play what at
Speaker 1: the time. Well, we appreciate you brothers. For joining us,
Speaker 1: Thank you for it's the Breakfast Club. Good morning,