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Speaker 1: Benny had told us yesterday in that same chair, speaking

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Speaker 1: of ghost writing, that he wrote a verse for Pinky

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Speaker 1: the porn Star.

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Speaker 2: What was his swap?

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Speaker 3: See, that's a great question.

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Speaker 4: We we ain't even asked that a right, but don't

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Speaker 4: even worry about it.

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Speaker 2: Pink my Loft's leader, not the win the repnant.

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Speaker 5: Listen in the land playing names, talking zepinely about the

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Speaker 5: George before we got the blow him out here Johnny

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Speaker 5: deppin the only thing the police don't find know me

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Speaker 5: is a weapon. Blessings, never believe in love. Read the

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Speaker 5: signs at the lake and told you don't feed the ducks.

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Speaker 5: So keep it up and you'll be back to selling

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Speaker 5: quties in the hood. You get shot up, you go

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Speaker 5: out like Melan Cherry say man.

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Speaker 6: All Right, welcome to another episode of the new Rory

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Speaker 6: and Mall podcast, Iron Mall. I'm Rory, and today we

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Speaker 6: are sitting with a very very special, unique person, artist creator,

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Speaker 6: somebody that I've been wanting to sit and.

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Speaker 3: Talk with for a while now. One of my favorite.

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Speaker 6: Artists, definitely one of my favorite and I feel like

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Speaker 6: his story and his career is something that a lot

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Speaker 6: of people should know about that don't know about.

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Speaker 3: Very talented, and I feel like he got a lot

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Speaker 3: to say.

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Speaker 6: So I feel like, we know we had to open

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Speaker 6: up our platform and shouldn't have a really really dope,

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Speaker 6: really cool conversation with the talented Saha.

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Speaker 2: Yes, sir, Yes, sir.

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Speaker 3: First of all, it's good to see you.

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Speaker 6: We want to be honestly, Yeah, Rory myself been wanting

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Speaker 6: to sit and talk with you for a while now,

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Speaker 6: so I'm glad we was able to make it happen

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Speaker 6: while we're down here in Atlanta.

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Speaker 7: Absolutely absolutely, we can start right away.

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Speaker 1: I feel like I've rewatched your live from what was

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Speaker 1: that maybe three weeks ago? All fifty minutes. What sparked

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Speaker 1: that entire live? For those that don't know, you went

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Speaker 1: on live.

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Speaker 7: Unearthed somethings unearthed, some things about current the past, just

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Speaker 7: your career in general. What sparked that? Who pitched you

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Speaker 7: off that day?

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Speaker 2: I think it was a combination of a few things,

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Speaker 2: but I could tell you the main story was like

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Speaker 2: with my management, Like you know, it's you know, we

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Speaker 2: in Atlanta have a traditional way of breaking or you know,

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Speaker 2: introducing artists or putting out records, et cetera. And you know,

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Speaker 2: me being able to have the luxury to move around,

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Speaker 2: be around a list artists, see how you know their

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Speaker 2: team is structured, and how these guys are cultivating these records.

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Speaker 2: You know, I come back home and I just get

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Speaker 2: dormant because everybody here is just like on the street

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Speaker 2: level of thinking. And you know, I kind of like,

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Speaker 2: you know, wanted to just like explain my story to

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Speaker 2: the world because it's rough being What would I say,

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Speaker 2: Unfortunately I have to say, is it's rough being famous.

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Speaker 2: But everybody want to know when you have I'm coming

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Speaker 2: out and what's going on and this and that, and

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Speaker 2: you know you can't really explain it to them because

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Speaker 2: they don't really know. So I felt like, you know,

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Speaker 2: that was my time to like really say my piece

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Speaker 2: to like directly to my fans so they know what's

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Speaker 2: going on. But also like really truly ask that question

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Speaker 2: about retiring from music, because to me, it's like it's

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Speaker 2: not about the music anymore, you know what I'm saying.

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Speaker 2: So I could instead of wasting my time, I can

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Speaker 2: go do some other things that was productive that it's productive,

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Speaker 2: in my opinion, I could still be creative with versus

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Speaker 2: trying to you know, convince said person that, oh, man,

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Speaker 2: this record with you should clear this sample with Kanye

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Speaker 2: Tai Dollar on it. It's like, you know what I'm saying,

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Speaker 2: I got this Jack Harlowe to Chain's record, you should

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Speaker 2: like really try to shit a video for or It's

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Speaker 2: like you know what I mean, It's like I've done

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Speaker 2: all these great things and cultivated these records and to

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Speaker 2: piggyback off that. You know, I give up a lot

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Speaker 2: of my percentages to get these records in these swaps.

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Speaker 2: You get what I'm saying. So for you know, when

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Speaker 2: you bring it to a label and you got this

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Speaker 2: fifty to fifty deal or whatever you got with this

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Speaker 2: label and they looking at it like, oh they want

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Speaker 2: to half asked with It's like I didn't half asked

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Speaker 2: with this. Now I'm okay. I didn't have half asked

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Speaker 2: with this when I was putting this together. So that's

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Speaker 2: kind of where the conversation came from, just you know,

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Speaker 2: having that conversation with management along with the label that

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Speaker 2: you signed to and just trying to get everybody on

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Speaker 2: one accord.

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Speaker 7: At what point do you feel like it stopped being

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Speaker 7: more about the music?

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Speaker 2: Was that just as a recent or this is a

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Speaker 2: real question. I think it stopped being about the music

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Speaker 2: when the streets didn't like their homeboys rapping about their

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Speaker 2: lives and they felt like they wanted to Okay, that's

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Speaker 2: the real conversation that don't nobody want to talk about

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Speaker 2: the reason why I hate when like rappers get this

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Speaker 2: stigma like it's the most dangerous job. This is not

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Speaker 2: the most dangerous job. Is when you let the streets

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Speaker 2: in on this job, it becomes the most dangerous job.

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Speaker 2: You know what I'm saying. We have yet to professionalize

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Speaker 2: hip hop. We have it's always been like a free

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Speaker 2: for all. You know, anybody can join niggas just can't

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Speaker 2: get in the NBA. Bro. Now you can't just be

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Speaker 2: like yo, KD, I'm your boy, like bring me on

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Speaker 2: the best with you. It's like, nah, bro, you can

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Speaker 2: go to the suite when the game comes. Nobody allowed

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Speaker 2: in this Why I'm going to practice or traveling to

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Speaker 2: the game or anything. So I think the biggest thing

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Speaker 2: is like when we allow the streets to kind of

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Speaker 2: dictate the art, you know what I'm saying, and it

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Speaker 2: kind of just now it's almost like a bully tactic

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Speaker 2: where y'all gotta listen to it. We want y'all to

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Speaker 2: listen to y'all ain't gonna listen to nothing. And that's

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Speaker 2: why I feel like the music industry has turned. They

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Speaker 2: don't want to tell the street dudes no because they

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Speaker 2: you know, they scared of them or whatever the case

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Speaker 2: may be. And like we were talking about earlier, you know,

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Speaker 2: you don't have you no longer have to have dipset

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Speaker 2: office in your in your office anymore Ryan Feller office.

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Speaker 2: You just give them a distribution deal, you know what

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Speaker 2: I'm saying.

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Speaker 7: You don't actually have to deal with them in person,

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Speaker 7: right right.

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Speaker 2: So it's a lot of things that I got a

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Speaker 2: lot of ideas and just thoughts of how to like

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Speaker 2: correct that. But I think the biggest thing is, you know,

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Speaker 2: artists like I had the idea, right, I just just

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Speaker 2: put it in the universe I had. I remember when

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Speaker 2: we used to be signed to that PIF and we

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Speaker 2: used to not sign but do our music through that

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Speaker 2: PIFFS and live mixtapes. Yeah, you got spots like spend reeling,

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Speaker 2: et cetera. As a new artist, they should be able

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Speaker 2: to give you a flat fee and you should be

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Speaker 2: able to put your music on their site and don't

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Speaker 2: care how many spins you get, it don't count. It's

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Speaker 2: only for promotional use. Now, if you're not signed to

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Speaker 2: one of those three, let's say small distributors, then a

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Speaker 2: death Jam or Universal can't just come sign you because

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Speaker 2: now if I sign you, I'm liable for you. See like,

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Speaker 2: for instance, Antonio Brown could punch a U haul driver

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Speaker 2: and lose eighteen million because they can't have that on

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Speaker 2: their NFL shield. But a nigga in the rap could

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Speaker 2: beat a nigga up shoot an they doing all type.

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Speaker 2: You should go to jail for two months, come out

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Speaker 2: of jail to label, give fifty million, do it again.

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Speaker 2: You know what I'm saying. It's no. So now it's like, okay,

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Speaker 2: if Universal signed me, they gotta give me health care.

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Speaker 2: I gotta get a pension after five years. You get

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Speaker 2: what I'm saying. Like if I get into legal trouble,

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Speaker 2: you just as liable. So now a label can't just

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Speaker 2: sign you for a monetary game. Now they got to

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Speaker 2: really invest in who you are as a person. You

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Speaker 2: get what I'm saying. So it's like different things like

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Speaker 2: that that I feel that need to be implemented in rap,

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Speaker 2: Like if you play for the Timberwolves. You live in Minnesota.

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Speaker 2: You can't just live in Miami and play for the Timberwolves.

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Speaker 2: So if you work with Depth Jail, you gotta live

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Speaker 2: in New York. You work with Empire, you got to

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Speaker 2: live in San Francisco, you know what I mean. So like,

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Speaker 2: keep you out of your neighborhood, keep you from having

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Speaker 2: a politic with the streets. And I'm not gotta keep

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Speaker 2: these dudes around. And now indeed something now you gotta rico,

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Speaker 2: you know what I'm saying. So these are the things

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Speaker 2: that we have allowed to come into our art form

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Speaker 2: and we haven't professionalized it. And I would like to

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Speaker 2: say to all urban and black artists, we all from

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Speaker 2: the streets. Even if you ain't from the streets, you

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Speaker 2: from the streets. You don't got no choice, you know

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Speaker 2: what I mean. So that's like my real testimony in

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Speaker 2: rap is you know, I've been through a lot to

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Speaker 2: like just to get to where I've been, And you know,

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Speaker 2: I have stories of stories, like I've had deals from

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Speaker 2: everywhere that I can't you know, I can't even speak

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Speaker 2: on now because you know they was in the past.

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Speaker 2: But you know, I've just been through a lot, just

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Speaker 2: in this city, through the streets, through music industry, you know,

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Speaker 2: really trying to get this positive message out, and it's

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Speaker 2: always this street caveat where they like to add to artists,

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Speaker 2: you know what I mean, especially being from the Mecca

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Speaker 2: in Atlanta.

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Speaker 1: I mean, I think it's funny you bring up what

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Speaker 1: the labels should and could do for artists that they signed.

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Speaker 1: But I feel like with this RICO thing going crazy

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Speaker 1: amongst rappers, it's going to make labels less attached to

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Speaker 1: rappers because at some point you could be financing a

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Speaker 1: criminal organization as a deaf JAM employee and not even

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Speaker 1: fucking knowing. Now you're caught up in a RICO trial

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Speaker 1: because you are really have this person now in health insurance,

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Speaker 1: life insurance, like you are now part of it. I

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Speaker 1: feel like labels now are gonna get caught up in

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Speaker 1: that shit, especially if they start using lyrics for real

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Speaker 1: in court cases, not so much as far as investigating.

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Speaker 1: Once that shit is attached to a rapper in a

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Speaker 1: court case, def JAM financed a threat you made, they

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Speaker 1: part of it now. So I think labels are gonna

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Speaker 1: get further away from artists. Even outside of the office idea,

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Speaker 1: we were saying like yeah, don't even have a office

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Speaker 1: space here.

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Speaker 7: Now, it's like you're gonna be a ten ninety nine.

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Speaker 7: I don't really know you like that. I have nothing

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Speaker 7: to do with you.

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Speaker 2: Wrote.

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Speaker 7: We just get a profit percentage off what you did.

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Speaker 2: But I think it's something that they'll be able to

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Speaker 2: control too. It's just like I said, rappers gotta know

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Speaker 2: like I got an idea. It's like, Okay, when I

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Speaker 2: sign you, I give you off duty police ex military

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Speaker 2: choose right, So now you ain't gotta have a conversation

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Speaker 2: with your partner that, oh you can't come to this

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Speaker 2: show or are you a bitch nigga? You just sold out?

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Speaker 2: And like noah, no, hey, hey guys, y'all are his friends.

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Speaker 2: We got a skybox for you up there, but y'all

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Speaker 2: can't ride to this show with us, right, you know

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Speaker 2: what I mean? So dudes be like, I can't have

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Speaker 2: the police in my circle. I can't. Man, you got

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Speaker 2: an aunce a weed, bro, if you need anything more

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Speaker 2: than that to go to your show. Bro, It's like, okay, y'all,

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Speaker 2: niggas ain't really gangsters because i'd have met with the

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Speaker 2: Mexican I ain't drunk and time meeting picking up five

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Speaker 2: hundred bags, right right, I'm on point right, So if

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Speaker 2: you're getting picking up a quarter million, you need to

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Speaker 2: be on point right.

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Speaker 3: That's the fact.

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Speaker 2: So, yeah, what's the difference If y'all.

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Speaker 6: Really street, it's fucked up because you know, we have

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Speaker 6: to have those conversations or it's like the conversation you

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Speaker 6: don't want to have with your homies, like, yo, listen,

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Speaker 6: we can't move like this no more. And then, like

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Speaker 6: you said, they start looking at you like, oh you changed,

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Speaker 6: You're acting funny. Yeah, and now they looking at you

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Speaker 6: like fuck it. Well we're gonna now we're gonna rob him.

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Speaker 6: And we was talking to Benny yesterday about his situation

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Speaker 6: in Houston, you know, when he when he got shot.

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Speaker 6: And then unfortunately we saw p and b Rock in

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Speaker 6: LA And like you said, it's not that.

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Speaker 3: Rap is the most dangerous job.

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Speaker 6: It's that we start integrate in street rules and street

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Speaker 6: ethics and shit into business, into music business, because this

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Speaker 6: is the business of music. So how do we get

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Speaker 6: away from number one? Like we was talking about the

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Speaker 6: drill music and Benny was saying like and even I said,

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Speaker 6: I feel like the music is so different. It's so

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Speaker 6: violent now that I feel like it is influencing like

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Speaker 6: real violence, because not only are they rapping about it,

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Speaker 6: they really out there doing it. And before it was

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Speaker 6: like like when you know, like when we listen to

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Speaker 6: early gangster rap, Snoop and all these guys, it's like,

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Speaker 6: you listen to that now and it's really not as

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Speaker 6: violent as we thought it was. Like Snoop wasn't banging

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Speaker 6: on the tracks like that. These dudes is beefing on

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Speaker 6: wax with each other. Right, So how do we get

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Speaker 6: to a point where it's like, okay, back to the

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Speaker 6: art of storytelling, back to the art of hip hop,

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Speaker 6: back to the art of creating, you know, writing, you

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Speaker 6: know how to do it, but you're from that environment,

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Speaker 6: right from the perspective of the guy that's on the outside,

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Speaker 6: just telling the stories of what's going on in our communities.

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Speaker 2: Like we used to be the representatives, Like my favorite

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Speaker 2: rappers was the representative of their communities. It wasn't that

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Speaker 2: they were the direct person that they were talking about,

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Speaker 2: you know what I'm saying. But I will say this,

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Speaker 2: my favorite rapper is the one who kind of destroyed

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Speaker 2: that thought for people. But they don't know his whole story.

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Speaker 2: People look at jay Z as a street nigga before

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Speaker 2: an artist, and I would like to tell them he wasn't.

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Speaker 2: He was an artist trying to get on and they

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Speaker 2: kept denying him, and that forced him to go get

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Speaker 2: his own money. But he was already trying to go

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Speaker 2: to the label he was as an artist, you know

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Speaker 2: what I'm saying. But I think a lot of these

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Speaker 2: guys say, screw getting turned down by some label. I'm

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Speaker 2: gonna get straight to the hustling. So now as a label,

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Speaker 2: you go look for that guy that's just as authentic

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Speaker 2: as a jay Z, the new you know what I mean,

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Speaker 2: the new authentic guys that was just as authentic as that.

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Speaker 2: But these guys are like the real deal, authentic version

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Speaker 2: of this, Like this don't belong on the TV. And

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Speaker 2: like I was going back to you, if you professionalize

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Speaker 2: it and say, okay, you cannot do this, you cannot

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Speaker 2: involve yourself in criminals. A lot of street niggas wouldn't rap.

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Speaker 2: That just remains street niggas. But then you always got

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Speaker 2: these dudes like, man, these niggas talk about your life, Bro,

284
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Speaker 2: you should be rapping. But that's not good advice, right,

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Speaker 2: you know what, Let Bruke keep talking about my life

286
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Speaker 2: and keep doing my thing on the loan. But when

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Speaker 2: you make the niggas street nigga have to talk about

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Speaker 2: his life, then that's when you bring in real criminals,

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Speaker 2: real street dudes. You know what I'm saying. That's when

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Speaker 2: it gets diluted and we start something else.

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Speaker 1: So so accessible and so I don't want to say

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Speaker 1: easy to make, but like back when Hove was coming up,

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Speaker 1: you're hard. It was to find a good beat, like

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Speaker 1: you had to go find a studio session, to go

295
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Speaker 1: find an engineer. It was a process you really wanted.

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Speaker 1: You wanted to have to do that shit. Now the

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Speaker 1: guy that's really living what people rapping about could buy

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Speaker 1: a MacBook and hit space bar and get a beat

299
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Speaker 1: on YouTube. So you don't really have to want it.

300
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Speaker 1: It could just be a lick like, oh, you rap

301
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Speaker 1: about some shit I just did. I could really rap about.

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Speaker 3: It, but it's like rap turned into a hustle.

303
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Speaker 2: Yeah, but when fashionalize, you let him know that if

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Speaker 2: you have any inkling of a criminal thing, this comes

305
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Speaker 2: back on our label. Yeah, so now we're responsible. So

306
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Speaker 2: now if you're not gonna retire from what you're doing,

307
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Speaker 2: I can't sign you. And now he'll look at it

308
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Speaker 2: like that I got a cool song, but it's cool.

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Speaker 2: I'm gonna go back to doing what I do.

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Speaker 1: You know, right right during your life you had said

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Speaker 1: something that made me laugh and he was like, I

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Speaker 1: wish I was backpacked.

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Speaker 7: I wish I was a backpack.

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Speaker 1: I feel like you came up in that era or

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Speaker 1: got popular in the era where things shifted. It it

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Speaker 1: was more of the I hate the term a nerdy rap,

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Speaker 1: like right, Cole was popping, Sean was popping, Drake was popping,

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Speaker 1: and then.

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Speaker 7: I feel like it shifted back to street rap.

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Speaker 1: Did you feel that maybe that era could come back

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Speaker 1: or why it's shifted to street shit because you say

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Speaker 1: you're not a backpack rapper when someone would say, just

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Speaker 1: because you're lyrical and maybe don't rap about killing every day,

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Speaker 1: you would be a backpack rapper, right, And you came

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Speaker 1: in the era when things changed and that was back

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Speaker 1: to this ship.

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Speaker 2: Yeah, I think I think that era was a good

328
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Speaker 2: time in music. But I don't like the way you

329
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Speaker 2: say nerd. It's a little weird, because that's why I

330
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Speaker 2: said I grew up different. My lyricis wasn't nerds exactly

331
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Speaker 2: like NAS wasn't a nerd. He wasn't a nerd. DMX

332
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Speaker 2: wasn't a nerd, big l And like you know what

333
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Speaker 2: I'm saying, these guys, well these were some real official dude,

334
00:16:50,160 --> 00:16:53,400
Speaker 2: sure they were just intelligence was popular back then it

335
00:16:53,520 --> 00:16:55,960
Speaker 2: was book readers. Yeah, it's like I remember my old

336
00:16:56,000 --> 00:16:59,400
Speaker 2: you used to tell me back in his day, if

337
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Speaker 2: you didn't graduate away from high school, you couldn't be

338
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Speaker 2: the leader of a crew. You was considered a send

339
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Speaker 2: off to them because the leader of the crew was

340
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Speaker 2: an educated man with just no no shoot them up,

341
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Speaker 2: bang bang kind of got But yeah, I think what

342
00:17:15,560 --> 00:17:19,720
Speaker 2: happened was our lyricis turned into college kids. And no

343
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Speaker 2: disrespect to all our lyricists, but these are guys who

344
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Speaker 2: dropped out of fucking whatever school Saint Pius what you

345
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Speaker 2: know what I mean, like Michigkan State or whatever they

346
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Speaker 2: go to. And it's like, okay, you rapping you a lyricists,

347
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Speaker 2: But it's almost like for that genre of kids that

348
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Speaker 2: are like in that rim of college and going to school,

349
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Speaker 2: but you have real guys who listen to Wu Tang

350
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Speaker 2: growing up that we're just street dudes that just loved

351
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Speaker 2: the articulation of it, how you putting the words together,

352
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Speaker 2: making them flip, and still adding the street stories and

353
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Speaker 2: the knowledge. You know, there's a lot of five percent

354
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Speaker 2: this back then that was dropping knowledge into music and

355
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Speaker 2: different things like that. So I think that's what it

356
00:18:07,080 --> 00:18:10,240
Speaker 2: lost it because hip hop was really based on that struggle,

357
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Speaker 2: that authenticity, and they felt like, ah, these guys are

358
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Speaker 2: a little cleaner than we look at hip hop ads.

359
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Speaker 2: So we converted right back to the essence of it,

360
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Speaker 2: the grass root through the concrete of it.

361
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Speaker 1: Yeah, Because I mean, I guess you could say what

362
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Speaker 1: the shift was probably when fifty and Kanye went to

363
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Speaker 1: head to head with the situation.

364
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Speaker 7: That's when the surge. So would ya be the reason

365
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Speaker 7: that the college era of rap really came?

366
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Speaker 3: Yeah, Yeah, I would say definitely.

367
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Speaker 2: Yeah. He made it. Definitely made it mainstream.

368
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Speaker 3: He definitely made it mainstream.

369
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Speaker 6: I want to talk about the No Dope on Sunday,

370
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Speaker 6: yes and we was talking about it yesterday and we

371
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Speaker 6: have it as a definitive classic classic.

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Speaker 1: I think it's safe to say now that time is

373
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Speaker 1: past class thank.

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Speaker 6: You to go from that. And you know, I thought

375
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Speaker 6: when we got No Dope on something. I said, Sahai

376
00:19:09,240 --> 00:19:11,960
Speaker 6: is about to fuck everybody up and rap because I

377
00:19:12,000 --> 00:19:13,840
Speaker 6: thought it was going to be like because I know

378
00:19:14,200 --> 00:19:15,880
Speaker 6: how you write your work. After I'm like, he about

379
00:19:15,920 --> 00:19:18,919
Speaker 6: to keep hitting y'all every six, seven, eight months he

380
00:19:19,000 --> 00:19:23,440
Speaker 6: putting something out. We got No Dope on Sundays. Loved it, amazing,

381
00:19:23,480 --> 00:19:25,479
Speaker 6: I stop putting in, but I'm hi is better than

382
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Speaker 6: all of these niggas. And then it was like it.

383
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Speaker 3: Seemed like business got in the way after that.

384
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Speaker 6: Do you think that that was purposeful? Like shit just

385
00:19:36,920 --> 00:19:38,960
Speaker 6: started to go crazy and it was like, all right,

386
00:19:38,960 --> 00:19:40,800
Speaker 6: the business is fucked up because like now we don't

387
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Speaker 6: know when we get in Saha we got story eguy,

388
00:19:42,840 --> 00:19:46,560
Speaker 6: we'll get into that, but it's like, how can we

389
00:19:46,600 --> 00:19:48,240
Speaker 6: never really got And I wanted what happened to the

390
00:19:48,280 --> 00:19:51,280
Speaker 6: seventh track LP, Like it's like a lot of things

391
00:19:51,280 --> 00:19:53,120
Speaker 6: where I'm just like, where the fuck is Saha at?

392
00:19:53,160 --> 00:19:55,479
Speaker 6: And I know you went on the live and you know,

393
00:19:55,560 --> 00:19:58,800
Speaker 6: expressed your grievances and your your distaste for business and

394
00:19:58,800 --> 00:20:01,120
Speaker 6: shit that was going on, but like, tell us give

395
00:20:01,200 --> 00:20:04,600
Speaker 6: us a story from after you drop No Dope on Sundays?

396
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Speaker 3: What happened after that.

397
00:20:06,280 --> 00:20:12,280
Speaker 2: So No Dope on Sundays was something I put together.

398
00:20:14,000 --> 00:20:16,440
Speaker 2: You know, I would say, the biggest thing is these

399
00:20:16,520 --> 00:20:20,960
Speaker 2: labels don't want to pay for samples anymore, you know

400
00:20:21,040 --> 00:20:24,000
Speaker 2: what I'm saying, So me having to be creative and

401
00:20:24,040 --> 00:20:27,919
Speaker 2: find musicians to be able to replay these things, figure

402
00:20:27,960 --> 00:20:31,080
Speaker 2: out how to you know, remake these records. And to me,

403
00:20:31,200 --> 00:20:35,240
Speaker 2: they they weren't. They wasn't feeling like I wanted them feel.

404
00:20:35,800 --> 00:20:37,679
Speaker 2: So with No Dope on Sunday, I went through so

405
00:20:37,760 --> 00:20:40,159
Speaker 2: much to put that out. I didn't even have a

406
00:20:40,200 --> 00:20:42,960
Speaker 2: marketing budget. That's the funny thing. I didn't have a

407
00:20:43,000 --> 00:20:45,520
Speaker 2: marketing budget. I went number one on iTunes and Spotify

408
00:20:45,520 --> 00:20:48,120
Speaker 2: in the first week. You know what I'm saying, You're

409
00:20:48,200 --> 00:20:51,480
Speaker 2: like begging the label. But like I said, they're so

410
00:20:51,760 --> 00:20:55,720
Speaker 2: used to disposable cash from artists. Now, you know what

411
00:20:55,760 --> 00:20:57,960
Speaker 2: I'm saying, They're so used to, Oh man, you're paying

412
00:20:58,000 --> 00:21:00,280
Speaker 2: for everything, paying for everything, paying for every and they

413
00:21:00,320 --> 00:21:03,840
Speaker 2: don't understand that these guys aren't signed to real estate agents.

414
00:21:03,920 --> 00:21:07,879
Speaker 2: They're not signed some bankers. These dule sign the real

415
00:21:08,760 --> 00:21:13,119
Speaker 2: guys in the community that's making this money happen. I

416
00:21:13,200 --> 00:21:15,880
Speaker 2: decided to leave the street so I had to use

417
00:21:15,920 --> 00:21:20,080
Speaker 2: a more strategic way of putting out the projects. But

418
00:21:20,119 --> 00:21:22,719
Speaker 2: what I will say is I was working on another album,

419
00:21:22,800 --> 00:21:24,560
Speaker 2: but right when I was about to put it out,

420
00:21:24,600 --> 00:21:27,359
Speaker 2: that's when the pandemic kind of came in and like

421
00:21:27,440 --> 00:21:30,680
Speaker 2: pushed us back a couple of years. But I think

422
00:21:30,680 --> 00:21:35,600
Speaker 2: the biggest thing with me, man is like there's two things.

423
00:21:35,760 --> 00:21:38,199
Speaker 2: You know, me being from Atlanta, they expect me to

424
00:21:38,280 --> 00:21:42,880
Speaker 2: be traditionally Atlanta and put things out how most Atlanta

425
00:21:42,960 --> 00:21:49,439
Speaker 2: artists do. But also, you know, if I become the

426
00:21:49,440 --> 00:21:55,040
Speaker 2: greatest rapper alive, the standard will be too high for

427
00:21:55,160 --> 00:21:58,240
Speaker 2: most other artists to compete with. So a lot of

428
00:21:58,280 --> 00:22:02,119
Speaker 2: times people like to pick from my versus putting me

429
00:22:02,160 --> 00:22:05,359
Speaker 2: in a place where they feel like they don't want

430
00:22:05,400 --> 00:22:08,600
Speaker 2: to have to compete with this every day. Okay, so

431
00:22:08,640 --> 00:22:10,600
Speaker 2: we'll just bring him in a session and you kind

432
00:22:10,600 --> 00:22:13,280
Speaker 2: of help us with this and then and we'll pay

433
00:22:13,320 --> 00:22:16,120
Speaker 2: you handsomely and call it a day. But I don't

434
00:22:16,119 --> 00:22:18,880
Speaker 2: feel like they don't. I feel like it's just now.

435
00:22:18,920 --> 00:22:22,399
Speaker 2: I just feel like a lot of people just you know,

436
00:22:22,400 --> 00:22:24,480
Speaker 2: I've been humble about it, and I've just been kind

437
00:22:24,480 --> 00:22:27,040
Speaker 2: of giving them the benefit of the doubt, like maybe

438
00:22:27,040 --> 00:22:30,000
Speaker 2: he's you know, you know, you say why this artist

439
00:22:30,080 --> 00:22:31,600
Speaker 2: don't do this or why this person will do that.

440
00:22:31,680 --> 00:22:35,000
Speaker 2: I just think now it's just I'm too lethal, man,

441
00:22:36,240 --> 00:22:38,400
Speaker 2: and they know I'm one thing about it. I'm from

442
00:22:38,400 --> 00:22:40,159
Speaker 2: the streets, but I got the word of God in me,

443
00:22:40,240 --> 00:22:43,320
Speaker 2: and that's something they just they can't compete with. Because

444
00:22:43,320 --> 00:22:46,320
Speaker 2: one SI, Yeah, we can battle, we can go at it,

445
00:22:46,400 --> 00:22:49,719
Speaker 2: like like your buddy Joe, he feel like he can

446
00:22:49,800 --> 00:22:53,840
Speaker 2: rap as good as me. Yeah, articulating yourself, you probably could.

447
00:22:54,600 --> 00:22:58,440
Speaker 2: But when the spirit gets involved, you don't. You can't

448
00:22:58,480 --> 00:23:00,720
Speaker 2: go to that rim with me. You know what I'm saying.

449
00:23:00,760 --> 00:23:02,760
Speaker 2: When it comes to performance, when it's coming to giving

450
00:23:02,800 --> 00:23:06,960
Speaker 2: you this shit, you where you stay with yet? You

451
00:23:07,040 --> 00:23:08,960
Speaker 2: know what I mean. So I think that's why a

452
00:23:09,000 --> 00:23:11,200
Speaker 2: lot of artists they don't want the standard of music

453
00:23:11,280 --> 00:23:14,000
Speaker 2: to be that high. So I think that's why I

454
00:23:14,040 --> 00:23:18,199
Speaker 2: come in the artists like your Kendricks, your your Coles,

455
00:23:18,200 --> 00:23:21,680
Speaker 2: your Joy Badass, your Chance, the rappers, those who's still

456
00:23:21,760 --> 00:23:25,720
Speaker 2: keeping it alive. But it's a harder plight for me

457
00:23:25,760 --> 00:23:30,280
Speaker 2: in Atlanta, just going against the whole trap era by yourself.

458
00:23:30,320 --> 00:23:32,760
Speaker 2: It's like me and Jed or some shit like that,

459
00:23:33,119 --> 00:23:35,080
Speaker 2: and Jed is like staying out the way. He's like,

460
00:23:35,520 --> 00:23:38,080
Speaker 2: we're going around, you know what I mean. Like me,

461
00:23:38,200 --> 00:23:40,760
Speaker 2: I'm like, okay, I gotta deal with all this. You

462
00:23:40,760 --> 00:23:42,840
Speaker 2: gotta deal with radio don't want to play these type

463
00:23:42,840 --> 00:23:45,960
Speaker 2: of records. They rather play this. So it's it's it's

464
00:23:46,080 --> 00:23:46,600
Speaker 2: it's rough.

465
00:23:46,920 --> 00:23:49,640
Speaker 1: But I still think Atlanta has that scene outside of Jed,

466
00:23:49,760 --> 00:23:53,080
Speaker 1: Like Earth Gang. There's a lot of Yeah Atlanta lyricists.

467
00:23:53,119 --> 00:23:55,400
Speaker 2: But we got to go outside of Atlanta. And that's

468
00:23:55,480 --> 00:23:58,119
Speaker 2: something I talk about, like Earth Game and should be

469
00:23:58,160 --> 00:24:01,720
Speaker 2: signed to someone from Atlanta. It's not Jake cole Grip

470
00:24:01,760 --> 00:24:04,639
Speaker 2: should be signed to someone from Atlanta, not eminem I

471
00:24:04,640 --> 00:24:08,000
Speaker 2: should be signed by someone from Atlanta, not Kanye West.

472
00:24:08,240 --> 00:24:10,600
Speaker 2: I feel you we all got to go outside the

473
00:24:10,640 --> 00:24:14,399
Speaker 2: city if we don't fit trap. You know what I'm saying, right,

474
00:24:14,640 --> 00:24:17,440
Speaker 2: you know what I mean? Where in other situations, Shit,

475
00:24:18,280 --> 00:24:20,480
Speaker 2: Kendrick is from LA. He signed to an LA Dude.

476
00:24:21,359 --> 00:24:23,680
Speaker 2: He ain't looked at it as is he a gang banger?

477
00:24:23,880 --> 00:24:26,600
Speaker 2: Is he a No, he's a musician. He's an artist.

478
00:24:26,680 --> 00:24:29,520
Speaker 2: He's signed to Yeah LA label, you know what I mean.

479
00:24:29,600 --> 00:24:32,800
Speaker 2: So I think that's the thing is just trying to

480
00:24:32,960 --> 00:24:36,200
Speaker 2: really diversify the city and let them know that all

481
00:24:36,280 --> 00:24:40,119
Speaker 2: of this is us Andre three thousand and outcasts and

482
00:24:40,440 --> 00:24:44,000
Speaker 2: Goodie Model was just as pivotal as a g Z,

483
00:24:44,160 --> 00:24:47,440
Speaker 2: as a TI or you know what I mean in Atlanta.

484
00:24:47,480 --> 00:24:49,080
Speaker 2: So I would like to say that what do you feel?

485
00:24:49,520 --> 00:24:52,320
Speaker 1: I mean, we love QC. I think QC is one of,

486
00:24:52,600 --> 00:24:55,879
Speaker 1: if not the most important label. Yes, not just because

487
00:24:55,880 --> 00:24:58,320
Speaker 1: of music. They're just the most important for what they

488
00:24:58,359 --> 00:25:01,640
Speaker 1: represent with how they do business. I love coach MP.

489
00:25:03,040 --> 00:25:05,240
Speaker 1: Do you think they purposely stay away from the more

490
00:25:06,040 --> 00:25:08,760
Speaker 1: non trap because I mean, people think little Baby could

491
00:25:08,760 --> 00:25:13,040
Speaker 1: really wrap. People call him lyrical, but again it's all

492
00:25:13,040 --> 00:25:14,280
Speaker 1: trap shit at the end of the day. Do you

493
00:25:14,280 --> 00:25:16,840
Speaker 1: think they purposely stay away from artists like a Jid

494
00:25:16,960 --> 00:25:18,560
Speaker 1: or like a You or like an Earth Gang.

495
00:25:21,359 --> 00:25:23,720
Speaker 3: I love we love Jid by the way.

496
00:25:23,280 --> 00:25:27,040
Speaker 2: Me too, Me too. Yeah, that's that's family. I think

497
00:25:27,080 --> 00:25:32,480
Speaker 2: they do because you know, like to be honest, that's

498
00:25:32,480 --> 00:25:35,359
Speaker 2: a thinking sport and something is something is like a

499
00:25:35,400 --> 00:25:39,600
Speaker 2: money sport, you know what I'm saying. And they're good

500
00:25:39,680 --> 00:25:41,720
Speaker 2: to me with the money sport. I'm not saying they

501
00:25:41,840 --> 00:25:45,280
Speaker 2: not thinkers, but you know, it's more just a strategy

502
00:25:45,359 --> 00:25:48,199
Speaker 2: on this right versus like, Okay, we know where we

503
00:25:48,240 --> 00:25:51,480
Speaker 2: want to go. We're gonna flood the market quantity, make

504
00:25:51,520 --> 00:25:53,480
Speaker 2: sure he's everywhere, you know what I'm saying. Make sure

505
00:25:53,480 --> 00:25:56,520
Speaker 2: it look good. But I think he's the most open

506
00:25:56,600 --> 00:25:58,480
Speaker 2: to it though. I just I don't know if anybody

507
00:25:58,480 --> 00:26:01,120
Speaker 2: has brought it to him like that, but I think

508
00:26:01,119 --> 00:26:03,760
Speaker 2: he's at the place where he could branch out and

509
00:26:03,800 --> 00:26:06,800
Speaker 2: now he had QC and Them does have that those

510
00:26:06,840 --> 00:26:09,280
Speaker 2: connections and that roll of decks to be able to

511
00:26:09,560 --> 00:26:14,280
Speaker 2: break an artists far as just touring and you know, marketing, digital, marketing,

512
00:26:14,359 --> 00:26:17,320
Speaker 2: publicity versus like having to actually go to the strip club,

513
00:26:18,040 --> 00:26:20,359
Speaker 2: you know, going to chit Lit's circuits and different things

514
00:26:20,400 --> 00:26:23,480
Speaker 2: like that. So I think they're the only label that

515
00:26:24,760 --> 00:26:29,199
Speaker 2: really the reason why q Q seeing and P and

516
00:26:29,240 --> 00:26:33,040
Speaker 2: Them is good because QC trusts Coach K and vice versa.

517
00:26:33,240 --> 00:26:35,119
Speaker 2: You know what I mean. He added Coach K to

518
00:26:35,240 --> 00:26:39,520
Speaker 2: help him make more sound decisions and feel comfortable about

519
00:26:39,840 --> 00:26:44,560
Speaker 2: what artists he you know, working with, and it allows uh,

520
00:26:44,720 --> 00:26:47,240
Speaker 2: Peter go all in on that artist because you know,

521
00:26:47,280 --> 00:26:50,119
Speaker 2: he got somebody that know what to do with whatever

522
00:26:50,160 --> 00:26:51,520
Speaker 2: I'm about to give him, you know what I mean.

523
00:26:51,560 --> 00:26:54,320
Speaker 2: So I think that's that's like a matchmate in heaven.

524
00:26:54,359 --> 00:26:57,240
Speaker 2: That's like if everybody could be signed to QC, I

525
00:26:57,359 --> 00:27:01,560
Speaker 2: would I would. Yeah, I think everybody should be.

526
00:27:01,720 --> 00:27:03,720
Speaker 3: In Atlanta, you know what, everybody.

527
00:27:03,960 --> 00:27:05,600
Speaker 2: That's why I do want to say, Like, you don't

528
00:27:05,600 --> 00:27:07,960
Speaker 2: see no death Jam buildings down here. You don't see

529
00:27:07,960 --> 00:27:10,120
Speaker 2: no Universal building. You don't see Sony, you don't see

530
00:27:10,119 --> 00:27:14,399
Speaker 2: none of that with the Mecca and the biggest you know,

531
00:27:15,359 --> 00:27:17,679
Speaker 2: let's say city for hip hop at this moment moment,

532
00:27:17,960 --> 00:27:20,080
Speaker 2: and nobody has came down to be like, Okay, we're

533
00:27:20,080 --> 00:27:22,600
Speaker 2: gonna set up shop here, which is crazy.

534
00:27:22,680 --> 00:27:25,160
Speaker 1: That's odd too, especially with like even overhead is cheaper

535
00:27:25,200 --> 00:27:26,600
Speaker 1: down here, Like they.

536
00:27:26,480 --> 00:27:29,159
Speaker 2: Don't come down here because at the end of the day, bro,

537
00:27:29,920 --> 00:27:31,959
Speaker 2: I'm gonna keep it a buck with you. For how

538
00:27:32,040 --> 00:27:34,320
Speaker 2: much money they got to spind to get these records

539
00:27:34,359 --> 00:27:39,119
Speaker 2: off the ground. It really really breaking evil. I'm just

540
00:27:39,200 --> 00:27:41,600
Speaker 2: keeping it a buck with you. It's just we such

541
00:27:41,680 --> 00:27:44,879
Speaker 2: hustlers in Atlanta that we make it look good. We

542
00:27:45,000 --> 00:27:47,119
Speaker 2: make it look like we're selling a lot of records, right,

543
00:27:47,520 --> 00:27:51,280
Speaker 2: but really not know what I'm saying. If you look

544
00:27:51,320 --> 00:27:54,320
Speaker 2: at like Jay Cole is really selling records.

545
00:27:54,359 --> 00:27:57,879
Speaker 1: Absolutely, There's maybe four rappers that really, So when it

546
00:27:57,920 --> 00:27:58,359
Speaker 1: comes down.

547
00:27:58,280 --> 00:28:00,960
Speaker 2: To it, yeah, you mean Atlanta or in the world

548
00:28:01,119 --> 00:28:03,640
Speaker 2: the world? Yeah yeah, but nah, I mean you got

549
00:28:03,640 --> 00:28:06,879
Speaker 2: your Tyler's, you got your Kendricks, you got you know

550
00:28:06,880 --> 00:28:08,960
Speaker 2: what I'm saying, chance to give you some good numbers?

551
00:28:10,000 --> 00:28:12,040
Speaker 1: Would I haven't pay a chance there anymore. I wouldn't

552
00:28:12,040 --> 00:28:14,080
Speaker 1: even put chance there anymore. And I love no disrespect

553
00:28:14,080 --> 00:28:16,520
Speaker 1: to him, but I think the numbers wise, I think

554
00:28:16,560 --> 00:28:21,480
Speaker 1: it's it's little Baby does well, Kendrick Cole, Drake Tyler. Yeah,

555
00:28:21,480 --> 00:28:23,280
Speaker 1: I don't know if we consider Travis a rapper or

556
00:28:23,320 --> 00:28:26,680
Speaker 1: an artist, but really only four or five rappers thatself.

557
00:28:27,000 --> 00:28:30,320
Speaker 2: Yeah here I'm saying, but I'm just thinking you can

558
00:28:30,400 --> 00:28:33,280
Speaker 2: say that. But if I only have to spend one

559
00:28:33,359 --> 00:28:36,439
Speaker 2: hundred and fifty two hundred thousand on your album and

560
00:28:36,520 --> 00:28:39,840
Speaker 2: you doing one hundred and fifty first week, that's great

561
00:28:39,960 --> 00:28:42,320
Speaker 2: as a as a label. But if I got to

562
00:28:42,400 --> 00:28:45,600
Speaker 2: spend three four hundred thousand and you only doing one

563
00:28:45,640 --> 00:28:49,600
Speaker 2: hundred thousand first week, it's the numbers are similar, but

564
00:28:49,920 --> 00:28:52,800
Speaker 2: my return isn't the same. So I think that's why

565
00:28:52,800 --> 00:28:55,840
Speaker 2: the labels haven't came here yet because they know as

566
00:28:55,920 --> 00:28:59,440
Speaker 2: much as we have to spend on these projects, the

567
00:28:59,560 --> 00:29:01,960
Speaker 2: return of it is not what we need. Now. The

568
00:29:02,120 --> 00:29:04,080
Speaker 2: artist is getting their money, but they're not doing three

569
00:29:04,120 --> 00:29:06,600
Speaker 2: sixties with us, so they're not gonna give us none

570
00:29:06,600 --> 00:29:09,440
Speaker 2: of their touring, their merch and anything. So while we

571
00:29:09,640 --> 00:29:12,160
Speaker 2: come down there and set up shopping, we'll just wait

572
00:29:12,160 --> 00:29:13,800
Speaker 2: for y'all to get it done and get y'all a

573
00:29:13,800 --> 00:29:14,640
Speaker 2: distribution deal.

574
00:29:15,800 --> 00:29:15,960
Speaker 1: Was it?

575
00:29:16,400 --> 00:29:20,600
Speaker 3: How was it working with the whole Wyoming situation, Because

576
00:29:20,600 --> 00:29:22,680
Speaker 3: we talked to Benny yesterday he told us how he

577
00:29:22,760 --> 00:29:23,000
Speaker 3: was there.

578
00:29:23,040 --> 00:29:25,040
Speaker 6: He said, you know, being in the room with Saha

579
00:29:25,320 --> 00:29:27,640
Speaker 6: and all these other guys, meeting Havoc for the first time.

580
00:29:28,200 --> 00:29:31,800
Speaker 6: He said, you know, it was like for a rapper,

581
00:29:31,920 --> 00:29:34,600
Speaker 6: a rapper rap, it was like a dream come true,

582
00:29:34,640 --> 00:29:40,240
Speaker 6: just being in that environment in those rooms, being who

583
00:29:40,320 --> 00:29:45,480
Speaker 6: you are. How do you feel it one changes you

584
00:29:45,520 --> 00:29:48,240
Speaker 6: as an artist and as a writer, challenge you as

585
00:29:48,240 --> 00:29:50,440
Speaker 6: an artist or writer, And how much of it are

586
00:29:50,440 --> 00:29:53,480
Speaker 6: you like turned off by it? Like this ain't really

587
00:29:53,480 --> 00:29:54,360
Speaker 6: what I want to be doing.

588
00:29:55,440 --> 00:29:58,840
Speaker 2: Uh, well, I'm never turned off by it, because I

589
00:29:58,880 --> 00:30:03,040
Speaker 2: do know I'm working with a trailblazer so I will

590
00:30:03,080 --> 00:30:06,000
Speaker 2: say that, you know, you do have some influence over

591
00:30:06,040 --> 00:30:09,520
Speaker 2: the world, even though it's not direct, you know what

592
00:30:09,560 --> 00:30:13,160
Speaker 2: I mean, contact with him, it's through another artist. But

593
00:30:13,240 --> 00:30:17,280
Speaker 2: it kind of just shows you how big your business

594
00:30:17,320 --> 00:30:20,880
Speaker 2: can be. Like a lot of times guys come out

595
00:30:20,880 --> 00:30:24,560
Speaker 2: there and really see like infrastructure. You really see a

596
00:30:24,640 --> 00:30:27,560
Speaker 2: man with one hundred and seventy eight employees and know

597
00:30:27,600 --> 00:30:30,400
Speaker 2: everybody by their first and last name. You know what

598
00:30:30,440 --> 00:30:34,240
Speaker 2: I'm saying, Like, yeah, nobody's you not gonna see that

599
00:30:34,280 --> 00:30:36,120
Speaker 2: in the regular rap realm, you know what I mean.

600
00:30:36,160 --> 00:30:40,760
Speaker 2: You'll be like he'll have like in the music department.

601
00:30:40,800 --> 00:30:43,880
Speaker 2: We'll have forty people on the ranch doing music. Then

602
00:30:43,880 --> 00:30:46,600
Speaker 2: we're jump in the truck and drive to a warehouse.

603
00:30:47,120 --> 00:30:50,320
Speaker 2: He got another fifty sixty people doing shoes. Then you

604
00:30:50,360 --> 00:30:52,120
Speaker 2: know what I mean, we run to another warehouse. He

605
00:30:52,200 --> 00:30:55,760
Speaker 2: got another forty to fifty people doing architect of real estate.

606
00:30:55,840 --> 00:30:59,320
Speaker 2: It's just like and you just driv into these compounds

607
00:30:59,320 --> 00:31:02,560
Speaker 2: with them, all these people on his payroll. It's crazy,

608
00:31:02,600 --> 00:31:04,400
Speaker 2: you know what I'm saying. So this man is like

609
00:31:05,480 --> 00:31:08,560
Speaker 2: he's serious. Like That's why I tell people I can't

610
00:31:08,720 --> 00:31:10,400
Speaker 2: you can't really say nothing to a nigga whos got

611
00:31:10,440 --> 00:31:13,240
Speaker 2: that much conviction. You know what I'm saying, A nigga

612
00:31:13,240 --> 00:31:15,280
Speaker 2: want to fight Mike Tyson. I've been trying to tell

613
00:31:15,320 --> 00:31:17,520
Speaker 2: him not to. But when a nigga look you in

614
00:31:17,520 --> 00:31:19,719
Speaker 2: the eyes that much pay Okay, Bro, we don't get

615
00:31:19,760 --> 00:31:23,160
Speaker 2: you together like this, you gotta run.

616
00:31:24,080 --> 00:31:25,680
Speaker 7: If I'm a friend, I'm making sure you don't fight.

617
00:31:27,920 --> 00:31:30,280
Speaker 2: Now. You got if you got his passion, his came

618
00:31:30,360 --> 00:31:32,040
Speaker 2: you have been a whooped Mike Tyson ass. Yeah.

619
00:31:32,280 --> 00:31:33,200
Speaker 3: Yeah, with his passion.

620
00:31:33,280 --> 00:31:37,000
Speaker 2: Yeah, with his passion. You don't never know. You see

621
00:31:37,120 --> 00:31:40,560
Speaker 2: some dudes get scared, bro, and this dude seems he's

622
00:31:40,560 --> 00:31:42,880
Speaker 2: super tough, and the scared dude whoop his ass.

623
00:31:42,960 --> 00:31:45,560
Speaker 3: Yeah yeah, because he's just he just.

624
00:31:45,520 --> 00:31:49,040
Speaker 2: Clicked into that that moment. So it's like that's why

625
00:31:49,080 --> 00:31:50,840
Speaker 2: I try to tell people. It's like, it's tough with

626
00:31:50,920 --> 00:31:55,040
Speaker 2: you because when somebody go that far for they for

627
00:31:55,120 --> 00:31:57,480
Speaker 2: their point in their conviction. You gotta let a man

628
00:31:57,520 --> 00:32:00,480
Speaker 2: walk in his his own life. You can't just turn because.

629
00:32:00,280 --> 00:32:01,200
Speaker 3: You don't disrupt that.

630
00:32:01,320 --> 00:32:02,920
Speaker 2: You don't want to get to heaven and God be like,

631
00:32:02,960 --> 00:32:06,960
Speaker 2: hey man, you know I said the Yeah, I know him.

632
00:32:07,280 --> 00:32:08,920
Speaker 2: You know you told him not to do something.

633
00:32:09,880 --> 00:32:14,200
Speaker 3: Yeah, the steps.

634
00:32:16,360 --> 00:32:19,760
Speaker 2: You know, not me.

635
00:32:21,080 --> 00:32:23,720
Speaker 1: After watching your live and speaking of speaking of Yah,

636
00:32:24,480 --> 00:32:27,680
Speaker 1: the first question I had once the live was over

637
00:32:27,960 --> 00:32:36,040
Speaker 1: was does sah I think all these important relationships that

638
00:32:36,160 --> 00:32:38,200
Speaker 1: he has with some of the biggest artists in the world,

639
00:32:38,280 --> 00:32:41,480
Speaker 1: has that helped you or hindered you more.

640
00:32:41,520 --> 00:32:42,160
Speaker 7: In the long run?

641
00:32:42,200 --> 00:32:44,840
Speaker 1: You feel like because one would be like, Yo, I

642
00:32:44,960 --> 00:32:47,680
Speaker 1: fuck with Yay, Travis, every big art you could think of.

643
00:32:48,400 --> 00:32:50,080
Speaker 1: With Drake, I write for this person. I write for

644
00:32:50,120 --> 00:32:54,640
Speaker 1: this person. One would naturally think, oh, that's amazing. That's

645
00:32:54,640 --> 00:32:57,640
Speaker 1: probably made made his career. But I was looking at

646
00:32:57,680 --> 00:33:01,680
Speaker 1: that after the live like this, it might have pigeonholed

647
00:33:01,720 --> 00:33:03,920
Speaker 1: him and held him back with.

648
00:33:03,920 --> 00:33:06,000
Speaker 7: All the relationships that people.

649
00:33:05,760 --> 00:33:07,880
Speaker 1: Are dying to have, like that might have fucked you

650
00:33:08,000 --> 00:33:11,840
Speaker 1: up more after I listened to that ramp well.

651
00:33:14,960 --> 00:33:20,880
Speaker 2: As a writer, it's always helped me, But as an artist,

652
00:33:21,840 --> 00:33:25,920
Speaker 2: I could say it probably could be fifty to fifty

653
00:33:26,000 --> 00:33:30,080
Speaker 2: because I mean, like, let's just say, when I was

654
00:33:30,120 --> 00:33:35,000
Speaker 2: signed to death Jam, they knew Yay was moving into fashion,

655
00:33:35,160 --> 00:33:40,160
Speaker 2: so they wasn't eager to like put me out and

656
00:33:40,240 --> 00:33:43,240
Speaker 2: have to find somebody else to be in there with

657
00:33:43,320 --> 00:33:45,640
Speaker 2: him in so many words, like I was just a

658
00:33:45,640 --> 00:33:49,400
Speaker 2: guy there that they know Howe's around people rapping. That's

659
00:33:49,440 --> 00:33:52,080
Speaker 2: like the thing that people bring me in for, like, man,

660
00:33:52,120 --> 00:33:54,040
Speaker 2: bring how I am. Man, He's just gonna make sure

661
00:33:54,560 --> 00:33:56,360
Speaker 2: we get in here and just start rapping. So I

662
00:33:56,360 --> 00:33:59,360
Speaker 2: think that's the thing. And a lot of times you

663
00:33:59,400 --> 00:34:02,440
Speaker 2: work with an art that's that big, they don't want

664
00:34:02,440 --> 00:34:05,440
Speaker 2: to find another piece to implement, and that if this

665
00:34:05,520 --> 00:34:08,719
Speaker 2: guy's already comfortable with this said writer or artists or

666
00:34:08,880 --> 00:34:11,160
Speaker 2: you know what I mean. Person. So they kind of

667
00:34:11,160 --> 00:34:13,879
Speaker 2: tried to massage me with that early on, and due

668
00:34:13,880 --> 00:34:18,320
Speaker 2: to me being in I would say a bad deal

669
00:34:18,400 --> 00:34:22,319
Speaker 2: at that time, you know what I'm saying. That was

670
00:34:22,360 --> 00:34:25,000
Speaker 2: an outlet for me to still be creative, you know

671
00:34:25,000 --> 00:34:26,920
Speaker 2: what I'm saying. But by time, like when y'all got

672
00:34:26,960 --> 00:34:29,560
Speaker 2: no dope on Sundays, that's when I had just got

673
00:34:29,560 --> 00:34:32,839
Speaker 2: out of my terrible situations, you know what I mean.

674
00:34:32,840 --> 00:34:34,880
Speaker 2: It took me about four or five years to like

675
00:34:35,000 --> 00:34:37,920
Speaker 2: fight it because you got to build up enough cache

676
00:34:37,960 --> 00:34:41,000
Speaker 2: to go against like you know, at that time was

677
00:34:41,040 --> 00:34:43,719
Speaker 2: signing like a cons brother, so you know, they they

678
00:34:43,760 --> 00:34:46,759
Speaker 2: got their things. So until you get somebody that could

679
00:34:46,800 --> 00:34:49,400
Speaker 2: really get you out of it. You're just in it right,

680
00:34:49,520 --> 00:34:52,319
Speaker 2: you know what I mean? So I think it was

681
00:34:52,640 --> 00:34:55,799
Speaker 2: good and worse, but I think it was good. I

682
00:34:55,800 --> 00:34:58,319
Speaker 2: think as a writer I'm in a great place. But

683
00:34:58,360 --> 00:35:00,160
Speaker 2: I just know as an artist, I have more or

684
00:35:00,160 --> 00:35:04,800
Speaker 2: to say and I think the devil will be working absolutely,

685
00:35:04,800 --> 00:35:06,319
Speaker 2: you know what I'm saying for me saying what I

686
00:35:06,360 --> 00:35:09,160
Speaker 2: need to say. So that's a writer I worked through

687
00:35:09,360 --> 00:35:09,680
Speaker 2: Are You?

688
00:35:09,760 --> 00:35:10,160
Speaker 3: Are You?

689
00:35:10,960 --> 00:35:12,880
Speaker 6: Because the story of he got to me was was

690
00:35:12,920 --> 00:35:15,440
Speaker 6: brilliant because like you said, you're a writer that doesn't

691
00:35:15,480 --> 00:35:17,960
Speaker 6: just mean music like you was actually writing like a

692
00:35:18,000 --> 00:35:21,080
Speaker 6: play and you know, it was like a whole presentation.

693
00:35:22,080 --> 00:35:22,600
Speaker 3: And it was a.

694
00:35:22,560 --> 00:35:25,040
Speaker 6: Title exclusive if I'm not mistaken right, it was only

695
00:35:25,120 --> 00:35:25,719
Speaker 6: was it only on.

696
00:35:25,719 --> 00:35:28,319
Speaker 3: Title as far as the story he got. As far

697
00:35:28,320 --> 00:35:30,960
Speaker 3: as the visual no, no, get the.

698
00:35:31,040 --> 00:35:34,480
Speaker 2: Visual act, well we had we had different visuals. You're

699
00:35:34,480 --> 00:35:36,399
Speaker 2: talking about I think you're talking about barcode or.

700
00:35:36,480 --> 00:35:38,479
Speaker 7: You did like a sketch thing with the title.

701
00:35:38,680 --> 00:35:40,560
Speaker 2: Yeah, that was something I did with title. That was

702
00:35:41,080 --> 00:35:43,120
Speaker 2: that was something we did in the pandemic where I

703
00:35:43,200 --> 00:35:44,799
Speaker 2: was born in the house. I was just like we

704
00:35:44,960 --> 00:35:45,920
Speaker 2: get out here, do you know?

705
00:35:46,080 --> 00:35:46,880
Speaker 7: Just did some ship.

706
00:35:48,360 --> 00:35:50,000
Speaker 3: Let's just do something some ship.

707
00:35:50,080 --> 00:35:52,120
Speaker 2: But I think the story of he Got is something

708
00:35:52,160 --> 00:35:54,400
Speaker 2: that I put out an EP of it just to

709
00:35:54,440 --> 00:35:57,960
Speaker 2: get the fans back in gage. But I'm actually finishing

710
00:35:58,040 --> 00:36:00,520
Speaker 2: up the album as we speak, so it's be out

711
00:36:00,960 --> 00:36:03,560
Speaker 2: late this year, like November, the same time around no

712
00:36:03,680 --> 00:36:07,840
Speaker 2: Dope on Sundays. I'm a I'm a wintertime artist. I

713
00:36:07,840 --> 00:36:09,400
Speaker 2: look at it. I like to drop music in the

714
00:36:09,440 --> 00:36:13,359
Speaker 2: winter where people got the windows up close knitted, you're

715
00:36:13,400 --> 00:36:16,120
Speaker 2: in the house. You ain't just out having fun in

716
00:36:16,200 --> 00:36:18,960
Speaker 2: the club, it's just random ship playing. I like my

717
00:36:19,040 --> 00:36:21,000
Speaker 2: music to be like some kind of you know, some

718
00:36:21,120 --> 00:36:24,560
Speaker 2: kind of focused, some kind of you know, camaraderie when

719
00:36:24,560 --> 00:36:27,000
Speaker 2: you're listening to it, like you know, around family on

720
00:36:27,080 --> 00:36:30,160
Speaker 2: the car holidays. So I think that's a good time

721
00:36:30,160 --> 00:36:32,000
Speaker 2: for me to release my album with a.

722
00:36:33,680 --> 00:36:36,879
Speaker 1: With the writing aspect again again back to the live

723
00:36:38,480 --> 00:36:41,200
Speaker 1: since then, have you have you viewed those writing sessions

724
00:36:41,719 --> 00:36:45,120
Speaker 1: different as far as expectations, like, now, give me my

725
00:36:45,160 --> 00:36:52,560
Speaker 1: full publishing on this, because I'm not ever expecting.

726
00:36:52,680 --> 00:36:55,040
Speaker 2: Yeah, y'all don't want to honor the swap, your label,

727
00:36:55,040 --> 00:36:57,440
Speaker 2: don't want to honor it all that. I'm good on

728
00:36:57,480 --> 00:36:59,319
Speaker 2: the swap cut me in my chick.

729
00:37:00,400 --> 00:37:03,880
Speaker 7: Yeah, I mean, did you do you take that shit personal?

730
00:37:03,920 --> 00:37:06,520
Speaker 2: Though? I do? I mean I don't, but I do.

731
00:37:06,600 --> 00:37:09,960
Speaker 2: It's like, man, I gave everybody I work with, bro

732
00:37:10,000 --> 00:37:12,600
Speaker 2: I give them a pencil long enough, they gonna draw themselves,

733
00:37:13,719 --> 00:37:16,440
Speaker 2: you know what I'm saying. So nobody can say nothing

734
00:37:16,440 --> 00:37:19,560
Speaker 2: about my life because I ain't told one lie. Right,

735
00:37:19,800 --> 00:37:21,520
Speaker 2: you know what I'm saying. I let them motherfucker play

736
00:37:21,600 --> 00:37:24,120
Speaker 2: me four five times before I said what I said.

737
00:37:24,200 --> 00:37:26,440
Speaker 2: So now they just got to sit back and listen

738
00:37:26,480 --> 00:37:28,200
Speaker 2: to me. Said. They kind of been waiting on me

739
00:37:28,239 --> 00:37:30,680
Speaker 2: to say it, like damn, all right, I got what

740
00:37:30,760 --> 00:37:33,560
Speaker 2: I needed from you know. It's like, you know what

741
00:37:33,600 --> 00:37:37,000
Speaker 2: I'm saying, But I mean, I didn't say nothing. I

742
00:37:37,040 --> 00:37:39,840
Speaker 2: really said what was just true, the truth, and it

743
00:37:40,040 --> 00:37:43,319
Speaker 2: just shows you what an artist. That's why it's the

744
00:37:43,360 --> 00:37:45,560
Speaker 2: story that he got. I want to let them know

745
00:37:45,640 --> 00:37:48,360
Speaker 2: me and me and Sam Smith don't got the same

746
00:37:48,400 --> 00:37:51,640
Speaker 2: plight to get to that Grammy stage. You know what

747
00:37:51,680 --> 00:37:53,680
Speaker 2: I'm saying. He ain't been in them fistfights. He ain't

748
00:37:53,680 --> 00:37:56,600
Speaker 2: been in them shootouts, he ain't been in them jail cells.

749
00:37:56,600 --> 00:38:00,520
Speaker 2: He ain't been in them terrible deals. Like you don't hear, No,

750
00:38:01,320 --> 00:38:03,520
Speaker 2: you don't hear a lot of white artists talking about man,

751
00:38:03,560 --> 00:38:07,760
Speaker 2: I got a bad deal, right, But you hear urban

752
00:38:07,840 --> 00:38:10,120
Speaker 2: and black artists. We have bad deals all the time.

753
00:38:10,520 --> 00:38:12,920
Speaker 2: We have terrible deals. We have to get them to

754
00:38:13,000 --> 00:38:15,680
Speaker 2: OK deals. You know what I'm saying. We have to

755
00:38:15,719 --> 00:38:20,080
Speaker 2: work and sell triple platinum, bouvoo. Most of them artists

756
00:38:20,120 --> 00:38:22,480
Speaker 2: come in with Justckie Timberlake had a great deal when

757
00:38:22,480 --> 00:38:26,160
Speaker 2: he came through the door, Justin bieber whoever, It's like

758
00:38:26,680 --> 00:38:30,800
Speaker 2: they have great situations. So I think that's the story

759
00:38:30,840 --> 00:38:32,640
Speaker 2: of Egy and what it really is. It is like,

760
00:38:33,440 --> 00:38:36,160
Speaker 2: you know, by time I got to the Grammy stage,

761
00:38:36,560 --> 00:38:39,600
Speaker 2: I was exhausted. By the time I met Kanye, people

762
00:38:39,640 --> 00:38:45,200
Speaker 2: don't even know bro At seventeen, I was offered seven deals.

763
00:38:46,320 --> 00:38:47,880
Speaker 2: But I was in a rap group and I was

764
00:38:47,880 --> 00:38:52,000
Speaker 2: signed to some street dudes. And what happened is the

765
00:38:52,120 --> 00:38:54,279
Speaker 2: labels figured out how to get my number. This is

766
00:38:54,320 --> 00:38:59,759
Speaker 2: Clyde Davis, this is this is when LA read, This

767
00:38:59,840 --> 00:39:03,120
Speaker 2: is what was the other guy we met. It was

768
00:39:03,160 --> 00:39:04,840
Speaker 2: a bunch of them guys back then when it was

769
00:39:04,880 --> 00:39:08,439
Speaker 2: like when record labels were still thrived you know, and

770
00:39:08,480 --> 00:39:10,759
Speaker 2: they was called my phone and be like, Yo, we

771
00:39:10,840 --> 00:39:14,799
Speaker 2: love your group, we love everything about you, but we

772
00:39:14,920 --> 00:39:19,360
Speaker 2: really just want you. We see that you're the nucleus

773
00:39:19,400 --> 00:39:21,759
Speaker 2: of this thing and this is where we want to go.

774
00:39:21,880 --> 00:39:26,080
Speaker 2: But you're signed to some dangerous guys and I don't

775
00:39:26,120 --> 00:39:28,960
Speaker 2: think you know that as a young man. And I'm like, yeah,

776
00:39:29,000 --> 00:39:31,680
Speaker 2: I've been growing up. I kind of been, cause you know,

777
00:39:31,760 --> 00:39:34,280
Speaker 2: you get with these guys, you're fourteen fifteen.

778
00:39:34,080 --> 00:39:35,960
Speaker 3: And right like, you know what you don't know?

779
00:39:36,040 --> 00:39:37,319
Speaker 2: You don't know you know what I'm saying.

780
00:39:37,320 --> 00:39:40,960
Speaker 7: They just tell you with right right.

781
00:39:41,000 --> 00:39:42,480
Speaker 2: They hiding it from you, don't want you to know

782
00:39:42,520 --> 00:39:44,440
Speaker 2: too much. But as you get older, you kind of

783
00:39:44,480 --> 00:39:47,080
Speaker 2: start putting two and two together. And that's why I

784
00:39:47,120 --> 00:39:49,759
Speaker 2: had to start making making my way to be a

785
00:39:49,800 --> 00:39:53,759
Speaker 2: solo artist. But back then, like two thousand, from two

786
00:39:53,800 --> 00:39:56,759
Speaker 2: thousand and two to two thousand and five, I was

787
00:39:56,840 --> 00:39:59,760
Speaker 2: like the most sought after rapper in the music industry

788
00:39:59,760 --> 00:40:03,080
Speaker 2: that nobody ever heard about because I was signed for

789
00:40:03,200 --> 00:40:06,600
Speaker 2: some gangsters and it was like we was like, we

790
00:40:06,600 --> 00:40:08,640
Speaker 2: don't want to do the ship name thing again. They

791
00:40:08,680 --> 00:40:11,759
Speaker 2: weren't that bad, like to think about it, But I'm

792
00:40:11,760 --> 00:40:14,359
Speaker 2: a kid still. So it's like I might not think

793
00:40:14,360 --> 00:40:18,120
Speaker 2: they that bad, but adults that know them like, don't

794
00:40:18,480 --> 00:40:21,040
Speaker 2: that bad, you know what I mean. So I think

795
00:40:21,280 --> 00:40:23,360
Speaker 2: like around that time, like you said, the Kanye in

796
00:40:23,400 --> 00:40:26,799
Speaker 2: the fifty thing came and it started shifting on what

797
00:40:26,880 --> 00:40:28,799
Speaker 2: type of artists they wanted to listen to. And I

798
00:40:28,840 --> 00:40:31,680
Speaker 2: was always a lyricist, so I fell right in with you,

799
00:40:31,840 --> 00:40:35,080
Speaker 2: like the big Seuns and you know, the wiz Khalifs

800
00:40:35,120 --> 00:40:37,360
Speaker 2: in that era of the Wales and different things like that.

801
00:40:37,680 --> 00:40:41,040
Speaker 1: I mean, I feel like even Loupe was signed the Killers,

802
00:40:41,080 --> 00:40:43,920
Speaker 1: Like I feel like even the lyrical rappers at one

803
00:40:44,000 --> 00:40:47,000
Speaker 1: time were signed to some crazy anybody.

804
00:40:47,000 --> 00:40:49,440
Speaker 6: They all got to Yeah, anybody got you know what

805
00:40:49,440 --> 00:40:51,200
Speaker 6: how it is, and you know, somebody in the hood

806
00:40:51,239 --> 00:40:51,680
Speaker 6: got money.

807
00:40:51,719 --> 00:40:54,520
Speaker 3: And you know, Easy was a street guy right right.

808
00:40:54,560 --> 00:40:55,000
Speaker 3: You know what I'm saying.

809
00:40:55,160 --> 00:40:57,160
Speaker 6: Wa, All of that came from just you know, a

810
00:40:57,160 --> 00:40:59,080
Speaker 6: street guy in the block believing in them and putting

811
00:40:59,080 --> 00:41:01,520
Speaker 6: the whole thing together. So that's just part of the DNA.

812
00:41:01,560 --> 00:41:04,480
Speaker 6: I guess I gotta go in there.

813
00:41:04,480 --> 00:41:07,239
Speaker 1: But I mean, I guess the catch twenty two is

814
00:41:08,200 --> 00:41:10,719
Speaker 1: do you stay with the street guys where it could

815
00:41:10,719 --> 00:41:12,719
Speaker 1: get dicey, or you go to a label to get

816
00:41:12,719 --> 00:41:15,520
Speaker 1: fucked like you kind of can't win for losing as

817
00:41:15,520 --> 00:41:17,919
Speaker 1: an artist. I think maybe staying with the street guys

818
00:41:17,960 --> 00:41:20,400
Speaker 1: from your neighborhood is probably the better bet at that point.

819
00:41:20,440 --> 00:41:22,239
Speaker 6: I think it's it's important if you know, if you're

820
00:41:22,280 --> 00:41:25,600
Speaker 6: from the streets, which we all are, Like you said,

821
00:41:26,040 --> 00:41:30,400
Speaker 6: it's important to always have some knowledgeable guy in the

822
00:41:30,440 --> 00:41:33,600
Speaker 6: mix of that though. You gotta have somebody that is

823
00:41:33,640 --> 00:41:37,280
Speaker 6: not too intimidating, that you know, knows how to play chess,

824
00:41:37,360 --> 00:41:41,040
Speaker 6: that knows how to you know, massage these relationships correctly,

825
00:41:41,600 --> 00:41:43,480
Speaker 6: because if you just coming in with just money and

826
00:41:43,520 --> 00:41:46,640
Speaker 6: street ethics, that's a that's a recipe for disaster, right,

827
00:41:46,719 --> 00:41:48,919
Speaker 6: that's gonna go bad really really fast. Like you said,

828
00:41:49,280 --> 00:41:51,560
Speaker 6: is gonna start coming down all kinds of ship.

829
00:41:52,040 --> 00:41:54,560
Speaker 7: You're gonna have a billboard in Atlanta that's his BMF.

830
00:41:54,880 --> 00:41:55,279
Speaker 3: Like you do.

831
00:41:55,600 --> 00:41:57,400
Speaker 6: You don't want to go down to that, You know

832
00:41:57,440 --> 00:42:01,600
Speaker 6: what I'm saying. Who's in your your top five artists

833
00:42:01,680 --> 00:42:02,160
Speaker 6: right now?

834
00:42:02,760 --> 00:42:06,320
Speaker 2: Right now today? Kodak.

835
00:42:07,960 --> 00:42:11,120
Speaker 3: I put Rory on Kodak. Now he's a at.

836
00:42:11,000 --> 00:42:14,279
Speaker 2: This point, bro like bro, he's so special. Bro, we

837
00:42:14,280 --> 00:42:15,000
Speaker 2: can get into that.

838
00:42:14,960 --> 00:42:16,719
Speaker 7: Matter of fact with y'all tones, I would love to

839
00:42:16,719 --> 00:42:17,080
Speaker 7: hear us.

840
00:42:17,960 --> 00:42:21,520
Speaker 2: Yeah, I like Wick with hard Bro.

841
00:42:23,120 --> 00:42:25,000
Speaker 7: That's that's manager right there.

842
00:42:27,040 --> 00:42:29,600
Speaker 2: Yeah, o' hard Bron o'hard.

843
00:42:29,800 --> 00:42:29,920
Speaker 7: Uh.

844
00:42:30,880 --> 00:42:35,520
Speaker 2: Who else do I like? Uh? I'm still like into

845
00:42:35,640 --> 00:42:39,520
Speaker 2: like if you want to just you mean, just all around,

846
00:42:39,719 --> 00:42:45,000
Speaker 2: just up and coming new artists like that. I feel like, okay, well,

847
00:42:45,800 --> 00:42:47,560
Speaker 2: I would say, let me say my young artists like

848
00:42:47,560 --> 00:42:52,720
Speaker 2: I like Baby King. I think he's special. Who's another

849
00:42:54,239 --> 00:42:56,799
Speaker 2: artist that I like? Man, it's coming up.

850
00:42:58,680 --> 00:43:01,839
Speaker 7: You have noticed rappers don't listen to rappers. Every time

851
00:43:01,880 --> 00:43:05,440
Speaker 7: we ask a rapper about rapping, like, I don't know, Well, we.

852
00:43:05,520 --> 00:43:08,560
Speaker 2: Hear artists, but we don't like I don't listen to rap.

853
00:43:08,680 --> 00:43:09,439
Speaker 2: I hear rap.

854
00:43:10,000 --> 00:43:12,400
Speaker 7: Yeah, And you're not a consumer the way Law and

855
00:43:12,440 --> 00:43:12,799
Speaker 7: I are.

856
00:43:12,920 --> 00:43:16,000
Speaker 2: You do things. I can't listen to too many rappers

857
00:43:16,000 --> 00:43:18,600
Speaker 2: because you'll start saying like I feel like a lot

858
00:43:18,600 --> 00:43:21,319
Speaker 2: of artists grew up so much listen to drake that

859
00:43:21,400 --> 00:43:24,520
Speaker 2: they end up sounding like a bunch of drakes and

860
00:43:24,600 --> 00:43:27,160
Speaker 2: they can't shake it, Like I'll be hearing it on

861
00:43:27,200 --> 00:43:29,360
Speaker 2: like video games shit, like you know, man, know some

862
00:43:29,440 --> 00:43:31,880
Speaker 2: of you guys like is this drinking like nah, this

863
00:43:31,960 --> 00:43:33,600
Speaker 2: is like I'm like, I do Drake wouldn't do this

864
00:43:33,640 --> 00:43:38,200
Speaker 2: for two K. But it's like it's.

865
00:43:38,040 --> 00:43:39,719
Speaker 7: A time out, thirty second time out in two k

866
00:43:39,760 --> 00:43:40,400
Speaker 7: and Drake comes on.

867
00:43:42,520 --> 00:43:46,640
Speaker 2: But I think I like Lady London and then her name, Yeah,

868
00:43:47,080 --> 00:43:52,080
Speaker 2: I like Lady London. I like, uh, what's my guy?

869
00:43:52,160 --> 00:43:54,920
Speaker 2: Is it Foggy? I just got on, you know, Foggy

870
00:43:56,360 --> 00:43:57,759
Speaker 2: Foggy Foggy raw.

871
00:43:58,960 --> 00:44:00,880
Speaker 6: I think I think, yeah, I know, I know you're

872
00:44:00,880 --> 00:44:05,839
Speaker 6: talking about yeah hard like he you know.

873
00:44:06,400 --> 00:44:08,239
Speaker 3: Very different, his own unique ship.

874
00:44:09,239 --> 00:44:12,479
Speaker 2: Like man. So I think those are like my five

875
00:44:12,560 --> 00:44:14,960
Speaker 2: favorite right now that I've just been like, I always

876
00:44:15,040 --> 00:44:16,719
Speaker 2: check on them and see what they got going on.

877
00:44:22,480 --> 00:44:24,520
Speaker 1: We don't have to get into like the actual details

878
00:44:24,760 --> 00:44:27,759
Speaker 1: of the incident that happened to you in Atlanta, because

879
00:44:27,760 --> 00:44:31,520
Speaker 1: it's flad and it's none of our business. Uh, just

880
00:44:31,560 --> 00:44:34,480
Speaker 1: how has your mindset and life changed since then?

881
00:44:34,760 --> 00:44:36,960
Speaker 7: What perspective did you get out of that situation?

882
00:44:41,880 --> 00:44:44,839
Speaker 2: I don't know. I think it just put me back

883
00:44:44,840 --> 00:44:48,359
Speaker 2: in that mode of like you know, when you when

884
00:44:48,360 --> 00:44:50,239
Speaker 2: you've kind of felt like you made out, you kind

885
00:44:50,239 --> 00:44:52,319
Speaker 2: of relaxed a little bit, you feel like, oh man,

886
00:44:52,360 --> 00:44:56,239
Speaker 2: my life is going well, and now I'm backsticked up,

887
00:44:57,160 --> 00:44:59,880
Speaker 2: moving low key, you know what I'm saying, Just like

888
00:45:00,320 --> 00:45:02,239
Speaker 2: I don't want to move like this before them at

889
00:45:02,280 --> 00:45:05,000
Speaker 2: forty you know what I'm saying. You like you ma

890
00:45:05,000 --> 00:45:07,279
Speaker 2: ain't trying to be right here on s every day.

891
00:45:07,360 --> 00:45:11,279
Speaker 2: But like like I said, it's the black plight. Man,

892
00:45:11,320 --> 00:45:14,319
Speaker 2: It's like it's rough. Even if you ain't got nothing

893
00:45:14,360 --> 00:45:15,759
Speaker 2: to do with it, you got something to do with it,

894
00:45:16,320 --> 00:45:18,279
Speaker 2: you know what I mean. You could just be in

895
00:45:18,280 --> 00:45:21,279
Speaker 2: the wrong city at the wrong time, wrong restaurant, you

896
00:45:21,400 --> 00:45:23,399
Speaker 2: know what I mean. Whatever, It's just like they would

897
00:45:23,400 --> 00:45:26,239
Speaker 2: never like rest the peace, P and B. You said,

898
00:45:26,239 --> 00:45:27,840
Speaker 2: a white guy in there with a nice roll. You

899
00:45:27,920 --> 00:45:29,560
Speaker 2: might go in there and snatch it off his rists

900
00:45:29,680 --> 00:45:32,319
Speaker 2: or something, but you ain't gonna kill him, and you

901
00:45:32,400 --> 00:45:36,200
Speaker 2: may not even do it. But the one thing that

902
00:45:36,239 --> 00:45:39,959
Speaker 2: we you know, what makes us victims, bro, and people

903
00:45:40,040 --> 00:45:42,200
Speaker 2: want to come out to us because we live under

904
00:45:42,239 --> 00:45:46,279
Speaker 2: this snitch jacket. Yeah, and as a black man, you

905
00:45:46,360 --> 00:45:49,359
Speaker 2: are not allowed to tell or talk about what goes

906
00:45:49,400 --> 00:45:52,560
Speaker 2: on in the streets. So that's why a lot of

907
00:45:52,600 --> 00:45:56,839
Speaker 2: times problems come to us because they know the guy

908
00:45:56,960 --> 00:45:59,080
Speaker 2: know that. Okay, nine times out of ten, the police

909
00:45:59,120 --> 00:46:01,799
Speaker 2: going to figure it out on it because we're not

910
00:46:01,960 --> 00:46:04,440
Speaker 2: allowed to talk about it, to talk about it or

911
00:46:04,480 --> 00:46:07,200
Speaker 2: tell what happens. So that's kind of why a lot

912
00:46:07,239 --> 00:46:10,560
Speaker 2: of trouble comes to us as well. Have you had.

913
00:46:11,880 --> 00:46:17,319
Speaker 6: Any any thoughts of like bringing up artists under your

914
00:46:17,320 --> 00:46:20,879
Speaker 6: wing and like really molding them and working with them,

915
00:46:20,880 --> 00:46:22,839
Speaker 6: because I feel like a lot of these artists now

916
00:46:22,880 --> 00:46:26,360
Speaker 6: that you know, they catch a record, it goes viral,

917
00:46:27,080 --> 00:46:28,839
Speaker 6: you know, then they got a deal, then they getting

918
00:46:28,840 --> 00:46:31,040
Speaker 6: booked to do like you know, walkthroughs and shit like.

919
00:46:31,040 --> 00:46:33,279
Speaker 3: That in a matter of a month. They don't have

920
00:46:33,320 --> 00:46:35,480
Speaker 3: no real artist development. They don't know what they're doing.

921
00:46:35,520 --> 00:46:37,680
Speaker 6: They don't know the music business. It's like we just

922
00:46:37,680 --> 00:46:40,960
Speaker 6: caught a viral moment. Let's capitalize off of it. But

923
00:46:41,080 --> 00:46:44,400
Speaker 6: to the ones that really have talent and have a

924
00:46:44,440 --> 00:46:48,440
Speaker 6: skill set, do you see yourself like grabbing any of

925
00:46:48,440 --> 00:46:50,400
Speaker 6: them and saying, all right, I'm gonna help you avoid

926
00:46:50,440 --> 00:46:52,840
Speaker 6: these pitfalls and these these these these bumps that I

927
00:46:52,920 --> 00:46:54,880
Speaker 6: had to you don't want to do this. It's a

928
00:46:54,920 --> 00:46:57,640
Speaker 6: different game now, you don't have to do this. Do

929
00:46:57,719 --> 00:47:01,520
Speaker 6: you see yourself getting into that mode of like I'm

930
00:47:01,520 --> 00:47:04,400
Speaker 6: gonna really like usher in like the next superstar.

931
00:47:04,800 --> 00:47:06,840
Speaker 2: Yeah, I mean that that was kind of what my

932
00:47:06,960 --> 00:47:10,520
Speaker 2: conversation my life was about about, you know, retiring and

933
00:47:10,600 --> 00:47:14,560
Speaker 2: moving into an executive role or you know, helping kids out.

934
00:47:15,719 --> 00:47:19,200
Speaker 2: I've been really doing these writing camps and being able

935
00:47:19,239 --> 00:47:22,000
Speaker 2: to let I really want to get in with the

936
00:47:22,040 --> 00:47:24,680
Speaker 2: younger artists and show them how to express themselves without

937
00:47:24,719 --> 00:47:28,680
Speaker 2: telling on themselves or without having to feel like they

938
00:47:28,719 --> 00:47:31,800
Speaker 2: got to uphold some image, how to be vulnerable but

939
00:47:31,920 --> 00:47:34,520
Speaker 2: still make it dope and still make it street, you

940
00:47:34,520 --> 00:47:36,120
Speaker 2: know what I mean. I think a lot of times

941
00:47:36,960 --> 00:47:38,680
Speaker 2: that raps are sole first person.

942
00:47:39,080 --> 00:47:41,200
Speaker 3: Yeah, that it gives.

943
00:47:40,960 --> 00:47:44,080
Speaker 2: It all away, where sometimes you can use characters, you

944
00:47:44,120 --> 00:47:48,439
Speaker 2: can use storytelling, you can implement certain things that give

945
00:47:48,480 --> 00:47:52,480
Speaker 2: off the same energy but it's not totally directed to you.

946
00:47:52,920 --> 00:47:56,080
Speaker 2: But also being able to help them search through their

947
00:47:56,120 --> 00:47:58,719
Speaker 2: own lives and kind of figure out different things to

948
00:47:58,760 --> 00:48:01,480
Speaker 2: talk about that they know they can talk about. But

949
00:48:01,560 --> 00:48:03,719
Speaker 2: if you put it in a if you put it,

950
00:48:03,760 --> 00:48:05,520
Speaker 2: if you give it to them on a on a

951
00:48:05,600 --> 00:48:08,120
Speaker 2: canvas that they can kind of like receive it on,

952
00:48:08,200 --> 00:48:09,839
Speaker 2: they can be like, oh okay, I could take it

953
00:48:10,440 --> 00:48:12,360
Speaker 2: to the next level and I think that's something that

954
00:48:12,400 --> 00:48:16,200
Speaker 2: I did with my writing career that a lot of

955
00:48:16,239 --> 00:48:20,640
Speaker 2: times I was never a ghost writer. You know a

956
00:48:20,719 --> 00:48:22,200
Speaker 2: lot of people like to say I'm a co write

957
00:48:22,200 --> 00:48:22,680
Speaker 2: ghost writer.

958
00:48:23,800 --> 00:48:25,760
Speaker 3: I was just why did that get such a negative

959
00:48:25,800 --> 00:48:26,600
Speaker 3: connotation and.

960
00:48:26,640 --> 00:48:31,520
Speaker 2: Rap because everything black people do get a negative contact.

961
00:48:32,040 --> 00:48:35,120
Speaker 2: I'm just keep it a buck bro everything everything, because

962
00:48:35,280 --> 00:48:37,359
Speaker 2: like you can walk, Adelle could walk on stage at

963
00:48:37,360 --> 00:48:40,080
Speaker 2: the GRAMM and she got fifty people behind it. They

964
00:48:40,080 --> 00:48:42,400
Speaker 2: got a whole long I want to thank the vocalist,

965
00:48:45,080 --> 00:48:47,799
Speaker 2: but as a rapper, it could only be you and

966
00:48:47,840 --> 00:48:48,480
Speaker 2: the engineer.

967
00:48:49,360 --> 00:48:52,120
Speaker 7: You know what I'm saying specific r and we don't

968
00:48:52,120 --> 00:48:52,760
Speaker 7: really care who.

969
00:48:52,680 --> 00:48:56,280
Speaker 2: You know what I mean, But I mean I think

970
00:48:56,840 --> 00:48:59,080
Speaker 2: when you're coming in the game, it should be just

971
00:48:59,200 --> 00:49:03,840
Speaker 2: you and your close knit friends. But when you're speaking

972
00:49:04,000 --> 00:49:06,839
Speaker 2: for the community or speaking for the community of hip

973
00:49:06,840 --> 00:49:10,839
Speaker 2: hop or the genre of hip hop, that's a that's

974
00:49:10,880 --> 00:49:14,760
Speaker 2: a collection of people. Like when me and Ya do records,

975
00:49:14,880 --> 00:49:18,040
Speaker 2: or you know me and Trav or you know Kendrick

976
00:49:18,160 --> 00:49:20,440
Speaker 2: or whoever, those those main artists who are going to

977
00:49:20,480 --> 00:49:24,600
Speaker 2: be selected on a grand scale, world scale to represent

978
00:49:24,719 --> 00:49:28,359
Speaker 2: this genre of music. We have to come together from

979
00:49:28,400 --> 00:49:31,040
Speaker 2: all walks of life and be able to say this

980
00:49:31,200 --> 00:49:36,239
Speaker 2: is what rap is in nineteen ninety five or twenty

981
00:49:36,360 --> 00:49:39,520
Speaker 2: twenty or et cetera, whatever Grammy year it is, and

982
00:49:39,600 --> 00:49:42,759
Speaker 2: we collectively brought you this artist. You know what I mean,

983
00:49:42,800 --> 00:49:45,279
Speaker 2: This artist just isn't here just by itself because he

984
00:49:45,320 --> 00:49:47,680
Speaker 2: went in the studio and smoked sweed and made a

985
00:49:47,719 --> 00:49:51,360
Speaker 2: dope song. You know what I'm saying. Right the show?

986
00:49:52,040 --> 00:49:52,560
Speaker 2: Not get that.

987
00:49:54,680 --> 00:49:59,120
Speaker 7: Last time you spoke to Travis, what was the conversation?

988
00:50:00,160 --> 00:50:00,319
Speaker 2: Man?

989
00:50:00,360 --> 00:50:02,640
Speaker 7: Actually, last time I smart to Trive, he actually had

990
00:50:02,640 --> 00:50:04,719
Speaker 7: shown to that list. And who else did you bring up?

991
00:50:05,000 --> 00:50:08,920
Speaker 2: Oh? Actually, last time I talked the Trave he called

992
00:50:08,920 --> 00:50:11,799
Speaker 2: and checked on me about my ACCIDENTA was the last

993
00:50:11,840 --> 00:50:14,200
Speaker 2: time I talked to him. I know he's been going

994
00:50:14,239 --> 00:50:17,240
Speaker 2: through his thing. But you know a lot of times

995
00:50:17,239 --> 00:50:20,160
Speaker 2: it be their people too. They people don't be wanting

996
00:50:20,200 --> 00:50:25,360
Speaker 2: to ask him about certain shit. And you know, it's understandable. Sean,

997
00:50:25,480 --> 00:50:28,080
Speaker 2: me and Sean talk often, you know what I'm saying.

998
00:50:28,120 --> 00:50:32,440
Speaker 2: But at the same time, it's like these guys know

999
00:50:32,480 --> 00:50:34,440
Speaker 2: where I stand, they know what they did, they know

1000
00:50:34,920 --> 00:50:37,239
Speaker 2: what I did. You know what I'm saying, They know

1001
00:50:38,080 --> 00:50:40,439
Speaker 2: how much I put into it. It's just I'm such

1002
00:50:40,480 --> 00:50:45,160
Speaker 2: a humble guy that they can't they can't sense that

1003
00:50:45,320 --> 00:50:48,799
Speaker 2: sense of damn, bro, might I might need to really

1004
00:50:48,840 --> 00:50:51,239
Speaker 2: return this favor? You know what I'm saying. I'm like

1005
00:50:51,239 --> 00:50:54,240
Speaker 2: a nigga who like give you like ten favors before

1006
00:50:54,760 --> 00:50:57,239
Speaker 2: I kind of like try to nudge you, like, hey, b.

1007
00:51:00,120 --> 00:51:01,000
Speaker 3: Yeah, you know what I'm saying.

1008
00:51:01,080 --> 00:51:05,200
Speaker 2: Niggas are just just just eat away at you, and

1009
00:51:05,320 --> 00:51:07,160
Speaker 2: at some point you just got to be like, hey, bro,

1010
00:51:07,280 --> 00:51:08,719
Speaker 2: you know what I'm saying. I'm just being humble, Like

1011
00:51:08,719 --> 00:51:12,480
Speaker 2: I understand you guys are successful, but you know I

1012
00:51:12,520 --> 00:51:14,640
Speaker 2: need a return on this investment. Yeah, you know what

1013
00:51:14,680 --> 00:51:15,120
Speaker 2: I'm saying.

1014
00:51:15,160 --> 00:51:18,040
Speaker 1: I mean, do you feel some of Jay's actions made

1015
00:51:18,080 --> 00:51:22,360
Speaker 1: it difficult to coexist in good music? Because I feel like,

1016
00:51:23,320 --> 00:51:26,759
Speaker 1: you know, around the Wyoming time originally when Trump shit

1017
00:51:26,840 --> 00:51:30,080
Speaker 1: and all that, Sean didn't dissan himself, but he was

1018
00:51:30,080 --> 00:51:33,480
Speaker 1: dead quiet. John Legend obviously was on Instagram doing all

1019
00:51:33,520 --> 00:51:37,440
Speaker 1: that you were on Twitter defending ya. Push was quiet,

1020
00:51:37,440 --> 00:51:39,560
Speaker 1: but we always know his loyalty is going to be YEA. Yeah,

1021
00:51:40,000 --> 00:51:42,240
Speaker 1: it just got really I felt good music got really

1022
00:51:42,280 --> 00:51:46,080
Speaker 1: weird at that specific time amongst again, just as a

1023
00:51:46,120 --> 00:51:50,400
Speaker 1: consumer outside looking in, it looked like everybody kind of

1024
00:51:50,440 --> 00:51:54,239
Speaker 1: didn't know if they were friends anymore, Like, you know,

1025
00:51:54,280 --> 00:51:55,759
Speaker 1: you're not fucking with ya, I can't fuck with you,

1026
00:51:55,840 --> 00:51:58,479
Speaker 1: but like it felt weird. Then it was certain people

1027
00:51:58,520 --> 00:52:00,520
Speaker 1: have relationships with Drake, so it got even weirder, Like

1028
00:52:00,560 --> 00:52:04,680
Speaker 1: it just felt very odd with Trump, Drake, Kanye, that whole.

1029
00:52:04,800 --> 00:52:09,560
Speaker 2: They interrupts the algorithm of billionaires, and that's the thing

1030
00:52:09,680 --> 00:52:13,440
Speaker 2: and people they try to you know, and it's in

1031
00:52:13,480 --> 00:52:16,719
Speaker 2: a negative and a positive way towards the powers that be,

1032
00:52:17,320 --> 00:52:19,799
Speaker 2: But a lot of times what they'll do is, Yay

1033
00:52:19,880 --> 00:52:23,920
Speaker 2: is so successful he kicking the ass that other rivaling

1034
00:52:24,000 --> 00:52:27,279
Speaker 2: companies will come pick at his crew and they pick

1035
00:52:27,320 --> 00:52:29,440
Speaker 2: away and they try to take people away from him

1036
00:52:29,480 --> 00:52:32,399
Speaker 2: and put people against him to get him unfocused on

1037
00:52:33,080 --> 00:52:36,200
Speaker 2: what he's really trying to do. So I think that's

1038
00:52:36,239 --> 00:52:39,279
Speaker 2: the biggest thing, Like Yay start kicking the ass, and

1039
00:52:39,360 --> 00:52:43,000
Speaker 2: you know, you know, Louisa Thomas like, oh, we have

1040
00:52:43,080 --> 00:52:46,719
Speaker 2: to we have to go find Virgil. Yeah, Nanke's like, oh,

1041
00:52:47,080 --> 00:52:52,480
Speaker 2: these yeasys are kicking our ass. Don c Travis Virgil

1042
00:52:52,600 --> 00:52:54,520
Speaker 2: get over here, you know what I mean. It's like

1043
00:52:55,320 --> 00:52:57,160
Speaker 2: because they know they can't compete with that man.

1044
00:52:57,920 --> 00:53:01,600
Speaker 7: We can say what we want about Kanye West. Hillary Clinton.

1045
00:53:02,719 --> 00:53:05,880
Speaker 1: Aligned herself with a coke dealer from Virginia because of Kanye.

1046
00:53:06,560 --> 00:53:08,879
Speaker 7: Push your tea, come here, Like.

1047
00:53:08,840 --> 00:53:11,320
Speaker 1: You know how crazy that is that a residential candidate

1048
00:53:11,400 --> 00:53:12,600
Speaker 1: would have to be like, all right, well, let me

1049
00:53:12,600 --> 00:53:13,160
Speaker 1: go get pushed.

1050
00:53:13,160 --> 00:53:15,400
Speaker 2: But let me tell you the difference about this drug

1051
00:53:15,480 --> 00:53:21,120
Speaker 2: rap versus drill rap. It ethics in our wraps. J

1052
00:53:21,280 --> 00:53:24,759
Speaker 2: D was still telling us how to dress, how to

1053
00:53:24,800 --> 00:53:27,840
Speaker 2: look a man in the eye. This range is the

1054
00:53:27,840 --> 00:53:29,680
Speaker 2: little boy rain. They're gonna try to sell you that

1055
00:53:29,760 --> 00:53:31,919
Speaker 2: when get this one. You know what I'm saying, don't

1056
00:53:31,960 --> 00:53:35,239
Speaker 2: put no fucking funny little ship diamonds in your role

1057
00:53:35,320 --> 00:53:39,040
Speaker 2: leg if it ain't the factory joint, you know what

1058
00:53:39,080 --> 00:53:41,919
Speaker 2: I mean? Those are things that was that was educational.

1059
00:53:42,680 --> 00:53:44,200
Speaker 2: I don't need to know how to load a gun

1060
00:53:44,200 --> 00:53:45,480
Speaker 2: and kill a niggas I mean.

1061
00:53:47,040 --> 00:53:50,840
Speaker 1: Of drug dealing is represent business no matter what. It

1062
00:53:50,960 --> 00:53:53,680
Speaker 1: just happens to be illegal. Now the drill ship is

1063
00:53:54,520 --> 00:53:56,440
Speaker 1: in the op around the corner that I want to kill,

1064
00:53:56,440 --> 00:53:59,480
Speaker 1: there's no business involved. It's just legitimately murder.

1065
00:54:00,080 --> 00:54:01,560
Speaker 6: So it's it's and I mean I don't want to,

1066
00:54:01,640 --> 00:54:04,279
Speaker 6: you know, completely ship on the whole drill because it's

1067
00:54:04,400 --> 00:54:06,919
Speaker 6: the way of expressing themselves and they found a way

1068
00:54:06,920 --> 00:54:08,600
Speaker 6: that you know. But it's just like now it seems

1069
00:54:08,600 --> 00:54:12,120
Speaker 6: like they're monetizing off the violence. Yeah, and that's not

1070
00:54:12,200 --> 00:54:14,200
Speaker 6: good because that's if you look at.

1071
00:54:14,080 --> 00:54:16,680
Speaker 2: The fans or the drugs. They ain't. Man, the fans

1072
00:54:16,680 --> 00:54:19,000
Speaker 2: know a lot of niggas selling drugs, but they ain't

1073
00:54:19,040 --> 00:54:22,319
Speaker 2: gonna come get you into the bodies exactly. So you

1074
00:54:22,360 --> 00:54:26,520
Speaker 2: could tell that's the difference between both raps. Yeah, we

1075
00:54:26,520 --> 00:54:28,960
Speaker 2: were selling our things, but it was still in the

1076
00:54:29,000 --> 00:54:32,600
Speaker 2: secretive society way, you know what I'm saying. But now

1077
00:54:32,640 --> 00:54:36,880
Speaker 2: it's just like you taughting people that you done killed that.

1078
00:54:37,400 --> 00:54:40,960
Speaker 2: There's like that's that's what's caused that. Y'all was just

1079
00:54:41,280 --> 00:54:43,880
Speaker 2: shooting up and didn't come rap about something different.

1080
00:54:44,160 --> 00:54:46,440
Speaker 3: That's definitely. But the fact that you're.

1081
00:54:46,320 --> 00:54:48,719
Speaker 2: Taught on the other side and you damn it're like

1082
00:54:48,840 --> 00:54:51,880
Speaker 2: forcing them to come do something to you, y'all got

1083
00:54:52,000 --> 00:54:52,839
Speaker 2: to go back and do something.

1084
00:54:53,480 --> 00:54:54,480
Speaker 3: It's like it's too much.

1085
00:54:54,520 --> 00:54:56,040
Speaker 2: It's a real war, you know what I mean.

1086
00:54:56,160 --> 00:54:59,640
Speaker 1: So the satisfy outside of the obvious of kids actually

1087
00:54:59,719 --> 00:55:03,000
Speaker 1: dying is they're the last people that would even profit

1088
00:55:03,120 --> 00:55:07,080
Speaker 1: from the taunting music that they're making, because it's the

1089
00:55:07,160 --> 00:55:09,879
Speaker 1: labels at this point that are legitimately. No one's dying

1090
00:55:09,920 --> 00:55:12,720
Speaker 1: at the label getting all the profit, but the labels.

1091
00:55:12,840 --> 00:55:15,640
Speaker 1: That's why I disliked drill music, not because of what

1092
00:55:15,760 --> 00:55:21,440
Speaker 1: it is per se, but it's allowed hip hops, the

1093
00:55:21,520 --> 00:55:23,640
Speaker 1: labels to steal even more from hip hops. Now it's

1094
00:55:23,680 --> 00:55:28,520
Speaker 1: kids really dying, and they really are monetizing beef amongst children,

1095
00:55:28,920 --> 00:55:30,600
Speaker 1: and the kids is dying, and no one's dying at

1096
00:55:30,600 --> 00:55:30,919
Speaker 1: the label.

1097
00:55:30,920 --> 00:55:31,680
Speaker 7: They're just making money.

1098
00:55:31,719 --> 00:55:33,960
Speaker 2: But those kind of artists ain't got no real deals

1099
00:55:34,000 --> 00:55:37,200
Speaker 2: like that. Yeah, they getting ten percent, they getting ninety

1100
00:55:37,239 --> 00:55:40,279
Speaker 2: percent of their own money, eighty percent because labels ain't

1101
00:55:40,320 --> 00:55:44,239
Speaker 2: really not no label for that they distribute. They distributed

1102
00:55:44,239 --> 00:55:47,000
Speaker 2: it though. Are like, I'm signing the empire, and I

1103
00:55:47,040 --> 00:55:50,759
Speaker 2: hate the stigma that every time somebody, every time something

1104
00:55:50,760 --> 00:55:53,160
Speaker 2: happened to the artists that empire, they want to hit

1105
00:55:53,200 --> 00:55:56,840
Speaker 2: me like, I'm like bruh, because the only people that

1106
00:55:56,880 --> 00:55:59,240
Speaker 2: can sign the empire is niggas with their own money,

1107
00:55:59,560 --> 00:56:02,560
Speaker 2: right right, So only people who only artists with their

1108
00:56:02,600 --> 00:56:03,280
Speaker 2: own money.

1109
00:56:03,080 --> 00:56:05,680
Speaker 3: Is who street artists, you know what I mean.

1110
00:56:05,760 --> 00:56:09,720
Speaker 2: And these guys is from places like people got to understand.

1111
00:56:09,719 --> 00:56:11,920
Speaker 2: I'm just keeping in the buck the reason why we

1112
00:56:12,000 --> 00:56:14,439
Speaker 2: dine our own hoods, because that's what the niggas don't

1113
00:56:14,480 --> 00:56:16,960
Speaker 2: like him sayt that's where we just shot niggas at.

1114
00:56:16,960 --> 00:56:19,920
Speaker 2: They just shot us. They ran off with bags, you

1115
00:56:19,960 --> 00:56:22,560
Speaker 2: know what I mean, Hit a nigga girl. All shit

1116
00:56:22,960 --> 00:56:25,840
Speaker 2: go on in your own community. So you know a

1117
00:56:25,840 --> 00:56:28,279
Speaker 2: lot of times it happens to us in that in

1118
00:56:28,320 --> 00:56:32,239
Speaker 2: that space because that's where we're at. That's where everybody

1119
00:56:32,280 --> 00:56:34,840
Speaker 2: knows what's at. So I think that's what we just

1120
00:56:34,880 --> 00:56:36,400
Speaker 2: got to clean it up. Like I said, we just

1121
00:56:36,440 --> 00:56:39,920
Speaker 2: got a professionalized hip hop and not just let it

1122
00:56:39,960 --> 00:56:41,600
Speaker 2: be a free for all, like you just go to

1123
00:56:41,680 --> 00:56:44,440
Speaker 2: guitar Center and just got them buy mic in a

1124
00:56:44,480 --> 00:56:46,480
Speaker 2: computer and you know, you know, you're a rapper like

1125
00:56:46,520 --> 00:56:49,799
Speaker 2: everybody who died right now. He not a rapper yet. Yeah,

1126
00:56:50,120 --> 00:56:52,640
Speaker 2: we know how to rap. He made a song, but

1127
00:56:52,719 --> 00:56:57,040
Speaker 2: every rapper like Blad does that all the time. This rap.

1128
00:56:57,120 --> 00:57:00,200
Speaker 2: I'm like, I've never even heard of him, right right, Yeah,

1129
00:57:00,239 --> 00:57:04,160
Speaker 2: he gotta he gotta. Yeah, everybody gotta eat too, you

1130
00:57:04,160 --> 00:57:06,080
Speaker 2: know what I mean, but you put that on rappers.

1131
00:57:06,080 --> 00:57:07,360
Speaker 2: Now that stigma is sticking.

1132
00:57:08,320 --> 00:57:12,799
Speaker 6: How do you feel the unfortunate Rico situation with with

1133
00:57:12,920 --> 00:57:16,080
Speaker 6: the Andre Gonna, How do you feel like that will

1134
00:57:16,080 --> 00:57:18,760
Speaker 6: affect the Atlanta music scene moving forward?

1135
00:57:20,880 --> 00:57:23,080
Speaker 2: Man, I think it's kind of already affected it because

1136
00:57:23,120 --> 00:57:26,760
Speaker 2: it's definitely a lot. I would say it's a little quieter,

1137
00:57:27,640 --> 00:57:29,480
Speaker 2: you know what I mean, when all those guys around,

1138
00:57:29,480 --> 00:57:31,520
Speaker 2: you know, you have to get your head on a swivel.

1139
00:57:32,200 --> 00:57:34,600
Speaker 2: But I think that ship just come from communities, like

1140
00:57:35,120 --> 00:57:37,400
Speaker 2: a lot of shit comes from like man Us growing

1141
00:57:37,480 --> 00:57:40,240
Speaker 2: up and trying to get it. This ship really started

1142
00:57:40,280 --> 00:57:43,120
Speaker 2: before wrap A lot of time, you can't shake that

1143
00:57:43,160 --> 00:57:45,920
Speaker 2: ship because once you just shot a nigg or you

1144
00:57:45,920 --> 00:57:48,880
Speaker 2: done did something sufficient, you know what I mean, something

1145
00:57:48,920 --> 00:57:51,520
Speaker 2: that they feel like it's egregious enough that they can't

1146
00:57:51,560 --> 00:57:56,120
Speaker 2: forgive you for it, that war just gonna continue, you

1147
00:57:56,120 --> 00:57:57,960
Speaker 2: know what I mean. So I think a lot of times,

1148
00:57:58,040 --> 00:58:01,080
Speaker 2: even if they wanted to stop it, they couldn't, you

1149
00:58:01,120 --> 00:58:03,600
Speaker 2: know what I'm saying. They had to like go through

1150
00:58:03,640 --> 00:58:05,600
Speaker 2: with it to even be able to survive. So I

1151
00:58:05,640 --> 00:58:08,640
Speaker 2: think a lot of times with these guys, it's like

1152
00:58:08,800 --> 00:58:10,760
Speaker 2: they come from these areas and you want you want

1153
00:58:10,760 --> 00:58:15,320
Speaker 2: to get an authentic artist, but these authentic artists come

1154
00:58:15,400 --> 00:58:17,720
Speaker 2: with these backgrounds. You know what I'm saying, you can't

1155
00:58:17,720 --> 00:58:20,760
Speaker 2: get no choirboys say he gonna be authentic. You know

1156
00:58:20,800 --> 00:58:22,440
Speaker 2: what I'm saying. You want authentic knig You're gonna have

1157
00:58:22,480 --> 00:58:26,040
Speaker 2: to go get one. But what happened is the authentic

1158
00:58:26,120 --> 00:58:31,400
Speaker 2: nigga didn't like the rappers being able to have access

1159
00:58:31,440 --> 00:58:33,960
Speaker 2: to the same things as they had, you know what

1160
00:58:34,000 --> 00:58:38,000
Speaker 2: I mean. So I think that's what the that's where

1161
00:58:38,040 --> 00:58:40,360
Speaker 2: it's hard, and I think that's where the record label

1162
00:58:40,400 --> 00:58:43,000
Speaker 2: got to step in and kind of be that protection

1163
00:58:43,160 --> 00:58:46,120
Speaker 2: for that artist so they don't have that conflict with

1164
00:58:46,200 --> 00:58:49,040
Speaker 2: their neighborhood, because that's all it is, just to come.

1165
00:58:49,120 --> 00:58:51,640
Speaker 2: You got to keep your dudes around or them same

1166
00:58:51,760 --> 00:58:54,120
Speaker 2: dudes gonna come after you and all this money that

1167
00:58:54,200 --> 00:58:56,640
Speaker 2: just recoordated with them put into you. These dudes gonna

1168
00:58:56,680 --> 00:58:59,240
Speaker 2: tear you down so bad where you ain't selling no

1169
00:58:59,280 --> 00:59:02,040
Speaker 2: more because and turned on him, and then he turned

1170
00:59:02,200 --> 00:59:04,880
Speaker 2: told everybody else to turn on down. He ain't He

1171
00:59:04,920 --> 00:59:06,800
Speaker 2: ain't who y'all thought. Even now y'all want to drop

1172
00:59:06,840 --> 00:59:09,760
Speaker 2: the artist. You know what I'm saying, so like, if

1173
00:59:09,760 --> 00:59:13,800
Speaker 2: you professionalize it and make it seem like wow, I remember,

1174
00:59:13,880 --> 00:59:16,240
Speaker 2: rap used to be a thing like getting signed a

1175
00:59:16,280 --> 00:59:18,960
Speaker 2: death chair with Universal. That was like you was in

1176
00:59:19,000 --> 00:59:23,800
Speaker 2: the NFL. Niggas be like, man, fuck Universal now like Nigga,

1177
00:59:23,800 --> 00:59:25,120
Speaker 2: I got, I got my own money.

1178
00:59:25,120 --> 00:59:28,400
Speaker 3: Man, get out of here with that ship like crazy, you.

1179
00:59:28,320 --> 00:59:30,120
Speaker 2: Know what I mean. That's the craziest part. So once

1180
00:59:30,160 --> 00:59:33,440
Speaker 2: we professionalize it, and like I said, if you do

1181
00:59:33,560 --> 00:59:36,240
Speaker 2: five years at Universal, you get a pincher for the

1182
00:59:36,240 --> 00:59:37,520
Speaker 2: rest of your life. I don't care if you don't

1183
00:59:37,560 --> 00:59:39,200
Speaker 2: sell one more record. I don't care if you don't

1184
00:59:39,240 --> 00:59:42,000
Speaker 2: put out another album, because I know football players who's

1185
00:59:42,040 --> 00:59:44,240
Speaker 2: on the bench for four five years in the NFL

1186
00:59:45,200 --> 00:59:47,600
Speaker 2: still get a check from the NFL to this day,

1187
00:59:47,800 --> 00:59:51,560
Speaker 2: have been out to lead ten years, still get a check.

1188
00:59:52,040 --> 00:59:54,920
Speaker 2: So it's like, now I can I can really release

1189
00:59:55,080 --> 01:00:00,280
Speaker 2: my streets because I know if all else fails, I'm

1190
01:00:00,320 --> 01:00:03,560
Speaker 2: still able to provide for my family versus having to

1191
01:00:03,640 --> 01:00:06,440
Speaker 2: go back and hustle it up and make sure you

1192
01:00:06,480 --> 01:00:08,880
Speaker 2: know what I'm saying. I knew quiet as keup. I

1193
01:00:08,960 --> 01:00:11,320
Speaker 2: knew a dude who told me an executive if he

1194
01:00:11,360 --> 01:00:14,560
Speaker 2: didn't like you. He'd be like, hey, man, you need

1195
01:00:14,600 --> 01:00:15,920
Speaker 2: a deal. He like, yeah, man, I'm gonna give you

1196
01:00:15,920 --> 01:00:17,800
Speaker 2: a million dollar deal. He'll go get your million dollar

1197
01:00:17,880 --> 01:00:21,400
Speaker 2: deal by the dopest car. Watch you gonna get the house,

1198
01:00:21,440 --> 01:00:24,640
Speaker 2: watch you marry your dream girlfriend, and then drop you

1199
01:00:24,680 --> 01:00:26,840
Speaker 2: from the label and just watch it all doing the

1200
01:00:26,920 --> 01:00:27,320
Speaker 2: little way.

1201
01:00:28,160 --> 01:00:28,480
Speaker 3: Damn.

1202
01:00:28,960 --> 01:00:33,720
Speaker 2: That's if he didn't like you. M like, he'll sign

1203
01:00:33,760 --> 01:00:37,000
Speaker 2: you because he don't like you, executive.

1204
01:00:37,240 --> 01:00:38,880
Speaker 7: He knows what signing you will bring.

1205
01:00:39,000 --> 01:00:41,800
Speaker 2: He knows signing you're gonna be excited. You're gonna dream girl,

1206
01:00:41,840 --> 01:00:42,800
Speaker 2: your dreaming house dream.

1207
01:00:43,000 --> 01:00:44,560
Speaker 7: Then you're gonna owe me that million million back, and

1208
01:00:44,600 --> 01:00:45,160
Speaker 7: I'm gonna.

1209
01:00:45,000 --> 01:00:47,080
Speaker 2: Drop you two years later and your ship just going.

1210
01:00:47,120 --> 01:00:49,640
Speaker 2: You're gonna watch the lady leave, You're gonna lose the car,

1211
01:00:49,960 --> 01:00:53,840
Speaker 2: You're gonna lose some evil shit. Man, Come on, bro evil.

1212
01:00:53,960 --> 01:00:57,480
Speaker 2: It's the music industry and it happens a lot.

1213
01:00:57,840 --> 01:01:01,160
Speaker 1: I mean, what, personally, what did you go through outside

1214
01:01:01,160 --> 01:01:02,800
Speaker 1: of what you talking about in the lot with def

1215
01:01:02,880 --> 01:01:05,280
Speaker 1: Jam and some of those execs From a personal level,

1216
01:01:05,440 --> 01:01:08,120
Speaker 1: because I feel like, even down to the verse swaps,

1217
01:01:08,160 --> 01:01:09,760
Speaker 1: you did take a lot of shit, like oh we

1218
01:01:09,800 --> 01:01:12,040
Speaker 1: are actually not friends per se but we got an

1219
01:01:12,080 --> 01:01:14,400
Speaker 1: agreement type shit. I expect you to come through the

1220
01:01:14,440 --> 01:01:17,040
Speaker 1: same way I come through. That happened in the label

1221
01:01:17,080 --> 01:01:18,440
Speaker 1: with the executives over there.

1222
01:01:18,480 --> 01:01:20,280
Speaker 2: I don't think it's really the labels with that part,

1223
01:01:20,320 --> 01:01:23,240
Speaker 2: but it's something like this. Okay, you got you got

1224
01:01:23,360 --> 01:01:25,520
Speaker 2: to you got the major label. Then you gotta furnish

1225
01:01:25,560 --> 01:01:27,920
Speaker 2: your company or what will I say, like a minor,

1226
01:01:28,080 --> 01:01:31,040
Speaker 2: you'll be your your CTE or whatever. You know what

1227
01:01:31,080 --> 01:01:36,200
Speaker 2: I'm saying, your personal label and by me, I was

1228
01:01:36,240 --> 01:01:39,000
Speaker 2: signed to a guy who had a situation at a label.

1229
01:01:39,720 --> 01:01:47,400
Speaker 2: Now the difference is like between going straight to the

1230
01:01:47,480 --> 01:01:50,919
Speaker 2: label and sign it to some white executive versus going

1231
01:01:50,960 --> 01:01:54,720
Speaker 2: this way. So going this way, guys will see that

1232
01:01:54,800 --> 01:01:58,640
Speaker 2: much money in the budget and ain't really had that

1233
01:01:58,760 --> 01:02:01,200
Speaker 2: much money that long. So you'll see you got a

1234
01:02:01,240 --> 01:02:03,640
Speaker 2: million dollar mudget, but you know you got three hundred

1235
01:02:03,640 --> 01:02:07,000
Speaker 2: thousand for marketing, you got four hundred thousand for record,

1236
01:02:07,040 --> 01:02:11,080
Speaker 2: whatever the case may be. They try to start finaggling

1237
01:02:11,240 --> 01:02:15,000
Speaker 2: those Okay, the session was forty thousand, but the session

1238
01:02:15,040 --> 01:02:19,400
Speaker 2: really ten. You sign up forty, keep thirty in your pocket,

1239
01:02:19,720 --> 01:02:22,280
Speaker 2: play the studio ten. You know what I'm saying. Then

1240
01:02:22,320 --> 01:02:24,920
Speaker 2: you go back six months later to see what your

1241
01:02:24,960 --> 01:02:28,000
Speaker 2: budget like. Like, they on a spent two hundred thousand

1242
01:02:28,040 --> 01:02:30,840
Speaker 2: in the studio. I thought I only spent a little fifty. Yeah,

1243
01:02:31,200 --> 01:02:33,000
Speaker 2: you know what I'm saying. But so that's how they

1244
01:02:33,000 --> 01:02:36,320
Speaker 2: can finagle. You gotta be careful as an artist when

1245
01:02:36,320 --> 01:02:38,720
Speaker 2: you sign in a third part through a third party.

1246
01:02:38,800 --> 01:02:43,240
Speaker 2: But the same thing I would tell artists like about TLC. Yeah,

1247
01:02:43,320 --> 01:02:46,600
Speaker 2: TLC had a bad deal, but they were famous, and

1248
01:02:46,680 --> 01:02:50,880
Speaker 2: one thing a lot of will say, the white execs

1249
01:02:51,000 --> 01:02:54,200
Speaker 2: or the big dogs, they might give you a bad deal,

1250
01:02:54,240 --> 01:02:56,440
Speaker 2: but you're gonna be famous. So you can take that

1251
01:02:56,480 --> 01:02:58,960
Speaker 2: to film, you could take that to the podcasting world.

1252
01:02:59,000 --> 01:03:01,040
Speaker 2: You can take that the fast and you can still

1253
01:03:01,080 --> 01:03:02,800
Speaker 2: capitalize off that celebrity.

1254
01:03:02,960 --> 01:03:03,400
Speaker 3: Yeah.

1255
01:03:04,000 --> 01:03:06,520
Speaker 2: Sometime when you get with a dude who just trying

1256
01:03:06,520 --> 01:03:08,240
Speaker 2: to hustle the label, you never even get to the

1257
01:03:08,280 --> 01:03:10,880
Speaker 2: celebrity part. You just get a dude for naggling those

1258
01:03:10,880 --> 01:03:14,080
Speaker 2: little budgets, those little budgets that you need to become

1259
01:03:14,120 --> 01:03:16,360
Speaker 2: a celebrity, you know what I'm saying. So you never

1260
01:03:16,480 --> 01:03:19,080
Speaker 2: quite get there. And I think that's kind of what

1261
01:03:19,200 --> 01:03:22,920
Speaker 2: my situation was, just being young signed to somebody that

1262
01:03:22,960 --> 01:03:25,479
Speaker 2: you feel like you trust and they in there trying

1263
01:03:25,480 --> 01:03:28,040
Speaker 2: to work their own move in the label, you know

1264
01:03:28,080 --> 01:03:31,000
Speaker 2: what I'm saying. Then they end up, you know, leaving

1265
01:03:31,000 --> 01:03:33,360
Speaker 2: the label, and you still sign to that label with

1266
01:03:33,480 --> 01:03:36,320
Speaker 2: this terrible ass budget. You still oe e folk, You

1267
01:03:36,360 --> 01:03:38,080
Speaker 2: know what I mean? Four hundred thousand. You ain't seen

1268
01:03:38,120 --> 01:03:41,120
Speaker 2: none of the four hundred thousand. You're like, God, damn all, y'all.

1269
01:03:41,320 --> 01:03:43,360
Speaker 2: Now you in the grid lock with them. They don't

1270
01:03:43,360 --> 01:03:45,720
Speaker 2: want to put in the nice light. Man, I'm gonna

1271
01:03:45,720 --> 01:03:46,920
Speaker 2: write for Kanye Man.

1272
01:03:48,680 --> 01:03:52,000
Speaker 6: How many of the songs that was on the seven

1273
01:03:52,080 --> 01:03:54,480
Speaker 6: track LP when everybody was putting it out?

1274
01:03:54,600 --> 01:03:56,920
Speaker 3: How many of those songs will we ever hear? Are

1275
01:03:56,960 --> 01:03:58,600
Speaker 3: you gonna put some of those songs on the.

1276
01:03:58,560 --> 01:04:02,600
Speaker 6: New project or like completely scraped those and all new energy?

1277
01:04:02,800 --> 01:04:05,480
Speaker 2: But we always had like little songs we worked on.

1278
01:04:05,600 --> 01:04:08,040
Speaker 2: But I definitely have a few of those records, not

1279
01:04:08,160 --> 01:04:11,400
Speaker 2: those particular records, but records I've done with ya on

1280
01:04:11,560 --> 01:04:15,360
Speaker 2: my album. Definitely definitely, Like I said, Yeah, is a

1281
01:04:16,280 --> 01:04:19,360
Speaker 2: you know man, he's a beacon of light for all

1282
01:04:19,400 --> 01:04:22,400
Speaker 2: of us. And I think a lot of times. He

1283
01:04:22,480 --> 01:04:24,760
Speaker 2: said something the other day that was pivotal. He said,

1284
01:04:24,960 --> 01:04:29,200
Speaker 2: I may not be right now, And like he gave

1285
01:04:29,320 --> 01:04:33,640
Speaker 2: Sway his flowers. Now, yeah, when you're sitting on fifteen billion, yea,

1286
01:04:34,520 --> 01:04:38,520
Speaker 2: but yeah you got you got multiple discretion discretionary funds

1287
01:04:38,800 --> 01:04:41,880
Speaker 2: with that much money. But you sitting on fifty million.

1288
01:04:42,000 --> 01:04:44,800
Speaker 2: You in debt over here, you got these things. You

1289
01:04:44,840 --> 01:04:48,280
Speaker 2: can't just go spend twenty million on fabric, you know

1290
01:04:48,320 --> 01:04:51,080
Speaker 2: what I mean, So you had to build that up. Now,

1291
01:04:51,160 --> 01:04:54,320
Speaker 2: Sway is right. So Sway was probably wrong back then,

1292
01:04:54,880 --> 01:04:55,320
Speaker 2: but now I.

1293
01:04:55,360 --> 01:04:57,320
Speaker 7: Think he was wrong back then. I don't think he

1294
01:04:57,360 --> 01:04:58,000
Speaker 7: was wrong back then.

1295
01:04:58,120 --> 01:05:02,680
Speaker 2: I mean you can say, I name another fashion you know,

1296
01:05:02,840 --> 01:05:04,720
Speaker 2: designer that made it on their own.

1297
01:05:06,000 --> 01:05:07,360
Speaker 7: Not many, not many at all.

1298
01:05:07,520 --> 01:05:09,800
Speaker 2: No, No, So that he did right, he had to go

1299
01:05:10,200 --> 01:05:12,439
Speaker 2: find Now he can go like how people steal from

1300
01:05:12,440 --> 01:05:14,800
Speaker 2: his his camp. Now he went over there and stole

1301
01:05:14,840 --> 01:05:17,480
Speaker 2: the people from Adidas, stole the people. Now he got

1302
01:05:17,480 --> 01:05:20,680
Speaker 2: the infrastructure to do it on his own and be fishing.

1303
01:05:20,800 --> 01:05:22,520
Speaker 1: Yeah, I mean him being in debt at that time.

1304
01:05:22,560 --> 01:05:24,080
Speaker 1: I totally understand that.

1305
01:05:24,560 --> 01:05:27,360
Speaker 2: But also let me let me not say debt because

1306
01:05:27,360 --> 01:05:28,720
Speaker 2: you don't know where Nigga payper at.

1307
01:05:29,040 --> 01:05:32,160
Speaker 7: But we ain't have when you're that money doesn't even

1308
01:05:32,200 --> 01:05:35,560
Speaker 7: really exist at that point, Like, yeah, liquid money is

1309
01:05:35,560 --> 01:05:35,840
Speaker 7: not a thing.

1310
01:05:35,920 --> 01:05:39,040
Speaker 6: It was more so access, you know, being in those

1311
01:05:39,040 --> 01:05:42,400
Speaker 6: different rooms, the respect in those rooms, like a lot

1312
01:05:42,520 --> 01:05:45,240
Speaker 6: changed in those years since him had that conversation. But

1313
01:05:45,280 --> 01:05:49,480
Speaker 6: I did love the fact that he gave was right ultimately.

1314
01:05:49,520 --> 01:05:53,280
Speaker 1: Even before the Adidas deal, Like, we didn't buy all

1315
01:05:53,320 --> 01:05:56,080
Speaker 1: those Yeezis because they were Adidas.

1316
01:05:56,240 --> 01:05:59,360
Speaker 7: We bought them because they were Kanye. So I really think.

1317
01:05:59,200 --> 01:06:01,640
Speaker 1: That's what Sway was getting at even before he did

1318
01:06:01,640 --> 01:06:04,480
Speaker 1: that Adidas dude, Like, bro, we are gonna run to

1319
01:06:04,560 --> 01:06:07,640
Speaker 1: buy what you make, not because Adidas made it. Yeah,

1320
01:06:07,760 --> 01:06:09,320
Speaker 1: he could have done that shit with Sketchers and we

1321
01:06:09,320 --> 01:06:11,080
Speaker 1: would have been like, let's buy it because it's Kanye.

1322
01:06:12,080 --> 01:06:14,960
Speaker 1: I see the infrastructure and probably the capital you needed

1323
01:06:15,120 --> 01:06:17,160
Speaker 1: to do that entire thing.

1324
01:06:17,200 --> 01:06:18,120
Speaker 7: And it's a process.

1325
01:06:18,400 --> 01:06:20,520
Speaker 2: But hip hop is not gonna make you a billionaire,

1326
01:06:20,800 --> 01:06:23,880
Speaker 2: of course not. Yeah, hip hop would have bought it, hippy.

1327
01:06:24,000 --> 01:06:27,880
Speaker 1: Hip hop never made a billionaire. Besides, whoever owns fucking

1328
01:06:27,960 --> 01:06:28,640
Speaker 1: Universal now?

1329
01:06:28,720 --> 01:06:31,480
Speaker 2: Yeah, but what I'm saying is for you to make

1330
01:06:32,320 --> 01:06:35,160
Speaker 2: ten billion off of it, it got to go outside

1331
01:06:35,200 --> 01:06:38,680
Speaker 2: of hip hop. It got of our cool kids, and

1332
01:06:38,720 --> 01:06:42,280
Speaker 2: you gotta see regular people rocking and girls who don't

1333
01:06:42,280 --> 01:06:44,800
Speaker 2: even listen to him rocking. And it's like, that's when

1334
01:06:44,840 --> 01:06:47,840
Speaker 2: you know you have a real product. And I think, yeah,

1335
01:06:48,240 --> 01:06:49,960
Speaker 2: within the code, we always had the g On the

1336
01:06:49,960 --> 01:06:52,840
Speaker 2: sneakers and the the Sean Carters and the Foo Boos

1337
01:06:52,960 --> 01:06:58,040
Speaker 2: and all those different brands, but we've never had access

1338
01:06:58,120 --> 01:07:00,160
Speaker 2: to the quality of it. So when you put that

1339
01:07:00,240 --> 01:07:02,560
Speaker 2: shirt on a Seawan John shut and then you're going

1340
01:07:02,640 --> 01:07:05,200
Speaker 2: to put on a you know what I mean, a

1341
01:07:05,440 --> 01:07:08,440
Speaker 2: your shirt or something just is a little different. And

1342
01:07:08,480 --> 01:07:11,240
Speaker 2: that's what you wanted. You wanted to be able to

1343
01:07:11,240 --> 01:07:18,440
Speaker 2: have the best product as well with the best infrastructure, warehouses, everything,

1344
01:07:18,480 --> 01:07:20,040
Speaker 2: and that's what he fought for. And I feel like

1345
01:07:20,680 --> 01:07:23,840
Speaker 2: now he hasn't now, so now we can get into

1346
01:07:24,200 --> 01:07:27,200
Speaker 2: Sway's idea. You know what I'm saying. We can do

1347
01:07:27,240 --> 01:07:31,160
Speaker 2: that because a discretionary fund I member he was telling

1348
01:07:31,160 --> 01:07:32,760
Speaker 2: me about. He was like, I need like four hundred

1349
01:07:32,800 --> 01:07:35,600
Speaker 2: million in discretionary fun I'm like, what is that. He's like, Man,

1350
01:07:35,600 --> 01:07:37,960
Speaker 2: I need to be able to fuck up. I need

1351
01:07:38,000 --> 01:07:40,600
Speaker 2: to be able to go get it. Yeah, all that

1352
01:07:40,880 --> 01:07:44,720
Speaker 2: come out right, go buy some more. And that's how

1353
01:07:44,720 --> 01:07:47,280
Speaker 2: he gets to the perfect product. But that is the

1354
01:07:47,280 --> 01:07:52,040
Speaker 2: most expensive part of the whole process, the mistakes that

1355
01:07:52,120 --> 01:07:53,560
Speaker 2: you got to make to be able to get the

1356
01:07:53,600 --> 01:07:56,520
Speaker 2: right thing. And I think once he got enough, once

1357
01:07:56,520 --> 01:07:58,560
Speaker 2: they gave him that fun because they didn't give it

1358
01:07:58,560 --> 01:07:59,880
Speaker 2: to him at first, once they gave it to me,

1359
01:08:00,000 --> 01:08:03,600
Speaker 2: shot up the charts. He was a billionaire and two

1360
01:08:04,160 --> 01:08:08,040
Speaker 2: year and a half later, Yeah, mm hmm. That's how

1361
01:08:08,080 --> 01:08:12,919
Speaker 2: it works. So he knew he was talking about He just.

1362
01:08:10,920 --> 01:08:13,240
Speaker 3: It took time to get there. He got it, He

1363
01:08:13,280 --> 01:08:13,800
Speaker 3: got it right.

1364
01:08:14,040 --> 01:08:18,280
Speaker 1: Where where do you, I guess standard your opinion on

1365
01:08:18,400 --> 01:08:21,280
Speaker 1: the recent gap stuff and the Adidas beef that he's

1366
01:08:21,320 --> 01:08:22,040
Speaker 1: going through now.

1367
01:08:22,439 --> 01:08:24,680
Speaker 2: Man, you know, I kind of stay out of that.

1368
01:08:24,680 --> 01:08:26,200
Speaker 2: That's above my pay grade.

1369
01:08:26,560 --> 01:08:30,200
Speaker 1: I'm just saying of somebody like we can all speculate,

1370
01:08:30,240 --> 01:08:32,280
Speaker 1: but you actually know, you have a real relationship with

1371
01:08:32,360 --> 01:08:34,960
Speaker 1: him and maybe could understand things he says better than

1372
01:08:35,000 --> 01:08:36,599
Speaker 1: the rest of us when we look at it maybe

1373
01:08:36,600 --> 01:08:37,479
Speaker 1: from a surface level.

1374
01:08:37,760 --> 01:08:40,800
Speaker 2: Well you know, like like thinking they don't understand.

1375
01:08:40,439 --> 01:08:42,599
Speaker 7: Because I laughed when he said he wants to abolish steps,

1376
01:08:42,760 --> 01:08:43,360
Speaker 7: and I was like.

1377
01:08:44,200 --> 01:08:47,559
Speaker 2: One thing, one thing. What he really trying to say

1378
01:08:47,640 --> 01:08:52,160
Speaker 2: is Adidas is used to making a shoe and putting

1379
01:08:52,200 --> 01:08:55,200
Speaker 2: out volumes and volumes and volume shoes. Yeah, but you

1380
01:08:55,360 --> 01:08:58,519
Speaker 2: have to understand the mystique of a Kanye the reason

1381
01:08:58,520 --> 01:09:01,679
Speaker 2: why he's out selling all of your shoes because he's

1382
01:09:01,720 --> 01:09:04,719
Speaker 2: not gonna put out a bunch of them. But they're

1383
01:09:04,800 --> 01:09:09,080
Speaker 2: so they're seeing that money only go to his sneaker

1384
01:09:09,080 --> 01:09:11,160
Speaker 2: and they want a part of it. So they said,

1385
01:09:11,200 --> 01:09:14,759
Speaker 2: how can we rip off a few of his ideas

1386
01:09:14,760 --> 01:09:17,280
Speaker 2: and put it on some Team Jordan kind of vibe.

1387
01:09:17,720 --> 01:09:20,840
Speaker 2: But it's like, nobody's gonna buy the Team Jordan's no,

1388
01:09:21,240 --> 01:09:23,599
Speaker 2: so stop trying to use my idea for the Team Jordan.

1389
01:09:23,680 --> 01:09:25,000
Speaker 3: That's what happened, you know what I'm saying.

1390
01:09:25,080 --> 01:09:27,360
Speaker 2: And I think that's what it is. They're trying to

1391
01:09:27,960 --> 01:09:31,840
Speaker 2: undercut his market because he's doing so well. Yeah, but

1392
01:09:32,080 --> 01:09:32,960
Speaker 2: like I said.

1393
01:09:32,880 --> 01:09:34,759
Speaker 7: You're now you're diluting my creation.

1394
01:09:34,880 --> 01:09:37,880
Speaker 2: Bby. Yeah yeah, now you now you diluting my creation.

1395
01:09:38,120 --> 01:09:40,559
Speaker 2: Like I had a girlfriend who had a growing up.

1396
01:09:41,040 --> 01:09:42,840
Speaker 2: I remember, my bitch was so bad because she had

1397
01:09:42,840 --> 01:09:45,639
Speaker 2: a fat ass. Naturally, she used to have a fantasts

1398
01:09:45,680 --> 01:09:47,519
Speaker 2: so much she had to toss it around the waist

1399
01:09:47,840 --> 01:09:51,519
Speaker 2: to just so motherfuckers wouldn't bother not so many VISU

1400
01:09:51,560 --> 01:09:53,280
Speaker 2: with a fantasts. She don't even my bit. Don't even

1401
01:09:53,320 --> 01:09:57,080
Speaker 2: look bad because Eric girl could just go to you know,

1402
01:09:57,160 --> 01:09:59,320
Speaker 2: d R, just go get one, you know what I'm saying.

1403
01:10:00,320 --> 01:10:00,760
Speaker 3: So that's what.

1404
01:10:04,840 --> 01:10:07,840
Speaker 2: I'm looking at him, like I need to upgrade, man,

1405
01:10:08,560 --> 01:10:10,479
Speaker 2: you know what I'm saying. But that's what it is.

1406
01:10:10,640 --> 01:10:13,400
Speaker 2: You don't want you shoot and feel like damn these

1407
01:10:13,400 --> 01:10:15,200
Speaker 2: are yeas hes ain't even that cool no more because

1408
01:10:16,840 --> 01:10:20,000
Speaker 2: here the whole thing i e. The off whites and

1409
01:10:20,600 --> 01:10:24,280
Speaker 2: all that everything Nike was doing over there. That was

1410
01:10:25,160 --> 01:10:28,639
Speaker 2: things that Ya and and and Virgil had been talking about,

1411
01:10:29,200 --> 01:10:31,600
Speaker 2: you know what I'm saying. But when Virgil left, he

1412
01:10:31,720 --> 01:10:34,439
Speaker 2: kind of implemented that and like in his own right,

1413
01:10:34,520 --> 01:10:37,439
Speaker 2: you're thinking like, shit, man, I'm over here with these

1414
01:10:37,520 --> 01:10:40,519
Speaker 2: million dollar being our people, I mind well put my

1415
01:10:40,600 --> 01:10:43,519
Speaker 2: best foot forward. Some of his best feats foots forward

1416
01:10:43,520 --> 01:10:46,559
Speaker 2: was things that IM and Ya collapsed on. Yeah, but

1417
01:10:47,080 --> 01:10:49,320
Speaker 2: I gotta get my money. Now I'm in that position.

1418
01:10:49,360 --> 01:10:52,920
Speaker 2: I'm gonna take that risk of I might ruffle his

1419
01:10:53,000 --> 01:10:55,360
Speaker 2: feathers a little bit, but that's how all of them feel.

1420
01:10:55,760 --> 01:10:57,439
Speaker 2: I might ruf for your feathers a little bit. But

1421
01:10:57,479 --> 01:10:59,759
Speaker 2: I'm going to get these ms, you know what I'm saying.

1422
01:11:00,760 --> 01:11:07,200
Speaker 7: And today's happy birthday and yeah, yeah, birthday yesterday, right today.

1423
01:11:07,360 --> 01:11:08,799
Speaker 2: Virgil was a precious.

1424
01:11:08,840 --> 01:11:11,200
Speaker 7: So what's what's one of your favorite Virgil memories?

1425
01:11:12,160 --> 01:11:16,240
Speaker 2: My favorite Virgil memory? Oh man, I would have to say,

1426
01:11:17,200 --> 01:11:20,000
Speaker 2: think I have so many. I was there with Virgil,

1427
01:11:20,640 --> 01:11:23,839
Speaker 2: him and Ya. Well actually Yay drew it and Virgil

1428
01:11:23,920 --> 01:11:26,439
Speaker 2: came and drew a better version of it of the

1429
01:11:27,439 --> 01:11:32,360
Speaker 2: last Nike yeasy, the one with the the reptile back

1430
01:11:32,400 --> 01:11:35,000
Speaker 2: on the man. Yeah, yeah, that was. I was there

1431
01:11:35,040 --> 01:11:40,479
Speaker 2: when they were actually drawing that together. I would say,

1432
01:11:40,600 --> 01:11:44,559
Speaker 2: when he finally got the Louis Bauton deal, and I

1433
01:11:44,600 --> 01:11:47,120
Speaker 2: think him and Ya got back on good terms right

1434
01:11:47,120 --> 01:11:49,200
Speaker 2: before it passed by the year before he passed.

1435
01:11:49,400 --> 01:11:52,479
Speaker 3: Yeah, it was Fashion Fashion Week in Parish. I think

1436
01:11:52,520 --> 01:11:53,559
Speaker 3: the Louis show.

1437
01:11:53,720 --> 01:11:56,040
Speaker 2: No, no, not that this is. I think it was

1438
01:11:56,040 --> 01:11:59,680
Speaker 2: before that, right after that. But I went up there.

1439
01:11:59,680 --> 01:12:01,320
Speaker 2: He picked this up in this main bag. I was like,

1440
01:12:01,360 --> 01:12:03,599
Speaker 2: I was kind of excited. I was like, damn, version

1441
01:12:03,600 --> 01:12:06,240
Speaker 2: of like a boss. Now you got like security trailer,

1442
01:12:06,840 --> 01:12:08,519
Speaker 2: you know, because usually when I first met he was

1443
01:12:08,560 --> 01:12:12,040
Speaker 2: like an intern, like a little creative directory, you know

1444
01:12:12,040 --> 01:12:13,600
Speaker 2: what I mean? Now, he like did he go to

1445
01:12:13,640 --> 01:12:17,320
Speaker 2: his office. He got all the Louis Bauton fabrics, like

1446
01:12:17,360 --> 01:12:22,200
Speaker 2: he making fur coat, Louis Vautar. He making like you

1447
01:12:22,320 --> 01:12:25,439
Speaker 2: got all the Louis fabrin You can make anything you want.

1448
01:12:25,479 --> 01:12:29,040
Speaker 2: I mean, he making cape skateboards. He just got to do.

1449
01:12:29,160 --> 01:12:32,760
Speaker 2: It was like a playground of materials. So I just

1450
01:12:32,760 --> 01:12:34,400
Speaker 2: seen him in there and we was playing them some

1451
01:12:34,520 --> 01:12:36,960
Speaker 2: music that we was working on. But just to see

1452
01:12:37,000 --> 01:12:40,920
Speaker 2: him and Yay had that those last moments together, you know,

1453
01:12:41,080 --> 01:12:44,400
Speaker 2: just rejoicing and Yay was really proud of they just

1454
01:12:44,479 --> 01:12:46,800
Speaker 2: you know, Yay just be like, man, y'all using my

1455
01:12:46,920 --> 01:12:49,519
Speaker 2: best friends against me. It's like, you know what I mean,

1456
01:12:49,640 --> 01:12:51,960
Speaker 2: she kind of get you know, kind of you know,

1457
01:12:52,400 --> 01:12:54,720
Speaker 2: eat at them a little bit. But outside of that,

1458
01:12:54,760 --> 01:12:57,000
Speaker 2: I think that was my favorite moment, Just that last

1459
01:12:57,080 --> 01:12:59,679
Speaker 2: moment I was with him at the Louis office and

1460
01:12:59,760 --> 01:13:02,120
Speaker 2: he was just showing us all the different things that

1461
01:13:02,200 --> 01:13:06,280
Speaker 2: he looking to make and never got to really, you know,

1462
01:13:06,400 --> 01:13:07,639
Speaker 2: do everything you would like to do.

1463
01:13:08,040 --> 01:13:12,280
Speaker 6: It's dope to see, you know, Virgil don c you

1464
01:13:12,320 --> 01:13:15,080
Speaker 6: know what Kanye is doing and you know all of

1465
01:13:15,120 --> 01:13:17,760
Speaker 6: these guys was really like close and together. They came

1466
01:13:17,800 --> 01:13:20,160
Speaker 6: in together and had all of these which i'm assuming,

1467
01:13:20,200 --> 01:13:22,320
Speaker 6: conversations and dreams to do what they're doing now.

1468
01:13:23,360 --> 01:13:25,240
Speaker 3: It's just amazing to see what came of that.

1469
01:13:25,360 --> 01:13:30,040
Speaker 6: And that speaks to again Kanye's genius of him just

1470
01:13:30,320 --> 01:13:33,920
Speaker 6: instilling power into his friends and letting them be their

1471
01:13:33,960 --> 01:13:37,200
Speaker 6: own people and just giving people the space to create.

1472
01:13:37,800 --> 01:13:39,880
Speaker 6: And I think that that's you know, you say whatever

1473
01:13:39,880 --> 01:13:42,120
Speaker 6: you want about Kanye, he's you know, he goes off

1474
01:13:42,160 --> 01:13:44,840
Speaker 6: on these tangents, thees, rants, whatever, but one thing about

1475
01:13:44,880 --> 01:13:48,560
Speaker 6: him is just look at it. He definitely creates opportunity

1476
01:13:48,600 --> 01:13:50,760
Speaker 6: for his friends that he knows are geniuses before the

1477
01:13:50,800 --> 01:13:51,400
Speaker 6: world doesn't.

1478
01:13:51,479 --> 01:13:53,639
Speaker 3: Right, That's something I love. I always love about Kanye

1479
01:13:53,680 --> 01:13:56,040
Speaker 3: is that he sees the genius in his friends and

1480
01:13:56,080 --> 01:13:56,599
Speaker 3: in the circle.

1481
01:13:57,400 --> 01:14:00,080
Speaker 2: That's the biggest thing. Like a lot of people, a

1482
01:14:00,120 --> 01:14:03,080
Speaker 2: lot of people don't do that there there, they won't

1483
01:14:03,080 --> 01:14:06,120
Speaker 2: empower you, but that's something they'll do. He'll empower you.

1484
01:14:06,280 --> 01:14:10,080
Speaker 2: And then that's the thing that hurts him, like people

1485
01:14:10,160 --> 01:14:13,479
Speaker 2: take his best but that's business though, like you know,

1486
01:14:13,640 --> 01:14:16,120
Speaker 2: so he gotta just you know, figure out how to

1487
01:14:16,160 --> 01:14:18,240
Speaker 2: move around it. But I feel a lot of times,

1488
01:14:18,280 --> 01:14:20,599
Speaker 2: a lot of those people end up coming back around anyway,

1489
01:14:21,120 --> 01:14:23,639
Speaker 2: so it just be a period in time.

1490
01:14:24,600 --> 01:14:27,640
Speaker 3: So saha happy today.

1491
01:14:28,600 --> 01:14:34,800
Speaker 2: Is extremely happy. I can't complain. I think a lot

1492
01:14:34,840 --> 01:14:37,519
Speaker 2: of people don't understand, like my rent was not just

1493
01:14:37,920 --> 01:14:42,639
Speaker 2: because of me. It's my fans that miss what I do.

1494
01:14:42,760 --> 01:14:46,439
Speaker 2: Like you don't understand like having grown me and crying

1495
01:14:47,160 --> 01:14:51,040
Speaker 2: coming up to you from mixtape songs. It's like, bro,

1496
01:14:51,200 --> 01:14:53,439
Speaker 2: I put that out ten years ago. He's still like

1497
01:14:54,040 --> 01:14:57,000
Speaker 2: it's connected because something happened in that moment in time

1498
01:14:57,120 --> 01:14:59,719
Speaker 2: of life that touched him so much. In this album

1499
01:15:00,160 --> 01:15:03,280
Speaker 2: song kind of helped him get through that. Now, I

1500
01:15:03,320 --> 01:15:06,880
Speaker 2: think a lot of times I kind of feel for them,

1501
01:15:07,120 --> 01:15:09,200
Speaker 2: but I feel for myself at the same time. So

1502
01:15:09,920 --> 01:15:12,320
Speaker 2: I'm definitely blessed, you know what I'm saying. I'm not

1503
01:15:12,680 --> 01:15:15,000
Speaker 2: in a place where you know what I'm saying, I

1504
01:15:15,000 --> 01:15:16,800
Speaker 2: don't feel like I'm blessed, but I do feel like

1505
01:15:16,920 --> 01:15:20,519
Speaker 2: there's more to accomplish because, like I said, I've grown

1506
01:15:20,600 --> 01:15:23,600
Speaker 2: up around successful people my whole life, rich niggas my

1507
01:15:23,640 --> 01:15:27,720
Speaker 2: whole life, and yeah, I'm so high. I wrote these

1508
01:15:27,720 --> 01:15:32,879
Speaker 2: big records, but it's like when you've been around success

1509
01:15:32,920 --> 01:15:37,000
Speaker 2: your whole life, those small victories ain't really tickling my

1510
01:15:37,080 --> 01:15:39,600
Speaker 2: fancy like that, you know what I'm saying, when you

1511
01:15:39,720 --> 01:15:44,840
Speaker 2: see yourself being something so much bigger, Like, you know,

1512
01:15:45,840 --> 01:15:48,840
Speaker 2: I appreciate what I have, but that's like low hanging

1513
01:15:48,880 --> 01:15:51,960
Speaker 2: fruit for me, you know what I'm saying. I'm like,

1514
01:15:52,720 --> 01:15:56,280
Speaker 2: I tell everybody, if everybody you put your favorite rapper

1515
01:15:56,439 --> 01:16:00,839
Speaker 2: in a room, no marketing, playing, no fucking record label,

1516
01:16:01,200 --> 01:16:04,200
Speaker 2: no beat, and it's just the purest essence of what

1517
01:16:04,240 --> 01:16:10,600
Speaker 2: we do. I'm top five, dead or live. When you

1518
01:16:10,680 --> 01:16:14,240
Speaker 2: got to add all the street cred and marketing budgets

1519
01:16:14,240 --> 01:16:17,720
Speaker 2: and all that, Okay, I might get overlooked, so you know,

1520
01:16:17,880 --> 01:16:20,400
Speaker 2: that's the only thing. But outside of that, I'm blessed. Man.

1521
01:16:20,439 --> 01:16:22,760
Speaker 2: I can't I can't complain too much. I just got

1522
01:16:22,760 --> 01:16:23,639
Speaker 2: to keep moving forward.

1523
01:16:23,840 --> 01:16:28,040
Speaker 1: What's what's a strange hobby that you have that fans

1524
01:16:28,040 --> 01:16:31,360
Speaker 1: would not I would would not know outside of wrapping,

1525
01:16:32,320 --> 01:16:33,960
Speaker 1: uh fashion and.

1526
01:16:34,520 --> 01:16:37,559
Speaker 2: I eat for every week for the past ten.

1527
01:16:37,479 --> 01:16:40,040
Speaker 7: Years because I called fo it's fun.

1528
01:16:40,080 --> 01:16:43,839
Speaker 2: I'm a professional sology profession.

1529
01:16:45,840 --> 01:16:47,080
Speaker 7: Why I'm I'm a fan?

1530
01:16:47,400 --> 01:16:51,840
Speaker 2: Yeahs a week for the last ten years. Yeah, I mean,

1531
01:16:51,840 --> 01:16:54,720
Speaker 2: I'm slick being the Mese. You know what I mean,

1532
01:16:54,760 --> 01:16:58,960
Speaker 2: That's just something I just I just love doing it. Therapeutic.

1533
01:17:00,080 --> 01:17:03,439
Speaker 7: What's what's a good spot in Atlanta? King is the

1534
01:17:03,479 --> 01:17:05,280
Speaker 7: best spots in Midtown?

1535
01:17:05,920 --> 01:17:06,120
Speaker 2: Yeah?

1536
01:17:07,160 --> 01:17:08,040
Speaker 7: Spots in New York then?

1537
01:17:08,200 --> 01:17:12,479
Speaker 2: Yeah, I heard New York has some good Boston do too, ye.

1538
01:17:14,560 --> 01:17:18,479
Speaker 1: Favorite session of your career and worst session of your career.

1539
01:17:19,439 --> 01:17:22,439
Speaker 2: My favorite session of my career would be when Kobe

1540
01:17:22,479 --> 01:17:28,200
Speaker 2: walked in Electric Lady rolls to it there during my

1541
01:17:28,280 --> 01:17:32,680
Speaker 2: Beautiful Dark. I've seen Kobe and was like, man, that's Kobe. Bro.

1542
01:17:34,120 --> 01:17:34,719
Speaker 2: He didn't.

1543
01:17:34,880 --> 01:17:37,120
Speaker 7: Doesn't Kobe have writing credits on Power?

1544
01:17:38,240 --> 01:17:40,559
Speaker 2: He probably do. He was there during that time.

1545
01:17:40,640 --> 01:17:42,639
Speaker 7: Yeah, I feel like I saw a picture and maybe yeah,

1546
01:17:42,840 --> 01:17:44,320
Speaker 7: maybe he told us that in the building.

1547
01:17:44,360 --> 01:17:46,760
Speaker 1: I don't know if he said that publicly, but ya,

1548
01:17:47,080 --> 01:17:49,160
Speaker 1: I think it was. It was Kobe most deaf and

1549
01:17:49,400 --> 01:17:51,680
Speaker 1: yay right, Yeah, Kobe, let.

1550
01:17:51,640 --> 01:17:54,000
Speaker 2: Me tell you something. Yeah, I'll give you, like, yeah,

1551
01:17:54,400 --> 01:17:56,320
Speaker 2: credit if you bring the coffee in the room ding

1552
01:17:56,520 --> 01:17:59,080
Speaker 2: hit record, Like if you made a hit record you

1553
01:17:59,080 --> 01:18:02,840
Speaker 2: brought him to classes and coffee, you get publishing. He

1554
01:18:02,960 --> 01:18:05,439
Speaker 2: was the first person to do that. Like now you

1555
01:18:05,479 --> 01:18:08,920
Speaker 2: see all these producers like collabing on beach like man

1556
01:18:09,000 --> 01:18:12,599
Speaker 2: one nigga need to make the beat. It's like Yay

1557
01:18:12,720 --> 01:18:16,800
Speaker 2: started that collaboratory thing where like a lot of the

1558
01:18:16,840 --> 01:18:19,360
Speaker 2: early songs I was working on, I was just in

1559
01:18:19,400 --> 01:18:21,000
Speaker 2: there was like nah, I think you should say it

1560
01:18:21,040 --> 01:18:23,040
Speaker 2: like this, or he's like what you thinking about that?

1561
01:18:23,120 --> 01:18:24,479
Speaker 2: I was like, well, I would say it like this,

1562
01:18:25,080 --> 01:18:29,479
Speaker 2: And then I didn't know that was writing. So I

1563
01:18:29,560 --> 01:18:32,760
Speaker 2: never took no I never asked for no publishing or nothing.

1564
01:18:32,760 --> 01:18:36,160
Speaker 2: I'm just thinking this is what the studio. But then

1565
01:18:36,240 --> 01:18:40,040
Speaker 2: at that level that's called writing. Yeah, you know what

1566
01:18:40,040 --> 01:18:42,000
Speaker 2: I mean. And then he, like I said, he goes

1567
01:18:42,040 --> 01:18:43,840
Speaker 2: further than that, you ain't write nothing. If he was

1568
01:18:43,880 --> 01:18:46,400
Speaker 2: in the room and he thought of something just by

1569
01:18:46,400 --> 01:18:51,400
Speaker 2: looking at your shoes or my theme song, my leather

1570
01:18:51,439 --> 01:18:54,920
Speaker 2: black jeans on, you go, okay, what's your information? Send

1571
01:18:54,920 --> 01:19:00,880
Speaker 2: it to my assistant. Because he respects everything in the room.

1572
01:19:00,920 --> 01:19:03,880
Speaker 2: The lighting, Yeah, he got O c D. He don't

1573
01:19:03,880 --> 01:19:05,360
Speaker 2: want this camera right now, you got to move this

1574
01:19:05,400 --> 01:19:08,160
Speaker 2: camera right there. It's just like he just respects that.

1575
01:19:08,280 --> 01:19:10,639
Speaker 2: So I think that's something that I learned as well,

1576
01:19:10,760 --> 01:19:12,400
Speaker 2: just respecting everything around me.

1577
01:19:12,520 --> 01:19:14,960
Speaker 7: Because you got I mean, music is for the consumer

1578
01:19:15,000 --> 01:19:15,800
Speaker 7: at the end of the day.

1579
01:19:15,960 --> 01:19:18,519
Speaker 1: So you got to ask random people like I heard

1580
01:19:18,560 --> 01:19:21,559
Speaker 1: stories of ya when they delivery guy would deliver food

1581
01:19:21,560 --> 01:19:22,280
Speaker 1: to be like, no, come in here.

1582
01:19:22,320 --> 01:19:24,680
Speaker 2: You need to hear this right right exactly, you know

1583
01:19:24,720 --> 01:19:25,840
Speaker 2: what I'm saying, Exactly?

1584
01:19:26,240 --> 01:19:28,479
Speaker 7: What was that Kobe session like?

1585
01:19:28,600 --> 01:19:31,000
Speaker 1: And what what was you know? I never had the

1586
01:19:31,040 --> 01:19:32,479
Speaker 1: privilege to ever meet Kobe Bryant.

1587
01:19:32,560 --> 01:19:34,400
Speaker 2: I mean I only seen them walk in this. I

1588
01:19:34,439 --> 01:19:35,960
Speaker 2: was new around, so I didn't want to go in

1589
01:19:36,000 --> 01:19:39,439
Speaker 2: there and be like fanned out. But I was new

1590
01:19:39,439 --> 01:19:42,240
Speaker 2: around that time. But it was dope. And my other

1591
01:19:42,280 --> 01:19:44,479
Speaker 2: favorite session it was with J Man. I was in

1592
01:19:44,600 --> 01:19:47,080
Speaker 2: Jay and Paris bro Ja like a real one though.

1593
01:19:47,840 --> 01:19:51,000
Speaker 2: You're like, he's just a real one, you know. I

1594
01:19:51,040 --> 01:19:52,559
Speaker 2: know you're kind of like close to them.

1595
01:19:52,600 --> 01:19:56,879
Speaker 7: But he's blood blood related yeah related?

1596
01:19:57,040 --> 01:19:59,639
Speaker 2: Big, Oh yeah, big, That's what I'm saying. Big, yeah, yeah.

1597
01:19:59,640 --> 01:20:01,680
Speaker 2: I didn't exactly what.

1598
01:20:02,040 --> 01:20:05,439
Speaker 7: Is the J He watched the Throne sessions, a couple

1599
01:20:05,479 --> 01:20:05,840
Speaker 7: of them.

1600
01:20:05,880 --> 01:20:08,519
Speaker 2: Man, he just was He's just a great guy. I

1601
01:20:08,520 --> 01:20:12,080
Speaker 2: don't know, he just got away with, you know, making

1602
01:20:12,120 --> 01:20:17,040
Speaker 2: you feel comfortable in so many words. I remember. I

1603
01:20:17,120 --> 01:20:19,320
Speaker 2: won't tell that story, but I will tell this story.

1604
01:20:19,439 --> 01:20:21,280
Speaker 2: I will tell the story. I member. I was in Atlanta,

1605
01:20:21,400 --> 01:20:25,479
Speaker 2: right I just came around and Holmes was like he

1606
01:20:25,520 --> 01:20:27,880
Speaker 2: had they told me to come to the show. So

1607
01:20:27,920 --> 01:20:29,960
Speaker 2: I walk in and shot I come sit down next

1608
01:20:30,000 --> 01:20:33,640
Speaker 2: to him, you know, kicking, and he looked like, uh,

1609
01:20:33,800 --> 01:20:37,559
Speaker 2: Beyonce walks in and she's pregnant at the time, like

1610
01:20:39,280 --> 01:20:41,240
Speaker 2: he ain't bring your girl with you? You know me.

1611
01:20:41,320 --> 01:20:44,479
Speaker 2: I'm like, at this point, I didn't want to bring nobody.

1612
01:20:44,600 --> 01:20:47,600
Speaker 2: I didn't know. I'm just coming by myself. He's like,

1613
01:20:47,600 --> 01:20:52,880
Speaker 2: he ain't bring your girl with you? We did like

1614
01:20:53,040 --> 01:20:56,280
Speaker 2: you just laughing him because they had too baddest chicks

1615
01:20:56,280 --> 01:20:59,000
Speaker 2: in the world in the room, and I'm like, yeah,

1616
01:20:59,520 --> 01:21:03,479
Speaker 2: my girl at home. But the way they laughed about

1617
01:21:03,520 --> 01:21:04,280
Speaker 2: it like you used to.

1618
01:21:04,280 --> 01:21:05,880
Speaker 1: Have a fat ass, now everyone has a fat ass.

1619
01:21:05,920 --> 01:21:06,960
Speaker 1: I didn't know what I could bring.

1620
01:21:06,800 --> 01:21:12,120
Speaker 2: Her right right right anymore? When you're gonna get on

1621
01:21:12,120 --> 01:21:15,680
Speaker 2: the Alchemists beat man questions, man, you're gonna put that

1622
01:21:15,680 --> 01:21:16,160
Speaker 2: together for me?

1623
01:21:16,600 --> 01:21:18,960
Speaker 7: I could group chat right now.

1624
01:21:19,280 --> 01:21:23,120
Speaker 2: The DM that man tweeted that man emails my space

1625
01:21:23,400 --> 01:21:28,439
Speaker 2: today lime wired. Im trying to get an Alchemists bro.

1626
01:21:28,479 --> 01:21:31,000
Speaker 2: I've just been like, yeah, I say something on my

1627
01:21:31,080 --> 01:21:36,040
Speaker 2: album about that too. Yeah, don't know, don't I say that? Yeah, Alchemists,

1628
01:21:36,240 --> 01:21:37,720
Speaker 2: I need to do that. Yeah, because if I'm on

1629
01:21:37,760 --> 01:21:40,320
Speaker 2: the Alchemist it's a rap. Yeah, it's a rap.

1630
01:21:40,400 --> 01:21:41,599
Speaker 3: Then yeah, we need that.

1631
01:21:42,040 --> 01:21:42,280
Speaker 2: I know.

1632
01:21:42,520 --> 01:21:47,320
Speaker 1: Paperwork wise, you weren't on Good Music's chains. But what's

1633
01:21:47,360 --> 01:21:53,320
Speaker 1: your top five good music album list? You could put

1634
01:21:53,760 --> 01:21:55,040
Speaker 1: No Dope on Sunday's number.

1635
01:21:54,840 --> 01:22:01,200
Speaker 2: One music album list. Well, I will say my Beautiful

1636
01:22:01,320 --> 01:22:17,360
Speaker 2: Dark uh Pablo mm hmmm, uh, No Dope. Definitely put

1637
01:22:17,479 --> 01:22:23,679
Speaker 2: both push your albums old and new. Uh, that would

1638
01:22:23,720 --> 01:22:27,160
Speaker 2: be my top five of those. And you know I

1639
01:22:27,160 --> 01:22:29,720
Speaker 2: did like Finally Famous the mixtape.

1640
01:22:29,720 --> 01:22:34,920
Speaker 7: Like I'm trying to figure out this shown in shi relationship.

1641
01:22:35,000 --> 01:22:37,960
Speaker 2: Nah Man me and Sean Goold. It's just Sean is

1642
01:22:38,160 --> 01:22:43,000
Speaker 2: a super competitive rapper and good dude, good dude, but

1643
01:22:43,439 --> 01:22:46,640
Speaker 2: you know he will step on you for his for

1644
01:22:46,760 --> 01:22:51,559
Speaker 2: his well being, and that's one thing that Nah, I

1645
01:22:51,560 --> 01:22:54,360
Speaker 2: ain't that type of nigga competitive. No, I ain't gonna

1646
01:22:54,360 --> 01:22:56,479
Speaker 2: step on you though. That's why. That's probably why I

1647
01:22:56,479 --> 01:22:58,760
Speaker 2: ain't where I was supposed to be thought step on

1648
01:22:58,760 --> 01:22:59,040
Speaker 2: no matter.

1649
01:22:59,200 --> 01:23:00,680
Speaker 7: There's a lot of orders that just didn't do some

1650
01:23:00,720 --> 01:23:03,719
Speaker 7: bullshit this why not? And I'm not saying okay.

1651
01:23:04,000 --> 01:23:05,920
Speaker 2: I mean, I'm not gonna say, but okay, like, what

1652
01:23:06,200 --> 01:23:08,759
Speaker 2: is you gonna do? Specific? Okay. When I first came around,

1653
01:23:09,520 --> 01:23:12,000
Speaker 2: it was at the Double Ex sales shoot. He asked

1654
01:23:12,000 --> 01:23:13,960
Speaker 2: me to rap because I've been freestyling for everybody and

1655
01:23:13,960 --> 01:23:16,719
Speaker 2: they're going crazy. So he like, I got this new nigga,

1656
01:23:17,160 --> 01:23:19,559
Speaker 2: so he like, man rapp. Yeah.

1657
01:23:19,640 --> 01:23:20,160
Speaker 3: So I get to.

1658
01:23:21,920 --> 01:23:24,080
Speaker 2: No, no, no, no no, I'm just going there and

1659
01:23:24,120 --> 01:23:27,000
Speaker 2: they feeling me and I didn't know who. I ain't

1660
01:23:27,000 --> 01:23:29,000
Speaker 2: no big shot at the time. He's sitting on the table,

1661
01:23:29,760 --> 01:23:32,719
Speaker 2: Jump off the table and just cut my wrap off,

1662
01:23:32,880 --> 01:23:33,800
Speaker 2: just start going in.

1663
01:23:34,680 --> 01:23:36,920
Speaker 7: He like that, Well, let me let me ask.

1664
01:23:36,720 --> 01:23:37,400
Speaker 2: You, niggas.

1665
01:23:37,439 --> 01:23:39,880
Speaker 3: Don't like that you started performing.

1666
01:23:39,720 --> 01:23:42,520
Speaker 7: That he's supposed to do if he saw his opportunity,

1667
01:23:42,840 --> 01:23:43,720
Speaker 7: because I know, you.

1668
01:23:43,720 --> 01:23:45,840
Speaker 2: Know, tell me tell you that at the flip if

1669
01:23:45,840 --> 01:23:48,200
Speaker 2: you I'm gonna let you finish your rap, I ain't

1670
01:23:48,200 --> 01:23:52,320
Speaker 2: gonna even rap mmmm because I know once I come out,

1671
01:23:52,560 --> 01:23:54,599
Speaker 2: and even if I did want to jump off the time,

1672
01:23:54,600 --> 01:23:56,360
Speaker 2: I'll let you get your wrap off or whatever the

1673
01:23:56,400 --> 01:23:59,360
Speaker 2: case may be. But you don't know you already in position,

1674
01:23:59,400 --> 01:24:01,519
Speaker 2: you got the old kid cut, he cut.

1675
01:24:01,920 --> 01:24:04,479
Speaker 7: Okay, I thought Sean was just unknown at this time. No, No,

1676
01:24:04,800 --> 01:24:06,200
Speaker 7: he was opportunity.

1677
01:24:05,840 --> 01:24:07,720
Speaker 2: Right, he was. But I'm just saying I felt that

1678
01:24:08,080 --> 01:24:11,960
Speaker 2: that was a competitive thing he did. But it's like

1679
01:24:12,680 --> 01:24:15,680
Speaker 2: we're brothers now. You don't have to feel trying to

1680
01:24:15,880 --> 01:24:17,519
Speaker 2: you know what I mean, how shine me to make

1681
01:24:17,560 --> 01:24:18,439
Speaker 2: yourself look good?

1682
01:24:18,760 --> 01:24:22,200
Speaker 1: But you also got to think like what Sean might

1683
01:24:22,200 --> 01:24:24,439
Speaker 1: have been going through at that label too, as far

1684
01:24:24,479 --> 01:24:25,120
Speaker 1: as because I.

1685
01:24:25,160 --> 01:24:28,200
Speaker 7: Mean I was around when I was there, wasn't taking

1686
01:24:28,240 --> 01:24:28,719
Speaker 7: him serious.

1687
01:24:29,320 --> 01:24:31,920
Speaker 2: No, he was not. He good. He was really showing

1688
01:24:32,000 --> 01:24:32,519
Speaker 2: our shows.

1689
01:24:32,520 --> 01:24:36,120
Speaker 7: He's good, He's from Detroit. Was going to lose yourself.

1690
01:24:36,120 --> 01:24:39,479
Speaker 2: I don't know. That was his favorite artist and he

1691
01:24:39,600 --> 01:24:42,599
Speaker 2: seen his favorite artist taking a like into another artist.

1692
01:24:43,360 --> 01:24:45,559
Speaker 2: He ain't like that. I'm just not like that when

1693
01:24:45,640 --> 01:24:48,519
Speaker 2: Trap came in the room and embraced Trap. But let

1694
01:24:48,520 --> 01:24:50,160
Speaker 2: me tell you, I'm gonna keep you this. This is

1695
01:24:50,160 --> 01:24:55,080
Speaker 2: a story exclusive. I was at the mercer and it's

1696
01:24:55,120 --> 01:24:57,679
Speaker 2: around the time where he was still finding this label.

1697
01:24:57,720 --> 01:25:02,479
Speaker 2: And he asked me, who's that I signed two chains

1698
01:25:02,479 --> 01:25:06,599
Speaker 2: of French Montana mm hmm, and I told him to chains.

1699
01:25:07,320 --> 01:25:09,040
Speaker 2: And when I walked in the other room, my man, like,

1700
01:25:09,240 --> 01:25:11,320
Speaker 2: you got the stupidest ship you could ever said to

1701
01:25:11,360 --> 01:25:13,960
Speaker 2: the nigga, why would you make him sign another nigga

1702
01:25:13,960 --> 01:25:19,280
Speaker 2: from Atlanta. I just never looked at it like that.

1703
01:25:19,320 --> 01:25:22,320
Speaker 2: I just thought Chain with five and it with my boy.

1704
01:25:22,479 --> 01:25:25,080
Speaker 2: So it's like, I ain't tripping on that. I mean,

1705
01:25:25,080 --> 01:25:26,720
Speaker 2: I'm sorry, I'm gonna do my thing. You know what

1706
01:25:26,760 --> 01:25:29,360
Speaker 2: I'm saying. I'm not gonna. I wasn't thinking that it

1707
01:25:29,400 --> 01:25:31,680
Speaker 2: would affect what I had going on, you know what

1708
01:25:31,720 --> 01:25:34,920
Speaker 2: I'm saying. But I mean strategically, yeah, you probably would

1709
01:25:34,960 --> 01:25:36,720
Speaker 2: have stayed a French Montana and you would have been

1710
01:25:37,360 --> 01:25:40,040
Speaker 2: I just never had a I just never been a hater,

1711
01:25:40,160 --> 01:25:42,439
Speaker 2: So it just never crossed my mind. I just gave

1712
01:25:42,479 --> 01:25:43,799
Speaker 2: the best decision.

1713
01:25:43,840 --> 01:25:45,680
Speaker 6: And it's fucked up because a lot of times that's

1714
01:25:45,680 --> 01:25:48,559
Speaker 6: how shit happened, Like think like that, Yeah, that's how

1715
01:25:49,360 --> 01:25:50,240
Speaker 6: changed that.

1716
01:25:50,640 --> 01:25:52,240
Speaker 2: Now. I might have been, like, you know what, I

1717
01:25:52,280 --> 01:25:56,760
Speaker 2: might want to go with Fred too, changing my guy,

1718
01:25:56,840 --> 01:25:59,200
Speaker 2: but I was I wouldn't. I wouldn't change it.

1719
01:26:00,479 --> 01:26:03,880
Speaker 1: After speaking of that era when Chains was affiliated with

1720
01:26:03,920 --> 01:26:06,680
Speaker 1: good Music and it was the good Music Fridays and

1721
01:26:06,720 --> 01:26:10,559
Speaker 1: that entire shit which really felt like Yay was bringing

1722
01:26:10,560 --> 01:26:11,880
Speaker 1: the attention. I felt like he was trying to go

1723
01:26:11,920 --> 01:26:15,120
Speaker 1: on the Rockefeller route of you are now solidified as

1724
01:26:15,120 --> 01:26:20,720
Speaker 1: the biggest artist. Let me put on every artist. Had

1725
01:26:20,800 --> 01:26:25,160
Speaker 1: Cruel Summer not been rushed, do you think the label

1726
01:26:25,240 --> 01:26:27,479
Speaker 1: Good Music would be in a different place than they

1727
01:26:27,520 --> 01:26:30,960
Speaker 1: are now because all the attention Kanye just dropped a

1728
01:26:30,960 --> 01:26:33,240
Speaker 1: classic album that's not good Fridays was the hottest shit

1729
01:26:33,360 --> 01:26:36,000
Speaker 1: moving on the Internet, and then Cruel Summer came and

1730
01:26:36,120 --> 01:26:38,040
Speaker 1: I like Cruel Summer, don't get me twisted, Like I

1731
01:26:38,160 --> 01:26:41,960
Speaker 1: like it as an album, it felt super rushed, and

1732
01:26:42,000 --> 01:26:45,440
Speaker 1: I felt like the only people that suffered from it

1733
01:26:45,520 --> 01:26:48,240
Speaker 1: was not named Kanye West. Like that was the time

1734
01:26:48,280 --> 01:26:51,640
Speaker 1: for the label and it didn't affect Yay's career, but

1735
01:26:51,680 --> 01:26:54,040
Speaker 1: I felt like it really could have helped that brand

1736
01:26:54,080 --> 01:26:57,360
Speaker 1: of good music because the good good Music Fridays and

1737
01:26:58,320 --> 01:27:01,799
Speaker 1: coming off My Beautiful Darkswess Fantasy, it was just a time.

1738
01:27:01,600 --> 01:27:04,040
Speaker 2: For I think. I think what happened in that era,

1739
01:27:04,160 --> 01:27:06,960
Speaker 2: Bro was Yay was getting powerful and people That's when

1740
01:27:06,960 --> 01:27:10,160
Speaker 2: people start picking at him. They start trying to get

1741
01:27:10,160 --> 01:27:12,559
Speaker 2: Sean to do his own thing. They start trying to

1742
01:27:13,040 --> 01:27:15,960
Speaker 2: get people to kind of turn on him because he

1743
01:27:16,320 --> 01:27:20,200
Speaker 2: was throwing his weight around usually you've probably seen him

1744
01:27:20,240 --> 01:27:23,000
Speaker 2: do it on TV every now and then, but or

1745
01:27:23,000 --> 01:27:26,200
Speaker 2: a The War Show. But that social media was coming

1746
01:27:26,240 --> 01:27:28,360
Speaker 2: into play and he could kind of say what he

1747
01:27:28,439 --> 01:27:30,599
Speaker 2: want to say every fucking day. It was just like,

1748
01:27:31,320 --> 01:27:33,360
Speaker 2: we got to figure out how to weaken that thing.

1749
01:27:33,520 --> 01:27:36,519
Speaker 2: So that's all that was. It was never you know,

1750
01:27:38,479 --> 01:27:40,800
Speaker 2: I don't feel like it hurt anybody because if you

1751
01:27:40,840 --> 01:27:43,320
Speaker 2: look at it, there's not a lot of labels out

1752
01:27:43,360 --> 01:27:47,240
Speaker 2: that have multiple artists. That's not something that's popular anymore

1753
01:27:47,240 --> 01:27:50,599
Speaker 2: because artists don't need a label no more. Yeah, they

1754
01:27:50,600 --> 01:27:53,360
Speaker 2: can just go to TikTok or Instagram or something and drop.

1755
01:27:53,400 --> 01:27:57,719
Speaker 2: They shouldn't just get a deal through United Masters whoever,

1756
01:27:57,880 --> 01:27:59,720
Speaker 2: you know what I mean. So I think that's what

1757
01:27:59,800 --> 01:28:02,240
Speaker 2: kind of kind of did that. And you know, Yay

1758
01:28:02,360 --> 01:28:06,040
Speaker 2: moving into fashion and stuff, and you know he that's

1759
01:28:06,080 --> 01:28:08,840
Speaker 2: kind of his priority now. Music is like his commercials

1760
01:28:09,280 --> 01:28:10,040
Speaker 2: for his product.

1761
01:28:10,080 --> 01:28:12,679
Speaker 7: Absolutely, But do you think the music has suffered?

1762
01:28:16,760 --> 01:28:18,600
Speaker 2: I just think he in a different place. Man. A

1763
01:28:18,640 --> 01:28:21,920
Speaker 2: lot of times when you're trying something new. I just

1764
01:28:21,920 --> 01:28:24,200
Speaker 2: seen a new sport the other day. It's called pickleball

1765
01:28:24,320 --> 01:28:27,920
Speaker 2: or something, Man't it That shit looks crazy because we

1766
01:28:28,040 --> 01:28:30,680
Speaker 2: just haven't seen. We used to tennis or something, but

1767
01:28:30,800 --> 01:28:33,680
Speaker 2: it just looks different because we have We're not accustomed

1768
01:28:33,720 --> 01:28:37,160
Speaker 2: looking at it. So I think, yay rapping about Jesus,

1769
01:28:37,560 --> 01:28:42,960
Speaker 2: you're just not accustomed to hearing fifteen Jesus walks, you

1770
01:28:43,000 --> 01:28:44,519
Speaker 2: know what I mean? You used to just hearing one.

1771
01:28:44,680 --> 01:28:47,040
Speaker 2: Then you can hear you know, your other things that

1772
01:28:47,080 --> 01:28:51,480
Speaker 2: you can relate to. But I think even with Jesus,

1773
01:28:52,160 --> 01:28:55,200
Speaker 2: Jesus he always tell me people say they don't like Jesus,

1774
01:28:55,280 --> 01:29:00,800
Speaker 2: but they like traveling the weekend, right, that's He's I

1775
01:29:00,880 --> 01:29:04,280
Speaker 2: just did the authentic version of it. They did the

1776
01:29:04,560 --> 01:29:07,519
Speaker 2: only me blend the coolness with, so I won't look

1777
01:29:07,520 --> 01:29:09,880
Speaker 2: out of place when I play this song kind of vibe.

1778
01:29:10,240 --> 01:29:13,879
Speaker 2: So I think even with what was drake last project

1779
01:29:15,800 --> 01:29:17,920
Speaker 2: Dance thing, the dance album that's.

1780
01:29:17,720 --> 01:29:19,400
Speaker 3: His Jeezus, how do you feel about that album?

1781
01:29:19,560 --> 01:29:22,840
Speaker 2: I liked it because I mean, I mean, I'm not a.

1782
01:29:23,120 --> 01:29:26,000
Speaker 2: I hate Vegas, so I don't like being a. I

1783
01:29:26,040 --> 01:29:28,640
Speaker 2: hate that I got to get the fuck out of here.

1784
01:29:30,080 --> 01:29:33,559
Speaker 2: I got to get out of here, man. But I think,

1785
01:29:33,800 --> 01:29:36,400
Speaker 2: you know, if you're allowed to go to those places

1786
01:29:36,439 --> 01:29:38,280
Speaker 2: you don't like, Bro, it'd be some I went to

1787
01:29:38,439 --> 01:29:40,720
Speaker 2: R and B Night at Red Martinez in Atlanta the

1788
01:29:40,760 --> 01:29:43,080
Speaker 2: other night to hear R and B all night. That

1789
01:29:43,160 --> 01:29:45,800
Speaker 2: was the best time I had in the club bro

1790
01:29:46,040 --> 01:29:50,400
Speaker 2: in probably about ten years. Bro, because everybody's singing. You

1791
01:29:50,400 --> 01:29:55,120
Speaker 2: ain't no ass. Look see you know, the girls is

1792
01:29:55,280 --> 01:29:58,320
Speaker 2: enjoying themselfs like you know, that was the first time

1793
01:29:58,439 --> 01:30:02,599
Speaker 2: I had like dance with a girl in the club.

1794
01:30:03,439 --> 01:30:06,200
Speaker 2: You gotta go to the strict club. Other than that,

1795
01:30:06,439 --> 01:30:09,679
Speaker 2: the girls dancing their section with their people, you kind

1796
01:30:09,680 --> 01:30:12,840
Speaker 2: of hold your bottles. This was the first time we

1797
01:30:12,840 --> 01:30:17,439
Speaker 2: was in that song. So sometimes you just need a

1798
01:30:17,439 --> 01:30:20,120
Speaker 2: different environment. And once you get to that environment, like

1799
01:30:20,240 --> 01:30:22,479
Speaker 2: Drake said, once you get on the yacht and be

1800
01:30:22,520 --> 01:30:25,400
Speaker 2: able to go to Cans or Turks, you're gonna be like, man,

1801
01:30:25,400 --> 01:30:27,200
Speaker 2: I need that Drink album right now. This ship is

1802
01:30:27,240 --> 01:30:28,559
Speaker 2: on fire. You know what I mean?

1803
01:30:28,840 --> 01:30:30,760
Speaker 3: You got It's all about where you received that type

1804
01:30:30,800 --> 01:30:31,200
Speaker 3: of music.

1805
01:30:31,360 --> 01:30:33,639
Speaker 6: I can't get in the middle of the trenches playing

1806
01:30:33,640 --> 01:30:36,519
Speaker 6: that honestly, never like it's not gonna connect with.

1807
01:30:36,520 --> 01:30:37,719
Speaker 2: Food savings and sizzens.

1808
01:30:38,600 --> 01:30:45,559
Speaker 1: Yeah, show, I'm just pi somebody in the quote quote

1809
01:30:45,560 --> 01:30:47,519
Speaker 1: trenches throwing on honestly, never mind.

1810
01:30:48,360 --> 01:30:50,360
Speaker 6: It just don't connect it don't it don't add up.

1811
01:30:51,400 --> 01:30:53,120
Speaker 6: I'm gonna name some artists and I just want you

1812
01:30:53,200 --> 01:30:57,559
Speaker 6: to in maybe two or three words them.

1813
01:30:58,000 --> 01:30:58,240
Speaker 2: No.

1814
01:30:59,560 --> 01:31:00,200
Speaker 3: Rick Rock.

1815
01:31:02,040 --> 01:31:06,320
Speaker 2: Legend, legend. He put me on you know what, super

1816
01:31:06,320 --> 01:31:10,040
Speaker 2: dope story the first self uh maybeack album. He called

1817
01:31:10,040 --> 01:31:12,000
Speaker 2: me in and wanted me to get on hisself. So

1818
01:31:12,040 --> 01:31:17,880
Speaker 2: I appreciate that. Belly Belly, Yeah, Oh that's my guy.

1819
01:31:18,000 --> 01:31:23,559
Speaker 2: Belly is a super player, super player, Yeah, Nick Grant,

1820
01:31:24,120 --> 01:31:31,880
Speaker 2: Nick Grant, oh Man special too, bro. Uh uh? I

1821
01:31:31,960 --> 01:31:35,519
Speaker 2: remember say vintage. I would like to say vintage.

1822
01:31:35,320 --> 01:31:37,640
Speaker 3: Like a young nas Yeah yeah yeah.

1823
01:31:38,680 --> 01:31:46,559
Speaker 2: Simbol simber Man my brother from another mother, uh Ji

1824
01:31:47,400 --> 01:31:53,280
Speaker 2: Ji hometown hero and we're from the same city.

1825
01:31:54,120 --> 01:31:56,599
Speaker 3: Twenty one Savage twenty one, oh.

1826
01:31:56,600 --> 01:31:59,439
Speaker 2: Man, you know what, I'm so crazy? I love you.

1827
01:31:59,479 --> 01:32:02,640
Speaker 2: I say one grew up like right the street from

1828
01:32:02,680 --> 01:32:07,080
Speaker 2: each other, So I would say twenty one authentic, authentic,

1829
01:32:07,400 --> 01:32:11,200
Speaker 2: authentic east Side Glenwood Road. You go, boy, you make

1830
01:32:11,240 --> 01:32:14,400
Speaker 2: that left home mother for Glenwood off Coveting. Hey, your

1831
01:32:14,439 --> 01:32:17,920
Speaker 2: ship on a swivel. Twenty one of the niggas all

1832
01:32:18,040 --> 01:32:24,400
Speaker 2: up that street. You might not get the mcafeete in

1833
01:32:24,520 --> 01:32:27,120
Speaker 2: one piece, Yo twenty one.

1834
01:32:27,240 --> 01:32:28,840
Speaker 3: I won't say I was.

1835
01:32:28,880 --> 01:32:31,240
Speaker 1: I'm late to twenty one, but I'm just really starting

1836
01:32:31,240 --> 01:32:35,360
Speaker 1: to appreciate. Actually how his pen Oh yeah, like twenty

1837
01:32:35,400 --> 01:32:39,040
Speaker 1: one corrap, Like he really wraps.

1838
01:32:38,880 --> 01:32:41,400
Speaker 2: The East side of Atlanta. We we got a little intellect,

1839
01:32:41,560 --> 01:32:44,240
Speaker 2: even though he is still a street nigga. But you

1840
01:32:44,360 --> 01:32:46,720
Speaker 2: still get a little bit of education. You still get

1841
01:32:46,760 --> 01:32:48,479
Speaker 2: a little bit of sauce, you know what I mean.

1842
01:32:49,160 --> 01:32:51,320
Speaker 7: Would I'm read say you're from Atlanta or not?

1843
01:32:51,840 --> 01:32:52,080
Speaker 2: Huh?

1844
01:32:52,200 --> 01:32:53,439
Speaker 7: Would Amoretta the.

1845
01:32:54,160 --> 01:32:57,240
Speaker 2: Oh yeah, I'm from Atlanta. Are from baby? I was

1846
01:32:57,280 --> 01:33:01,760
Speaker 2: going on Edgewood. Yeah, I'm straight. I give you my

1847
01:33:01,800 --> 01:33:06,400
Speaker 2: elementary school daycare. I went to tall Water. Yeah you

1848
01:33:06,439 --> 01:33:08,760
Speaker 2: know what, tall Water across the street from joone Board

1849
01:33:08,840 --> 01:33:15,519
Speaker 2: South John Bore, North Conway. The machine a machine, He's

1850
01:33:15,560 --> 01:33:21,759
Speaker 2: definitely a machine. Benny the Butcher, Bennie oh Man, Benny

1851
01:33:21,880 --> 01:33:27,200
Speaker 2: is like this is my this was my og used

1852
01:33:27,200 --> 01:33:29,519
Speaker 2: to call me. I would give Benny that. They used

1853
01:33:29,560 --> 01:33:32,960
Speaker 2: to call me a publicist for gangsters, So I would

1854
01:33:32,960 --> 01:33:35,240
Speaker 2: get that to Bennie. He a publicist for gangsters.

1855
01:33:35,320 --> 01:33:35,720
Speaker 3: I like that.

1856
01:33:36,479 --> 01:33:42,320
Speaker 2: Uh, jadakish jadakiss The voice. He's the He's the original

1857
01:33:42,520 --> 01:33:48,439
Speaker 2: bar god. Listen, the original bar God. Jada, Drake, Drake,

1858
01:33:50,680 --> 01:33:54,880
Speaker 2: Michael Jackson of our time. I like that. I would

1859
01:33:54,920 --> 01:33:59,599
Speaker 2: say I always tell people Drake is Michael Jackson. James

1860
01:33:59,640 --> 01:34:04,439
Speaker 2: Brown mm hmm Okay, Look, people don't sample Mike like that.

1861
01:34:05,040 --> 01:34:05,519
Speaker 3: Mm hm.

1862
01:34:05,520 --> 01:34:09,240
Speaker 2: But they sampled the hell out of James Brown. Yeah,

1863
01:34:09,360 --> 01:34:15,760
Speaker 2: to this day, every sneer, every yeah, yeah, James.

1864
01:34:16,200 --> 01:34:22,200
Speaker 1: They will kill me for saying this. I would say Drake, Mike, Kanye, Prince.

1865
01:34:23,080 --> 01:34:25,800
Speaker 1: I think Kanye is definitely a Prince type as far

1866
01:34:25,840 --> 01:34:28,080
Speaker 1: as what he really contributes to his.

1867
01:34:28,040 --> 01:34:30,919
Speaker 7: Music, like that he does everything.

1868
01:34:31,120 --> 01:34:33,320
Speaker 2: I would say Kendrick is more Prince than Ya.

1869
01:34:34,040 --> 01:34:37,400
Speaker 1: I'm saying Prince as far as you think, like the

1870
01:34:37,479 --> 01:34:40,679
Speaker 1: amount of ship that Prince did actually differ his records

1871
01:34:40,720 --> 01:34:43,879
Speaker 1: the way Ya down from writing to kids, to drums

1872
01:34:43,880 --> 01:34:46,320
Speaker 1: to engineerings like to how it's presented.

1873
01:34:46,479 --> 01:34:46,599
Speaker 2: Uh.

1874
01:34:47,200 --> 01:34:50,880
Speaker 1: Prince was first on streaming, like how he pushed music forward.

1875
01:34:50,920 --> 01:34:52,639
Speaker 1: I think Yay is in that Prince.

1876
01:34:53,400 --> 01:34:55,479
Speaker 2: I would say that too. That's that you're right, You're right,

1877
01:34:55,720 --> 01:34:57,080
Speaker 2: He's similar to him.

1878
01:34:57,120 --> 01:35:00,880
Speaker 7: So yeah, Jay, Tronica.

1879
01:35:01,400 --> 01:35:08,200
Speaker 2: Ah Man mentor Okay mentor you got a lot of knowledge.

1880
01:35:09,680 --> 01:35:12,200
Speaker 3: Funny nigga too, Your funny nigga too.

1881
01:35:12,360 --> 01:35:14,599
Speaker 1: We almost we almost died in Mexico with Oh, you'll

1882
01:35:14,600 --> 01:35:18,439
Speaker 1: both take a bag to Ja. I will put you

1883
01:35:18,439 --> 01:35:21,600
Speaker 1: guys in a group chat. We don't get arrested on

1884
01:35:21,600 --> 01:35:23,800
Speaker 1: the way there. We almost died with j Electronica in

1885
01:35:23,840 --> 01:35:27,679
Speaker 1: Mexico recently, great.

1886
01:35:27,479 --> 01:35:33,679
Speaker 3: Time all right, Last but not least, jay Z, jay.

1887
01:35:33,600 --> 01:35:39,080
Speaker 2: Z my favorite rapper all time, my goat, my my uncle,

1888
01:35:39,560 --> 01:35:44,320
Speaker 2: my second father, James. Everything to me. Let me tell

1889
01:35:44,360 --> 01:35:48,160
Speaker 2: you something. I can rap reasonable doubt from track one

1890
01:35:49,120 --> 01:35:56,080
Speaker 2: to then no fumbles, no fumbles.

1891
01:35:56,320 --> 01:35:59,640
Speaker 6: Would you ever because I know you, you know you

1892
01:35:59,720 --> 01:36:02,320
Speaker 6: got one of my favorite La League of freestyles.

1893
01:36:02,320 --> 01:36:04,679
Speaker 3: Ever, would you ever.

1894
01:36:07,560 --> 01:36:09,920
Speaker 6: Get into like a back and forth with Jay on

1895
01:36:10,000 --> 01:36:13,240
Speaker 6: the track, like if it was like like like like sparring.

1896
01:36:14,080 --> 01:36:16,120
Speaker 6: Oh no, no, when we look at some of the

1897
01:36:16,120 --> 01:36:18,080
Speaker 6: points that we luck like, I'm not even getting into

1898
01:36:18,120 --> 01:36:19,800
Speaker 6: that with him, But would you would you.

1899
01:36:19,760 --> 01:36:24,679
Speaker 2: Take that challenge? I take challenge with anybody, but I'm

1900
01:36:24,720 --> 01:36:27,679
Speaker 2: not in the moment, But with Jay, it's the most

1901
01:36:27,720 --> 01:36:31,960
Speaker 2: respectful way. I just that's just my guy. Yeah, I

1902
01:36:31,960 --> 01:36:34,960
Speaker 2: don't know. I remember there's so many stories, you know,

1903
01:36:35,000 --> 01:36:38,880
Speaker 2: I'm nda out, but you know what I'm saying. I

1904
01:36:38,920 --> 01:36:42,799
Speaker 2: can't tell you too much, but yeah, bro, he's silent

1905
01:36:42,880 --> 01:36:45,200
Speaker 2: because he the one. He the reason I'm signed to

1906
01:36:44,920 --> 01:36:47,640
Speaker 2: you or I got in that situation like that. He

1907
01:36:47,720 --> 01:36:49,960
Speaker 2: kind of put the stamp on it for me, and

1908
01:36:50,000 --> 01:36:52,800
Speaker 2: I'll never forget it. I remember when I got my chain,

1909
01:36:52,880 --> 01:36:55,560
Speaker 2: he was there. You know, I told you to sign me.

1910
01:36:56,880 --> 01:37:00,320
Speaker 2: It's funny he got the cannabis company now because we

1911
01:37:00,400 --> 01:37:03,720
Speaker 2: blew a couple of motherfucking parents together. It's like this,

1912
01:37:05,320 --> 01:37:08,400
Speaker 2: my boy, you know what I mean. So it's like,

1913
01:37:09,240 --> 01:37:09,960
Speaker 2: you know, he.

1914
01:37:10,080 --> 01:37:12,320
Speaker 1: The goat, bro, and I know it's just becoming the

1915
01:37:12,400 --> 01:37:15,320
Speaker 1: random question quick hit ship. Is there Is there a

1916
01:37:15,360 --> 01:37:18,920
Speaker 1: beat that you passed on that you later heard that

1917
01:37:19,120 --> 01:37:20,880
Speaker 1: ended up being like a beat?

1918
01:37:21,240 --> 01:37:21,479
Speaker 2: Yeah?

1919
01:37:21,800 --> 01:37:24,280
Speaker 1: Like I heard Memphis Bleak was on the podcast saying

1920
01:37:24,280 --> 01:37:26,240
Speaker 1: that he passed on the I will tell you.

1921
01:37:26,200 --> 01:37:29,400
Speaker 2: This, I will tell you this and this is this

1922
01:37:29,439 --> 01:37:33,360
Speaker 2: is a caveat shout out to two Chains. I got

1923
01:37:33,360 --> 01:37:39,479
Speaker 2: to beat CD from a producer and like, man, I

1924
01:37:39,520 --> 01:37:40,920
Speaker 2: was like, Dan, this'd be so hard. I'm about to

1925
01:37:40,920 --> 01:37:43,840
Speaker 2: send this the two Chain. I sent the chair like man,

1926
01:37:43,840 --> 01:37:46,800
Speaker 2: who shit to this beat? Bro? That's my beat. I'm like, dad,

1927
01:37:46,840 --> 01:37:49,240
Speaker 2: I just got this from the producer, and he got

1928
01:37:49,240 --> 01:37:50,960
Speaker 2: mad at the producer and me and the producer. The

1929
01:37:50,960 --> 01:37:52,760
Speaker 2: producer got mad at me. I'm like, bro, you gave

1930
01:37:52,800 --> 01:37:57,519
Speaker 2: me the beat, but it ended up being him and Drake. Okay,

1931
01:37:59,520 --> 01:38:02,120
Speaker 2: I forgot I think, I mean, I think that was

1932
01:38:02,160 --> 01:38:07,519
Speaker 2: the one. His first thing. So and like I said,

1933
01:38:07,800 --> 01:38:10,080
Speaker 2: to Change has been a good guy since then.

1934
01:38:10,120 --> 01:38:14,200
Speaker 6: But Change drop that ball used to off white like

1935
01:38:14,280 --> 01:38:17,760
Speaker 6: egg nogs. I think I downloaded all his ship after that. Know,

1936
01:38:17,760 --> 01:38:19,599
Speaker 6: if he's talking like this, I got to hear everything.

1937
01:38:20,280 --> 01:38:23,679
Speaker 2: Virgo bro We virgos bro. We put that ship together

1938
01:38:23,760 --> 01:38:26,559
Speaker 2: like that, Change.

1939
01:38:26,479 --> 01:38:28,240
Speaker 7: Speaking of whole and to Change?

1940
01:38:28,920 --> 01:38:29,479
Speaker 2: Will we ever?

1941
01:38:29,520 --> 01:38:30,960
Speaker 7: Do you think we'll ever get a two change in

1942
01:38:31,160 --> 01:38:32,000
Speaker 7: in J record?

1943
01:38:32,120 --> 01:38:35,639
Speaker 1: Because I feel like that that's the last Yeah, that's

1944
01:38:35,680 --> 01:38:36,400
Speaker 1: like old.

1945
01:38:36,600 --> 01:38:42,479
Speaker 2: Yeah verse because yeah yeah yeah Jay two change. Dude,

1946
01:38:42,840 --> 01:38:46,840
Speaker 2: he do need that verse because he he he he admires.

1947
01:38:46,960 --> 01:38:49,720
Speaker 2: I could just hear it in his music. We all

1948
01:38:50,240 --> 01:38:55,479
Speaker 2: Jay bro Jay We he needs one though, m hm, yeah,

1949
01:38:55,520 --> 01:38:56,160
Speaker 2: he needs.

1950
01:38:55,920 --> 01:38:56,960
Speaker 3: One all right.

1951
01:38:56,960 --> 01:39:00,559
Speaker 6: So before we wrap up, uh the album, November hopefully,

1952
01:39:00,880 --> 01:39:02,200
Speaker 6: Oh yeah, I want to hold you to it.

1953
01:39:02,320 --> 01:39:05,360
Speaker 2: No November, Yeah, definitely don't hold me to it. November

1954
01:39:05,479 --> 01:39:08,240
Speaker 2: story he got coming soon a couple of months. Man,

1955
01:39:08,280 --> 01:39:11,559
Speaker 2: I appreciate everybody holding type for me. It's gonna be

1956
01:39:11,560 --> 01:39:16,840
Speaker 2: star Study, It's gonna be No Dope on Sundays on steroids.

1957
01:39:17,080 --> 01:39:21,120
Speaker 6: Don't I don't say that, bro, You just said you

1958
01:39:21,240 --> 01:39:25,640
Speaker 6: like my l A league of freestyle, bro legendary.

1959
01:39:25,680 --> 01:39:29,920
Speaker 3: Just you know what I'm saying on steroids. That's saying

1960
01:39:29,960 --> 01:39:31,960
Speaker 3: you saying something lit on steroids.

1961
01:39:32,040 --> 01:39:33,760
Speaker 2: Bro, Bro, I do this. Bro.

1962
01:39:33,920 --> 01:39:36,080
Speaker 3: Okay, all right, I'm waiting this.

1963
01:39:36,520 --> 01:39:39,120
Speaker 7: Don't expectations. Ain't the wraps because we know you could rap.

1964
01:39:39,240 --> 01:39:41,280
Speaker 1: No Dope on Sunday is one of the few lyrical

1965
01:39:41,280 --> 01:39:43,519
Speaker 1: albums that has some of the best production of it. Yeah,

1966
01:39:43,640 --> 01:39:47,759
Speaker 1: I'm not Yeah you dope on Sundays on steroids.

1967
01:39:47,200 --> 01:39:51,200
Speaker 2: Because I got those. I got those same dudes, but

1968
01:39:52,080 --> 01:39:57,000
Speaker 2: with more equipment, more knowledge, more understanding. We did that,

1969
01:39:57,080 --> 01:39:58,840
Speaker 2: Like No Dope on Sunday. I'm gonna tell you something

1970
01:39:58,880 --> 01:40:02,000
Speaker 2: we was That was trial and era. You know what

1971
01:40:02,040 --> 01:40:03,680
Speaker 2: we were doing. We was like, man, we think this,

1972
01:40:03,840 --> 01:40:04,200
Speaker 2: how go?

1973
01:40:04,400 --> 01:40:04,519
Speaker 5: You know?

1974
01:40:04,600 --> 01:40:06,920
Speaker 2: I Meggas I used to do a beat, you know

1975
01:40:06,960 --> 01:40:09,080
Speaker 2: what I mean? But now we really know how to

1976
01:40:09,080 --> 01:40:10,000
Speaker 2: do it the jacket.

1977
01:40:10,000 --> 01:40:10,759
Speaker 7: That shit happened.

1978
01:40:11,320 --> 01:40:13,599
Speaker 2: Man, let me tell you something, bu niggas don't know, bro,

1979
01:40:13,680 --> 01:40:17,280
Speaker 2: I went to nigga, I went to jail to jacket.

1980
01:40:17,439 --> 01:40:20,320
Speaker 2: I had like thirty bags. I got travel like thirty

1981
01:40:20,360 --> 01:40:25,760
Speaker 2: bags full text to like all type of shit. Back

1982
01:40:25,800 --> 01:40:27,759
Speaker 2: in the day, Jagade was like one of the first.

1983
01:40:27,960 --> 01:40:30,120
Speaker 2: You know, they from the east side of you and

1984
01:40:30,160 --> 01:40:31,479
Speaker 2: I'm from the east side. So they used to let

1985
01:40:31,520 --> 01:40:36,240
Speaker 2: us use their studio and shit, you know, young, you

1986
01:40:36,320 --> 01:40:40,320
Speaker 2: just start trapping it out. Yeah, and being young and

1987
01:40:40,680 --> 01:40:43,360
Speaker 2: boy kicked the though. So I've been knowing them since

1988
01:40:43,400 --> 01:40:47,240
Speaker 2: I was ship sixteen yeah, fifteen, young nigga. That was.

1989
01:40:47,280 --> 01:40:49,000
Speaker 2: That was more than a verse swap, is what you're saying.

1990
01:40:49,120 --> 01:40:54,800
Speaker 2: Yeah yeah, bro, Man, My partners used to call me

1991
01:40:54,880 --> 01:40:56,879
Speaker 2: laying because I used to roll weed for the niggas.

1992
01:40:57,160 --> 01:40:59,080
Speaker 2: Nigga be like, man rolling weed for tho niggas, And

1993
01:40:59,120 --> 01:41:00,840
Speaker 2: I was like, I'm trying to studio, bro.

1994
01:41:00,880 --> 01:41:02,160
Speaker 3: Yeah see that type of ship.

1995
01:41:02,280 --> 01:41:05,320
Speaker 2: Yeah I'm wrong, everybody, I'm already and they buying it

1996
01:41:05,400 --> 01:41:06,120
Speaker 2: from its just.

1997
01:41:06,040 --> 01:41:08,080
Speaker 3: Like yeah yeah, But.

1998
01:41:08,240 --> 01:41:10,120
Speaker 2: I knew that was my way of like getting the start.

1999
01:41:10,160 --> 01:41:11,800
Speaker 2: Started going on the road with them. That's how I

2000
01:41:11,880 --> 01:41:13,719
Speaker 2: met you know what I mean, a lot of people

2001
01:41:13,760 --> 01:41:15,800
Speaker 2: in the music industry just through them. That was my

2002
01:41:15,880 --> 01:41:19,439
Speaker 2: first you know what I'm saying, introduction to it. So yeah,

2003
01:41:19,479 --> 01:41:22,160
Speaker 2: I used to see I used to see Destiny Child

2004
01:41:22,200 --> 01:41:24,400
Speaker 2: over there. Everything she used to be lit.

2005
01:41:25,400 --> 01:41:27,599
Speaker 6: Well, we want to thank you for taking some time

2006
01:41:27,640 --> 01:41:28,439
Speaker 6: out to kick it with us.

2007
01:41:28,439 --> 01:41:29,799
Speaker 3: Man, we've been I think.

2008
01:41:29,680 --> 01:41:31,599
Speaker 7: That was his way of saying he sold to Kelly Rowland.

2009
01:41:32,479 --> 01:41:37,439
Speaker 2: No, no, no, not that I'm joking, but we appreciate

2010
01:41:37,479 --> 01:41:40,679
Speaker 2: your time, man, and listen, man, we big fans, big supporters.

2011
01:41:40,720 --> 01:41:42,519
Speaker 3: I'm just happy to know that the music is coming,

2012
01:41:43,200 --> 01:41:45,280
Speaker 3: and we appreciate.

2013
01:41:44,800 --> 01:41:47,519
Speaker 6: You holding rap to a certain echelon, man, because you

2014
01:41:47,600 --> 01:41:50,880
Speaker 6: wanted a few that really really rap at a certain level,

2015
01:41:51,640 --> 01:41:53,479
Speaker 6: created a certain level right at a certain level.

2016
01:41:53,520 --> 01:41:55,680
Speaker 3: So I appreciate that. A lot of us out here

2017
01:41:55,680 --> 01:41:57,000
Speaker 3: that still do appreciate it.

2018
01:41:56,920 --> 01:42:00,360
Speaker 7: And a lyrical rapper that could make a song that's different.

2019
01:42:00,520 --> 01:42:02,639
Speaker 1: Yes, that's really why I with you, because it's mad

2020
01:42:02,720 --> 01:42:05,240
Speaker 1: rappers out there. Yes, but they can't make a record.

2021
01:42:05,280 --> 01:42:08,439
Speaker 1: They don't know good production, they don't know song structure.

2022
01:42:08,920 --> 01:42:11,040
Speaker 2: Because yes, wrapped.

2023
01:42:10,800 --> 01:42:12,840
Speaker 1: Till you're blue in the face, it's cool. I appreciate it,

2024
01:42:12,840 --> 01:42:13,960
Speaker 1: but it's not stick.

2025
01:42:14,240 --> 01:42:17,400
Speaker 2: It ain't got. Yeah. I always tell people I don't

2026
01:42:17,439 --> 01:42:19,800
Speaker 2: like when people call me a lyricist, like even though

2027
01:42:19,840 --> 01:42:23,360
Speaker 2: I understand it. Yeah, but it's just I'm just articulating

2028
01:42:23,400 --> 01:42:25,880
Speaker 2: my life and I just know how to put it together. Well.

2029
01:42:26,280 --> 01:42:28,479
Speaker 2: But this ain't no ship, this ain't no extra lactical

2030
01:42:28,520 --> 01:42:33,880
Speaker 2: pact practical. Yeah, don't put me in that category. I

2031
01:42:33,880 --> 01:42:36,920
Speaker 2: feel you. It's because I ain't rapped. I ain't wrapped

2032
01:42:36,920 --> 01:42:40,479
Speaker 2: a lot yet. I wanted to lie last caveat. I

2033
01:42:40,520 --> 01:42:43,720
Speaker 2: used to grow up around this super street dude. Bro.

2034
01:42:44,400 --> 01:42:45,880
Speaker 2: I mean one day it was in the studio, all

2035
01:42:45,920 --> 01:42:48,320
Speaker 2: my buddies and we like, man, we got this got that.

2036
01:42:48,560 --> 01:42:52,479
Speaker 2: The nigga hit the space boom. Everybody pull your drugs,

2037
01:42:53,560 --> 01:42:55,800
Speaker 2: you know what I mean? So you know that little weed.

2038
01:42:56,520 --> 01:42:58,559
Speaker 2: I don't want to hit noney talking about no coke

2039
01:42:59,640 --> 01:43:02,320
Speaker 2: A see its weak. Everybody to pull your pistol out

2040
01:43:02,400 --> 01:43:05,000
Speaker 2: like you just start telling, like where your ho at

2041
01:43:05,280 --> 01:43:09,720
Speaker 2: and what stopped talking about? All right, bro, it was

2042
01:43:09,760 --> 01:43:12,320
Speaker 2: just that day I had to figure out how to

2043
01:43:12,360 --> 01:43:15,320
Speaker 2: wrap my true life. So I tell everybody a lot

2044
01:43:15,320 --> 01:43:18,240
Speaker 2: of people can use this much of the dictionary. I

2045
01:43:18,280 --> 01:43:21,200
Speaker 2: can only use this much when I write. I can

2046
01:43:21,240 --> 01:43:23,960
Speaker 2: only use this much of because I just have to

2047
01:43:24,000 --> 01:43:26,439
Speaker 2: be true to who I am and true to what

2048
01:43:26,920 --> 01:43:30,439
Speaker 2: I'm saying. So most artists, that's how you developed that

2049
01:43:30,560 --> 01:43:33,280
Speaker 2: core fan base, you know what I mean. Cut back

2050
01:43:33,320 --> 01:43:35,200
Speaker 2: on what you're talking about, cut the fat off the

2051
01:43:35,280 --> 01:43:38,479
Speaker 2: music and actually get to the point, the soul and

2052
01:43:38,560 --> 01:43:40,360
Speaker 2: the subject of the of the.

2053
01:43:40,360 --> 01:43:42,280
Speaker 7: Record, and get the lives off when you write for

2054
01:43:42,360 --> 01:43:43,040
Speaker 7: other people.

2055
01:43:42,960 --> 01:43:46,800
Speaker 2: Yeah, yeah, oh yeah, yeah, even when I'm with right, right,

2056
01:43:47,280 --> 01:43:49,719
Speaker 2: I have to I was just with an artist last

2057
01:43:49,720 --> 01:43:52,120
Speaker 2: week and I didn't know his story, so I had

2058
01:43:52,160 --> 01:43:53,720
Speaker 2: to sit there and kind of interview, and he was

2059
01:43:53,720 --> 01:43:55,800
Speaker 2: looking at me kind of crazy. I'm like, you know,

2060
01:43:56,040 --> 01:43:56,599
Speaker 2: I don't.

2061
01:43:56,760 --> 01:43:57,679
Speaker 3: Yeah, I don't know how to write.

2062
01:43:57,880 --> 01:43:59,760
Speaker 2: Yea. I looked you up there. There's not a lot

2063
01:43:59,800 --> 01:44:02,719
Speaker 2: of you, so I need to kind of feel your vibe.

2064
01:44:03,040 --> 01:44:07,120
Speaker 1: So Benny had told us yesterday in that same chair,

2065
01:44:07,160 --> 01:44:09,080
Speaker 1: speaking of ghost writing, that he wrote a verse for

2066
01:44:09,120 --> 01:44:12,000
Speaker 1: Pinky the Porn Star in two thousand and two.

2067
01:44:12,080 --> 01:44:13,400
Speaker 7: Did he say two thousand and three?

2068
01:44:14,160 --> 01:44:18,360
Speaker 3: Yeah, somewhere around there was his swap. See that's a

2069
01:44:18,360 --> 01:44:22,640
Speaker 3: great question. We ain't even we ain't even asked that. No,

2070
01:44:22,680 --> 01:44:23,920
Speaker 3: but don't even.

2071
01:44:23,800 --> 01:44:29,000
Speaker 2: Worry about it. Pinky was the first swap I want

2072
01:44:29,760 --> 01:44:30,400
Speaker 2: was the swap?

2073
01:44:30,560 --> 01:44:37,439
Speaker 3: Like swap, what was the verse?

2074
01:44:37,479 --> 01:44:37,679
Speaker 2: What?

2075
01:44:37,680 --> 01:44:38,880
Speaker 3: What was the fucking verse?

2076
01:44:39,080 --> 01:44:45,040
Speaker 2: Don't pay me for that? Pinky this on the house, man,

2077
01:44:45,080 --> 01:44:45,920
Speaker 2: don't even worry about it.

2078
01:44:45,960 --> 01:44:47,640
Speaker 1: I need because when he said he was right for

2079
01:44:47,680 --> 01:44:49,280
Speaker 1: somebody went to look at interviews and ship. That's what

2080
01:44:49,320 --> 01:44:50,519
Speaker 1: I was trying to get at Bennie. I was like,

2081
01:44:50,560 --> 01:44:52,240
Speaker 1: all right, so before you got to the session, like

2082
01:44:52,240 --> 01:44:53,799
Speaker 1: how how you research the artists?

2083
01:44:53,880 --> 01:44:57,400
Speaker 3: You study the work? You study trying to study your work.

2084
01:45:02,520 --> 01:45:03,640
Speaker 7: I have to compliment you.

2085
01:45:03,760 --> 01:45:08,320
Speaker 1: When uh sickle mode came out and let's not keep

2086
01:45:08,320 --> 01:45:10,600
Speaker 1: this cause I fuck with Travis. We was in the

2087
01:45:10,640 --> 01:45:12,720
Speaker 1: car and he was like, man, Travis ain't write this

2088
01:45:12,760 --> 01:45:15,719
Speaker 1: bullshit like this. There's no way Travis wrote this ship

2089
01:45:15,920 --> 01:45:16,280
Speaker 1: like this.

2090
01:45:16,280 --> 01:45:17,559
Speaker 2: Is too good. Yeah.

2091
01:45:17,800 --> 01:45:19,680
Speaker 7: He was like I wrote this ship, I know it.

2092
01:45:19,880 --> 01:45:22,320
Speaker 7: And I was like, I did not write this.

2093
01:45:22,320 --> 01:45:25,160
Speaker 1: This was Travis wrote this, bro, Like come on, He's like,

2094
01:45:25,160 --> 01:45:26,720
Speaker 1: there's no way Travis.

2095
01:45:26,360 --> 01:45:28,280
Speaker 6: Came up with this type of ship. Just you could

2096
01:45:28,320 --> 01:45:30,760
Speaker 6: just hear it like I listened. So it's like when

2097
01:45:30,800 --> 01:45:32,960
Speaker 6: I hear certain shit. I'm like, I get it, Travis,

2098
01:45:33,120 --> 01:45:33,800
Speaker 6: that ain't you.

2099
01:45:33,800 --> 01:45:35,360
Speaker 3: You did not you.

2100
01:45:35,280 --> 01:45:35,840
Speaker 2: Can't hear it.

2101
01:45:35,840 --> 01:45:38,599
Speaker 7: It's like, but you know what, I admit when I'm wrong.

2102
01:45:38,960 --> 01:45:40,880
Speaker 7: I looked at mare Crash like, bro, Travis wrote this,

2103
01:45:40,920 --> 01:45:41,519
Speaker 7: what are you talking about?

2104
01:45:41,640 --> 01:45:43,400
Speaker 2: But let me no way, let me tell you what

2105
01:45:43,439 --> 01:45:46,639
Speaker 2: they all do. They all tell me what they want

2106
01:45:46,720 --> 01:45:50,360
Speaker 2: to say. Okay, so I don't all the way take credit.

2107
01:45:50,800 --> 01:45:52,559
Speaker 2: That's why I don't like to say. I'm not like

2108
01:45:52,600 --> 01:45:54,360
Speaker 2: I tell people all the time. It's not like I

2109
01:45:54,720 --> 01:45:58,960
Speaker 2: t I little bow wow, yeah, yeah, you know what

2110
01:45:59,040 --> 01:46:01,720
Speaker 2: I mean. It's like, man, I got this cadence like

2111
01:46:06,360 --> 01:46:07,680
Speaker 2: and I'd be like, okay, well what you want to

2112
01:46:07,680 --> 01:46:09,120
Speaker 2: talk about me? I want to talk about how him

2113
01:46:09,120 --> 01:46:13,519
Speaker 2: got the stunting on your home. And I just be like, okay, yeah,

2114
01:46:14,720 --> 01:46:16,439
Speaker 2: all of my ass put them off.

2115
01:46:16,720 --> 01:46:21,800
Speaker 1: The group was you know, so you know, just that

2116
01:46:21,920 --> 01:46:24,000
Speaker 1: was the specific line that that Mal said to me.

2117
01:46:24,040 --> 01:46:26,599
Speaker 7: He was like, Travesten, that bar is too dope.

2118
01:46:29,320 --> 01:46:31,120
Speaker 3: I could just hear it. I know. I'm like, okay,

2119
01:46:31,200 --> 01:46:32,000
Speaker 3: I know who that is.

2120
01:46:32,400 --> 01:46:34,519
Speaker 2: If he if he talked to me, if I'm with him,

2121
01:46:34,600 --> 01:46:36,799
Speaker 2: he talked, he always talking to me like man about

2122
01:46:36,800 --> 01:46:39,559
Speaker 2: all the girls he had and shoes. That's kind of

2123
01:46:39,560 --> 01:46:40,479
Speaker 2: like what he would.

2124
01:46:40,320 --> 01:46:42,960
Speaker 3: Like to say, yeah for he just don't.

2125
01:46:43,240 --> 01:46:46,920
Speaker 6: He just need a slick way of saying it like that,

2126
01:46:47,240 --> 01:46:47,720
Speaker 6: you know what I mean.

2127
01:46:47,760 --> 01:46:50,000
Speaker 2: So that's all it is. Trave my guy, don't get

2128
01:46:50,040 --> 01:46:53,160
Speaker 2: it twisted, man, and I hate that. And that's the

2129
01:46:53,240 --> 01:46:55,439
Speaker 2: thing I would like to say this before I leave.

2130
01:46:55,840 --> 01:46:59,000
Speaker 2: Definitely the reason why I Dream is so successful as

2131
01:46:59,040 --> 01:47:00,760
Speaker 2: a writer because he can say he wrote it.

2132
01:47:01,040 --> 01:47:01,280
Speaker 3: Yeah.

2133
01:47:02,240 --> 01:47:04,680
Speaker 2: But as a ghost writer, it's hard for me to

2134
01:47:04,720 --> 01:47:07,400
Speaker 2: work with other artists because I can't say I wrote it.

2135
01:47:08,040 --> 01:47:10,080
Speaker 2: You get what I'm saying. So it's like it has

2136
01:47:10,160 --> 01:47:11,920
Speaker 2: to be like you got to hear through the great

2137
01:47:12,040 --> 01:47:14,920
Speaker 2: mine of in the music industry that kind of like,

2138
01:47:14,920 --> 01:47:17,320
Speaker 2: oh so doing that? Okay, call him over here and

2139
01:47:17,360 --> 01:47:18,680
Speaker 2: see if he could work with this guy, you know

2140
01:47:18,680 --> 01:47:19,040
Speaker 2: what I mean.

2141
01:47:19,080 --> 01:47:21,760
Speaker 8: But he can never be like yo, y'all bro this

2142
01:47:21,960 --> 01:47:24,439
Speaker 8: like I'm I'm nominated for this grand Like I don't

2143
01:47:24,439 --> 01:47:28,240
Speaker 8: never post like my Grammys or like songs i'm nominated

2144
01:47:28,280 --> 01:47:30,600
Speaker 8: for when they come out, I don't never post it

2145
01:47:30,640 --> 01:47:31,560
Speaker 8: on my page.

2146
01:47:31,320 --> 01:47:33,960
Speaker 2: Or nothing, because I don't want them to feel uncomfortable.

2147
01:47:34,000 --> 01:47:37,800
Speaker 2: I don't want the fans to take away from them,

2148
01:47:37,840 --> 01:47:40,280
Speaker 2: like they didn't have nothing to do with what the

2149
01:47:40,360 --> 01:47:43,000
Speaker 2: album with those guys, Like the artists should do that.

2150
01:47:43,320 --> 01:47:44,479
Speaker 3: Yeah, the artists should do that, you.

2151
01:47:44,760 --> 01:47:45,559
Speaker 2: Know, artist ego.

2152
01:47:48,439 --> 01:47:49,400
Speaker 3: Like Coffee Bean.

2153
01:47:49,640 --> 01:47:52,120
Speaker 2: Yeah, they ain't gonna do that. Love stop More.

2154
01:47:52,360 --> 01:47:54,960
Speaker 4: I love it, Okay, I love I love it, but

2155
01:47:54,960 --> 01:47:58,960
Speaker 4: it's my favorite travels I got all right, I gotta

2156
01:47:59,000 --> 01:48:03,800
Speaker 4: give you your I love that record, but I can hear it.

2157
01:48:03,800 --> 01:48:04,280
Speaker 3: You know what I'm saying.

2158
01:48:04,360 --> 01:48:05,920
Speaker 6: I love Travis, but I'm like, I got to give

2159
01:48:05,920 --> 01:48:06,479
Speaker 6: you your respect.

2160
01:48:07,080 --> 01:48:09,559
Speaker 1: Coffeevie was the one time I was like, that's probably

2161
01:48:09,840 --> 01:48:10,559
Speaker 1: t il By.

2162
01:48:10,600 --> 01:48:12,479
Speaker 7: Well that felt like you wrote whole versus.

2163
01:48:12,680 --> 01:48:15,680
Speaker 2: Yeah. But but even that man, he was telling me

2164
01:48:15,680 --> 01:48:17,760
Speaker 2: where he was going Kylie, and he was just like,

2165
01:48:18,640 --> 01:48:20,960
Speaker 2: I need this to really you know what I mean. Whoop, whoop.

2166
01:48:21,000 --> 01:48:22,760
Speaker 2: This is what I'm going through. This We've been talking

2167
01:48:22,800 --> 01:48:25,200
Speaker 2: about this one in I'm like, okay, cool.

2168
01:48:27,080 --> 01:48:31,320
Speaker 1: You think streaming has started to eliminate some of the

2169
01:48:31,360 --> 01:48:34,240
Speaker 1: ghost writing per se, because a lot of times we're streaming.

2170
01:48:34,240 --> 01:48:37,280
Speaker 1: Now there you have to cross the t's dot the ies.

2171
01:48:37,360 --> 01:48:39,000
Speaker 1: The contracts got to be right. The public has to

2172
01:48:39,040 --> 01:48:41,800
Speaker 1: be right before it goes on DSPs. There's credits now

2173
01:48:41,800 --> 01:48:45,439
Speaker 1: on the ship, like it's not the wild.

2174
01:48:44,760 --> 01:48:47,200
Speaker 2: It's always been. But I just think, you know, the

2175
01:48:47,280 --> 01:48:49,040
Speaker 2: average fan ain't just reading credits.

2176
01:48:49,080 --> 01:48:50,680
Speaker 7: It's like, no, I'm just saying, you've got to be

2177
01:48:50,680 --> 01:48:53,960
Speaker 7: more accountable now because it's so easily I could open

2178
01:48:54,000 --> 01:48:57,040
Speaker 7: my phone and click a credit where if I'm that

2179
01:48:57,040 --> 01:48:59,960
Speaker 7: ghost writing ship. Back in the day, it didn't matter

2180
01:49:00,080 --> 01:49:01,799
Speaker 7: pressing up CDs. Nobody was really.

2181
01:49:01,800 --> 01:49:04,040
Speaker 2: But that's what I'm trying to me. It was songs.

2182
01:49:04,120 --> 01:49:06,240
Speaker 2: I'm gonna keep it a buck. It's song that I

2183
01:49:06,240 --> 01:49:10,080
Speaker 2: shouldn't have got publishing on that I did just because

2184
01:49:10,360 --> 01:49:13,439
Speaker 2: I kept the room vibing that. I mean, I didn't

2185
01:49:13,920 --> 01:49:18,559
Speaker 2: necessarily do the song. But I'm like, oh man, that's hard, bro,

2186
01:49:19,120 --> 01:49:21,720
Speaker 2: because it was odd. It's like but something like that

2187
01:49:21,760 --> 01:49:25,439
Speaker 2: and the nigga just you know, like it's almost like hustling. Bro.

2188
01:49:25,520 --> 01:49:27,519
Speaker 2: You might ride with a nigga to go make a

2189
01:49:27,600 --> 01:49:29,040
Speaker 2: play you really ain't had nothing to do with you.

2190
01:49:29,120 --> 01:49:31,479
Speaker 2: Wait outside, come in the house, nigga, throw you a

2191
01:49:31,520 --> 01:49:34,320
Speaker 2: couple of stacks, Like, I mean, I've been a part

2192
01:49:34,360 --> 01:49:37,080
Speaker 2: of them. I had crumbs off the table, So you

2193
01:49:37,080 --> 01:49:39,800
Speaker 2: know what I'm saying, it's just.

2194
01:49:39,000 --> 01:49:40,840
Speaker 7: People pay security when nothing happens.

2195
01:49:41,120 --> 01:49:43,640
Speaker 2: I do that too. I do that for like my my,

2196
01:49:43,640 --> 01:49:46,759
Speaker 2: my guy, he ain't wrote no songs, but he on' publishing,

2197
01:49:47,160 --> 01:49:49,479
Speaker 2: He getting the piece records. He in there at three

2198
01:49:49,520 --> 01:49:51,320
Speaker 2: in the morning before in the morning with me when

2199
01:49:51,360 --> 01:49:54,120
Speaker 2: I'm like everybody, tie like, bro, what you thinking? He like, Man,

2200
01:49:54,120 --> 01:49:57,000
Speaker 2: that's shit hard, all right? Cool? So that's why you

2201
01:49:57,040 --> 01:49:59,000
Speaker 2: take care of That's how we all take care of

2202
01:49:59,040 --> 01:50:01,040
Speaker 2: each other and the in the music industr. Because these

2203
01:50:01,080 --> 01:50:01,880
Speaker 2: labels ain't gonna do it.

2204
01:50:01,920 --> 01:50:02,599
Speaker 3: They're not gonna do it.

2205
01:50:02,600 --> 01:50:04,800
Speaker 2: So I guess the publishing side is really for the

2206
01:50:04,920 --> 01:50:08,400
Speaker 2: artists to kind of eat and people who actually work

2207
01:50:08,439 --> 01:50:11,000
Speaker 2: in the writers, the producers. That really that's why we

2208
01:50:11,040 --> 01:50:14,240
Speaker 2: need an artist union, bro, we need a produce artist union.

2209
01:50:14,560 --> 01:50:19,240
Speaker 2: We got to start that. A SAP ain't no way, man, Man.

2210
01:50:19,320 --> 01:50:21,920
Speaker 2: These people who drive the trains, Man, they went on

2211
01:50:22,000 --> 01:50:24,560
Speaker 2: strike for two days. Man had everything they asked for

2212
01:50:24,680 --> 01:50:27,760
Speaker 2: two day. Folk back on the track, you know what

2213
01:50:27,760 --> 01:50:29,600
Speaker 2: I mean. So we need our health care, bro, we

2214
01:50:29,640 --> 01:50:32,880
Speaker 2: need our pensions, We need dinner, we need everything. We

2215
01:50:32,920 --> 01:50:34,520
Speaker 2: need lawyers, we need security.

2216
01:50:35,240 --> 01:50:38,160
Speaker 1: Imagine if every artist was in a union and said

2217
01:50:38,280 --> 01:50:39,680
Speaker 1: we're not putting our music.

2218
01:50:39,600 --> 01:50:41,360
Speaker 7: For months, just a month.

2219
01:50:42,320 --> 01:50:45,040
Speaker 1: Spotify is changing that point zero zero zeros are one

2220
01:50:45,040 --> 01:50:45,960
Speaker 1: penny you get off the string.

2221
01:50:46,439 --> 01:50:49,800
Speaker 2: It's overnight. You won't believe it.

2222
01:50:51,200 --> 01:50:55,040
Speaker 1: Last last question just spark my thought because you said

2223
01:50:55,080 --> 01:51:00,200
Speaker 1: that with writers the three sixty deal, the lay who

2224
01:51:00,240 --> 01:51:02,800
Speaker 1: had to shift because they weren't making money based off

2225
01:51:02,880 --> 01:51:04,880
Speaker 1: actual album sales, so they had to grab some of

2226
01:51:05,160 --> 01:51:10,800
Speaker 1: the tour money. Should producers and writers put artists in

2227
01:51:10,880 --> 01:51:13,559
Speaker 1: a three sixty as far as their tour money too, We.

2228
01:51:13,640 --> 01:51:17,360
Speaker 2: All should be in at three sixty. Yeah, your labeled

2229
01:51:17,720 --> 01:51:18,560
Speaker 2: are sixty.

2230
01:51:18,280 --> 01:51:20,840
Speaker 1: Because there's no real money in the actual streams. And

2231
01:51:20,880 --> 01:51:23,080
Speaker 1: that's what it is art to have to do. They

2232
01:51:23,120 --> 01:51:24,000
Speaker 1: making their money off show.

2233
01:51:24,240 --> 01:51:26,400
Speaker 2: Know some you got some show artists and then you

2234
01:51:26,479 --> 01:51:30,400
Speaker 2: got some streaming artists. But when you combine both sides

2235
01:51:30,560 --> 01:51:32,360
Speaker 2: and makes it good for the artists. The only thing

2236
01:51:32,400 --> 01:51:35,320
Speaker 2: about the three sixty is it need to come with

2237
01:51:35,400 --> 01:51:35,920
Speaker 2: a pension.

2238
01:51:36,960 --> 01:51:38,200
Speaker 3: Okay, you know what I'm saying.

2239
01:51:38,240 --> 01:51:40,000
Speaker 2: It need to come with something. It need to come

2240
01:51:40,040 --> 01:51:43,200
Speaker 2: with like if I put my money in a in

2241
01:51:43,240 --> 01:51:46,840
Speaker 2: an investment account and it, you know, makes money, makes money,

2242
01:51:46,840 --> 01:51:50,160
Speaker 2: makes money. At some point it's just just start paying

2243
01:51:50,200 --> 01:51:52,680
Speaker 2: out little by little, you know what I'm saying. But

2244
01:51:53,160 --> 01:51:55,160
Speaker 2: I think that's what we need. Yeah, we need to

2245
01:51:55,200 --> 01:51:57,360
Speaker 2: give them more and they need to offer us more,

2246
01:51:57,880 --> 01:52:00,439
Speaker 2: you know what I mean, or more services like so

2247
01:52:00,479 --> 01:52:03,160
Speaker 2: that's the biggest thing. It's like most like I said,

2248
01:52:03,160 --> 01:52:06,439
Speaker 2: most labels don't force a lot of street rappers and

2249
01:52:06,520 --> 01:52:08,800
Speaker 2: artists to get their money on their own. So we

2250
01:52:08,960 --> 01:52:11,840
Speaker 2: kind of holding our nuts on them because if you

2251
01:52:11,960 --> 01:52:14,240
Speaker 2: fuck this up, you ain't got nothing to secure our

2252
01:52:14,280 --> 01:52:17,800
Speaker 2: future as a record label, you know what I mean.

2253
01:52:17,840 --> 01:52:20,160
Speaker 2: So it's like like I said, if you sign me,

2254
01:52:20,680 --> 01:52:24,080
Speaker 2: you gotta like when we as a as a If

2255
01:52:24,120 --> 01:52:26,600
Speaker 2: I'm the Land of Falcons and I signed Julio, I

2256
01:52:26,600 --> 01:52:29,439
Speaker 2: want to meet his parents. I want no ways. Okay,

2257
01:52:29,439 --> 01:52:30,920
Speaker 2: we're gonna get him the house. We already got a

2258
01:52:30,920 --> 01:52:33,880
Speaker 2: relative form you living in these neighborhood because this all

2259
01:52:33,880 --> 01:52:36,559
Speaker 2: the other Falcon players live at. You know what I'm saying.

2260
01:52:36,560 --> 01:52:38,400
Speaker 2: You ain't finna be over here with your homeboy. You

2261
01:52:38,400 --> 01:52:40,400
Speaker 2: got to be at the facility. They can't come to

2262
01:52:40,479 --> 01:52:40,960
Speaker 2: the studio.

2263
01:52:41,360 --> 01:52:41,600
Speaker 5: I e.

2264
01:52:42,760 --> 01:52:45,920
Speaker 2: Julio Potters can't come to the facility when he had practice. Yeah,

2265
01:52:46,000 --> 01:52:47,559
Speaker 2: you know what I'm saying, you're gonna be your trainer

2266
01:52:47,720 --> 01:52:51,840
Speaker 2: or whatever. So once we get those dynamics and things

2267
01:52:51,880 --> 01:52:54,880
Speaker 2: hashed out as in a union, us having a union,

2268
01:52:55,040 --> 01:52:57,559
Speaker 2: you know what I'm saying, as writers and producers and artists,

2269
01:52:58,160 --> 01:53:00,320
Speaker 2: we can have those stipulations. They can greet to him,

2270
01:53:00,680 --> 01:53:02,920
Speaker 2: and it's gonna help us in the long run, you

2271
01:53:02,960 --> 01:53:04,800
Speaker 2: know what I mean. It's gonna it's gonna let street

2272
01:53:04,840 --> 01:53:08,800
Speaker 2: niggas remain street niggas. Okay, don't come into the music

2273
01:53:08,840 --> 01:53:10,639
Speaker 2: industry unless you want to be a rapper. I ain't

2274
01:53:10,640 --> 01:53:12,759
Speaker 2: no more that. I ain't no raper. I'm a street nigga.

2275
01:53:12,960 --> 01:53:16,000
Speaker 2: But you in the wrong industry, right, you know what

2276
01:53:16,000 --> 01:53:18,479
Speaker 2: I mean? That's what that's their favorite line. Now, I'm

2277
01:53:18,479 --> 01:53:21,000
Speaker 2: a rapper. I couldn't stand being a street nigga. That

2278
01:53:21,000 --> 01:53:22,960
Speaker 2: was the worst job you can ever fucking have.

2279
01:53:23,400 --> 01:53:24,519
Speaker 7: That was host fault, I think.

2280
01:53:24,600 --> 01:53:29,040
Speaker 2: Yeah, I don't know why niggas. That ship is not cool,

2281
01:53:29,120 --> 01:53:31,960
Speaker 2: brocause when the ship start going on, everybody doing it.

2282
01:53:32,080 --> 01:53:36,679
Speaker 2: Yeah it was cool, Okay, it ain't.

2283
01:53:36,720 --> 01:53:38,800
Speaker 7: I don't want to be in the cap then who

2284
01:53:39,560 --> 01:53:40,439
Speaker 7: is I don't want to be there?

2285
01:53:40,520 --> 01:53:42,400
Speaker 2: Yeah, we all running out the house when the red

2286
01:53:42,479 --> 01:53:47,040
Speaker 2: dolls come, we all call it home on collect everybody

2287
01:53:47,040 --> 01:53:49,200
Speaker 2: ain't answering the phone your bitch for ye were all

2288
01:53:49,240 --> 01:53:52,800
Speaker 2: going through it, so quit the cap. And I think

2289
01:53:52,840 --> 01:53:55,120
Speaker 2: that's what Drill need to do. If we're gonna give that,

2290
01:53:55,400 --> 01:53:57,960
Speaker 2: we need to know why you drilling. Make me a song.

2291
01:53:58,080 --> 01:54:01,120
Speaker 2: Tell me about the night you cry for forty five

2292
01:54:01,280 --> 01:54:04,519
Speaker 2: minutes and your mama on because your brother just got

2293
01:54:04,520 --> 01:54:06,439
Speaker 2: gunned down. I don't want to hear what you need

2294
01:54:06,479 --> 01:54:09,200
Speaker 2: to retaliate yet. Just tell me that story, you know

2295
01:54:09,200 --> 01:54:11,760
Speaker 2: what I'm saying, And that's how you start getting them

2296
01:54:11,760 --> 01:54:14,479
Speaker 2: to open up and give different concepts of how they

2297
01:54:14,600 --> 01:54:16,599
Speaker 2: rapping and what they giving it to the world. So

2298
01:54:17,040 --> 01:54:20,920
Speaker 2: that's all we need, man, diversity and insight and vulnerability.

2299
01:54:21,080 --> 01:54:22,599
Speaker 7: I feel that. I definitely feel that.

2300
01:54:23,439 --> 01:54:27,200
Speaker 6: Listen, man, this has been a really really great conversation

2301
01:54:27,360 --> 01:54:28,880
Speaker 6: and you know, I think it was necessary.

2302
01:54:29,000 --> 01:54:31,160
Speaker 3: So we want to thank you long over.

2303
01:54:31,040 --> 01:54:33,800
Speaker 7: A dude, man, and I want to watch I want

2304
01:54:33,800 --> 01:54:34,440
Speaker 7: to listen to album.

2305
01:54:34,800 --> 01:54:36,880
Speaker 2: And I'm proud of y'all too. Man. By the way,

2306
01:54:36,920 --> 01:54:39,840
Speaker 2: I'm proud of y'all, bro, because I know, you know,

2307
01:54:40,440 --> 01:54:42,360
Speaker 2: I deal with a nigga like yay. You know what

2308
01:54:42,400 --> 01:54:45,680
Speaker 2: I'm saying, that's my guy. But I know people be headstrong,

2309
01:54:45,720 --> 01:54:47,800
Speaker 2: and y'all the same way. Y'all was dealing with old Boy.

2310
01:54:48,160 --> 01:54:51,200
Speaker 2: He's super head strong. But you keep pushing forward, you

2311
01:54:51,200 --> 01:54:52,960
Speaker 2: know what I'm saying. You make your own path, You

2312
01:54:53,000 --> 01:54:56,320
Speaker 2: do your own thing and homes. He all at home.

2313
01:54:57,160 --> 01:54:58,600
Speaker 2: You know what it is with me and you, bro.

2314
01:54:59,200 --> 01:55:01,240
Speaker 2: You know any day you feel like you can rap

2315
01:55:01,280 --> 01:55:02,960
Speaker 2: better than me. You know what I mean that You've

2316
01:55:02,960 --> 01:55:04,920
Speaker 2: been telling everybody, I put my off on the table.

2317
01:55:05,160 --> 01:55:09,600
Speaker 2: You're rich enough to accept it, but you ain't accepted it. Yeah,

2318
01:55:09,840 --> 01:55:13,240
Speaker 2: because you because you know, Yeah, you know what time did?

2319
01:55:12,840 --> 01:55:15,320
Speaker 7: He can pay you with my money?

2320
01:55:15,600 --> 01:55:17,720
Speaker 3: Yeah, that's our money.

2321
01:55:17,800 --> 01:55:18,520
Speaker 2: Yeah, exactly.

2322
01:55:18,640 --> 01:55:23,560
Speaker 6: So man, another episode here, Coach a Lab, Thank you

2323
01:55:23,600 --> 01:55:25,560
Speaker 6: the rock Star, Thank you to test, thank you to

2324
01:55:25,600 --> 01:55:26,160
Speaker 6: our branch.

2325
01:55:26,560 --> 01:55:27,360
Speaker 2: Yeah for sure.

2326
01:55:27,680 --> 01:55:31,400
Speaker 6: That's fam and we'll talk to y'all soon. Blueprint A piece,

2327
01:55:31,840 --> 01:55:33,200
Speaker 6: No worry, Eno,