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Speaker 1: Hey ya hey, SELLI Wilson from Rap right Off and

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Speaker 1: me and my partner beat Our Miller. And you know

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Speaker 1: we got the premiere website out there, rap right out

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Speaker 1: dot com. And now I'm about to take over the

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Speaker 1: podcast game. We want to sit down with the coach's

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Speaker 1: most important voices. Give you that news and information, that opinion,

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Speaker 1: the only opinion that matters. Man here rap right Off,

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Speaker 1: listen up here we go. Yeah man, rap right our podcast.

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Speaker 1: Elliott Wilson, speed up. You know, man, we're here with

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Speaker 1: the legendary Andre Hourelle. Well whatever, I'm glad I call

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Speaker 1: you Dre, Sir. Yeah, you called me. You gotta you

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Speaker 1: gotta call him. Birthday boy, happy belated later. But yesterday, man,

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Speaker 1: how do you say a break? Uh? To be honest,

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Speaker 1: I just rested up. I was tired from the trip

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Speaker 1: in the l A and doing radio all yesterday. Oh man,

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Speaker 1: I didn't do anything big. I just working because of

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Speaker 1: this revolte man puff got you working, man Scott, Yeah,

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Speaker 1: got to make him, used to make him work hard.

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Speaker 1: Now you're making you're making you work on. I'm um, yeah,

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Speaker 1: I'm going in the jungle, coming out with the lion's head.

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Speaker 1: So you're in charge of this Provote conferenceman third year.

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Speaker 1: Third year. It's a combination of music, social media and

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Speaker 1: technology promoting music innovation. And we bring over seventy panelists

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Speaker 1: down and we bring about fifteen different new and upcoming

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Speaker 1: artists and then we always give away the big award.

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Speaker 1: This year we're given the award to uh NAS and

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Speaker 1: it's called the Vote Jimmy I V and Icon Award,

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Speaker 1: and Nas will be the first artist. I saw you

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Speaker 1: backing him up, and I think in the Breakfast Club

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Speaker 1: thing you somehow he had the Queen's Bridge venures. A

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Speaker 1: lot of cast don't know the Nazis about his business.

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Speaker 1: How did you hear that? That didn't even come out radio?

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Speaker 1: You was you was up there? No, it was on

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Speaker 1: the Breakfast Club. I think I saw the video was

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Speaker 1: just big c. I just did that this morning. No,

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Speaker 1: maybe the previous interview you also backed them up. That's

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Speaker 1: probably what it was. Okay, you like that NAS guy.

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Speaker 1: Now I like NAS because that's the thing about we're

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Speaker 1: going back to the history with uptowning Like you're very selective.

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Speaker 1: You like you look at the roster. You wasn't like

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Speaker 1: you don't give compliments out you're very selective, high level

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Speaker 1: of taste. So the fact that you keep bigging up Nas,

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Speaker 1: I just think it's you know, he's earned that at

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Speaker 1: you paying attention, you're paying attention, and really, yeah, I

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Speaker 1: likens like I really got to know him after I

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Speaker 1: moved out to l A and I became vice chair

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Speaker 1: for Vote, we started to bumping each other more. And

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Speaker 1: I've always appreciated his work as an artist, but then

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Speaker 1: once I got to know him, he's really a smart cat,

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Speaker 1: really you know, pro black, really about his business, really

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Speaker 1: doing interesting things, like the fact that he got Queen's

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Speaker 1: Bridge venture capitalists like a yeah he started, he's setting

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Speaker 1: a new standing for what a rap star can do. Yeah,

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Speaker 1: he's a fucking venture capital exactly, exactly, intef right exactly.

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Speaker 1: So with the Revote Music Conference, how is like, what

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Speaker 1: do you think it's been growing over the last two

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Speaker 1: or three years? I think because there's really no other

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Speaker 1: real music conference that the record business supports. So we

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Speaker 1: get like, the first year we gave it to Jimmy

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Speaker 1: Ivan after he went to Apple, can't get any bigger

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Speaker 1: than that. Last year we gave it to l A Read.

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Speaker 1: So we we tried to get um the people in

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Speaker 1: tech involved. We try to get the people on social

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Speaker 1: media involved. And when I say that, we try to

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Speaker 1: get the founders involved. So it's kind of like a

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Speaker 1: tech conference meets Jack the Rapper about those people that

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Speaker 1: don't know you hear about these legendary conferences that we

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Speaker 1: knew about the nineties, Like, how can I be down

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Speaker 1: Jack the Rapper? I think, what do you think differentiates

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Speaker 1: Revolt from from those times? What's in this new era?

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Speaker 1: What the difference is? One radio was a driving factor

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Speaker 1: behind the other conferences. What happened was major labels would

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Speaker 1: fly in big time program directors, and then all the

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Speaker 1: other labels would go and support and have showcases for

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Speaker 1: their artists. Now not so much terrestrial radio. Now it

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Speaker 1: could be streaming to rest your radio and social media

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Speaker 1: that get the buzz out. So now we we we

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Speaker 1: messed it up across the board with all three of them.

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Speaker 1: Plus we still do A and all plus we still

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Speaker 1: do management. Plus we do keynote speaks, like this year

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Speaker 1: we are calling from three hundreds doing the keynotes. I

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Speaker 1: can't really do it right now, but I can tell

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Speaker 1: you this. Three hundred is hot. You heard about three hundred.

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Speaker 1: You don't know. That's pretty good. Is it hard to

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Speaker 1: get these power players down to mind and everybody? Man,

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Speaker 1: be honest? Is not that difficult? Like wow, to be

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Speaker 1: honest like you do. You don't even rely on pump.

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Speaker 1: This is all your juice to get all This is

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Speaker 1: all me getting on the phone and asking them to

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Speaker 1: do it. And we've all came up in a time

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Speaker 1: where we all gave back. So from Lee all the

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Speaker 1: Russell to myself, we all were involved in be are

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Speaker 1: We all were involved in impact. We all were involved

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Speaker 1: in how could I be down? Like when Peter Thomas

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Speaker 1: first deal how can I be down? He called me

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Speaker 1: up and said, I got an idea for a conference

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Speaker 1: in Miami. I want to honor you this year. I

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Speaker 1: need your support, and I did, Like if these things

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Speaker 1: are good for the record industry, like artists get developed,

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Speaker 1: artists get discovered, record executives get discovered and move forward,

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Speaker 1: So how does you usually work for the new generation

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Speaker 1: that goes to these differences? Like what's the type of

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Speaker 1: energy you peep? Like? How is that different than I think?

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Speaker 1: I think the opportunity for the new generation is to

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Speaker 1: hear what the panel has got to say to people

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Speaker 1: who are in the game, but to hear it from

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Speaker 1: a different perspective, in the sense that the game is

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Speaker 1: changing every day. So you gotta go to the tech

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Speaker 1: panel and hear what I Cloud is said, you gotta

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Speaker 1: go here with Spotify is saying, you gotta go here.

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Speaker 1: What the rest of your radio saying, and you gotta

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Speaker 1: go here? What what what l A Read is saying

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Speaker 1: like and you gotta take it all in and figure

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Speaker 1: out where you fit in. Before when we were kids,

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Speaker 1: it was a simple path. We wanted to be and

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Speaker 1: our director, so we wanted to be program that's it.

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Speaker 1: Now there's so many things to be inside the record

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Speaker 1: business or outside. You might want to go work at

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Speaker 1: Apple now as opposed to working at Epic. Yeah, there's

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Speaker 1: more that If you look at we had Kevin Lows

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Speaker 1: as the last guest. He went from intern to CEO,

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Speaker 1: your protej puff went from intern to CEO. That seems

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Speaker 1: like a whole other couldn't do that in this era,

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Speaker 1: like really go from an intern to the CEO of

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Speaker 1: a company. And one of the reasons you could do

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Speaker 1: that back then is because we were boutique company, so

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Speaker 1: you could have a personal relationship with the president and

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Speaker 1: he could give you more responsibilities that you could take

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Speaker 1: from first to home play like now, well even back then,

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Speaker 1: if you went to a major label, everything it departmentalized

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Speaker 1: and you could only do what department. At boutique labels,

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Speaker 1: we did everything artwork, video and our marketing, whatever it is.

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Speaker 1: We did everything, and everybody had a voice in it,

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Speaker 1: and it was very important that people understood what the

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Speaker 1: point of view of your label was. Were not just

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Speaker 1: the artist, but observing Puffy in that error, Like when

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Speaker 1: was the first time you kind of really started to realize, Okay,

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Speaker 1: this guy's there's something unique about this kid, Like he

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Speaker 1: seemed like he's bringing a different type of energy to

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Speaker 1: this first time. The first time I sent him on

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Speaker 1: an errand I was on the phone. I said to him,

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Speaker 1: I said to him on errand to Unique Studios to

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Speaker 1: pick up some tapes. We were housed on fifty seven Street,

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Speaker 1: uh and I was on the phone. He ran got

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Speaker 1: the tape, he ran back and his tie was like

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Speaker 1: this when he came back, What else can I do

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Speaker 1: for you? I said to him myself, this boy's problem.

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Speaker 1: He said, I ran there and I ran back. I

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Speaker 1: was like, okay, that's a different kind of energy, and

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Speaker 1: I kind of thought this kid is special, like his desire,

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Speaker 1: his go out and get it with special. So if

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Speaker 1: a person wanted to them to the music conference, do

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Speaker 1: they get hired on the spot? Do you think people

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Speaker 1: have lofty expectations going into the conference. I don't think

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Speaker 1: they get hired on the spot. And if they did,

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Speaker 1: they don't think it right now. What you do you

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Speaker 1: make in roads to network for future opportunity or to

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Speaker 1: get your record deal. One thing we're doing different is

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Speaker 1: um A lot of times when people came to the conference,

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Speaker 1: they would come up after a palelace spoke and say

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Speaker 1: and have a question. So the moderator will say, okay,

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Speaker 1: what's your question and they said, I don't really have

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Speaker 1: a question, but I like the audition and they sing

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Speaker 1: or they start spitting bars. So instead of having that,

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Speaker 1: we we just decided to give a day for the

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Speaker 1: people who are trying to get discovered and we call

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Speaker 1: that be Heard. And so myself Brian Michael Cops uh cool,

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Speaker 1: Andre Uh, We're gonna be down there hosting to be

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Speaker 1: Heard and people will come in audition for a minute

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Speaker 1: and a half or so until we get down to

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Speaker 1: ten people in the final hour and we're gonna pick

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Speaker 1: one person as the winner, and that person will perform

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Speaker 1: on Revolt a lot to damn. That's that that particular

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Speaker 1: thing you can get on, but don't be trying to freestyle.

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Speaker 1: These panels man axpections of the battels. If you want freestyle,

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Speaker 1: come the first day Thursday to be heard and the

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Speaker 1: conferences October thirteen to the six team down in Miami

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Speaker 1: at the eaton rock holl Town. Why Miami every year?

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Speaker 1: Who don't want to go to Miami. It's local, it's

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Speaker 1: easy to get to. It's beat. It was what else?

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Speaker 1: Remember if that's not the Bronx Beats? It beats? Remember

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Speaker 1: the first time you bawled out in Miami? Um, the

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Speaker 1: power of Miami? I remember? How could I be down? Nine? Uh? Yeah?

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Speaker 1: Miami was always special? And that's the guy he's in

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Speaker 1: reality shows now right. I agree Crazy Well knows. What

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Speaker 1: are your thoughts on the industry these days? Like are

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Speaker 1: you a fan of subscription based services and things of

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Speaker 1: that nature. I think Beats is kind of interesting, and

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Speaker 1: I think Pandora's interesting. I like pan Door because I

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Speaker 1: could just go Michael Jackson Radio Very White Radio R

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Speaker 1: Kelly Radio and just let it go and I can

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Speaker 1: get that kind of music and I don't have to

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Speaker 1: keep bending forward and creating playlists. I like that. The

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Speaker 1: old man in me likes that beats. Beats got all

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Speaker 1: kinds of playlists, all kinds of deep music. Yeah, they

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Speaker 1: got that. So they got playlists, they got they got

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Speaker 1: DJs with particular points of view, like q Tip, like

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Speaker 1: Drake they got. I think what they got is worth it.

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Speaker 1: I would spend my money on that, and I do.

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Speaker 1: But how does that affect you think? It doesn't leave

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Speaker 1: a dent on like old school brick and mortar services,

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Speaker 1: going to Best Buy and you know, picking up an

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Speaker 1: album like oh okay when it comes to record stores

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Speaker 1: and let's not having record stores. That's that that that

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Speaker 1: I missed. That I missed going and looking at the

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Speaker 1: album covers and picking through the stuff, and that was

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Speaker 1: a whole experience. Um, but how long has it been

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Speaker 1: going now? Like six seven, eight? More than that? Gotta

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Speaker 1: let that go. We'll talk about that. Part of what

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Speaker 1: you've been with Uptown Records was all about the imaging

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Speaker 1: and the style. That was so important, like talk about

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Speaker 1: the construction of that at the time, like even putting

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Speaker 1: Mary J. Blige and those type of outfits was almost controversial. Oh,

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Speaker 1: I started up Town Records. I had already been a rapper.

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Speaker 1: I was already been in Dot Checkleman, my champaign of

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Speaker 1: rap album right here right, So let me into my

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Speaker 1: MPM all that put your radio up because we are

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Speaker 1: all So I had that kid and we were like

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Speaker 1: a hall and rap group. So I studied like I

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Speaker 1: used to go to pro Rocker and I would study

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Speaker 1: the attitude. So their attitude was getto fabulous, and I

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Speaker 1: was like, now, imagine if you can have all these

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Speaker 1: trimmings and you were legal, like the hustlers used to,

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Speaker 1: uh have the teams back then when we go to

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Speaker 1: pro Roca, it would be would be Smoky to Freak,

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Speaker 1: it would be Tito Nicky Bard's nephew, and they would

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Speaker 1: come with jewelry and business and they, you know, have

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Speaker 1: an attitude like it's nothing. And I would say to myself,

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Speaker 1: imagine if you could do that legal, what kind of

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Speaker 1: attitude would that look like? And so when I got

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Speaker 1: into music business, the first thing I did was trying

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Speaker 1: to do that attitude on guy. Uh. Mary J. Blige

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Speaker 1: was the girl version of that with door knocka earrings

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Speaker 1: and attitude plus style plus talent was really what Uptown

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Speaker 1: Records was about. Like, we really wouldn't sign just a

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Speaker 1: person who had talent but didn't have an attitude and

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Speaker 1: didn't have style. We needed the whole package. Is that

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Speaker 1: the reason why you went to go see Mary in

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Speaker 1: person at a ownhood and the reason I went to

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Speaker 1: see her in person because when I heard her sing,

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Speaker 1: she she was like paint up with an interpretation of

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Speaker 1: an experience that was different and special from everybody else.

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Speaker 1: So I said, when when they told me she's not

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Speaker 1: gonna come down, I knew it was because she was shy,

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Speaker 1: and I knew she probably didn't believe that it was true.

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Speaker 1: So I went up to snow Boyd Projects and went

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Speaker 1: to your apartment with her mother, And I remember when

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Speaker 1: I came through the door and I saw her in

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Speaker 1: my mom's I told her, Moms, one day, your daughter's

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Speaker 1: gonna sing for royalty. She's gonna sing for rock and

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Speaker 1: roll kings and legends. She's gonna sing with them. She's

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Speaker 1: got a real gift. And Mary just was shy and

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Speaker 1: just laughing and thought I was just this colorful black

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Speaker 1: person talking all this wizards of obs, hoping that it

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Speaker 1: be come to a little black friends. But but but

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Speaker 1: it did come true and it was they said, Puff

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Speaker 1: said it was queen and get a love and you

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Speaker 1: said queen hip hop soul. That's the urban legend. That's true.

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Speaker 1: We we were we were trying to package her uh

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Speaker 1: and make T shirts, T shirts, very serious, very serious serious.

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Speaker 1: So Pop came with a ghetto love T shirt and

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Speaker 1: I said to Pop, don't nobody want to be from

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Speaker 1: the ghetto? Puff? You want to you want to be

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Speaker 1: hip hop salt. I said, that's the term. And that

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Speaker 1: turned out to be determined. And we've been riding hip

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Speaker 1: hop soul up until this is that. But but you

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Speaker 1: credit Puff with the idea, that's kind of just take

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Speaker 1: that hip hop beat with the prop came with the sound,

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Speaker 1: He came with the hip hop, Mary had the soul,

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Speaker 1: and together that was hip hop sal. I would since

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Speaker 1: we're talking about Puff want to stay on there for

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Speaker 1: a little bit, how much credit do we just puffectly deserved?

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Speaker 1: Like do we not praising is enough? Like sometimes I

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Speaker 1: think about his career and you know him coming from

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Speaker 1: you and your your tree, Like do we give him

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Speaker 1: the props that he really deserves, or is it kind

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Speaker 1: of under feels underrated as a producer. I feel like

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Speaker 1: that's a common thing to him. I think I think

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Speaker 1: Puff probably doesn't get the props for being the artist

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Speaker 1: that he really is. I think when you look at

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Speaker 1: his his body of work, it's not just the records

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Speaker 1: he's made, it's the visuals he's made, Like his video game.

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Speaker 1: To me, he should have got a moon Man for

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Speaker 1: just his video. What's your favorite video video game is?

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Speaker 1: It's hard to match. So I think a lot of

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Speaker 1: things he doesn't get all the artistic credit for that

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Speaker 1: he deserves. I think in terms of a marketeer, uh,

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Speaker 1: in terms as a visual creative, uh, in terms of

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Speaker 1: knowing what fits prof prof has showed a particular excellence.

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Speaker 1: But I do think he gets his props. The only

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Speaker 1: thing I don't think he gets his process for is

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Speaker 1: his visuals, his videos. I think he made some of

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Speaker 1: the best videos, and you've give him prosper really crafting

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Speaker 1: that Mary J. Blodge image with the first album. Talk

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Speaker 1: about that, what's the fall we want to putting that

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Speaker 1: record together? Like what was your observations and how that

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Speaker 1: record came together? I remember when they would come back

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Speaker 1: to play the record for me, I would say, Yo,

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Speaker 1: there's no change in the record, like a regular structured song.

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Speaker 1: It would just be the bet and they said and

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Speaker 1: they were you know and f uh Dave Hall. They'd

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Speaker 1: be like yeah, and we're rocking their head like yeah,

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Speaker 1: like I was. And I was like, okay, I guess so.

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Speaker 1: But they came with the no changes, just the knock

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Speaker 1: in terms of the arrangements. In terms of the arrangements, yes,

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Speaker 1: and Mary had a particular way of singing things and

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Speaker 1: she could wrap two. She loved Mary. Mary was the

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Speaker 1: real thing, the inner city treasure. And I think it

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Speaker 1: came at the time where the new jack swing was

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Speaker 1: was dying and hip hop was on way up and

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Speaker 1: R and B. If you're a young producer, you didn't

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Speaker 1: want to make soft sound because the hard thing was not.

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Speaker 1: So when they decided to use the same loose that

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Speaker 1: they used the rap records, that's when we found something.

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Speaker 1: And and I think the very first one was was

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Speaker 1: the JODICI record It was coming Talk to Me. The

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Speaker 1: remix was the first hip hop is All record. Yeah,

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Speaker 1: but then my Life is So Revealed to I mean

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Speaker 1: Mary's second album, like can you talking about what's going

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Speaker 1: at that time? And it's sort of like if we

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Speaker 1: find that sound almost more arrangements in my life, Yeah,

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Speaker 1: had real arrangements. My life, Uh is the only album

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Speaker 1: I have up in my house. Like that was a

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Speaker 1: masterpiece because she was so honest in terms of what

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Speaker 1: she was going through in her love life and how

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Speaker 1: she was feeling. They always made the company feel like,

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Speaker 1: if we handle this right, will be helping young women

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Speaker 1: across the world, because it wasn't just love is not

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Speaker 1: just a in a city thing where people don't get it.

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Speaker 1: It's across the board. You could be rich and I loved,

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Speaker 1: You could be boring, I love, you could be black,

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Speaker 1: you'll be white. It's just the feeling of women feeling

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Speaker 1: unloved and unappreciated. And My Life captured that moment, and

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Speaker 1: we we tried to do our best to make sure

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Speaker 1: that Mary grew with that in terms of not just

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Speaker 1: musically but as an adult, Like there's a responsibility that's

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Speaker 1: gonna happen with this album. Like when women come up

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Speaker 1: to you, Mary, they are coming up to you because

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Speaker 1: they want some love from you, because you understand exactly

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Speaker 1: what they're going through. And they haven't heard anybody else

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Speaker 1: say it the way you're saying it. So you and

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Speaker 1: women about to have a love affair. How do she

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Speaker 1: adjust to that? She at first she was non trusting,

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Speaker 1: but then after a while she she she she learned

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Speaker 1: how to trust because she saw it, which is overwhelming.

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Speaker 1: It was coming out everywhere. And so now when I

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Speaker 1: see her, she she knows actually who she is and

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Speaker 1: what her responsibility is. She's the queen of hip hop

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Speaker 1: song and she knows that she's the beaming light of

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Speaker 1: strength for women, and that she's revered by women, and

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Speaker 1: so she knows how to love her audience and return.

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Speaker 1: During Uptown's run, did you guys see anybody as competition

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Speaker 1: with the face on the other record labels? I saw

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Speaker 1: the faces competition because the face was something a lot

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Speaker 1: of records bottom up. I remember when I put out

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Speaker 1: the My Life album, we saw three million, and uh

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Speaker 1: TLC put out the album that had Creep on it.

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Speaker 1: It's so seven million. So what's your music to black?

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Speaker 1: The Uptown records? It's too black? I thought. I thought

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Speaker 1: m c A wasn't giving us the right money to

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Speaker 1: cross it over pop. That's what I thought. Getting some

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Speaker 1: kind of tention. Maybe, Yeah, I thought they should have

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Speaker 1: just gave me my own pop department, but they did

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Speaker 1: never want to give our urban label basing urban culture

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Speaker 1: pop department that I haven't change the game. Yeah, what's

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Speaker 1: so devisive when you go up to labels back then

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Speaker 1: and be like this is the rock post, this is

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Speaker 1: the urban department, Like it was all compartmentalized, and like

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Speaker 1: those worlds didn't meet. You met the publicists, and then

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Speaker 1: there's the urban publicistm Like you imagine put out a

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Speaker 1: record um with the culture of the hood and put

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Speaker 1: it out the mainstream America, like put it out on

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Speaker 1: ABC Networks and everybody can see all of a sudden,

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Speaker 1: and not just that one. Here's another one, and here's

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Speaker 1: another one, and here's a little Sean and here comes Joe.

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Speaker 1: To see that level of effect on pop culture, there

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Speaker 1: was like, No, we're gonna control a lot because that

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Speaker 1: level effect on the bottom line. We're gonna control that too,

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Speaker 1: because we know you could get the two, maybe you

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Speaker 1: get to three, but if you want to get the eight,

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Speaker 1: that's that's a whole leother level of mine. You're gonna

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Speaker 1: be telling me what to do. So were you in

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Speaker 1: l read like battling on the phone and Yo, I

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Speaker 1: got TLC. I got Joe to see real best of friends,

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Speaker 1: best of friends, the whole way. No, in a situation obviously,

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Speaker 1: like people forget too with Puff, like they always get

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Speaker 1: the rap that you you get tired of, the rap

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Speaker 1: that you fire Puff and all that type of stuff.

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Speaker 1: At the end of the day, you helped Bill bad

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Speaker 1: boy entertainment while he was still there, right, I made

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Speaker 1: Puff rich. You brought him his first call Puffle. I

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Speaker 1: bought him and first called puffles on payroll. When he

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Speaker 1: got fired, he was on payroll. I wanted to give

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Speaker 1: Puff his own office because he was keeping my office

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Speaker 1: open late to two in the morning. I was like,

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Speaker 1: we gotta, we gotta give him his own space. So

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Speaker 1: when I was trying to negotiate with MC, had to

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Speaker 1: give him his own space. They said, na, you gotta

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Speaker 1: handle that, and so that bothered me. And then when

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Speaker 1: he had the Biggie album, the President's secretary, Richard probably secretary,

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Speaker 1: she was listening to it and she was saying, we

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Speaker 1: can't put this out. So she told the president, and

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Speaker 1: the President called me and said, we can't put this out,

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Speaker 1: and you gotta tell him, we gotta change it. I

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Speaker 1: was like, I don't want to be in the middle

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Speaker 1: of this. I don't want to be the one holding

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Speaker 1: back the voice of a generation. So all of that

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Speaker 1: led me to know that Puff was so big it

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Speaker 1: was time for him to do his stay. What was

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Speaker 1: the biggest there was, the biggest song that there was

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Speaker 1: the party of bullshit? Was that? What was the one

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Speaker 1: that was concerned about him? Um to be I can't

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Speaker 1: even tell you, not me and my bit maybe or

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Speaker 1: something I can't remember, but they just thought it was

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Speaker 1: kind of more violent towards women or never been hearing

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Speaker 1: about that. So technically Biggie got dropped. To make sense

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Speaker 1: at that point, we didn't drop him. We would have

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Speaker 1: never dropped him. I'm sorry. Um, he turned out to

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Speaker 1: be my favorite rapper of all time. No, but it

420
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Speaker 1: was just it was sign for Puff to get another

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Speaker 1: opportunity that m c A wouldn't allow me to give him.

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Speaker 1: So he had a bad day one day and it

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Speaker 1: just didn't work out that day and it was just

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Speaker 1: time to make a change. But the change I made

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Speaker 1: I kept him on payroll. I kept his artists on payroll.

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Speaker 1: He had Craig Max still Craig mac the Girl Total

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Speaker 1: and I looked over his contracts. I was like, go

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Speaker 1: get the best deal, and I thought to myself that

429
00:23:00,359 --> 00:23:01,960
Speaker 1: after me what I taught you, I taught you a

430
00:23:02,000 --> 00:23:06,320
Speaker 1: lot of culture and lifestyle. Clive Davis song man, teach

431
00:23:06,359 --> 00:23:09,960
Speaker 1: you how to make a number one record worldwide? Go

432
00:23:10,080 --> 00:23:12,359
Speaker 1: get that. You have that, and you're try to look

433
00:23:12,400 --> 00:23:14,280
Speaker 1: at your Twitter, but you have one simple thing. You say,

434
00:23:14,359 --> 00:23:17,320
Speaker 1: record many that best representation. Why why do you think

435
00:23:17,320 --> 00:23:23,080
Speaker 1: that best representation? Because it's it's a rarity that someone

436
00:23:23,160 --> 00:23:26,720
Speaker 1: in the music business is a real record man. And

437
00:23:26,800 --> 00:23:29,760
Speaker 1: I think when when we use that term, I know

438
00:23:29,960 --> 00:23:32,640
Speaker 1: l A uses that term. I know Jimmy Ivan used

439
00:23:32,640 --> 00:23:35,800
Speaker 1: that term when you're recommend it's it's kind of says

440
00:23:35,840 --> 00:23:39,000
Speaker 1: you know the record business from soup to nuts. You

441
00:23:39,040 --> 00:23:40,840
Speaker 1: know a hit song, you know how to work a

442
00:23:40,920 --> 00:23:43,120
Speaker 1: hit song. You know what it takes to make a star.

443
00:23:44,280 --> 00:23:46,080
Speaker 1: So that's what I mean when I when I say that,

444
00:23:46,520 --> 00:23:48,639
Speaker 1: well that change. I'm sorry that has that changed in

445
00:23:48,640 --> 00:23:50,359
Speaker 1: this climate, because that's the thing people want to know.

446
00:23:50,400 --> 00:23:52,280
Speaker 1: How do you like? It seems like you can easily

447
00:23:52,280 --> 00:23:53,920
Speaker 1: get on by just putting your record out, But then

448
00:23:54,280 --> 00:23:55,879
Speaker 1: how do you make it. How do you become a star,

449
00:23:55,960 --> 00:23:57,679
Speaker 1: How do you get noticed? The way you you you

450
00:23:57,800 --> 00:24:01,760
Speaker 1: become a star is through the journey. Uh. And the

451
00:24:01,840 --> 00:24:05,840
Speaker 1: journey is you practice in your craft, like you're not

452
00:24:05,880 --> 00:24:08,640
Speaker 1: gonna be great unless you get up there every day

453
00:24:08,680 --> 00:24:11,960
Speaker 1: and swing the back or shoot the ball. Those are

454
00:24:12,000 --> 00:24:14,520
Speaker 1: the ones who end up being great. So like when

455
00:24:14,520 --> 00:24:16,520
Speaker 1: you look at jay Z, when you look at Kanye,

456
00:24:17,600 --> 00:24:20,200
Speaker 1: you see once they got their moment, they never let

457
00:24:20,240 --> 00:24:22,440
Speaker 1: it go. They never turned down the heat, they never

458
00:24:22,480 --> 00:24:25,280
Speaker 1: took it for granted. They turned the heat up. So

459
00:24:25,359 --> 00:24:28,840
Speaker 1: the journey is really very important. Like you gotta like it.

460
00:24:29,200 --> 00:24:31,280
Speaker 1: You gotta like the good days along with the bad

461
00:24:31,400 --> 00:24:35,000
Speaker 1: days to get better days. And a lot of times

462
00:24:35,000 --> 00:24:38,280
Speaker 1: now with social media where in the famous game and

463
00:24:38,320 --> 00:24:40,119
Speaker 1: people just want to get famous, whether it be for

464
00:24:40,200 --> 00:24:44,880
Speaker 1: records or whether it be for being naked and so

465
00:24:45,040 --> 00:24:48,639
Speaker 1: and so. When when when your goal is just to

466
00:24:48,720 --> 00:24:52,919
Speaker 1: be famous, it's not so much the journey you appreciate,

467
00:24:53,080 --> 00:24:56,919
Speaker 1: it's just the moment to get to that particular place.

468
00:24:57,480 --> 00:25:01,280
Speaker 1: But that particular place is fleeting. Aim is fleeting unless

469
00:25:01,320 --> 00:25:04,240
Speaker 1: you're able to be a part of the journey and

470
00:25:04,520 --> 00:25:07,840
Speaker 1: and and really fine tune your craft so you gotta

471
00:25:07,840 --> 00:25:09,879
Speaker 1: be at it every day. You gotta change your style

472
00:25:10,000 --> 00:25:13,040
Speaker 1: up and so forth. Like in terms of the actual

473
00:25:13,119 --> 00:25:14,800
Speaker 1: music making, you think that a lot of artists make

474
00:25:14,840 --> 00:25:17,560
Speaker 1: mistakes in terms of when they first started making songs,

475
00:25:17,640 --> 00:25:19,080
Speaker 1: Like what do you what is that the certain thing

476
00:25:19,119 --> 00:25:21,200
Speaker 1: you look for in music that catches you if you

477
00:25:21,280 --> 00:25:25,440
Speaker 1: look for you look for originality and authenticity and sounding

478
00:25:25,480 --> 00:25:28,840
Speaker 1: their music and the rhythm of their music and their

479
00:25:28,920 --> 00:25:32,000
Speaker 1: voice and how they're saying what they're saying. You look

480
00:25:32,040 --> 00:25:34,760
Speaker 1: for somebody who's not a carving coffee or somebody else.

481
00:25:35,040 --> 00:25:38,480
Speaker 1: They can remind you of someone, but not be that person,

482
00:25:38,920 --> 00:25:41,280
Speaker 1: be their own person. Well, I want to know is

483
00:25:41,359 --> 00:25:43,479
Speaker 1: when getting back to Puff real quick, he lived with

484
00:25:43,520 --> 00:25:46,679
Speaker 1: you and when you let him go, he said that

485
00:25:46,760 --> 00:25:49,560
Speaker 1: he was outside your crib and you didn't let him in. No,

486
00:25:49,720 --> 00:25:52,080
Speaker 1: he didn't live with me. That he lived with me

487
00:25:52,119 --> 00:25:55,840
Speaker 1: in New Jersey when I bought my first million dollar crib,

488
00:25:56,359 --> 00:26:00,240
Speaker 1: Puff moved and they won. He said, we got a

489
00:26:00,320 --> 00:26:07,000
Speaker 1: nice place here. That yeah, yeah, But when you let

490
00:26:07,080 --> 00:26:08,680
Speaker 1: him go here, he said that he didn't let him

491
00:26:08,680 --> 00:26:10,679
Speaker 1: inside the house. He said, he's banging on the doors

492
00:26:10,720 --> 00:26:13,960
Speaker 1: and you were home, but I wasn't that. I wasn't

493
00:26:14,040 --> 00:26:17,640
Speaker 1: all like he said that. That was the day that

494
00:26:17,680 --> 00:26:20,880
Speaker 1: it was. It was done. But the next Monday when

495
00:26:20,880 --> 00:26:24,199
Speaker 1: he came in, I said, listen, you're gonna stay on

496
00:26:24,280 --> 00:26:26,440
Speaker 1: pay roll. I'm gonna pay you to do the Mary

497
00:26:26,520 --> 00:26:29,960
Speaker 1: day Blinde's album and you're gonna get rich. And he

498
00:26:30,040 --> 00:26:33,600
Speaker 1: understood that pretty quickly. He got my life as a

499
00:26:33,640 --> 00:26:36,359
Speaker 1: party gift. Yeah, you understood that pretty quick. What do

500
00:26:36,359 --> 00:26:38,679
Speaker 1: you think of today? Let Mary gets some criticism that

501
00:26:38,720 --> 00:26:41,040
Speaker 1: you had that fried chicken commercial when everybody went crazy,

502
00:26:41,080 --> 00:26:42,639
Speaker 1: and then I saw this clip of her and Hillary

503
00:26:42,640 --> 00:26:46,119
Speaker 1: Clinton's like she was singing something about police brutality and

504
00:26:46,359 --> 00:26:48,520
Speaker 1: just just taking out of context in the social media.

505
00:26:48,560 --> 00:26:50,680
Speaker 1: Like what do you think of when some people sort

506
00:26:50,680 --> 00:26:52,520
Speaker 1: of trying to attack a character or put it on.

507
00:26:53,520 --> 00:26:58,880
Speaker 1: I think Mary probably has the most integrity of all

508
00:26:59,040 --> 00:27:04,880
Speaker 1: artists today. I think um Mary is integrity brand number one.

509
00:27:05,400 --> 00:27:09,240
Speaker 1: Like in life, we make mistakes, so I know she

510
00:27:09,480 --> 00:27:11,879
Speaker 1: the chicken thing she said never was supposed to come

511
00:27:11,880 --> 00:27:13,760
Speaker 1: out like that. We spoke about that. That was a

512
00:27:13,760 --> 00:27:17,159
Speaker 1: couple of years ago. She really tried to stay in

513
00:27:17,240 --> 00:27:22,040
Speaker 1: her lane and give the fans what they expect from her. Yeah,

514
00:27:22,720 --> 00:27:24,879
Speaker 1: and that's the thing. What does it? What does it

515
00:27:24,880 --> 00:27:26,399
Speaker 1: feel that? What does it? What? How does it make

516
00:27:26,480 --> 00:27:29,120
Speaker 1: you feel to see someone like her or Puffy? Like

517
00:27:29,480 --> 00:27:31,120
Speaker 1: you know, people are successful, but like you said, they're

518
00:27:31,119 --> 00:27:32,840
Speaker 1: like jay Z and Kanye, they just keep going, they

519
00:27:32,920 --> 00:27:34,879
Speaker 1: keep growing, Like what do you think it is? And

520
00:27:34,920 --> 00:27:36,520
Speaker 1: like how how does that make you feel like? And

521
00:27:36,520 --> 00:27:38,280
Speaker 1: what do you think your role hasn't been in that

522
00:27:38,359 --> 00:27:42,280
Speaker 1: in terms of their growth? Um. I think my role

523
00:27:42,800 --> 00:27:46,320
Speaker 1: was to show them a vision of it could be

524
00:27:46,320 --> 00:27:50,840
Speaker 1: achieved by achieving it at first me achieving it and

525
00:27:50,880 --> 00:27:53,159
Speaker 1: then telling them they can achieve it, and then they

526
00:27:53,520 --> 00:27:56,840
Speaker 1: start to achieve it, and then it's almost like Dr

527
00:27:56,960 --> 00:28:00,679
Speaker 1: j and Michael Jordan's. When Dr Jake came out, he

528
00:28:00,720 --> 00:28:03,240
Speaker 1: was the first one dipping and grooving and rockets, but

529
00:28:03,320 --> 00:28:06,840
Speaker 1: it was new when Michael Jordan came after watching Dr

530
00:28:06,920 --> 00:28:09,920
Speaker 1: Jay he came and did it all. And then after

531
00:28:10,359 --> 00:28:14,880
Speaker 1: Lebron came a billion dollar ballplayer. So each generation just

532
00:28:14,920 --> 00:28:18,280
Speaker 1: gets better with the opportunity. And I think that once

533
00:28:18,320 --> 00:28:22,800
Speaker 1: they got the opportunity watching it from the outside and

534
00:28:22,840 --> 00:28:26,280
Speaker 1: then having it, it's different Like when I did it,

535
00:28:26,680 --> 00:28:29,879
Speaker 1: I wasn't watching anybody else like me when I did it,

536
00:28:29,960 --> 00:28:32,560
Speaker 1: I was the first to do it, or Russell was

537
00:28:32,600 --> 00:28:33,960
Speaker 1: the first to do or we would the first to

538
00:28:34,000 --> 00:28:36,159
Speaker 1: do it. When they came, they got a minute to

539
00:28:36,240 --> 00:28:39,720
Speaker 1: watch to see whoa this is? How do we do this?

540
00:28:40,720 --> 00:28:43,240
Speaker 1: And then when they when they had that plus the

541
00:28:43,280 --> 00:28:45,480
Speaker 1: opportunity to do it, it's I ain't not gonna be

542
00:28:45,480 --> 00:28:53,200
Speaker 1: better than this. Everybody just kept going. Welcome to play

543
00:28:53,440 --> 00:28:59,480
Speaker 1: a new podcast network featuring radio and TV personalities talking business, sports, tech, entertainment,

544
00:28:59,520 --> 00:29:03,440
Speaker 1: and more. Play it that, play dot it Hey yesterday

545
00:29:04,440 --> 00:29:06,800
Speaker 1: raid Off and me and my partner beat our milling

546
00:29:06,880 --> 00:29:09,240
Speaker 1: Man with the only opinion that maddess man here ra

547
00:29:09,400 --> 00:29:15,680
Speaker 1: raid Off. So what was that feeling like when you

548
00:29:15,720 --> 00:29:18,720
Speaker 1: got that fifty million dollars to create the Uptown division

549
00:29:18,760 --> 00:29:21,440
Speaker 1: of you know, for the TV and the movies. What

550
00:29:21,520 --> 00:29:25,480
Speaker 1: was that like? It was New York Undercover fan it

551
00:29:25,560 --> 00:29:27,720
Speaker 1: was like it was like we had I had the

552
00:29:27,760 --> 00:29:32,720
Speaker 1: opportunity to really move culture. Like when New York on

553
00:29:32,800 --> 00:29:34,959
Speaker 1: the Cover it was the first drama they have an

554
00:29:34,960 --> 00:29:38,240
Speaker 1: African American male lead and Hispanic lead. And for those

555
00:29:38,320 --> 00:29:40,560
Speaker 1: that I don't know, you created New York on the cover,

556
00:29:41,840 --> 00:29:44,200
Speaker 1: that's Molik Yoba and what was the other John like, Ama,

557
00:29:45,920 --> 00:29:49,000
Speaker 1: excuse me, excuse me. I think, like I know what

558
00:29:49,040 --> 00:29:51,080
Speaker 1: I'm talking about. It's the other guy that was in

559
00:29:51,160 --> 00:29:54,600
Speaker 1: the Forget. It's the other guy from Fame. Yeah, it

560
00:29:54,680 --> 00:30:00,440
Speaker 1: was in the Michael anybody Michael d Yeah, to kill me.

561
00:30:00,440 --> 00:30:04,280
Speaker 1: And I remember I wanted to get Rotomus from Juice

562
00:30:05,000 --> 00:30:08,400
Speaker 1: Oh wow. And I remember I remember I kept telling

563
00:30:08,440 --> 00:30:12,800
Speaker 1: everybody at Fox, to Chairman of Fox, Dick Wolf, the president, universal,

564
00:30:13,160 --> 00:30:16,440
Speaker 1: that I wanted to get Vinnie. And so it was

565
00:30:16,520 --> 00:30:20,840
Speaker 1: the final day we had a meeting with fifty executives

566
00:30:20,880 --> 00:30:23,920
Speaker 1: the show was Ago and Dick both said, Yo, if

567
00:30:23,960 --> 00:30:27,160
Speaker 1: you bring up Rotomus one more time, I'm not gonna

568
00:30:27,400 --> 00:30:29,840
Speaker 1: let you. You're gonna be left out and we're gonna

569
00:30:29,920 --> 00:30:34,360
Speaker 1: keep moving. And I had I had a bad habit

570
00:30:34,400 --> 00:30:37,400
Speaker 1: of saying what I wanted to set, but I had

571
00:30:37,400 --> 00:30:39,880
Speaker 1: already said it enough times that nobody was gonna do it,

572
00:30:39,920 --> 00:30:41,640
Speaker 1: so with time not to say it no more. That

573
00:30:44,200 --> 00:30:46,880
Speaker 1: so working on that show and being able to put

574
00:30:46,960 --> 00:30:50,840
Speaker 1: music in that show, um and being able to have

575
00:30:51,000 --> 00:30:56,600
Speaker 1: appointment television, it moved the culture. It created opportunity. And

576
00:30:56,960 --> 00:31:00,600
Speaker 1: when I got that that deal, we had offices on

577
00:31:00,680 --> 00:31:03,120
Speaker 1: the lot. The only person I've ever seen who had

578
00:31:03,120 --> 00:31:07,680
Speaker 1: an office on a lot and music was Quincy Jones Um.

579
00:31:07,720 --> 00:31:11,480
Speaker 1: So it felt very empowering and it felt like I

580
00:31:11,560 --> 00:31:15,400
Speaker 1: get I gave out a lot of opportunities. Uh. Mr

581
00:31:15,480 --> 00:31:18,600
Speaker 1: Hyde Alts of Brown. He came to work for me

582
00:31:19,200 --> 00:31:21,960
Speaker 1: and headed up my television division. He then went on

583
00:31:22,080 --> 00:31:27,560
Speaker 1: to write Honey with Jessica alba um Rose Catherine, who

584
00:31:27,600 --> 00:31:31,320
Speaker 1: was my executive Uh. She went on to be the

585
00:31:31,320 --> 00:31:36,120
Speaker 1: president of TV one. So it gave me a lot

586
00:31:36,200 --> 00:31:39,720
Speaker 1: of ability to give people opportunity and also felt it

587
00:31:39,800 --> 00:31:41,280
Speaker 1: was the first time we saw a lot of those

588
00:31:41,320 --> 00:31:44,120
Speaker 1: figures go at Natalie's and perform live and see them

589
00:31:44,120 --> 00:31:47,160
Speaker 1: on TV. Like that was a real watershed moment, even

590
00:31:47,160 --> 00:31:50,040
Speaker 1: as a kid watching it. M that was that was

591
00:31:50,080 --> 00:31:53,320
Speaker 1: one of the biggest hooks. And I remember trying to

592
00:31:53,360 --> 00:31:57,280
Speaker 1: convince Dick Wolf about James M. Toomey to do the score,

593
00:31:57,440 --> 00:31:59,080
Speaker 1: and I said, you want him to do the score

594
00:31:59,120 --> 00:32:02,600
Speaker 1: because you need somebody who could remake this contemporary music.

595
00:32:03,200 --> 00:32:05,360
Speaker 1: And you know, Dick Wolf is a big television guy.

596
00:32:05,680 --> 00:32:07,560
Speaker 1: He was like, I don't know about that. I don't

597
00:32:07,560 --> 00:32:09,680
Speaker 1: want to do that. And I was like, I'm digging

598
00:32:09,680 --> 00:32:12,320
Speaker 1: my my boots in the ground, saying we gotta do this,

599
00:32:12,360 --> 00:32:16,000
Speaker 1: we gotta do this. And fortunately when James unto me

600
00:32:16,160 --> 00:32:19,520
Speaker 1: came his politics was such he was so sophisticated that

601
00:32:19,600 --> 00:32:22,800
Speaker 1: Dick Wolf appreciated him and we got that done. That

602
00:32:22,800 --> 00:32:25,880
Speaker 1: that that's how Natalie came about, because we didn't have

603
00:32:25,880 --> 00:32:29,360
Speaker 1: a budget for here's the score guy, and then here's

604
00:32:29,400 --> 00:32:31,880
Speaker 1: another budget for us to produce records. When these people

605
00:32:31,920 --> 00:32:33,960
Speaker 1: call it had to be the same person who did

606
00:32:33,960 --> 00:32:37,120
Speaker 1: it so too. Me was the one who was qualified enough,

607
00:32:37,200 --> 00:32:39,480
Speaker 1: who had a background in music and could make anything.

608
00:32:40,320 --> 00:32:42,440
Speaker 1: Like I remember when he brought Bobby Won back down,

609
00:32:43,040 --> 00:32:45,440
Speaker 1: uh and Casey and body went back to do that

610
00:32:46,080 --> 00:32:48,120
Speaker 1: if you think you're only now And that was the

611
00:32:48,120 --> 00:32:52,520
Speaker 1: only time I've seen Casey scared like before Casey. Casey

612
00:32:52,640 --> 00:32:55,120
Speaker 1: was standing there looking at the booth and he was

613
00:32:55,120 --> 00:32:58,360
Speaker 1: looking at me. I said, don't be scared, scared, you

614
00:32:58,360 --> 00:33:02,200
Speaker 1: can see it, and he's that's about whoa Matt. But

615
00:33:02,240 --> 00:33:03,960
Speaker 1: he went up there. He did his job. I think

616
00:33:03,960 --> 00:33:06,200
Speaker 1: he did. That's actually one of my favorite covers of

617
00:33:06,200 --> 00:33:08,720
Speaker 1: all time. That and like I will always love you

618
00:33:08,760 --> 00:33:12,840
Speaker 1: or think they're better than the originals, lately. It's pretty good.

619
00:33:12,960 --> 00:33:19,520
Speaker 1: It's pretty yeah. But speaking of the unplugged while plugged

620
00:33:19,800 --> 00:33:21,560
Speaker 1: uptown and plug can we get that on revolte like

621
00:33:21,600 --> 00:33:24,080
Speaker 1: you ever thought about some classic do you mean to

622
00:33:24,240 --> 00:33:26,680
Speaker 1: be able to air it? Know something of that nature?

623
00:33:26,880 --> 00:33:29,720
Speaker 1: Well we we we just started this thing carollss sessions

624
00:33:29,840 --> 00:33:33,320
Speaker 1: and RPM where we we let artists come and play

625
00:33:33,360 --> 00:33:36,200
Speaker 1: with a band like today Kalani is at the studio

626
00:33:36,320 --> 00:33:39,760
Speaker 1: right now playing album with a band, EP with a

627
00:33:39,800 --> 00:33:43,200
Speaker 1: band to give her that luck. So we are developing

628
00:33:43,480 --> 00:33:47,520
Speaker 1: music rainated shows. Now, wow, that's the showcase artists revealed talent.

629
00:33:47,560 --> 00:33:49,640
Speaker 1: But let's talk about people that don't know that was

630
00:33:49,680 --> 00:33:51,440
Speaker 1: that was looking that? I mean, he blessed MTV with

631
00:33:51,520 --> 00:33:56,520
Speaker 1: that one. But I was in Barbados and me and

632
00:33:56,600 --> 00:33:59,520
Speaker 1: Russell and Leo, we are on Christmas flakes to say

633
00:33:59,520 --> 00:34:06,040
Speaker 1: that Christmas and um Tony Jordan called me and said,

634
00:34:07,200 --> 00:34:10,240
Speaker 1: we're interested in doing an uptown unplucked. Now, no label

635
00:34:11,040 --> 00:34:13,880
Speaker 1: had ever did it unplucked or ever did it afterwards.

636
00:34:13,960 --> 00:34:17,200
Speaker 1: It was only in hip hop. It was an ll

637
00:34:17,440 --> 00:34:19,840
Speaker 1: it and I don't think there was anybody else outside

638
00:34:19,840 --> 00:34:22,040
Speaker 1: of LLO and hip hop. So when she called me

639
00:34:22,080 --> 00:34:24,319
Speaker 1: with that, I remember Rust and Lee Yo was sitting

640
00:34:24,360 --> 00:34:30,360
Speaker 1: there and I said that I know their faces because

641
00:34:30,400 --> 00:34:35,200
Speaker 1: me and Leo bestially was so competitive. Wow. Um. But

642
00:34:35,280 --> 00:34:37,080
Speaker 1: when I got to do that, that was hard. Man.

643
00:34:37,560 --> 00:34:41,000
Speaker 1: We got Jodices band to play for everybody, and so

644
00:34:41,600 --> 00:34:45,840
Speaker 1: heavy work Jodicies band. Christopher Williams work Jodices band. Mary

645
00:34:45,840 --> 00:34:49,160
Speaker 1: worked Jodicies band. Today was working them hard to the

646
00:34:49,200 --> 00:34:51,360
Speaker 1: point where the band was like, hold up, now, we

647
00:34:51,400 --> 00:34:53,880
Speaker 1: don't really work for you, we work for Judicis. So

648
00:34:54,000 --> 00:34:57,840
Speaker 1: trying to keep that together for that week of rehearsal

649
00:34:58,200 --> 00:35:00,560
Speaker 1: to actually do it, that was one the hardest things

650
00:35:00,600 --> 00:35:03,200
Speaker 1: Advo did because I had to keep everybody go and check,

651
00:35:04,239 --> 00:35:08,240
Speaker 1: keep the band happy, keep performance going. By the time

652
00:35:08,320 --> 00:35:10,719
Speaker 1: it happened and we had the party, I remember I

653
00:35:10,760 --> 00:35:13,919
Speaker 1: was walking around the party in the days it's over.

654
00:35:14,640 --> 00:35:17,440
Speaker 1: I'm looking at Pad Labell jumping up and down party

655
00:35:17,440 --> 00:35:22,320
Speaker 1: and our senior party and wow. And we had the

656
00:35:22,400 --> 00:35:24,879
Speaker 1: Casey Mary relationship going at that time too. With an

657
00:35:24,880 --> 00:35:27,319
Speaker 1: emotional performance was I don't want to do anything else.

658
00:35:27,880 --> 00:35:30,000
Speaker 1: How did you mandl two of your artists dating in

659
00:35:30,120 --> 00:35:32,640
Speaker 1: a very violatile situation, Like, how did that affect you? Well?

660
00:35:33,239 --> 00:35:35,960
Speaker 1: To be honest, like when two artists start dating that

661
00:35:36,040 --> 00:35:37,759
Speaker 1: has nothing to do with you, that's how they end

662
00:35:37,840 --> 00:35:40,279
Speaker 1: up doing it. All you can do is manage it

663
00:35:40,320 --> 00:35:44,160
Speaker 1: to the best of your situation. Uh so. And sometimes

664
00:35:44,160 --> 00:35:48,680
Speaker 1: it was working good because Casey had more experience in singing,

665
00:35:49,040 --> 00:35:52,279
Speaker 1: so Mary would opened up and sing more around Casey

666
00:35:52,440 --> 00:35:54,879
Speaker 1: and made her a better singer. But you know, when

667
00:35:54,920 --> 00:35:58,400
Speaker 1: it goes bad, it just goes bad. One of the

668
00:35:59,280 --> 00:36:01,360
Speaker 1: saying does the sad to see your time and go

669
00:36:01,440 --> 00:36:03,000
Speaker 1: back for the group like Joe to see you know,

670
00:36:03,120 --> 00:36:05,319
Speaker 1: some people don't end up having this long career like

671
00:36:05,760 --> 00:36:07,840
Speaker 1: you know how talented they were and a lot of records.

672
00:36:07,840 --> 00:36:10,040
Speaker 1: Even when they first came to you, they had ideas

673
00:36:10,040 --> 00:36:12,239
Speaker 1: of these great records already, Like so can you speak

674
00:36:12,280 --> 00:36:15,040
Speaker 1: about their journey and how kind of went left in

675
00:36:15,120 --> 00:36:18,680
Speaker 1: some sense? Okay? Um, Jared to see, they drove up

676
00:36:18,840 --> 00:36:22,080
Speaker 1: eight to nine hours from North Carolina and sat in

677
00:36:22,160 --> 00:36:24,600
Speaker 1: my lobby for a couple of hours, and I remember

678
00:36:24,680 --> 00:36:27,400
Speaker 1: me and Heavy with me and me and Heavy in

679
00:36:27,480 --> 00:36:31,160
Speaker 1: my office arguing about something. Have you said it? Over

680
00:36:31,280 --> 00:36:35,400
Speaker 1: the giant sized dictate with his big voice telling me something,

681
00:36:35,920 --> 00:36:39,920
Speaker 1: And so we kept hearing coming talk to me like

682
00:36:39,920 --> 00:36:42,399
Speaker 1: who is this. Who is this? I don't know who

683
00:36:42,520 --> 00:36:45,239
Speaker 1: is this? So we get up, we walk around the

684
00:36:45,280 --> 00:36:48,000
Speaker 1: corner and we see these four little guys in kurtuce

685
00:36:48,040 --> 00:36:51,080
Speaker 1: Woodley's office, who was my A and R executive, And

686
00:36:51,160 --> 00:36:55,719
Speaker 1: I said, is this y'all singing this? Yes, sir, you

687
00:36:55,719 --> 00:36:59,200
Speaker 1: know they sell them your son Pentecostal Church board. And

688
00:36:59,280 --> 00:37:01,400
Speaker 1: I was like, y'all got more records like this? And

689
00:37:01,440 --> 00:37:04,640
Speaker 1: they played forever, my lady, and I was like, okay,

690
00:37:04,800 --> 00:37:08,320
Speaker 1: they're not leaving y'all. Y'all are getting a record deal today.

691
00:37:08,800 --> 00:37:11,719
Speaker 1: That we put them in a hotel, got them a

692
00:37:11,840 --> 00:37:16,000
Speaker 1: lawyer same day, same day, and and got them on

693
00:37:18,600 --> 00:37:20,120
Speaker 1: because you might go down to block the death to

694
00:37:20,200 --> 00:37:22,879
Speaker 1: him and get a deal or something like that. So

695
00:37:23,600 --> 00:37:27,680
Speaker 1: I remember I moved them in to uh the apartment

696
00:37:27,719 --> 00:37:31,439
Speaker 1: that I grew up with in the Bronx to give

697
00:37:31,480 --> 00:37:35,560
Speaker 1: them a chance to really digest the urban field. So

698
00:37:36,000 --> 00:37:39,840
Speaker 1: they lived there for about four or five months, and

699
00:37:39,880 --> 00:37:42,160
Speaker 1: they were playing music and so forth, and it was like,

700
00:37:43,320 --> 00:37:45,160
Speaker 1: I don't know if this is safe for us anymore?

701
00:37:45,200 --> 00:37:48,200
Speaker 1: Tight I said, why do you say that. We had

702
00:37:48,200 --> 00:37:50,040
Speaker 1: a party on the night. We had about a hundred

703
00:37:50,080 --> 00:37:52,360
Speaker 1: people here. They was looking at the equipment and everything.

704
00:37:52,400 --> 00:37:55,080
Speaker 1: I think the checks up and they was ready to

705
00:37:55,120 --> 00:37:59,360
Speaker 1: deep us up and and and it was fine because

706
00:37:59,360 --> 00:38:01,359
Speaker 1: it was trying to put out the single. So it's

707
00:38:01,400 --> 00:38:03,719
Speaker 1: time to move them away from that level of in

708
00:38:03,800 --> 00:38:07,440
Speaker 1: the city. How they had soaked it up and you

709
00:38:07,440 --> 00:38:09,279
Speaker 1: could see it in their attitude and you can see

710
00:38:09,280 --> 00:38:11,360
Speaker 1: it in their fashion. How did they deal with the

711
00:38:11,360 --> 00:38:13,239
Speaker 1: fame of the first time, because like it took there

712
00:38:13,280 --> 00:38:15,520
Speaker 1: was something drama being before the second album happened, right,

713
00:38:15,560 --> 00:38:18,000
Speaker 1: I think, or it just took a while. What do

714
00:38:18,000 --> 00:38:20,600
Speaker 1: you mean drama? Like I'm lost with that one. No,

715
00:38:20,719 --> 00:38:22,239
Speaker 1: I just remember, like I thought, it was kind of

716
00:38:22,239 --> 00:38:25,480
Speaker 1: a couple of years break before the second album came. No, No,

717
00:38:26,040 --> 00:38:29,880
Speaker 1: the only drama was we put out Gotta Love First,

718
00:38:30,280 --> 00:38:33,560
Speaker 1: and that's the one they liked. Hint that the group

719
00:38:33,680 --> 00:38:38,000
Speaker 1: and Puff came to me, lobbied me for weeks months.

720
00:38:38,680 --> 00:38:40,960
Speaker 1: This is single. We need to be young, we need

721
00:38:41,000 --> 00:38:43,279
Speaker 1: to be street. This is it. And I always tell

722
00:38:43,360 --> 00:38:46,680
Speaker 1: my artists, listen as much as I know, you're gonna

723
00:38:46,680 --> 00:38:49,560
Speaker 1: know a little bit more about yourself, because I'm thinking

724
00:38:49,560 --> 00:38:53,040
Speaker 1: about all of y'all, You're only thinking about yourself. So

725
00:38:53,120 --> 00:38:56,719
Speaker 1: if you keep thinking that I'm missing something. You you

726
00:38:56,719 --> 00:38:59,960
Speaker 1: you stay at me and convince me. Because I always

727
00:39:00,040 --> 00:39:04,000
Speaker 1: put the power back in the artist's hands. So they

728
00:39:04,040 --> 00:39:06,960
Speaker 1: have puff on their side, puff telling them how to

729
00:39:06,960 --> 00:39:09,920
Speaker 1: work me. And we put out God to Love and

730
00:39:09,960 --> 00:39:13,920
Speaker 1: God Love was not a hit. And then UH Distribution

731
00:39:14,000 --> 00:39:16,880
Speaker 1: called me and said in Washington, d C. The Wiz

732
00:39:17,640 --> 00:39:20,799
Speaker 1: this record is number one and forever, my lady, we

733
00:39:20,800 --> 00:39:23,319
Speaker 1: should put this out. And when we put that out,

734
00:39:23,600 --> 00:39:28,000
Speaker 1: the rest was history. Wow. Why isn't Anthony Hamilton's celebrated

735
00:39:28,040 --> 00:39:31,359
Speaker 1: as an uptown artist? Like you signed him four? But

736
00:39:32,440 --> 00:39:36,719
Speaker 1: why like because because when his album came out, I

737
00:39:36,800 --> 00:39:39,879
Speaker 1: had left and went over the Motown and it wasn't

738
00:39:39,880 --> 00:39:42,920
Speaker 1: a big hit. But me and Anthony we always celebrated.

739
00:39:43,000 --> 00:39:45,080
Speaker 1: We see something, We always sweet back and forth. He's

740
00:39:45,080 --> 00:39:47,279
Speaker 1: an uptown artist. Can we talk about mostimes where I

741
00:39:47,280 --> 00:39:49,200
Speaker 1: remember from me, I just stopp getting into the industry.

742
00:39:49,280 --> 00:39:51,040
Speaker 1: I started like in the nineties and then like the

743
00:39:51,120 --> 00:39:54,200
Speaker 1: big deal is going to Molltown. I just remember that ad.

744
00:39:54,200 --> 00:39:57,120
Speaker 1: It was in Billboy Uptown to Motown, Uptown to Motown.

745
00:39:57,400 --> 00:40:01,320
Speaker 1: It's on, It's on. It was like a back of

746
00:40:00,880 --> 00:40:03,400
Speaker 1: a chair and like it had a Motown hoodie or

747
00:40:03,440 --> 00:40:05,640
Speaker 1: something like that, and you just see the cigar, you

748
00:40:05,640 --> 00:40:07,759
Speaker 1: see Andre cigar, like it was just pop and it

749
00:40:07,800 --> 00:40:10,280
Speaker 1: was like there was just rumors about how many buckets

750
00:40:10,320 --> 00:40:12,719
Speaker 1: of money Andre was given and how crazy it was.

751
00:40:12,760 --> 00:40:15,680
Speaker 1: So was it all that at the tough To be honest,

752
00:40:16,440 --> 00:40:20,000
Speaker 1: I was already a Motown for the time period. Like

753
00:40:20,120 --> 00:40:22,839
Speaker 1: you grew up as a kid and you're you're you're

754
00:40:22,880 --> 00:40:25,759
Speaker 1: idolizing what your parents idolized. Stevie wanted to dine and

755
00:40:25,880 --> 00:40:29,600
Speaker 1: row or so forth, But you can never recapture what

756
00:40:29,640 --> 00:40:32,759
Speaker 1: was till today. What was is always gonna be what

757
00:40:32,880 --> 00:40:37,160
Speaker 1: it was, and what you have today is what's happening

758
00:40:37,239 --> 00:40:43,120
Speaker 1: right now. So trying to chase Motown and turn it

759
00:40:43,160 --> 00:40:47,760
Speaker 1: into Uptown to be relevant, uh, Like Uptown was relevant,

760
00:40:48,520 --> 00:40:51,200
Speaker 1: it was just not the right brand, like Motown meant

761
00:40:51,320 --> 00:40:55,560
Speaker 1: something else. And at the time I didn't know that.

762
00:40:55,680 --> 00:41:00,799
Speaker 1: I just grew up thinking Motown was they cream black

763
00:41:00,880 --> 00:41:04,000
Speaker 1: music label, and it was, like I said, it was

764
00:41:05,400 --> 00:41:08,480
Speaker 1: at that period, Uptown was the supreme black music label.

765
00:41:09,000 --> 00:41:12,640
Speaker 1: So it was a lot of hard work and it

766
00:41:12,680 --> 00:41:16,600
Speaker 1: was like chasing a ghost that you could never bring

767
00:41:16,600 --> 00:41:19,920
Speaker 1: the life once something has died. Once a period has

768
00:41:19,960 --> 00:41:23,239
Speaker 1: died in a new period ushered. Then you can't bring

769
00:41:23,280 --> 00:41:25,520
Speaker 1: an old period back. It seemed like after you left

770
00:41:25,520 --> 00:41:26,920
Speaker 1: that you kind of went low for a while, right,

771
00:41:26,920 --> 00:41:28,600
Speaker 1: Like what was going on at the time I went

772
00:41:28,680 --> 00:41:32,680
Speaker 1: and became the head of bad Boy Records. That's from Puff,

773
00:41:32,680 --> 00:41:37,640
Speaker 1: So twelve million, no way out? So so how did

774
00:41:37,680 --> 00:41:39,880
Speaker 1: that shift of him? Now you're coming back and technically

775
00:41:39,880 --> 00:41:42,000
Speaker 1: in some sense working for him, Like what was that transition?

776
00:41:42,080 --> 00:41:45,240
Speaker 1: Like it was it was fine because me and Puff

777
00:41:46,040 --> 00:41:50,440
Speaker 1: always had a great working relationship. We always loved what

778
00:41:50,480 --> 00:41:52,520
Speaker 1: we were doing, and we always was trying to get

779
00:41:52,560 --> 00:41:56,240
Speaker 1: it right, get it exactly right, like the image, the sound,

780
00:41:56,400 --> 00:41:59,439
Speaker 1: and so forth. So he was an artist at that point.

781
00:41:59,440 --> 00:42:01,719
Speaker 1: So when I came to be president, I came in

782
00:42:01,760 --> 00:42:04,200
Speaker 1: to be president, and like he was an artist, So

783
00:42:04,239 --> 00:42:06,840
Speaker 1: I did mostly what I would do. Then when he

784
00:42:06,920 --> 00:42:09,880
Speaker 1: came back, we did again what we mostly would do

785
00:42:09,960 --> 00:42:12,239
Speaker 1: together when we were working at uptop. This is after

786
00:42:12,280 --> 00:42:15,399
Speaker 1: biggis passing the moment time, So what was that? What

787
00:42:15,440 --> 00:42:17,080
Speaker 1: was that vibe over there? Like, how was it? How

788
00:42:17,120 --> 00:42:18,919
Speaker 1: are you guys overcoming the pain of that and really

789
00:42:18,920 --> 00:42:20,399
Speaker 1: sort of building the structure and a lot of people

790
00:42:20,480 --> 00:42:23,879
Speaker 1: surprised it. Puff the artist now was taking off when

791
00:42:24,320 --> 00:42:29,480
Speaker 1: when Um when Um Big got killed, I was the

792
00:42:29,480 --> 00:42:32,279
Speaker 1: president of Motown and Puff was saying at my house

793
00:42:32,320 --> 00:42:38,040
Speaker 1: that weekend. Uh. And I came to bad Boy a

794
00:42:38,040 --> 00:42:41,799
Speaker 1: little later after that. But the loss of Big was

795
00:42:42,640 --> 00:42:45,279
Speaker 1: for the industry was huge for him. It was used

796
00:42:45,320 --> 00:42:49,320
Speaker 1: to bad Boy was used, but for music it was huge.

797
00:42:50,040 --> 00:42:52,680
Speaker 1: Like he might, he was one of the greatest rappers

798
00:42:52,719 --> 00:42:56,480
Speaker 1: of all time. He was so clever and so and

799
00:42:56,520 --> 00:43:02,200
Speaker 1: so uh melodic and his approach m He turned out

800
00:43:02,239 --> 00:43:04,439
Speaker 1: to be my favorite rapper all time. He keeps saying

801
00:43:04,440 --> 00:43:06,120
Speaker 1: that so he was. He wasn't a soul on him

802
00:43:06,200 --> 00:43:09,239
Speaker 1: from the beginning. I guess when when I first heard him,

803
00:43:09,320 --> 00:43:10,960
Speaker 1: I thought it was good. But I didn't know but

804
00:43:11,000 --> 00:43:14,360
Speaker 1: I had he d heav Dy was like my favorite rapper. Uh.

805
00:43:14,440 --> 00:43:16,320
Speaker 1: Have you ever used to hear me talk and promote

806
00:43:16,320 --> 00:43:22,200
Speaker 1: he d ship, you know, I think unfortunately, I think

807
00:43:22,200 --> 00:43:24,680
Speaker 1: because of how great Big he was, and then guys

808
00:43:24,719 --> 00:43:27,279
Speaker 1: like Big Pund that came after Heavy doesn't get the

809
00:43:27,280 --> 00:43:29,160
Speaker 1: propers he deserves. You know, I p have like talk

810
00:43:29,200 --> 00:43:32,880
Speaker 1: a little bit. I'll tell you about have I remember

811
00:43:32,920 --> 00:43:35,719
Speaker 1: I got an invitation to Janet Jackson's birthday party. It

812
00:43:35,760 --> 00:43:38,560
Speaker 1: was gonna be a Princess Club and I showed have

813
00:43:39,120 --> 00:43:42,319
Speaker 1: the invitation. He said, that's nice, and I said, you're going.

814
00:43:42,440 --> 00:43:45,120
Speaker 1: He said, why am I going? I said, you're going

815
00:43:45,200 --> 00:43:47,440
Speaker 1: because as soon as you get there, you're gonna get

816
00:43:47,440 --> 00:43:49,520
Speaker 1: in pocket with Janet Jackson. You're gonna make a record.

817
00:43:50,120 --> 00:43:52,560
Speaker 1: How do you know that, Drey, I said, because you're

818
00:43:52,600 --> 00:43:57,320
Speaker 1: the bundantly d and when you start dancing so heavy,

819
00:43:57,360 --> 00:44:00,160
Speaker 1: there can't be anything anybody else she wants to hang

820
00:44:00,200 --> 00:44:03,160
Speaker 1: out with. But the big fuzzy cutting league dressed in

821
00:44:03,320 --> 00:44:05,680
Speaker 1: yellows who have d what's gonna be better than that?

822
00:44:06,520 --> 00:44:08,640
Speaker 1: And as soon as we came down the steps, it

823
00:44:08,680 --> 00:44:11,120
Speaker 1: was in Prince's Club because you enter it and you

824
00:44:11,200 --> 00:44:14,160
Speaker 1: have to walk down. So when you we walked down

825
00:44:14,200 --> 00:44:16,680
Speaker 1: to the dance for her dancers, so I have and

826
00:44:16,719 --> 00:44:19,640
Speaker 1: they went to get Janet, and I saw the whole thing.

827
00:44:19,680 --> 00:44:22,439
Speaker 1: I hit have like see And so by the time

828
00:44:22,480 --> 00:44:25,520
Speaker 1: we hit the dance for Janet Jackson was standing right there.

829
00:44:25,520 --> 00:44:27,719
Speaker 1: If we'd have took him by the hand, I ain't

830
00:44:27,760 --> 00:44:30,040
Speaker 1: see him no more. For the rest of you. He

831
00:44:30,080 --> 00:44:33,359
Speaker 1: was he was for Janet Jackson. Laft. But but then

832
00:44:33,400 --> 00:44:36,760
Speaker 1: he made the record It's all right with me with Janet.

833
00:44:37,200 --> 00:44:39,680
Speaker 1: But even before that, like Russell didn't didn't see the

834
00:44:39,680 --> 00:44:42,479
Speaker 1: talent or you sassed him up, like talk about what

835
00:44:42,680 --> 00:44:45,920
Speaker 1: made him special as the artists like what may have

836
00:44:46,120 --> 00:44:50,200
Speaker 1: special is he was charming. So the first time I

837
00:44:50,320 --> 00:44:52,160
Speaker 1: met have I met him over the phone. He called

838
00:44:52,600 --> 00:44:55,799
Speaker 1: looking for Rob Russell Simmons and I said he's not here.

839
00:44:55,840 --> 00:44:57,880
Speaker 1: He said, well, can I talk to you? And I

840
00:44:57,920 --> 00:45:01,160
Speaker 1: said okay. He said who are you? I said, he

841
00:45:01,160 --> 00:45:05,520
Speaker 1: said dr Chuckle. I said yeah. He said, can I

842
00:45:05,560 --> 00:45:10,439
Speaker 1: call you back tomorrow? I said okay. So the next

843
00:45:10,480 --> 00:45:12,279
Speaker 1: he had to get himself together because he was like

844
00:45:12,600 --> 00:45:15,600
Speaker 1: it's on now. So he called me back the next day.

845
00:45:15,719 --> 00:45:18,040
Speaker 1: And he didn't admit it immediately go on the pitch,

846
00:45:18,040 --> 00:45:22,280
Speaker 1: he asked me, because I probably answered the phone like hello,

847
00:45:23,520 --> 00:45:25,920
Speaker 1: he said, yo, you're you said kind of rush it,

848
00:45:26,080 --> 00:45:27,600
Speaker 1: this is a good time, what's going on with you?

849
00:45:28,320 --> 00:45:31,120
Speaker 1: And he just started doing therapy and had me talking

850
00:45:31,440 --> 00:45:33,960
Speaker 1: about what was going on with me at that point

851
00:45:34,320 --> 00:45:37,000
Speaker 1: in the office. And so whenever someone does that to

852
00:45:37,040 --> 00:45:39,520
Speaker 1: you and you realize you're talking so much, you're ready

853
00:45:39,560 --> 00:45:42,719
Speaker 1: to let them talk and listen. So when he started talking,

854
00:45:42,760 --> 00:45:45,560
Speaker 1: I realized he was charming. So when he came down

855
00:45:45,640 --> 00:45:49,200
Speaker 1: to see me at Rush, here was this big, light

856
00:45:49,239 --> 00:45:54,840
Speaker 1: skin dude, him and Eddie with this great with this

857
00:45:54,960 --> 00:45:58,600
Speaker 1: great haircut, like my brunning cats really pride themselves and

858
00:45:58,680 --> 00:46:02,840
Speaker 1: having great haircuts. So he came, you know, Jamaican had curls,

859
00:46:02,840 --> 00:46:06,240
Speaker 1: his joint was pointed up, he was dressed to Coca

860
00:46:06,239 --> 00:46:08,520
Speaker 1: Cola shirt, brand new Nike's, looking like he was from

861
00:46:08,600 --> 00:46:12,680
Speaker 1: d C. I never saw him as a fat boy

862
00:46:12,719 --> 00:46:15,799
Speaker 1: like I always ran the comparison that hev d was

863
00:46:15,880 --> 00:46:20,200
Speaker 1: like Jackie Gleeson, but not like Ralph Cramton, the bus

864
00:46:20,280 --> 00:46:22,879
Speaker 1: driver and the honeymoons. He was like, how sweet it

865
00:46:22,920 --> 00:46:27,960
Speaker 1: is Jackie Gleeson with the cossage. And my goal was

866
00:46:28,160 --> 00:46:31,960
Speaker 1: to make you not pay attention to his size by

867
00:46:32,040 --> 00:46:34,960
Speaker 1: having him do slim man things like his suits with

868
00:46:35,080 --> 00:46:37,600
Speaker 1: Taylor made so he never had a big man, tall

869
00:46:37,640 --> 00:46:41,279
Speaker 1: man thing because they would be three seasons behind, and

870
00:46:41,280 --> 00:46:44,200
Speaker 1: that made him look retarded or fat. So I get,

871
00:46:44,280 --> 00:46:46,560
Speaker 1: whatever George your mind got, we're gonna make having five

872
00:46:46,560 --> 00:46:50,959
Speaker 1: of those and then he could dance. And we hired

873
00:46:51,040 --> 00:46:54,200
Speaker 1: Rosie Perez to choreograph him and once you take a

874
00:46:54,200 --> 00:46:57,279
Speaker 1: three hundred pile man and get him moving like he's

875
00:46:57,360 --> 00:47:03,960
Speaker 1: light on his feet, start saying go heavy. And he

876
00:47:04,040 --> 00:47:06,520
Speaker 1: was just a star. Well he looked like a star.

877
00:47:07,120 --> 00:47:12,920
Speaker 1: He and the things he said, the things he said,

878
00:47:13,640 --> 00:47:18,040
Speaker 1: we're so loving towards women. He um. He had a

879
00:47:18,120 --> 00:47:21,040
Speaker 1: charm the way he would talk about, I want somebody

880
00:47:21,080 --> 00:47:23,600
Speaker 1: loved me for me girls and girls they love me.

881
00:47:23,840 --> 00:47:28,880
Speaker 1: I'm the old way loving heavy d yes and and

882
00:47:28,880 --> 00:47:33,880
Speaker 1: and vulnerability uh and and like a general giant. I

883
00:47:33,880 --> 00:47:38,799
Speaker 1: remember standing um in Houston outside of the arena and

884
00:47:38,840 --> 00:47:40,640
Speaker 1: we were there at three o'clock doing the sound check

885
00:47:41,400 --> 00:47:45,239
Speaker 1: and half said watch this straight, watch this. So two

886
00:47:45,239 --> 00:47:49,640
Speaker 1: girls coming and the girls come up, they stopped, they

887
00:47:49,640 --> 00:47:52,120
Speaker 1: say hi, you heavy d and said yeah, and then

888
00:47:52,120 --> 00:47:54,719
Speaker 1: get ready to walk again. And they come back and

889
00:47:54,760 --> 00:47:58,359
Speaker 1: said can I hug you? And and they will hug

890
00:47:58,400 --> 00:48:01,719
Speaker 1: have and have said they always want to hug me.

891
00:48:01,800 --> 00:48:11,400
Speaker 1: Don't nobody want to? So so um he was just

892
00:48:11,520 --> 00:48:14,480
Speaker 1: even my first startist. He probably as much as I

893
00:48:14,520 --> 00:48:16,320
Speaker 1: taught him to record business, he probably taught me to

894
00:48:16,360 --> 00:48:19,239
Speaker 1: record business because I had to manage him and get

895
00:48:19,320 --> 00:48:21,560
Speaker 1: him from zero to here and then he tried to

896
00:48:21,640 --> 00:48:25,000
Speaker 1: run Uptown for Were you happy with how he took

897
00:48:25,000 --> 00:48:31,120
Speaker 1: it over? I? I was happy that he had the opportunity. Yeah, Actually,

898
00:48:31,200 --> 00:48:33,440
Speaker 1: that's actually that's funny you mentioned Lost Boys. That's my

899
00:48:33,520 --> 00:48:36,720
Speaker 1: favorite rap album of all time. Personal favorite rap album

900
00:48:36,920 --> 00:48:40,120
Speaker 1: as Lost Boys, Legal Drug Maney from Queens and Uptown

901
00:48:40,160 --> 00:48:45,000
Speaker 1: Andre because to me encapsulates my neighborhood. So that's like

902
00:48:45,040 --> 00:48:48,239
Speaker 1: my favorite. Mr Cheeks And I said too because he

903
00:48:48,239 --> 00:48:50,040
Speaker 1: was asking me, you know, because I'm older, obviously he

904
00:48:50,080 --> 00:48:51,719
Speaker 1: was saying at that time, when you guys were making

905
00:48:51,760 --> 00:48:53,160
Speaker 1: that music, I was like, you know, you felt the

906
00:48:53,239 --> 00:48:55,560
Speaker 1: energy that that was our sound was in New York sound.

907
00:48:55,840 --> 00:48:57,560
Speaker 1: We I didn't necessarily feel like I was calling new

908
00:48:57,680 --> 00:48:59,440
Speaker 1: Jack swing. It just felt like it was ours and

909
00:48:59,480 --> 00:49:01,680
Speaker 1: it was new and it was fresh. And then to me,

910
00:49:01,800 --> 00:49:04,680
Speaker 1: the outside world was able to embrace it by that name.

911
00:49:04,840 --> 00:49:09,880
Speaker 1: That's swing really died out, like in the early nineties,

912
00:49:10,040 --> 00:49:13,480
Speaker 1: and and hip hop soul took his place, like Teddy

913
00:49:13,560 --> 00:49:17,680
Speaker 1: Riley and Guy came out, and Keith Sweat and I

914
00:49:17,760 --> 00:49:20,760
Speaker 1: Wanted came out in eight seven Tuggy Fresh to Show,

915
00:49:21,320 --> 00:49:24,080
Speaker 1: which was really the first dude jack swing record that

916
00:49:24,160 --> 00:49:28,160
Speaker 1: Teddy Riley May. That must have came out around uh

917
00:49:29,239 --> 00:49:34,680
Speaker 1: the winter of eighties six. But but why do you

918
00:49:34,760 --> 00:49:37,520
Speaker 1: think that your records have aged so well even though

919
00:49:37,560 --> 00:49:40,600
Speaker 1: it has like a dated sound, but they still pop

920
00:49:40,640 --> 00:49:43,200
Speaker 1: off today, Like when I play a guy record, it

921
00:49:43,200 --> 00:49:46,480
Speaker 1: feels like I'm going out or you know, the longevity

922
00:49:46,560 --> 00:49:52,600
Speaker 1: last well the nineties. I like the Black People seventies,

923
00:49:53,880 --> 00:49:57,680
Speaker 1: like it's our era of chic partying, and those records

924
00:49:58,560 --> 00:50:02,560
Speaker 1: they evoke emotion, a party emotion, a good time emotion.

925
00:50:03,320 --> 00:50:05,239
Speaker 1: Uh that brings you back as soon as you hear

926
00:50:05,880 --> 00:50:09,480
Speaker 1: like you Here, Groove Me, Groove Me just changed on

927
00:50:09,680 --> 00:50:13,239
Speaker 1: B forever. You see you here Groove Me sonically, and

928
00:50:13,280 --> 00:50:15,440
Speaker 1: you see the Gucci girls coming down from the video.

929
00:50:15,680 --> 00:50:18,360
Speaker 1: And then the other thing is that we had videos

930
00:50:18,520 --> 00:50:21,279
Speaker 1: at that time, like BET was still young. BT must

931
00:50:21,320 --> 00:50:26,360
Speaker 1: have started in eighty five, so in nineteen Um, I

932
00:50:26,480 --> 00:50:30,680
Speaker 1: had control of my visuals. So there was nobody who

933
00:50:30,760 --> 00:50:33,880
Speaker 1: was who wasn't young and black that could have input

934
00:50:33,920 --> 00:50:36,319
Speaker 1: into my thing. So my thing would really hit you

935
00:50:36,640 --> 00:50:39,320
Speaker 1: in the core. So it was it was the sound

936
00:50:39,440 --> 00:50:42,640
Speaker 1: was new, Uh, it was, it was of the time.

937
00:50:43,080 --> 00:50:49,319
Speaker 1: The look was was a pure ghetto fabulous. Um. So

938
00:50:49,640 --> 00:50:52,759
Speaker 1: when you hear. When you hear those records now, it

939
00:50:52,880 --> 00:50:56,000
Speaker 1: reminds you of when R and B was great. It

940
00:50:56,080 --> 00:50:59,280
Speaker 1: reminds you when you was in the club dancing now

941
00:50:59,760 --> 00:51:03,960
Speaker 1: because us, when people dance, you don't realize dancing is

942
00:51:04,040 --> 00:51:07,239
Speaker 1: different than just partying dancing and throwing your hands up

943
00:51:07,280 --> 00:51:10,960
Speaker 1: in the air. It's like celebration, like rejoice. So it

944
00:51:11,040 --> 00:51:14,640
Speaker 1: hits you at a whole another emotional high. So when

945
00:51:14,680 --> 00:51:17,960
Speaker 1: you hear those records now, you're not going to the

946
00:51:17,960 --> 00:51:21,359
Speaker 1: club and having that experience. Now though these records don't

947
00:51:21,360 --> 00:51:24,520
Speaker 1: make you rejoice. These records in this generation, they don't

948
00:51:24,520 --> 00:51:27,120
Speaker 1: really dance, and they don't act like they're celebrating in

949
00:51:27,160 --> 00:51:30,480
Speaker 1: the way we celebrate it, like they might be buying bottles.

950
00:51:30,520 --> 00:51:34,480
Speaker 1: But that's a front we would celebrate, and then we

951
00:51:34,480 --> 00:51:39,640
Speaker 1: weren't celebrating rating it's our birthday. We weren't celebrating our graduation.

952
00:51:39,680 --> 00:51:42,480
Speaker 1: We would celebrating Friday night. But look like he was

953
00:51:42,520 --> 00:51:44,520
Speaker 1: cooking up these records to then present because I think

954
00:51:44,520 --> 00:51:47,040
Speaker 1: you said Puffy would present records to you every Monday morning,

955
00:51:47,040 --> 00:51:48,759
Speaker 1: like so like you was cooking up these records and

956
00:51:48,760 --> 00:51:51,080
Speaker 1: then you would instantly get that gratification because you would

957
00:51:51,080 --> 00:51:53,440
Speaker 1: bring them to the clubs and then get that reaction.

958
00:51:54,000 --> 00:51:57,600
Speaker 1: The way the way I got my tastes for for

959
00:51:57,840 --> 00:52:01,040
Speaker 1: music is by going to Bentley's. Bentley's was a club

960
00:52:01,480 --> 00:52:04,719
Speaker 1: on forty Street and Park Abnue that DJ Shulgar, Daddy

961
00:52:05,400 --> 00:52:08,640
Speaker 1: DJ At and all the bad chicks used to go there.

962
00:52:08,760 --> 00:52:11,560
Speaker 1: And you supposedly had to be twenty five to get in,

963
00:52:11,880 --> 00:52:14,880
Speaker 1: and I was twenty one speaking in sometimes like that,

964
00:52:16,239 --> 00:52:21,200
Speaker 1: sometimes sometimes I wouldn't. But the one thing I realized

965
00:52:21,280 --> 00:52:24,879
Speaker 1: quickly is that when you go out to the club,

966
00:52:25,000 --> 00:52:26,600
Speaker 1: it was the era of girls going out with for

967
00:52:26,760 --> 00:52:29,919
Speaker 1: their girlfriends right to be one cute one the rest

968
00:52:29,960 --> 00:52:33,000
Speaker 1: of them some things never changed. The rest of them

969
00:52:33,000 --> 00:52:35,279
Speaker 1: be like you just dragged me out. I'm just going out.

970
00:52:35,280 --> 00:52:38,480
Speaker 1: I really want to be here. So you execute one

971
00:52:38,520 --> 00:52:41,399
Speaker 1: to dance, she said no. You asked the friends sitting

972
00:52:41,440 --> 00:52:43,279
Speaker 1: next to us dance. She said no. Then you asked

973
00:52:43,280 --> 00:52:45,319
Speaker 1: the other two. So it's like no, no, no, no no.

974
00:52:45,640 --> 00:52:48,239
Speaker 1: Then you feel like you don't turn around because you

975
00:52:48,239 --> 00:52:51,279
Speaker 1: feel like the whole club must have just seen you.

976
00:52:51,680 --> 00:52:54,840
Speaker 1: Stairs into the dark part into the abyss and regroup,

977
00:52:55,080 --> 00:52:58,879
Speaker 1: get your ego back, and then you're making observation how

978
00:52:58,880 --> 00:53:01,560
Speaker 1: did DJ plays? Because every DJ who plays the club

979
00:53:01,960 --> 00:53:05,439
Speaker 1: plays a certain way and a certain period his hot

980
00:53:05,440 --> 00:53:08,319
Speaker 1: records come on. So when his hot records would come on,

981
00:53:08,840 --> 00:53:12,040
Speaker 1: like ain't nobody I would know to be coming from

982
00:53:12,040 --> 00:53:15,480
Speaker 1: the upstairs downstairs the observation deck number one where you

983
00:53:15,480 --> 00:53:18,640
Speaker 1: can see all the chicks and be standing right there

984
00:53:18,840 --> 00:53:21,480
Speaker 1: as soon as Chuck comin Doom Doom, Do Do Do

985
00:53:21,480 --> 00:53:23,759
Speaker 1: Doom Doom and stick your hand out, and it was

986
00:53:23,800 --> 00:53:26,279
Speaker 1: like automatic, like the universe would just be moving out

987
00:53:26,320 --> 00:53:30,000
Speaker 1: and taught you. And I always wanted to make boy

988
00:53:30,080 --> 00:53:33,400
Speaker 1: meet Girl, Girl met Boy records that had that same

989
00:53:33,440 --> 00:53:37,120
Speaker 1: effect that had people getting on that dance for so

990
00:53:37,239 --> 00:53:39,919
Speaker 1: for me, I always need to tell puff I said,

991
00:53:40,000 --> 00:53:41,880
Speaker 1: you gotta show them to dance. You want them to

992
00:53:41,920 --> 00:53:44,200
Speaker 1: do in the video? I said, because if you show

993
00:53:44,280 --> 00:53:46,879
Speaker 1: them to dance, when the record comes on, you'll see

994
00:53:46,880 --> 00:53:50,680
Speaker 1: that dance and you know you got good. We don't

995
00:53:50,680 --> 00:53:52,480
Speaker 1: want to know too it did this happen under your watch?

996
00:53:52,480 --> 00:53:56,560
Speaker 1: Horace Brown? The Jays, That's what? So whose idea was

997
00:53:56,640 --> 00:53:58,319
Speaker 1: to have jay Z on that remix? Because every time

998
00:53:58,320 --> 00:54:02,640
Speaker 1: I hear that Okay, every time I hear that baseline,

999
00:54:02,640 --> 00:54:05,600
Speaker 1: it feels like supper club. I gotta put on my

1000
00:54:05,640 --> 00:54:09,600
Speaker 1: good clothes or something like that. Okay, talk about I

1001
00:54:09,600 --> 00:54:15,400
Speaker 1: feel like he doesn't get enough props. Contributed Eddie f. Um,

1002
00:54:15,520 --> 00:54:19,479
Speaker 1: he producer, started his own label UM. He signed Pete

1003
00:54:19,560 --> 00:54:23,160
Speaker 1: Rock Cales Move, he signed Donald Jones, who was one

1004
00:54:23,200 --> 00:54:27,279
Speaker 1: of my favorite club club records that he makes. UM.

1005
00:54:27,480 --> 00:54:30,160
Speaker 1: Eddie F was also a new Jack Swing producer. Now

1006
00:54:30,200 --> 00:54:33,319
Speaker 1: you gotta understand new Jack Swing wasn't was didn't stay

1007
00:54:33,320 --> 00:54:36,120
Speaker 1: around long. It was about a four year run. It

1008
00:54:36,200 --> 00:54:38,840
Speaker 1: was raps made an impact though, but it made an impact.

1009
00:54:39,600 --> 00:54:44,200
Speaker 1: So Eddie F was was was pivotal at Uptown because

1010
00:54:44,200 --> 00:54:46,200
Speaker 1: he would make records not only for Half but for

1011
00:54:46,320 --> 00:54:50,959
Speaker 1: other artists. UM. He taught Puff how to produce. Eddie

1012
00:54:50,960 --> 00:54:53,359
Speaker 1: F lived down the block for me, so when Puff

1013
00:54:53,440 --> 00:54:55,719
Speaker 1: had to leave my house, he goes stay at Eddie f.

1014
00:54:55,840 --> 00:54:57,480
Speaker 1: Sut He stayed at my house for years, stayed at

1015
00:54:57,560 --> 00:54:59,640
Speaker 1: Eddie F's house for a year. So he was getting

1016
00:54:59,640 --> 00:55:02,880
Speaker 1: all so out to university information. So he became a

1017
00:55:02,920 --> 00:55:06,560
Speaker 1: producer out of that. So Eddie F is definitely a

1018
00:55:06,640 --> 00:55:11,120
Speaker 1: pivotal Uptown members terms of producer, Like you gotta say,

1019
00:55:11,120 --> 00:55:13,520
Speaker 1: Teddy Riley in terms of creating a sound. Teddy Riley,

1020
00:55:14,239 --> 00:55:18,720
Speaker 1: Eddie f. DeVante and the track masters not bad lineup.

1021
00:55:19,600 --> 00:55:21,880
Speaker 1: Was anyone that you passed on that blew up into

1022
00:55:22,120 --> 00:55:24,479
Speaker 1: this household name? People asked me that all the time,

1023
00:55:24,520 --> 00:55:27,440
Speaker 1: and the answer is no, because it seems like as

1024
00:55:27,480 --> 00:55:31,200
Speaker 1: if you're your win loss record is on Presidented Well, no,

1025
00:55:31,520 --> 00:55:34,359
Speaker 1: mrs Well, when you when you get hot, all right,

1026
00:55:34,400 --> 00:55:35,960
Speaker 1: and you're hot for a certain kind of thing, I

1027
00:55:36,040 --> 00:55:40,239
Speaker 1: was hot, uh for great singers and great artists. If

1028
00:55:40,320 --> 00:55:43,640
Speaker 1: you thought you were great, you wanted to be with

1029
00:55:43,680 --> 00:55:45,799
Speaker 1: me because you knew I knew what to do with

1030
00:55:45,880 --> 00:55:48,680
Speaker 1: something great. So who was my competition? Like I was

1031
00:55:48,719 --> 00:55:50,560
Speaker 1: in I was in the hip hop soul category. I

1032
00:55:50,600 --> 00:55:52,080
Speaker 1: could do hip hop and I could do R and B.

1033
00:55:52,640 --> 00:55:54,600
Speaker 1: Def jam didn't really do R and B. They did

1034
00:55:54,680 --> 00:55:58,200
Speaker 1: hip hop. There was nobody else really that could compete

1035
00:55:58,200 --> 00:56:01,480
Speaker 1: with me, like Quincy owns with Quincy Jones. But Quincy

1036
00:56:01,560 --> 00:56:04,480
Speaker 1: Jones was Quincy Jones. He wasn't up to uptown era.

1037
00:56:04,680 --> 00:56:06,440
Speaker 1: He was of a super error that we don't know

1038
00:56:06,480 --> 00:56:10,160
Speaker 1: how that works. We know what working Michael Jackson, but

1039
00:56:10,200 --> 00:56:12,360
Speaker 1: we don't know if it's gonna work with something that's

1040
00:56:12,360 --> 00:56:14,480
Speaker 1: starting on the ground. It has to be built up.

1041
00:56:14,880 --> 00:56:17,200
Speaker 1: You thinking this this era, someone could come along with

1042
00:56:17,239 --> 00:56:20,239
Speaker 1: young Andre heroll and build in the powerhouse like this,

1043
00:56:20,360 --> 00:56:23,560
Speaker 1: a label like that. Well, to be honest, um, young Money,

1044
00:56:24,200 --> 00:56:28,360
Speaker 1: your money came with Drake and Wayne and Nicki Minaj.

1045
00:56:29,080 --> 00:56:31,680
Speaker 1: It's pretty good, not bad at cash Money has been

1046
00:56:31,719 --> 00:56:36,360
Speaker 1: around twenty years. Cash Money has been around longer than Uptown.

1047
00:56:36,960 --> 00:56:41,600
Speaker 1: Like burbands a recommend, we can't you can't say he's not.

1048
00:56:42,400 --> 00:56:44,279
Speaker 1: We can't say he's not. He got big stars and

1049
00:56:44,280 --> 00:56:46,920
Speaker 1: he's got a lot of years of it now. But

1050
00:56:47,000 --> 00:56:48,879
Speaker 1: did you get this chanted with the music business because

1051
00:56:48,920 --> 00:56:51,400
Speaker 1: I know two thousand and eleven you had Harrell Records,

1052
00:56:51,400 --> 00:56:54,759
Speaker 1: but now you know it's really not that much activity. Well, well,

1053
00:56:54,840 --> 00:56:58,560
Speaker 1: the record business started to change in two thousands, so

1054
00:56:59,719 --> 00:57:05,000
Speaker 1: there the record sales that dropt. So the whole industry

1055
00:57:05,040 --> 00:57:08,920
Speaker 1: as we knew it was changing. Um and technology was

1056
00:57:09,000 --> 00:57:13,560
Speaker 1: taking a bigger role. And so I've always been involved

1057
00:57:13,560 --> 00:57:18,440
Speaker 1: in television and film, so the idea of of Revolt

1058
00:57:18,520 --> 00:57:22,280
Speaker 1: TV just made sense for me as a music person

1059
00:57:22,360 --> 00:57:26,240
Speaker 1: to grow into the television production side. So I always

1060
00:57:26,280 --> 00:57:29,280
Speaker 1: feel like I'm involved in music, but I'm just at

1061
00:57:29,280 --> 00:57:31,680
Speaker 1: a different spectrum now And what are some of the

1062
00:57:31,800 --> 00:57:34,040
Speaker 1: goals besides the conference do you see for revolting you know,

1063
00:57:34,160 --> 00:57:36,520
Speaker 1: obviously now you guys kind of have your foundation now,

1064
00:57:36,640 --> 00:57:38,680
Speaker 1: like a really growing more and more. Like what should

1065
00:57:38,680 --> 00:57:40,480
Speaker 1: people look out for a revote in the future. You

1066
00:57:40,480 --> 00:57:45,240
Speaker 1: think additional programming, good music programming coming next year, shows

1067
00:57:46,160 --> 00:57:51,960
Speaker 1: more original programming, original program right, this is my real

1068
00:57:52,280 --> 00:57:53,960
Speaker 1: what I wasn't want to know too? And were you

1069
00:57:54,200 --> 00:57:57,600
Speaker 1: actively on the set of Strictly Business with what was

1070
00:57:57,640 --> 00:58:01,840
Speaker 1: the vible? Strictly Business was originally made, originally called Go Beverley,

1071
00:58:02,320 --> 00:58:07,800
Speaker 1: You know, Go Beverley is Beverly Bond, black girl rocks. Now,

1072
00:58:07,840 --> 00:58:10,520
Speaker 1: how did she? How would she go? Beverley? I had

1073
00:58:10,520 --> 00:58:13,400
Speaker 1: a crush on her friend and she was my trainer.

1074
00:58:13,440 --> 00:58:17,680
Speaker 1: Beverly Bond was my trainer, and the and and the

1075
00:58:17,720 --> 00:58:20,680
Speaker 1: plan was all right, I'm gonna get you off super

1076
00:58:20,720 --> 00:58:23,680
Speaker 1: slim and you're gonna go get the girl. And we

1077
00:58:23,760 --> 00:58:26,480
Speaker 1: became friends and I would take her out with me

1078
00:58:26,520 --> 00:58:30,560
Speaker 1: at night. And when she started dancing, whether it be

1079
00:58:30,600 --> 00:58:33,640
Speaker 1: street dudes, whether it be bankers, whether it be white boys,

1080
00:58:33,960 --> 00:58:37,640
Speaker 1: they all loved her. And I started to notice that

1081
00:58:38,200 --> 00:58:42,160
Speaker 1: two things bring social classes and different ethnic groups together,

1082
00:58:43,760 --> 00:58:47,440
Speaker 1: women and drugs. You're spoke joint you will be spoken

1083
00:58:47,480 --> 00:58:50,600
Speaker 1: to joint with with the Duke of windsor hey, what

1084
00:58:51,480 --> 00:58:55,480
Speaker 1: over the shop and join you all of a sudden,

1085
00:58:55,520 --> 00:58:59,080
Speaker 1: don't matter what your differences. And if there's a chick there,

1086
00:58:59,720 --> 00:59:02,720
Speaker 1: do you know, yes, is a friend of mine. All

1087
00:59:02,800 --> 00:59:05,520
Speaker 1: something that's do is your friend. And so the movie

1088
00:59:05,640 --> 00:59:09,960
Speaker 1: was about a girl who bought all these people together.

1089
00:59:10,040 --> 00:59:13,720
Speaker 1: She bought um Tommy Lee, who was in the mail

1090
00:59:13,760 --> 00:59:19,080
Speaker 1: hallroom with with what was his name? Got the banker

1091
00:59:19,960 --> 00:59:27,720
Speaker 1: the real name, I think it's Joseph the guy. So

1092
00:59:27,760 --> 00:59:29,600
Speaker 1: I bought those two together and they were going to

1093
00:59:29,680 --> 00:59:32,000
Speaker 1: be an unlikely pair. He was like an Ivy League

1094
00:59:32,040 --> 00:59:34,720
Speaker 1: guy and he was like a high school dropout. So

1095
00:59:34,840 --> 00:59:40,880
Speaker 1: because he knew Um Holly Berry in the movie, there

1096
00:59:40,920 --> 00:59:44,040
Speaker 1: was a reason for them to become friends. And I

1097
00:59:44,080 --> 00:59:47,280
Speaker 1: was experiencing that in my world, like I had all

1098
00:59:47,280 --> 00:59:49,920
Speaker 1: these Ivy League bankers, I had all these people I

1099
00:59:50,000 --> 00:59:53,640
Speaker 1: knew from Harlem, and I would put people together. And

1100
00:59:53,680 --> 00:59:57,840
Speaker 1: the music for me was Micael Beverley. That brought people together.

1101
00:59:57,880 --> 01:00:00,120
Speaker 1: And I wanted to show a movie that showed the

1102
01:00:00,200 --> 01:00:03,480
Speaker 1: social classes blending together a great movie. Man. How was

1103
01:00:03,520 --> 01:00:05,200
Speaker 1: Hargey on the set like when she was that was

1104
01:00:05,240 --> 01:00:08,280
Speaker 1: like a first starring role, so she was unassuming, she

1105
01:00:08,440 --> 01:00:11,880
Speaker 1: was cool. Wow, he was easy going. She's still easy going.

1106
01:00:12,040 --> 01:00:13,840
Speaker 1: You don't make a lot of stars here. And man,

1107
01:00:14,120 --> 01:00:17,520
Speaker 1: we we we came up at the right time, not

1108
01:00:18,000 --> 01:00:20,560
Speaker 1: wood right, but we're gonna be grooming the new stars.

1109
01:00:20,600 --> 01:00:22,560
Speaker 1: Man once again. Re Vote Conference. Let him know that

1110
01:00:22,800 --> 01:00:25,640
Speaker 1: RMC Revote Music Conference down in Miami at the Eat

1111
01:00:25,760 --> 01:00:31,080
Speaker 1: Rock October thirteen to sixteen, where music meets social media

1112
01:00:31,200 --> 01:00:36,320
Speaker 1: meets technology for innovation for the future. There's over sevenly panelists.

1113
01:00:36,920 --> 01:00:41,280
Speaker 1: Um nas this year will be getting the the Jimmy

1114
01:00:41,360 --> 01:00:45,080
Speaker 1: I v Revoked Icon Award. We are calling be dealing

1115
01:00:45,320 --> 01:00:48,680
Speaker 1: a keynote. Julie green Wall will be doing a Q

1116
01:00:48,840 --> 01:00:56,080
Speaker 1: and A with myself. DJ Khalid talking about about social media. Yeah,

1117
01:00:56,240 --> 01:00:58,640
Speaker 1: he'll be explaining how he did it, how you can

1118
01:00:58,680 --> 01:01:02,080
Speaker 1: do it. UM have a and our panels, management panels.

1119
01:01:03,000 --> 01:01:08,280
Speaker 1: Beyonce's dad, he's on the panel, Matthew knows. UM we

1120
01:01:08,360 --> 01:01:13,520
Speaker 1: have a social media panel. We have music and marketing panels. UM.

1121
01:01:13,560 --> 01:01:15,400
Speaker 1: If you want to be in the music business and

1122
01:01:15,480 --> 01:01:20,560
Speaker 1: you want to understand where we are today. The ORLT

1123
01:01:20,720 --> 01:01:23,160
Speaker 1: Music Conference is a place to be because someone like

1124
01:01:23,200 --> 01:01:26,880
Speaker 1: register or whatever. You go to our website Revolt Music

1125
01:01:27,120 --> 01:01:29,400
Speaker 1: Conference dot com. So you're not gonna sleep for three

1126
01:01:29,440 --> 01:01:31,400
Speaker 1: days and where you're gonna vacation right after this is over.

1127
01:01:34,160 --> 01:01:38,120
Speaker 1: I don't make case you right after it's over, um,

1128
01:01:38,160 --> 01:01:40,760
Speaker 1: because I live in l A right now. So like

1129
01:01:40,840 --> 01:01:43,320
Speaker 1: in l A, I don't love l A like that.

1130
01:01:43,600 --> 01:01:46,439
Speaker 1: I love New York, but it seems like that's where

1131
01:01:46,440 --> 01:01:48,120
Speaker 1: it's at, right, No, right, A lot of cats left

1132
01:01:48,160 --> 01:01:51,120
Speaker 1: for us, man, But it's nothing like New York. I

1133
01:01:51,120 --> 01:01:53,280
Speaker 1: mean nothing like New York. New York. You can feel

1134
01:01:53,320 --> 01:01:56,880
Speaker 1: yourself like you you can feel this interview like you

1135
01:01:56,880 --> 01:02:00,040
Speaker 1: can walk on the street and somebody will tell you

1136
01:02:00,080 --> 01:02:02,160
Speaker 1: I heard you on the show and blah blah blah

1137
01:02:02,160 --> 01:02:04,840
Speaker 1: blah and l A you and you in your car,

1138
01:02:05,560 --> 01:02:08,480
Speaker 1: So you're not gonna get approached that much. So you

1139
01:02:08,520 --> 01:02:12,080
Speaker 1: feel kind of isolated a little bit if you're used

1140
01:02:12,080 --> 01:02:13,840
Speaker 1: to being in New York and walking and down the

1141
01:02:13,880 --> 01:02:17,240
Speaker 1: street and like for me, like a bus driver will

1142
01:02:17,280 --> 01:02:22,040
Speaker 1: see me. We went to high school with me hers street.

1143
01:02:22,320 --> 01:02:24,560
Speaker 1: I'm used to that kind of know. To your credit,

1144
01:02:24,600 --> 01:02:26,800
Speaker 1: I think I think back on it, I think Uptime

1145
01:02:26,840 --> 01:02:29,200
Speaker 1: Records was the first label. It made me feel like

1146
01:02:29,240 --> 01:02:32,400
Speaker 1: this is New York, you know, just by the energy

1147
01:02:32,400 --> 01:02:34,440
Speaker 1: of the music and everything just being it was a

1148
01:02:34,440 --> 01:02:37,280
Speaker 1: different experience being from New York and feeling these records

1149
01:02:37,320 --> 01:02:39,040
Speaker 1: and knowing these records. What's the Fox, What's why? The

1150
01:02:39,080 --> 01:02:43,880
Speaker 1: Fox logo, the Fox logos, the cat, Yeah there's a cat.

1151
01:02:46,600 --> 01:02:53,680
Speaker 1: You've been on point all day, I mean super But

1152
01:02:53,800 --> 01:02:56,160
Speaker 1: at this point, Thoughdre, what's keeping you inspired? What's keeping

1153
01:02:56,200 --> 01:02:58,320
Speaker 1: you going? After? You could sit back and ride it

1154
01:02:58,400 --> 01:03:02,160
Speaker 1: for the sunset culture, Um, I'm always I've always been

1155
01:03:02,440 --> 01:03:05,200
Speaker 1: interested in what people are doing, what people are saying,

1156
01:03:05,200 --> 01:03:08,200
Speaker 1: and how they do it. And I think that's that's

1157
01:03:08,240 --> 01:03:11,120
Speaker 1: in any record. Man will have to be interested in

1158
01:03:11,160 --> 01:03:15,160
Speaker 1: culture to be successful, to stay successful. Like once you,

1159
01:03:15,960 --> 01:03:18,280
Speaker 1: once you you don't take the time to listen to

1160
01:03:18,400 --> 01:03:22,640
Speaker 1: something new or listen to a young person's point of view, Um,

1161
01:03:22,680 --> 01:03:26,440
Speaker 1: you're done. You will not be moving forward into tomorrow.

1162
01:03:27,360 --> 01:03:32,960
Speaker 1: I just stayed interested and I'm a good listener. Thank you, man.

1163
01:03:33,160 --> 01:03:35,280
Speaker 1: I hope they listen to nothing, gonna listen rap rate

1164
01:03:35,320 --> 01:03:37,640
Speaker 1: our podcast, enjoy it. Man. We gotta thank you and

1165
01:03:38,000 --> 01:03:41,920
Speaker 1: thank you so time, Andre Herrel up kicking it than

1166
01:03:42,440 --> 01:04:01,880
Speaker 1: we out of him, and wrap rate our podcast Uglier

1167
01:04:03,040 --> 01:04:03,560
Speaker 1: Alderm