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Speaker 1: R and B Money.

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Speaker 2: Say, take voluntie.

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Speaker 3: We are the authority.

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Speaker 1: R and Ladies and gentlemen.

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Speaker 3: I'm Jay Valentine and this is the R and B

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Speaker 3: Money Podcast, And today get your notebooks out.

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Speaker 1: We're about to do some developing. You know.

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Speaker 3: It's it's just a lot of artists out here that

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Speaker 3: they may be a little uncooked. I need to go

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Speaker 3: back into that oven. And I brought the perfect person

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Speaker 3: today that's gonna get you right. I'm you know, I'll

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Speaker 3: you'll find out.

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Speaker 1: You'll find out. I'm not. The intro is gonna be shorter. Today.

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Speaker 3: I'm gonna introduce you to somebody you have to know

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Speaker 3: in this music business, the legend.

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Speaker 1: The architect, Divine Stevens.

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Speaker 3: What's good, my brother, man, I'm excellent, man, Man, I'm

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Speaker 3: glappy to be here. Man, Man, you know I've been

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Speaker 3: chasing you down. Bro oh man, you definitely had an app.

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Speaker 2: Out on me.

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Speaker 1: Listen. I'm not ashamed to say it.

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Speaker 2: I did get a few phone calls. Yeah, when my

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Speaker 2: man Q Parker hit me up, I said, Man, tell

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Speaker 2: J Man, I'm down.

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Speaker 1: I'm down.

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Speaker 2: And then when I was answering that call, I said, oh,

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Speaker 2: hold on a second, Q, Let me click over.

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Speaker 1: Then there was a little running, so I was like, oh, Man,

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Speaker 1: so you know, just shout out man.

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Speaker 2: To you man for providing this platform man for people

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Speaker 2: to receive information about the industry. And I mean, I

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Speaker 2: know this is you know, it's a passion job. But

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Speaker 2: at the end of the day, I just want to

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Speaker 2: commend you and Tank for shed light on R and B.

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Speaker 3: That's the intention, man, is to have people like yourself

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Speaker 3: on here, man, that you know that don't do a

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Speaker 3: lot of interviews but are very instrumental in this thing

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Speaker 3: we call music and entertainment. I want to say music

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Speaker 3: because yeah, and we're gonna get to that right right.

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Speaker 1: You know you do you do it all.

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Speaker 3: You've done it all man, and and and in our opinion,

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Speaker 3: you need to be celebrated.

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Speaker 2: Thank you, Thank you so much. I appreciate that.

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Speaker 1: So let's get into it. Man. Let's let's let's let's start.

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Speaker 1: Let's start that hold on how much time we got, man, Come.

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Speaker 3: I'm here with you, I'm here, we were hanging out. Okay, awesome,

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Speaker 3: let's start in Atlanta, man. And and you know, young divine, wow,

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Speaker 3: young divine man, Like, what did this thing all start

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Speaker 3: for you? And who who who had the eye for

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Speaker 3: the talent of divine Stevens?

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Speaker 1: Who caught that first?

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Speaker 2: I want to say, man, at the age of five,

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Speaker 2: w A O K the radio station, I enter into

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Speaker 2: a contest and you.

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Speaker 1: Enter a contest at five at five years old?

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Speaker 2: Okay, all yeah, and I was doing James Brown. Of

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Speaker 2: course you were black, and I'm proud. And you know,

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Speaker 2: some people say, well, how do you remember at five?

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Speaker 2: You know, because my mom always kept the trophy and

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Speaker 2: she had photos from back in the do you want oh, yeah,

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Speaker 2: absolutely one, absolutely.

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Speaker 1: Yeah, yeah, yeah, I'm sure. Yeah.

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Speaker 3: Man.

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Speaker 2: So it started then, you know, being from Atlanta, I'm

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Speaker 2: a Grady baby for those who don't know, that's like

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Speaker 2: the Premiere Hospital right in the heart of Atlanta. Grew

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Speaker 2: up in projects, started out in Carver Homes, and from

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Speaker 2: Carver Homes, we kind of bounced around. I'm kind of

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Speaker 2: from all the projects. So I'm really like a project baby.

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Speaker 2: So when your grandmam would live in the projection and

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Speaker 2: then your dad, h yeah, so you get dropped off

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Speaker 2: to all those places. So from Carver Home, the Kimberley Court,

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Speaker 2: the Hollywood Court, to high Point to Mchannisville. So I'm

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Speaker 2: from all those places.

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Speaker 1: You got homies everywhere.

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Speaker 2: Yeah, homes everywhere. So father lived in Capitol homes. So

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Speaker 2: that's really where it all started. So I was able

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Speaker 2: to pull all these little different information and seeing creative

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Speaker 2: things in all these places, and at the age of

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Speaker 2: five growing up performing in all these places. So I

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Speaker 2: would put street performer first.

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Speaker 1: I mean I was as well brother.

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Speaker 3: Yeah, for me it was it was Beijmon's Wharf in

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Speaker 3: San Francisco.

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Speaker 2: Yeah, so that was, you know, kind of doing the

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Speaker 2: breakdance era. So grew up doing all the popping and

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Speaker 2: locking and rapping, and then you know how fast forward

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Speaker 2: the story in high school from the beating on the

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Speaker 2: table to rapping and the whole night and winning all

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Speaker 2: the talent shows. I heard you Parker talk about talent shows.

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Speaker 2: That's in a different era, but doing my yeah, yeah,

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Speaker 2: doing my era. I paint a picture for you. The

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Speaker 2: MC of that show would be Chris Tucker, so that

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Speaker 2: would be Chris Chucking. And then I give you the

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Speaker 2: R and B part of that show Talent Show, And

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Speaker 2: this was Columbus, your high school. So I'm just a

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Speaker 2: paint that picture for you. And Silk will be on

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Speaker 2: that show and then that would be this one group

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Speaker 2: that needs no introduction, okay, and that would be FDC,

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Speaker 2: the group that I was a part of. And the

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Speaker 2: f d C stands for Fresh Dance Crew, and you know,

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Speaker 2: if you're from Atlanta, you already know the FDC stands

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Speaker 2: for Female Draws Collectors because we collected everything from them,

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Speaker 2: throwing them.

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Speaker 3: Yeah hey man, yeah man, panties, yeah, okay, all right,

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Speaker 3: yeah yeah, So back there, okay, yeah, okay, back then, yeah,

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Speaker 3: Emale Draws collect.

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Speaker 2: Yeah yeah yeah.

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Speaker 1: So were y'all singing and rapping tour? Just dancing?

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Speaker 2: Well, it started off dancing, then we moved it into

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Speaker 2: the singing era and then the rap era, so it's

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Speaker 2: kind of like transition.

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Speaker 3: What made y'all transition, was it, Okay, we need to

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Speaker 3: add more to this thing.

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Speaker 2: I think what added to it just was the fact

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Speaker 2: that we had won all the talent shows, so purely dancing.

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Speaker 2: At first, it's completely dancing. So a lot of schools

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Speaker 2: wouldn't allow us to enter the talent shows, so they

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Speaker 2: started making us special guests. So then we were trying

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Speaker 2: to figure out how to you know, kind of add

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Speaker 2: different things to it, and so that kind of went

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Speaker 2: on to lip syncing. So we started doing lip syn

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Speaker 2: that that was really huge back in the day. And

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Speaker 2: so when we started lip syncing, then that turned into

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Speaker 2: the singing and the rapping.

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Speaker 1: Yeah, and really developing it out.

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Speaker 2: Right.

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Speaker 3: Okay, so now you're in high school. You got all

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Speaker 3: the draws, you collected all the draws.

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Speaker 2: So let me tell you how my high school looks.

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Speaker 1: I have to tell you.

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Speaker 2: I have to tell you what high school looked. Likes

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Speaker 2: me so and the Talent Show era. So I went

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Speaker 2: to a high school where I met Dallas Austin. And

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Speaker 2: this is right around ninth grade, tenth grade, and men

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Speaker 2: Dallas used to hang out in the bathroom, Like we'd

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Speaker 2: go to the bathroom. I'll see him in there here

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Speaker 2: and there picking his hair. He had the hot Top

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Speaker 2: fade and I had finger waves. This is this is

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Speaker 2: like we like thirteen, fourteen years old. So in school,

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Speaker 2: I got finger waves. He got this hot top kid

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Speaker 2: and play fade and he rolling around with a keyboard

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Speaker 2: at school at school, right, and we and kids don't

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Speaker 2: do this, but we really wasn't going to class. Were

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Speaker 2: kind of at this age already kind of know what

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Speaker 2: we want to do and what we want to be okay,

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Speaker 2: all right, So that's one part. So the finger waves

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Speaker 2: part of it. I used to model for Bronner Brothers Switch.

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Speaker 3: Most people don't know, huge huge hair convention shows.

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Speaker 2: Yeah, so there. So it went on to performing at

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Speaker 2: the Branner brother show. So I used to There was

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Speaker 2: a hairstyle that the name was Carol. She owned a

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Speaker 2: beauty salon called Escape, and Escape is a place where

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Speaker 2: it was like a hub, a melting potway the glamour,

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Speaker 2: things about the imaging and things that I learned happened

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Speaker 2: in that space. So that's where Brown Brothers. They brought

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Speaker 2: that element to the table. So I was able to

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Speaker 2: be around that energy take a little bit of that.

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Speaker 2: So I'm gonna show you how I was able to

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Speaker 2: take all these different pieces. I took the hunger from

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Speaker 2: the projects. I took the imaging for Browner Brothers, the

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Speaker 2: styling from Carol, and then from that part of it,

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Speaker 2: I was able to take that and know what an

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Speaker 2: artist should look like from actually listening to R and

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Speaker 2: B records over and over again back in the day.

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Speaker 2: I think I may have Guy on repeat, new Addition

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Speaker 2: on repeat, Tony Tony Tony on repeat and singing all

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Speaker 2: of those songs. To singing those songs over and over

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Speaker 2: again kind of helped me understand how to cultivate and

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Speaker 2: develop talent.

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Speaker 3: In your mind, are you doing this with the mindset

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Speaker 3: of developing other people's talent? Are you doing this like

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Speaker 3: I'm developing my own?

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Speaker 1: Like this is none of No.

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Speaker 2: I was developing the group that I was in, so

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Speaker 2: I would we would learn something. And how I became,

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Speaker 2: you know, and every group got the lead or this

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Speaker 2: person that person. So I was the understudy of a

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Speaker 2: god by the name Aunt Francis, and I watched him

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Speaker 2: put it all together, and then from him putting it

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Speaker 2: together and then from me being able to tap into

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Speaker 2: all these other sources, is how I developed the love

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Speaker 2: and the passion to develop the presentation. Yes, and that's

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Speaker 2: what we became king and known for, was the presentation.

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Speaker 3: Okay, how long do you guys have FDC before you

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Speaker 3: decided you're gonna go do your thing?

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Speaker 2: FDC last probably about a good five six years before

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Speaker 2: the group broke up. And the group broke up just

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Speaker 2: because of you know, we was kind of managing ourselves.

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Speaker 2: We didn't have managers, and it was just so many women.

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Speaker 2: Man it was just I mean so many girls back then,

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Speaker 2: it was just unreal. So you saw the older guys

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Speaker 2: start dating more and it just start slowly pulling everybody apart.

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Speaker 3: Yeah, and we used to have just went toward that more. So, Yeah,

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Speaker 3: they were growing up different.

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Speaker 1: Yeah.

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Speaker 2: Yeah, a couple of guys went off to college and

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Speaker 2: then you know, other ones that start having kids and

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Speaker 2: just it just kind of separated life start having yeah

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Speaker 2: life for real.

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Speaker 1: Yeah.

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Speaker 3: So for you though, you were, like you said, from

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Speaker 3: thirteen years old, you already had really five But yeah,

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Speaker 3: you know, once, like you said, once you and Dallas

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Speaker 3: was hanging out, you found a kindred spirit of somebody.

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Speaker 1: You're like, oh, well, this guy's walking around with a

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Speaker 1: keyboard every day.

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Speaker 3: Yeah, he's gonna probably end up doing something in music

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Speaker 3: and staying to this Was it something for you once

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Speaker 3: you got into high school, regardless of the group, where

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Speaker 3: you just like, this is this is about to be

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Speaker 3: what I do in my life.

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Speaker 2: Nah, I didn't think, you know, at one point in

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Speaker 2: high school, I thought I was going to be football player.

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Speaker 2: So I played football, Yeah, played football, played basketball, So

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Speaker 2: I thought maybe I had a shot, you know what

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Speaker 2: I mean at playing sports. So this became natural. The

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Speaker 2: entertainment side was natural, so I didn't take it like

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Speaker 2: if it was a challenge because it just became natural.

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Speaker 2: But every time I had an issue or something didn't

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Speaker 2: go right in my life or things seemed uncertain, I

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Speaker 2: would always run to this, so it became more of

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Speaker 2: an escape. Yes, I'm at peace when I'm developing. I'm

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Speaker 2: at peace when I'm creating, and that's when the passion

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Speaker 2: comes alive and in my darkest moments.

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Speaker 3: So the group breaks up, and now you're a solo artist,

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Speaker 3: but you've been developing. Like you said, you went from

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Speaker 3: all right, purely danced to now rapping, singing, and now

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Speaker 3: are you do you go do?

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Speaker 1: Do you go make a demo?

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Speaker 2: Did I go make a demo as a songo? Yeah,

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Speaker 2: as a solo artist, I made a demo. It was

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Speaker 2: funny because actually Dallas Austin made the demo. Okay, yeah,

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Speaker 2: so it was funny. It was because I took the

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Speaker 2: beats from Dallas and I used to work with a

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Speaker 2: rapper by the name of Raheem the Dream. So actually

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Speaker 2: I used to put Raheem shows together and Raheem actually

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Speaker 2: wrote the raps. So that's how I started, and I

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Speaker 2: took those raps and put it to the beat, and

240
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Speaker 2: then I went and performed at Fat Tuesday Frozen Paradise

241
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Speaker 2: on Old National Highway and met a young lady by

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Speaker 2: the name of Kimberly Stewart who was related to Pebbles,

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Speaker 2: and she saw me perform there and then took me

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Speaker 2: to a Parents A Parents signed me up to a

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Speaker 2: production deal Platinum, and then from there took us to Pebbles.

246
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Speaker 2: So we had to perform in front of Pebbles. If

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Speaker 2: Pebbles approved, then you get a chance to meet La

248
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Speaker 2: and Babyface. So right at that moment boom, Pebbles approved.

249
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Speaker 2: We flew to LA and we performed, and it was

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Speaker 2: weird because when they came in, you know, you got

251
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Speaker 2: to think, I'm listening to Babyface records all day in

252
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Speaker 2: order to the Love of Adams on repeat. And they

253
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Speaker 2: walked in, didn't speak, They had on shades like this, right,

254
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Speaker 2: and they sat down. Pebbles is talking and press play.

255
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Speaker 2: I mean, we went in you're talking about hunger at

256
00:14:09,480 --> 00:14:12,080
Speaker 2: a at a level where we felt like if we

257
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Speaker 2: can impress these guys, our whole life change, right, So

258
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Speaker 2: lead us to say they signed us on the spot

259
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Speaker 2: and so that makes me the first artist signed to

260
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Speaker 2: let Face Records.

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Speaker 1: Oh wow, So because I thought Damien Dame. No, no, no,

262
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Speaker 1: Damien Dame.

263
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Speaker 2: They was a part.

264
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Speaker 1: They were.

265
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Speaker 2: I think Dial was doing background vocals. She was there

266
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Speaker 2: before I got there. But I think they didn't sign them.

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Speaker 2: They moved them to Atlanta. Okay, they're from Los Angeles,

268
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Speaker 2: so I think they came in. But the first thing

269
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Speaker 2: on the ground in Atlanta was US.

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Speaker 1: So you said us, So you weren't a solo artist.

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Speaker 2: No, no, So it was Divine feature in Night in

272
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Speaker 2: Miles Power. So yeah, so it was me and then

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Speaker 2: I had a couple of other eyes that dance for me. Okay,

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Speaker 2: that was a part of the dance group prior that

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Speaker 2: came from fd CA. Okay, got you, got you?

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Speaker 1: So what were you rapping and singing?

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Speaker 2: Well, yeah, it was both. It was kind of both

278
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Speaker 2: because I give you a story about a couple of songs.

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Speaker 2: So they had some songs that was almost demoed out.

280
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Speaker 2: So I went in with Darryl Simmons to record, Yeah,

281
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Speaker 2: the ultimate silent partner with Daryl. So I went it

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Speaker 2: with him and uh, I cut baby Baby Baby TLC

283
00:15:33,680 --> 00:15:38,120
Speaker 2: song and I cut this song something you want to know,

284
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Speaker 2: before TLC was even discovered. Yeah, yeah, and even on

285
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Speaker 2: the songs that Dallas and then I went back in

286
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Speaker 2: the studio with Dallas and I had voiced the men

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Speaker 2: singing yes, bro.

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Speaker 1: Time out, yeah, man, time out Yeah, Man.

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Speaker 3: You sing baby baby baby before before TLC the first

290
00:16:00,320 --> 00:16:03,560
Speaker 3: artist's sign to the yes and now you got boys

291
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Speaker 3: to men just randomly singing on the song.

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Speaker 2: Yeah, Dallas had put them on a song just before

293
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Speaker 2: they came out. Dallas would make some songs and then

294
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Speaker 2: he would bring them to my house.

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Speaker 1: Okay, so are they signed at this point? Are they? Yeah,

296
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Speaker 1: they're signing Michael Bimans at this point. Huh.

297
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Speaker 2: And but they didn't have any identity at this point.

298
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Speaker 2: At this point, you know, he was figuring out the music,

299
00:16:29,040 --> 00:16:30,800
Speaker 2: and while he was figuring out the music, he would

300
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Speaker 2: bring them to me for me to work on the

301
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Speaker 2: development part.

302
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Speaker 1: This is before or after you signed to the face.

303
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Speaker 2: Right around all of the time. This all happened in

304
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Speaker 2: like nineteen ninety.

305
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Speaker 3: So this whole time you're being an artist. Yes, you're

306
00:16:45,480 --> 00:16:48,880
Speaker 3: steal in your development bag. You're like, all right, yeah,

307
00:16:49,200 --> 00:16:52,560
Speaker 3: people know you for that? Well, are your people know you?

308
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Speaker 3: For that my people.

309
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Speaker 2: So Dallas grew up watching me from high school to

310
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Speaker 2: being at the skating rink and the talent shows, so

311
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Speaker 2: they know me from that. So even one part that

312
00:17:03,960 --> 00:17:07,119
Speaker 2: I missed, like even with the hair, it was I

313
00:17:07,160 --> 00:17:11,359
Speaker 2: went to school with in high school was Ta Bars

314
00:17:11,600 --> 00:17:16,440
Speaker 2: and Rico wade Man and and who used to make

315
00:17:16,480 --> 00:17:18,720
Speaker 2: the show tapes for the dance group I was in

316
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Speaker 2: was Jamaine.

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Speaker 3: As soon as you did this, yeah, you about to

318
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Speaker 3: say your man who was years old.

319
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Speaker 2: Yeah, and then the trade off used to work kind

320
00:17:27,720 --> 00:17:29,919
Speaker 2: of vibe with JD back then while he was on

321
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Speaker 2: the Fresh Festival Houdini.

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Speaker 1: Yeah. So all y'all young Atlanta kids.

323
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Speaker 2: And that's the nucleus, yeah, the music scene. So that's

324
00:17:37,400 --> 00:17:41,159
Speaker 2: why I feel like, you know, and it's not about

325
00:17:41,280 --> 00:17:44,880
Speaker 2: the flowers. It's more so about the understanding how things operate.

326
00:17:45,680 --> 00:17:49,359
Speaker 2: Is when La and Babyface tapped into me, they tapped

327
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Speaker 2: into Atlanta, Atlanta the source. Yeah, because I just gave

328
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Speaker 2: it to him on a silver platter.

329
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Speaker 3: Well, you're gonna get flowers here. You are to be

330
00:17:59,280 --> 00:18:05,360
Speaker 3: celebrated because that's man amongst us as peers and comrades

331
00:18:05,400 --> 00:18:08,040
Speaker 3: in this thing we have to do that for each other.

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Speaker 1: Man, we have to celebrate each other.

333
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Speaker 3: You know what I'm saying, And what you've been a

334
00:18:12,400 --> 00:18:16,640
Speaker 3: part of and what you've done is man.

335
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Speaker 2: And all those guys used to show up and watch

336
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Speaker 2: me perform because and it's so interesting because I think

337
00:18:25,119 --> 00:18:27,399
Speaker 2: now a lot of times people are like, oh, you

338
00:18:27,440 --> 00:18:31,760
Speaker 2: got to choose something very early, right, right, even if

339
00:18:31,760 --> 00:18:33,520
Speaker 2: you look at sports now, I look at it with

340
00:18:33,720 --> 00:18:35,879
Speaker 2: you know, with my son, he didn't play it.

341
00:18:36,080 --> 00:18:38,760
Speaker 3: He just wants to hoop, and I'm like, you know,

342
00:18:38,760 --> 00:18:40,239
Speaker 3: you can run track if you want to. You know

343
00:18:40,280 --> 00:18:42,000
Speaker 3: you can play football, and you know you can rap

344
00:18:42,080 --> 00:18:45,640
Speaker 3: or saying it right. But I think now people are

345
00:18:45,720 --> 00:18:50,280
Speaker 3: so focused on just doing one thing instead of like, no,

346
00:18:50,800 --> 00:18:53,560
Speaker 3: I'm mostly talented. I can do as many things as

347
00:18:53,600 --> 00:18:56,000
Speaker 3: I want to, because like you said, you're you're an artist,

348
00:18:56,080 --> 00:18:59,480
Speaker 3: you're signed, but you're still lending your hand absolutely and

349
00:18:59,520 --> 00:19:03,320
Speaker 3: you're not being selfish with your talent and saying no, no, no, no,

350
00:19:03,480 --> 00:19:04,000
Speaker 3: I can't go.

351
00:19:05,119 --> 00:19:07,119
Speaker 1: I can't gonna give them some of the sauce.

352
00:19:07,400 --> 00:19:10,320
Speaker 2: Well, you know what, I'll lend a little bit a

353
00:19:10,359 --> 00:19:16,320
Speaker 2: bit of that confidence to pebbles in La because even

354
00:19:16,359 --> 00:19:19,600
Speaker 2: in the midst of doing that being an artist. They

355
00:19:19,640 --> 00:19:22,960
Speaker 2: asked me could I work with Pebbles on her presentation,

356
00:19:23,720 --> 00:19:26,320
Speaker 2: So it was like not a you know, not a problem.

357
00:19:26,560 --> 00:19:30,159
Speaker 2: Then I got a chance to put Pebbles a senior

358
00:19:30,240 --> 00:19:33,280
Speaker 2: hall performance together, and then Pebbles actually let me wrap

359
00:19:33,320 --> 00:19:36,520
Speaker 2: on a sen of your hall doing her performance. So

360
00:19:36,560 --> 00:19:41,359
Speaker 2: she was providing a platform for me the whole time. Yeah,

361
00:19:41,440 --> 00:19:43,440
Speaker 2: and she got it. She was like one of the early.

362
00:19:48,000 --> 00:19:50,960
Speaker 1: Yeah Pebbles man, so she's to me.

363
00:19:51,480 --> 00:19:55,800
Speaker 2: She set Atlanta off by believing, you know, and the

364
00:19:55,880 --> 00:19:58,439
Speaker 2: younger talent because I think when I got there, I

365
00:19:58,480 --> 00:20:03,680
Speaker 2: think La and Babyface all in Jermaine, Jamaine Jackson and

366
00:20:03,760 --> 00:20:07,879
Speaker 2: a couple of other older guys that they legacy that

367
00:20:07,880 --> 00:20:10,960
Speaker 2: they was probably trying to, you know, do businesses.

368
00:20:10,960 --> 00:20:13,000
Speaker 3: When you got a new company too, you're you're trying

369
00:20:13,000 --> 00:20:15,480
Speaker 3: to figure out how to connect names to it correct.

370
00:20:15,720 --> 00:20:18,320
Speaker 3: It's tougher to say, oh, I'm just going to kick

371
00:20:18,359 --> 00:20:20,680
Speaker 3: this off with new artists and just find new talent.

372
00:20:20,800 --> 00:20:23,640
Speaker 3: Everybody wants to do that, but that's really expensive too.

373
00:20:23,840 --> 00:20:28,320
Speaker 2: Well, Pebbles have the talent for that. So she was

374
00:20:28,359 --> 00:20:31,760
Speaker 2: able to touch down on the ground and may always

375
00:20:31,760 --> 00:20:33,320
Speaker 2: cause us Susander pass like.

376
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Speaker 1: If you know sure she was that for the Atlanta scene.

377
00:20:37,280 --> 00:20:41,760
Speaker 3: Absolutely, yeah, no, it's so many people that I've spoken to.

378
00:20:42,480 --> 00:20:46,679
Speaker 3: Obviously we in Atlanta now, but just within our episodes

379
00:20:46,720 --> 00:20:47,800
Speaker 3: that are just like pebbles.

380
00:20:47,840 --> 00:20:51,600
Speaker 2: Absolutely you have to because she jumped this off. Wow,

381
00:20:51,760 --> 00:20:55,399
Speaker 2: she saw the youth in Atlanta and and start putting

382
00:20:55,400 --> 00:20:59,600
Speaker 2: it in place. So so I end up doing television shows,

383
00:20:59,680 --> 00:21:04,320
Speaker 2: a videos. So that gave me the confidence to say, okay,

384
00:21:04,400 --> 00:21:06,600
Speaker 2: well I can I can do other artists too.

385
00:21:06,840 --> 00:21:07,280
Speaker 1: Yeah.

386
00:21:07,320 --> 00:21:09,399
Speaker 2: So that's when they started saying, well, let him do this,

387
00:21:09,480 --> 00:21:10,760
Speaker 2: you know, bring him this, bring him that.

388
00:21:10,880 --> 00:21:13,720
Speaker 1: So oh wow, you're supposed to be making your own

389
00:21:13,760 --> 00:21:14,280
Speaker 1: album though.

390
00:21:14,400 --> 00:21:17,359
Speaker 2: Yeah. But here's here's one of the early early artists

391
00:21:17,400 --> 00:21:19,000
Speaker 2: that I developed that a lot of people don't know

392
00:21:19,040 --> 00:21:21,920
Speaker 2: that he was even an artist. I developed Kevin Wells.

393
00:21:22,240 --> 00:21:27,240
Speaker 2: He used to sing, so he was in a singing group.

394
00:21:27,280 --> 00:21:29,680
Speaker 2: And I don't typically would dance behind an artist or

395
00:21:29,720 --> 00:21:33,360
Speaker 2: do anything. I actually believed in Kevin enough to actually

396
00:21:33,720 --> 00:21:36,280
Speaker 2: work with him and dance behind him because we just

397
00:21:36,359 --> 00:21:40,280
Speaker 2: knew that, you know, we was in any talent show

398
00:21:40,359 --> 00:21:43,760
Speaker 2: or any contest, we was gonna win, right, And you

399
00:21:43,800 --> 00:21:48,240
Speaker 2: know that's how Kevin. This is before one twelve, This

400
00:21:48,440 --> 00:21:53,280
Speaker 2: before any of the artists. ABC is me and him

401
00:21:53,359 --> 00:21:55,160
Speaker 2: rock and I was spending time with him making sure

402
00:21:55,920 --> 00:21:56,680
Speaker 2: he was up the park.

403
00:21:57,200 --> 00:22:00,840
Speaker 3: Yeah okay, So you got to tell me, though, are

404
00:22:00,920 --> 00:22:04,360
Speaker 3: you focusing on your album at all while you're doing

405
00:22:04,400 --> 00:22:06,240
Speaker 3: all because it seems like you're being pulled.

406
00:22:06,840 --> 00:22:09,400
Speaker 1: No, no, no, I'm in the company.

407
00:22:09,600 --> 00:22:13,520
Speaker 2: No no. I was being creative, So then it really

408
00:22:13,560 --> 00:22:15,359
Speaker 2: didn't matter. It all came with it. That's how I

409
00:22:15,400 --> 00:22:18,280
Speaker 2: grew up. So it wasn't one particular thing. It wasn't

410
00:22:18,359 --> 00:22:23,080
Speaker 2: just a record or a video or a live performance.

411
00:22:23,160 --> 00:22:27,000
Speaker 2: I was always in this creative space. So I've been

412
00:22:27,080 --> 00:22:30,240
Speaker 2: multitasking like this for my whole life. So that's even

413
00:22:30,520 --> 00:22:33,639
Speaker 2: when you fast forward the story, how I was able

414
00:22:33,720 --> 00:22:36,760
Speaker 2: to even go from zero to one hundred when I

415
00:22:36,800 --> 00:22:39,040
Speaker 2: started my own production company and start putting my own

416
00:22:39,119 --> 00:22:42,240
Speaker 2: artists out because I knew all the ins and outs.

417
00:22:42,320 --> 00:22:54,120
Speaker 3: Okay, and we're gonna get there, Okay. I know how

418
00:22:54,160 --> 00:23:00,600
Speaker 3: talented you are, and you've always been a star, you

419
00:23:00,600 --> 00:23:02,199
Speaker 3: know what I mean, Like it's just in my opinion,

420
00:23:02,359 --> 00:23:04,200
Speaker 3: you know what I mean, Like that's I'm like divine,

421
00:23:04,200 --> 00:23:07,520
Speaker 3: seems a star like flat out. You know, I think,

422
00:23:07,640 --> 00:23:11,040
Speaker 3: especially when you when you're in this business long enough,

423
00:23:11,800 --> 00:23:15,400
Speaker 3: you're able to identify things respect no matter what position

424
00:23:15,480 --> 00:23:18,280
Speaker 3: they're in. Right, It's like, you know, our brother, God

425
00:23:18,320 --> 00:23:23,400
Speaker 3: rest his soul. Shaki Stewart, Yeah, my gosh, star. Yes

426
00:23:23,440 --> 00:23:26,600
Speaker 3: he was on the business side. Shake was a star,

427
00:23:26,800 --> 00:23:28,160
Speaker 3: absolutely out.

428
00:23:28,240 --> 00:23:28,880
Speaker 1: You know what I'm saying.

429
00:23:28,960 --> 00:23:30,120
Speaker 2: Yeah, I got a great story about Shake.

430
00:23:30,359 --> 00:23:32,920
Speaker 3: I'm sure too, and I do too, but some of

431
00:23:32,960 --> 00:23:37,960
Speaker 3: them I ain't gonna telling me, right, But I say

432
00:23:38,000 --> 00:23:41,960
Speaker 3: that to say, like seeing that in you and now

433
00:23:42,240 --> 00:23:44,359
Speaker 3: having more of an understanding, like, Okay, he had this

434
00:23:44,440 --> 00:23:46,520
Speaker 3: record deal and this whole thing, and in my mind,

435
00:23:46,560 --> 00:23:49,800
Speaker 3: the first thing I think is he wanted to give

436
00:23:50,040 --> 00:23:52,840
Speaker 3: his talents to other people more than he really wanted

437
00:23:52,880 --> 00:23:53,920
Speaker 3: to focus on himself.

438
00:23:53,960 --> 00:23:55,679
Speaker 1: That's what That's what it feels like to me.

439
00:23:55,840 --> 00:24:01,160
Speaker 2: It turned into that, okay, because you know it didn't

440
00:24:01,200 --> 00:24:05,200
Speaker 2: work out at La Face. I got discovered again by

441
00:24:05,400 --> 00:24:10,119
Speaker 2: a guy by the name Sincere, and Sincere took me

442
00:24:10,160 --> 00:24:13,800
Speaker 2: to Rick Brown, and Rick Brown took me to Sylvia Room.

443
00:24:14,200 --> 00:24:16,960
Speaker 1: Okay, so I ended up doing it another deal.

444
00:24:16,880 --> 00:24:22,840
Speaker 2: Another deal, and with you, Me and ninety Miles Prower

445
00:24:22,920 --> 00:24:27,040
Speaker 2: broke up doing a little bit. And that story is

446
00:24:27,160 --> 00:24:31,000
Speaker 2: just you know, how you took childhood friends and and

447
00:24:31,000 --> 00:24:34,480
Speaker 2: and was separated. It was almost like having siblings and

448
00:24:34,520 --> 00:24:37,679
Speaker 2: they separated at birth. That's what that moment felt like,

449
00:24:39,880 --> 00:24:45,399
Speaker 2: being separated from them. But it was also a growing moment.

450
00:24:46,280 --> 00:24:47,240
Speaker 2: I learned the business.

451
00:24:47,640 --> 00:24:49,480
Speaker 1: Now you getting a little bit of money by this time,

452
00:24:49,560 --> 00:24:49,920
Speaker 1: like is.

453
00:24:49,840 --> 00:24:53,000
Speaker 2: He well, you know back then I was making money,

454
00:24:54,160 --> 00:24:57,880
Speaker 2: But how I really started making money was based from

455
00:24:57,920 --> 00:25:02,040
Speaker 2: boys to men. Came to me when and when I

456
00:25:02,040 --> 00:25:05,400
Speaker 2: got dropped from the face. He said, yo, divine man.

457
00:25:06,320 --> 00:25:09,399
Speaker 2: He said, you know what you're doing for us, you

458
00:25:09,440 --> 00:25:11,679
Speaker 2: can do that for other artists, and you know they

459
00:25:11,800 --> 00:25:15,880
Speaker 2: paying And I was like, oh really He was like yeah,

460
00:25:15,880 --> 00:25:17,679
Speaker 2: He's like we're paying Brooke paying a lot of money.

461
00:25:18,320 --> 00:25:22,040
Speaker 2: And I was like okay. So I didn't know what

462
00:25:22,080 --> 00:25:24,159
Speaker 2: the pricing fee was. I didn't know what the charge

463
00:25:24,280 --> 00:25:26,000
Speaker 2: because I was doing this because it was just a

464
00:25:26,040 --> 00:25:29,639
Speaker 2: part of that community in the circle. If Dallas had something,

465
00:25:30,080 --> 00:25:32,680
Speaker 2: you know, like even me developing Monica at twelve, he's

466
00:25:32,680 --> 00:25:34,560
Speaker 2: gonna drop it off to me. I'm gonna give it

467
00:25:34,560 --> 00:25:36,280
Speaker 2: back to him. And when I give it back, I

468
00:25:36,280 --> 00:25:38,919
Speaker 2: give it to him back with direction or how to

469
00:25:39,000 --> 00:25:41,280
Speaker 2: market it on how does it fit in the marketplace.

470
00:25:41,840 --> 00:25:46,800
Speaker 2: It's not just working on an eight count or it's

471
00:25:46,880 --> 00:25:50,720
Speaker 2: working on a whole lifestyle and developing a human. So

472
00:25:51,359 --> 00:25:54,360
Speaker 2: same case in point with JD JD have something, He'll

473
00:25:54,400 --> 00:25:57,439
Speaker 2: send me escape, send me Jagged Edge, send me the

474
00:25:57,480 --> 00:25:59,960
Speaker 2: things that he had Recoway, same thing, send me out

475
00:26:00,119 --> 00:26:00,639
Speaker 2: casts and me.

476
00:26:00,920 --> 00:26:03,639
Speaker 3: So we just went so for you. It also didn't

477
00:26:03,680 --> 00:26:07,119
Speaker 3: matter was genre of music now you were just it

478
00:26:07,160 --> 00:26:09,560
Speaker 3: was purely about artists. It was not like okay, yeah

479
00:26:09,560 --> 00:26:10,800
Speaker 3: you got an R and B group or you got

480
00:26:10,800 --> 00:26:11,480
Speaker 3: an RB singer.

481
00:26:11,600 --> 00:26:13,760
Speaker 2: It's like when you first start playing ball, you didn't

482
00:26:13,760 --> 00:26:16,480
Speaker 2: really realize how much money you can make playing ball.

483
00:26:16,680 --> 00:26:17,920
Speaker 2: You know, you're just doing it because you got a

484
00:26:17,920 --> 00:26:20,119
Speaker 2: passion for it, right, And then we all in the

485
00:26:20,119 --> 00:26:21,960
Speaker 2: sandbox together and we want to see each other win.

486
00:26:22,080 --> 00:26:23,800
Speaker 2: So it was more like, yeah, I got you, I

487
00:26:23,840 --> 00:26:25,159
Speaker 2: got you sending me I got I'm a knock it

488
00:26:25,200 --> 00:26:27,240
Speaker 2: out and send it back to you. So even tricky

489
00:26:27,720 --> 00:26:31,479
Speaker 2: when I directed Sam Salts video, I did so let

490
00:26:32,359 --> 00:26:36,879
Speaker 2: you know, it's just a melting pot of young talent

491
00:26:37,359 --> 00:26:40,480
Speaker 2: and I was to go to for the artist development.

492
00:26:40,680 --> 00:26:44,080
Speaker 3: So you mentioned boys to men, So you were working

493
00:26:44,119 --> 00:26:45,680
Speaker 3: with boys men super early then.

494
00:26:46,000 --> 00:26:49,320
Speaker 2: Yeah. When they first when one year, father didn't even

495
00:26:49,320 --> 00:26:50,800
Speaker 2: want to be in the group, told me you need

496
00:26:50,840 --> 00:26:53,760
Speaker 2: to go to school yea, yeah, yeah. And I used

497
00:26:53,760 --> 00:26:55,760
Speaker 2: to have to do one on one sessions with one yeah,

498
00:26:55,880 --> 00:26:58,440
Speaker 2: because he can only come on certain days.

499
00:26:58,440 --> 00:26:59,240
Speaker 1: He was the youngest one.

500
00:26:59,280 --> 00:26:59,960
Speaker 2: He was the youngest one.

501
00:27:00,800 --> 00:27:01,040
Speaker 1: Yeah.

502
00:27:01,160 --> 00:27:01,640
Speaker 3: Man.

503
00:27:01,880 --> 00:27:04,680
Speaker 2: And then this around this time even and I got

504
00:27:04,720 --> 00:27:08,399
Speaker 2: the call from Michael Bivens and when they put me

505
00:27:08,440 --> 00:27:11,080
Speaker 2: on the phone with him, I think Vita Sparks was

506
00:27:11,119 --> 00:27:13,240
Speaker 2: with them at the time and put me on the

507
00:27:13,280 --> 00:27:16,359
Speaker 2: phone said, Mike, want to hollot you. So even at

508
00:27:16,359 --> 00:27:18,760
Speaker 2: that moment, he was uncertain about what he wanted to

509
00:27:18,800 --> 00:27:22,320
Speaker 2: look like because it was more like should they be

510
00:27:22,440 --> 00:27:26,639
Speaker 2: like commissioned? Should they be like just a quartet for

511
00:27:26,720 --> 00:27:29,960
Speaker 2: a guys standing there singing what can you do with this?

512
00:27:31,359 --> 00:27:34,879
Speaker 2: And when I gave it back to him thirty years later,

513
00:27:36,080 --> 00:27:38,520
Speaker 2: I just saw Motown Philly the same way it was

514
00:27:39,160 --> 00:27:40,640
Speaker 2: when I did it in my garage.

515
00:27:41,119 --> 00:27:43,439
Speaker 1: Wa wait, you did the choreography for Motown Philly?

516
00:27:43,520 --> 00:27:47,439
Speaker 2: Yes, man, I did everything on the first album, and

517
00:27:47,480 --> 00:27:49,720
Speaker 2: then after that point then it went over to Brook

518
00:27:49,800 --> 00:27:52,600
Speaker 2: Brooke took over from there. But the thing about even

519
00:27:52,640 --> 00:27:56,480
Speaker 2: Brook and big shout out to Brook because Brooke came

520
00:27:56,560 --> 00:28:01,320
Speaker 2: back later. Brooke came back later and introduced me to

521
00:28:01,400 --> 00:28:03,880
Speaker 2: a lady named Mary Joe Moa that worked at Motown,

522
00:28:04,680 --> 00:28:06,440
Speaker 2: and then they gave me the whole roster. I had

523
00:28:06,520 --> 00:28:07,880
Speaker 2: everything at Motown.

524
00:28:07,760 --> 00:28:09,840
Speaker 1: Just developing all the artists there.

525
00:28:09,800 --> 00:28:12,639
Speaker 2: Everything everything at the time that was on the roster.

526
00:28:12,920 --> 00:28:16,000
Speaker 2: And then she left there and came to Atlanta and

527
00:28:16,080 --> 00:28:19,160
Speaker 2: had UH and took on a job at Caper Records

528
00:28:19,200 --> 00:28:24,600
Speaker 2: with Joe Katz and Don Perry, and that venture was

529
00:28:24,600 --> 00:28:28,879
Speaker 2: through RCA, and then I started working on everything that

530
00:28:28,920 --> 00:28:32,040
Speaker 2: she had there that was Black Girls, that was the Chronic, Chronic,

531
00:28:32,080 --> 00:28:35,160
Speaker 2: Little Zane, a couple of other artists that was signed.

532
00:28:35,240 --> 00:28:37,680
Speaker 2: So I had that whole roster. I had probably about

533
00:28:37,760 --> 00:28:41,400
Speaker 2: five six rooms going at one time. So let's say,

534
00:28:41,480 --> 00:28:44,240
Speaker 2: let's go back, say Darryl Simmons. While I was working

535
00:28:44,280 --> 00:28:46,960
Speaker 2: with Darryl, Darrell had a deal at Electra. He had

536
00:28:46,960 --> 00:28:50,240
Speaker 2: signed a girl group called the Dolls. You know them

537
00:28:50,280 --> 00:28:51,640
Speaker 2: today as Destiny Child.

538
00:28:54,280 --> 00:28:56,560
Speaker 1: We know them, not just I mean.

539
00:28:57,600 --> 00:29:01,200
Speaker 2: We know them, that's Destiny Child. So yes, so that's

540
00:29:01,240 --> 00:29:05,080
Speaker 2: how it kind of went. You know, it's like everybody

541
00:29:05,080 --> 00:29:08,480
Speaker 2: had something, even when Babyface went off to Epic and

542
00:29:08,760 --> 00:29:12,920
Speaker 2: Tracy started her thing. Yeah, yeah, I end up getting

543
00:29:12,960 --> 00:29:15,960
Speaker 2: asked yet and the things that was actually on that

544
00:29:16,040 --> 00:29:19,600
Speaker 2: label as well. So it's been a family.

545
00:29:19,840 --> 00:29:22,000
Speaker 3: So how how did the you know, from a from

546
00:29:22,000 --> 00:29:28,240
Speaker 3: an artist development space, how did the finances work? You

547
00:29:28,280 --> 00:29:30,360
Speaker 3: know what I mean, because most people don't know that, right,

548
00:29:30,400 --> 00:29:32,960
Speaker 3: And it's kind of a I hate to say it,

549
00:29:33,000 --> 00:29:35,600
Speaker 3: but a lost art in the music business.

550
00:29:35,720 --> 00:29:38,280
Speaker 2: Now, yeah, it's it's definitely a lost art, but which

551
00:29:38,400 --> 00:29:41,480
Speaker 2: it's very much needed. So here's the thing. As an artist,

552
00:29:41,560 --> 00:29:45,000
Speaker 2: I go back. The reason I kind of stopped being

553
00:29:45,040 --> 00:29:48,920
Speaker 2: a recording artist is because I was making so much money.

554
00:29:49,400 --> 00:29:53,240
Speaker 3: Okay, and you know the show is called Yeah I'm

555
00:29:53,560 --> 00:29:56,080
Speaker 3: trying to find Yeah, I had.

556
00:29:56,040 --> 00:29:58,760
Speaker 2: Became a millionaire so quick, man, it was it would

557
00:29:58,760 --> 00:30:01,840
Speaker 2: have made your head spind that once based from Boys

558
00:30:01,840 --> 00:30:04,920
Speaker 2: to Men told me that they paid for it. And

559
00:30:05,160 --> 00:30:09,520
Speaker 2: I met a I was working with Arrest Development and

560
00:30:09,560 --> 00:30:13,440
Speaker 2: I met a lady. Her name was Jula Andrews, and

561
00:30:13,520 --> 00:30:17,200
Speaker 2: she began to teach me the business. Okay, and my

562
00:30:17,360 --> 00:30:21,280
Speaker 2: first lesson was she asked me how much did you

563
00:30:21,400 --> 00:30:27,960
Speaker 2: charge an hour? And at the time, I was like, uh, say,

564
00:30:28,000 --> 00:30:29,840
Speaker 2: I was just going to say forty an hour, right,

565
00:30:29,960 --> 00:30:32,400
Speaker 2: and she was like, okay, okay, all right, forty an hour.

566
00:30:32,720 --> 00:30:35,600
Speaker 1: So then she said, well I need an invoice, probably

567
00:30:36,960 --> 00:30:38,720
Speaker 1: right right now, we've all been there.

568
00:30:38,600 --> 00:30:41,200
Speaker 2: In an invoice. I said, oh, okay. So I went

569
00:30:41,200 --> 00:30:47,560
Speaker 2: to office Max right, yeah, got an invoice book, filled

570
00:30:47,560 --> 00:30:50,440
Speaker 2: out the information that was on there. Yeah, put the

571
00:30:50,520 --> 00:30:53,280
Speaker 2: number on there, added my numbers up, how many hours?

572
00:30:53,280 --> 00:30:55,640
Speaker 2: I hit the number at the bottom, put it in

573
00:30:55,640 --> 00:30:58,680
Speaker 2: the envelope, slid in an invoice. She looked at it

574
00:30:58,680 --> 00:31:01,520
Speaker 2: and she said, okay, I don't see no tax ID,

575
00:31:01,800 --> 00:31:05,720
Speaker 2: I don't see no social Security number. I don't see

576
00:31:05,720 --> 00:31:08,360
Speaker 2: a former address. And then what's this number right here?

577
00:31:08,360 --> 00:31:09,920
Speaker 2: I said, no, this is my beeper. You could just

578
00:31:09,960 --> 00:31:16,560
Speaker 2: beat me because I was still in the street. She

579
00:31:16,600 --> 00:31:21,320
Speaker 2: said like yeah, she said, I said yeah, yeah, yeah,

580
00:31:21,360 --> 00:31:25,800
Speaker 2: And then and so I handed to her and she said, well, unfortunately,

581
00:31:26,360 --> 00:31:30,320
Speaker 2: I can't give you the check until this is filled

582
00:31:30,320 --> 00:31:32,640
Speaker 2: out correctly. Now, mind, I just tore a page out

583
00:31:32,640 --> 00:31:34,400
Speaker 2: of the in voice book.

584
00:31:34,960 --> 00:31:35,880
Speaker 1: I'm following you something.

585
00:31:35,960 --> 00:31:38,600
Speaker 2: So now I got to go back. Yeah, yeah, do

586
00:31:38,640 --> 00:31:41,360
Speaker 2: it again. Hand it to her and I did it.

587
00:31:41,440 --> 00:31:43,600
Speaker 2: I put the number on their She's seen it. She

588
00:31:43,640 --> 00:31:46,280
Speaker 2: looked at it, and she wrote a check for more

589
00:31:46,320 --> 00:31:50,560
Speaker 2: than what it was. She said, your service was incredible.

590
00:31:51,280 --> 00:31:53,560
Speaker 2: She said, you're timing. You was never late. You was

591
00:31:53,560 --> 00:31:56,160
Speaker 2: always on time. She said, I just want to commend

592
00:31:56,200 --> 00:31:57,880
Speaker 2: you and you did a great job. Thank you.

593
00:31:58,200 --> 00:31:59,320
Speaker 1: How old are you at this time?

594
00:32:00,320 --> 00:32:04,800
Speaker 3: Round about had to be probably like nineteen wow your baby, yeah,

595
00:32:05,040 --> 00:32:05,840
Speaker 3: about nineteen.

596
00:32:06,320 --> 00:32:09,280
Speaker 2: So from that moment, I asked her whih to take

597
00:32:09,280 --> 00:32:14,840
Speaker 2: a meeting with me? And she said sure. So we met.

598
00:32:15,080 --> 00:32:18,280
Speaker 2: She started to teach me the business. She started doing

599
00:32:18,320 --> 00:32:21,240
Speaker 2: the invoicing. She said, well, you know, I'm going to

600
00:32:21,280 --> 00:32:24,240
Speaker 2: take five percent. I said, sure, go right ahead.

601
00:32:24,640 --> 00:32:25,200
Speaker 1: Yeah.

602
00:32:25,280 --> 00:32:27,280
Speaker 2: So next thing, you know, probably in the course of

603
00:32:27,400 --> 00:32:30,520
Speaker 2: six months, out of all these rooms going, I'm going,

604
00:32:30,600 --> 00:32:34,440
Speaker 2: I'm going. I was up probably about five hundred thousand

605
00:32:34,640 --> 00:32:37,400
Speaker 2: in six months. In six months, I took a meeting.

606
00:32:37,520 --> 00:32:41,400
Speaker 2: This is crazy. I took a meeting with La and

607
00:32:41,600 --> 00:32:45,240
Speaker 2: LA was like, yo, I think it's time you need

608
00:32:45,240 --> 00:32:51,080
Speaker 2: to come inside. And I was like, okay, cool. So

609
00:32:51,160 --> 00:32:55,320
Speaker 2: he said what's your number? I said five hundred thousand.

610
00:32:57,680 --> 00:32:58,720
Speaker 1: I got about five.

611
00:33:01,520 --> 00:33:01,640
Speaker 3: Right.

612
00:33:01,960 --> 00:33:04,920
Speaker 2: So in my mind, I'm thinking, like, you know, business like, okay,

613
00:33:04,960 --> 00:33:06,840
Speaker 2: you know, just just give me five hundred. You know,

614
00:33:06,960 --> 00:33:08,520
Speaker 2: he's trying to pay me five hundred for a year

615
00:33:08,560 --> 00:33:11,520
Speaker 2: and to be and to be exclusive. I'm only gonna

616
00:33:11,520 --> 00:33:14,520
Speaker 2: be working full of face. So he said he couldn't

617
00:33:14,520 --> 00:33:17,120
Speaker 2: get five hundred from corporate and none of his employees

618
00:33:17,240 --> 00:33:18,400
Speaker 2: was making five hundred, right.

619
00:33:18,360 --> 00:33:19,400
Speaker 1: They couldn't make it make sense.

620
00:33:19,480 --> 00:33:22,960
Speaker 2: Yeah, I didn't understand that, and I said, so I

621
00:33:23,040 --> 00:33:26,480
Speaker 2: declined the offer, okay, right, And then at that moment,

622
00:33:26,720 --> 00:33:28,200
Speaker 2: I think he might have felt a little slighter.

623
00:33:29,240 --> 00:33:29,400
Speaker 1: Yeah.

624
00:33:29,440 --> 00:33:32,360
Speaker 2: Yeah, it felt a little slight because because because I

625
00:33:32,360 --> 00:33:33,920
Speaker 2: think it felt like he put me in play, but

626
00:33:34,000 --> 00:33:35,920
Speaker 2: I was already I was in play. I think I

627
00:33:35,960 --> 00:33:37,800
Speaker 2: put him in play. So it was it was a

628
00:33:38,040 --> 00:33:41,120
Speaker 2: you know, it was that back and forth thing, you know, disrespect.

629
00:33:41,240 --> 00:33:45,560
Speaker 2: But I just felt like you just tapped in. I'm

630
00:33:45,600 --> 00:33:48,680
Speaker 2: creating the sauce, you're making the record, but we're making

631
00:33:48,720 --> 00:33:49,040
Speaker 2: it work.

632
00:33:49,560 --> 00:33:50,360
Speaker 1: It goes hand in hand.

633
00:33:50,440 --> 00:33:55,240
Speaker 2: So watch this. So business slows down at the face,

634
00:33:56,200 --> 00:33:57,560
Speaker 2: but that picks up everywhere else.

635
00:33:58,640 --> 00:33:58,840
Speaker 1: Hmm.

636
00:33:59,600 --> 00:34:04,720
Speaker 2: And now down tea boss, like, hold on, I can't

637
00:34:04,720 --> 00:34:09,319
Speaker 2: even I can't do nothing without divine. Then Monica stood up,

638
00:34:09,840 --> 00:34:13,040
Speaker 2: I need the vine. So they you know, they start

639
00:34:13,080 --> 00:34:15,200
Speaker 2: standing up for me, you know what I mean. So

640
00:34:15,239 --> 00:34:19,359
Speaker 2: then I said, okay. So then Tea bos said, why

641
00:34:19,360 --> 00:34:22,080
Speaker 2: don't you just come over here. We got you. They

642
00:34:22,200 --> 00:34:24,680
Speaker 2: gonna pay you. This is what we're looking for. So

643
00:34:24,719 --> 00:34:26,840
Speaker 2: then I was able to still keep the Little Faced

644
00:34:26,880 --> 00:34:30,279
Speaker 2: things going while I start working on other things. And

645
00:34:30,360 --> 00:34:36,560
Speaker 2: right around this same time, Puffy is growing in New

646
00:34:36,640 --> 00:34:40,360
Speaker 2: York and starting to and then loses his job and

647
00:34:40,480 --> 00:34:44,480
Speaker 2: he started going back and forth with La and he

648
00:34:44,600 --> 00:34:47,640
Speaker 2: started making trips to Atlanta. So he wanted to see

649
00:34:47,640 --> 00:34:51,560
Speaker 2: what was going on in the soil. Right. So that

650
00:34:51,640 --> 00:34:55,040
Speaker 2: same night we que or whatever was talking about there

651
00:34:55,080 --> 00:35:01,200
Speaker 2: was an altercation in the club. And I'm upstairs kind

652
00:35:01,200 --> 00:35:04,040
Speaker 2: of like doing the choreography, but I'm in the streets

653
00:35:05,040 --> 00:35:07,160
Speaker 2: because when I lost the deal with a Little Face

654
00:35:07,680 --> 00:35:11,520
Speaker 2: and I just started, I went back to the streets, right,

655
00:35:12,000 --> 00:35:16,720
Speaker 2: So in the streets, I'm hanging back out with the fellas, goons, whatever.

656
00:35:17,000 --> 00:35:22,200
Speaker 2: So I'm upstairs at Club one twelve and Kay Wells

657
00:35:22,239 --> 00:35:25,880
Speaker 2: come upstairs, said, yo, man. He said, y'all, I got

658
00:35:25,920 --> 00:35:30,799
Speaker 2: a problem downstairs. I said, oh, what's up? He said, man,

659
00:35:30,800 --> 00:35:32,440
Speaker 2: my man from New York about to get into it

660
00:35:32,480 --> 00:35:35,960
Speaker 2: with these people. So I come downstairs all with all

661
00:35:36,040 --> 00:35:38,319
Speaker 2: my guys. We walked downstairs. The only thing you heard

662
00:35:38,480 --> 00:35:42,480
Speaker 2: was bottles cracking and they getting ready to go at

663
00:35:42,480 --> 00:35:47,800
Speaker 2: the guy that's talking in front of this other little

664
00:35:47,960 --> 00:35:51,200
Speaker 2: dark skinned guy that I have never met. But Kate

665
00:35:51,320 --> 00:35:54,680
Speaker 2: was like, that's my man, and I'm like, okay, so

666
00:35:54,719 --> 00:35:57,040
Speaker 2: then we're going at this guy over here. Before we

667
00:35:57,080 --> 00:35:59,200
Speaker 2: even got up to the guy, he.

668
00:35:59,120 --> 00:36:01,040
Speaker 1: Said, wait, wait, wait, wait, wait, hold up, hold up,

669
00:36:01,040 --> 00:36:03,080
Speaker 1: hold on, wait wait wait, don't care, yo, who is this?

670
00:36:03,360 --> 00:36:06,520
Speaker 2: Hoo these guys and Kev's like no, no, no, my people

671
00:36:06,520 --> 00:36:08,319
Speaker 2: and my people, you got a problem, will straighten it.

672
00:36:09,440 --> 00:36:12,000
Speaker 2: And this was puff Puff was telling them, dude like no,

673
00:36:12,040 --> 00:36:14,200
Speaker 2: I don't want none of these problems. No, no, no, no, no,

674
00:36:14,239 --> 00:36:16,120
Speaker 2: I got this. I got this. So even when I

675
00:36:16,120 --> 00:36:18,759
Speaker 2: approached the situation, even the club security came with me

676
00:36:18,800 --> 00:36:21,600
Speaker 2: because you know, I'm here, I'm here, I'm here, I'm

677
00:36:21,680 --> 00:36:26,560
Speaker 2: here all the time. So Papa's like, yo, who is

678
00:36:26,640 --> 00:36:31,239
Speaker 2: that in case? Say no to my people's man. He's

679
00:36:31,320 --> 00:36:33,000
Speaker 2: And then later on they got to talk and he said,

680
00:36:33,000 --> 00:36:37,239
Speaker 2: you know that's the guy that through tlc Usher and

681
00:36:37,320 --> 00:36:41,920
Speaker 2: he said, are you serious? He said, yeah, yeah, So

682
00:36:41,960 --> 00:36:47,000
Speaker 2: when can I meet him? So they made one, twelve

683
00:36:47,040 --> 00:36:49,600
Speaker 2: and the whole nine whatever, So fast forward to start.

684
00:36:50,800 --> 00:36:52,680
Speaker 2: He's like, y'all, I want to meet him. So he

685
00:36:52,800 --> 00:36:57,839
Speaker 2: met me, and at that moment he was looking at

686
00:36:57,840 --> 00:37:01,200
Speaker 2: me like, yo, he wanted it, like he wanted in

687
00:37:01,320 --> 00:37:04,359
Speaker 2: on this Atlanta. He wanted in on what La Reed

688
00:37:04,480 --> 00:37:06,600
Speaker 2: was tapping into. He wanted in on it too. So

689
00:37:06,640 --> 00:37:08,880
Speaker 2: it was like so he came and got in and

690
00:37:09,000 --> 00:37:14,239
Speaker 2: from that moment we I stopped rapping and put my

691
00:37:14,360 --> 00:37:19,280
Speaker 2: whole thing on him, uh everything. That's when the development

692
00:37:19,320 --> 00:37:22,280
Speaker 2: started for him. And this was right after Supercat.

693
00:37:22,760 --> 00:37:26,680
Speaker 3: Yeah, it is after the him starting to figure if

694
00:37:26,719 --> 00:37:28,560
Speaker 3: he's going to start being an artist too.

695
00:37:29,160 --> 00:37:31,759
Speaker 2: Yeah, got you, And he started being artists when he

696
00:37:31,840 --> 00:37:34,279
Speaker 2: started right at that moment, right up the Third Eye,

697
00:37:34,280 --> 00:37:36,560
Speaker 2: when he got the confidence. After he rapped on that song,

698
00:37:37,200 --> 00:37:39,719
Speaker 2: we went into the next one. Biggie was still here,

699
00:37:39,719 --> 00:37:41,920
Speaker 2: Craig Mac was still here, and.

700
00:37:42,080 --> 00:37:46,040
Speaker 3: But you guys are developing and leading to him becoming

701
00:37:46,080 --> 00:37:46,839
Speaker 3: an artist as well.

702
00:37:46,880 --> 00:37:49,480
Speaker 2: And I just kind of met the same energy and

703
00:37:49,480 --> 00:37:52,000
Speaker 2: the type of zone I was on, a type of

704
00:37:52,080 --> 00:37:53,600
Speaker 2: artist where I felt like I can get it off

705
00:37:54,640 --> 00:37:58,480
Speaker 2: and make sure because he understood, he understood the art

706
00:37:58,560 --> 00:38:01,279
Speaker 2: of the development and all the components. So it was

707
00:38:01,320 --> 00:38:03,439
Speaker 2: like it was an easy fix.

708
00:38:03,600 --> 00:38:05,520
Speaker 1: You and k Wells take on twelve there too.

709
00:38:06,000 --> 00:38:09,400
Speaker 2: Yeah, so K takes twelve there, and then I end

710
00:38:09,440 --> 00:38:11,680
Speaker 2: up doing the only you videos. I started doing all

711
00:38:11,680 --> 00:38:14,880
Speaker 2: the videos okay, and then from there even you know,

712
00:38:14,960 --> 00:38:18,880
Speaker 2: even Biggie that turned into him. I'm even there to

713
00:38:18,960 --> 00:38:23,759
Speaker 2: vibe night when Biggie dies. Are you fully I'm there

714
00:38:23,840 --> 00:38:26,279
Speaker 2: the whole time part of the team. I'm there, I'm

715
00:38:26,360 --> 00:38:29,399
Speaker 2: working on him, I'm developing him the whole time.

716
00:38:29,640 --> 00:38:31,440
Speaker 1: Are you working on Biggie's project too?

717
00:38:31,560 --> 00:38:33,880
Speaker 2: Working on that and working on puff Man?

718
00:38:35,640 --> 00:38:37,800
Speaker 1: When you think you know some shit? Because I definitely

719
00:38:37,840 --> 00:38:39,640
Speaker 1: didn't know that. Yeah, yeah, I know.

720
00:38:39,760 --> 00:38:41,200
Speaker 3: I had known that you would work with puff I

721
00:38:41,280 --> 00:38:43,719
Speaker 3: knew that you were, you know, developing artists with him

722
00:38:43,719 --> 00:38:44,720
Speaker 3: and working with his label.

723
00:38:44,880 --> 00:38:47,160
Speaker 1: But never like okay, because you don't think.

724
00:38:47,080 --> 00:38:50,080
Speaker 3: Right, somebody's doing the rappers and you know what I mean,

725
00:38:50,200 --> 00:38:52,640
Speaker 3: especially an artists like Biggie, He's like, okay, he's not

726
00:38:52,719 --> 00:38:53,120
Speaker 3: your rapper.

727
00:38:53,840 --> 00:38:56,600
Speaker 2: Guys. You see all the things Biggie was flashy We Yeah,

728
00:38:56,640 --> 00:38:59,319
Speaker 2: Puff changed the whole direction of that absolutely. If you

729
00:38:59,400 --> 00:39:04,400
Speaker 2: go back, like you know, the beginning juicy.

730
00:39:04,120 --> 00:39:06,040
Speaker 1: On it was like car heart type stuff too.

731
00:39:06,120 --> 00:39:09,080
Speaker 3: Now it's besides you now it's yeah, yeah that is

732
00:39:09,280 --> 00:39:09,839
Speaker 3: wold bro.

733
00:39:10,040 --> 00:39:13,680
Speaker 2: Yeah. So that's why you know, when you say the

734
00:39:14,040 --> 00:39:16,319
Speaker 2: artistry part, I just put it on whole.

735
00:39:17,000 --> 00:39:21,160
Speaker 3: Is your mindset starting to get onto the executive side too?

736
00:39:21,239 --> 00:39:21,560
Speaker 1: Yet?

737
00:39:22,000 --> 00:39:24,680
Speaker 3: Are you really just focusing on the development still, because

738
00:39:24,680 --> 00:39:27,480
Speaker 3: it just it seems like right now from the story

739
00:39:27,480 --> 00:39:30,319
Speaker 3: you're telling me, it feels like higher gun.

740
00:39:30,880 --> 00:39:32,560
Speaker 1: You know what I'm saying. You're a mercenary right now.

741
00:39:32,560 --> 00:39:34,719
Speaker 3: It's like, Okay, who do we need to get this

742
00:39:34,840 --> 00:39:36,000
Speaker 3: artist to the next level?

743
00:39:36,239 --> 00:39:37,800
Speaker 1: Right, divine Yes.

744
00:39:37,760 --> 00:39:39,719
Speaker 2: So I'm in that. I'm in that space. But at

745
00:39:39,760 --> 00:39:43,720
Speaker 2: the same time, my lady Lady drew the business partner.

746
00:39:44,200 --> 00:39:47,680
Speaker 2: She's grooming me in business. Okay, So I'm learning as

747
00:39:47,680 --> 00:39:50,560
Speaker 2: I'm going on the business side. So then I had

748
00:39:50,560 --> 00:39:58,440
Speaker 2: the luxury of working with Teddy Riley early already my

749
00:39:58,520 --> 00:40:06,320
Speaker 2: group of friends, right Eric Sermon, all of these people,

750
00:40:06,360 --> 00:40:09,600
Speaker 2: all the producers. I'm on the inside, on the outside,

751
00:40:10,920 --> 00:40:19,440
Speaker 2: And what Puff was doing. I started learning the business

752
00:40:20,840 --> 00:40:26,480
Speaker 2: by sweeping floors, so to speak. While I'm developing, I'm learning.

753
00:40:27,440 --> 00:40:30,879
Speaker 2: Even though he's paying me, I'm still learning, paying attention.

754
00:40:31,880 --> 00:40:35,160
Speaker 2: So you think I graduated from the l M and

755
00:40:35,239 --> 00:40:39,799
Speaker 2: Babyface to bad Boy, and then I worked my way

756
00:40:39,840 --> 00:40:42,680
Speaker 2: all the way up to Arista. So then I got

757
00:40:42,840 --> 00:40:48,960
Speaker 2: Clive's roster, Whitney, Houston, Colos, Sudan, Tanna, everything that was

758
00:40:49,360 --> 00:40:53,520
Speaker 2: on his roster I got a chance to touch in developing.

759
00:40:54,840 --> 00:40:59,879
Speaker 1: Are there certain key elements that you take and use

760
00:41:00,080 --> 00:41:01,680
Speaker 1: with every artist? All right?

761
00:41:02,040 --> 00:41:05,480
Speaker 3: No, it's every artist. You're fine tuning in a different way.

762
00:41:05,640 --> 00:41:06,480
Speaker 3: Everybody's different.

763
00:41:06,880 --> 00:41:09,120
Speaker 2: Everybody's you know, there's a certain thing that fits in

764
00:41:09,120 --> 00:41:11,799
Speaker 2: the marketplace, but everybody's different. And what I try to

765
00:41:11,840 --> 00:41:14,960
Speaker 2: do is, like Taylor, make your suit to fit you. Yeah,

766
00:41:15,280 --> 00:41:19,040
Speaker 2: That's why I'm able to do an Escape and do

767
00:41:19,120 --> 00:41:25,040
Speaker 2: a TLC and still turn around and do a Destiny Child,

768
00:41:25,120 --> 00:41:30,520
Speaker 2: and none of it look alike, right, because each individual

769
00:41:30,640 --> 00:41:34,080
Speaker 2: possessed a certain gift that I got to pull out

770
00:41:34,080 --> 00:41:34,640
Speaker 2: and highlight.

771
00:41:35,120 --> 00:41:37,640
Speaker 3: Yeah, like you told me before we even you know,

772
00:41:37,920 --> 00:41:39,880
Speaker 3: we were just just just in conversation.

773
00:41:40,520 --> 00:41:44,080
Speaker 2: You're like, Jay, it took six years to develop us here. Yeah,

774
00:41:44,160 --> 00:41:46,200
Speaker 2: it took six years you gotta think the first album

775
00:41:46,239 --> 00:41:49,960
Speaker 2: with Puff with Puffy didn't work, did one with Dallas

776
00:41:49,960 --> 00:41:52,080
Speaker 2: Austin that didn't work. Then he went off trying to

777
00:41:52,120 --> 00:41:53,759
Speaker 2: do one on his own that didn't work. Then he

778
00:41:53,840 --> 00:41:57,480
Speaker 2: finally met JD. So in the course of that time,

779
00:41:57,640 --> 00:42:01,160
Speaker 2: that's money's being spent, things happening, and.

780
00:42:01,120 --> 00:42:01,879
Speaker 1: You're working with him.

781
00:42:02,280 --> 00:42:03,880
Speaker 2: I'm working with him when it was money, when I

782
00:42:04,000 --> 00:42:06,359
Speaker 2: know money he was around me. I'm giving him money

783
00:42:06,360 --> 00:42:08,720
Speaker 2: to go to the movies with him his girlfriend because

784
00:42:08,760 --> 00:42:11,719
Speaker 2: I got ten sessions going on. And he was used

785
00:42:11,719 --> 00:42:13,600
Speaker 2: to feel slighted. He used to be like, yo, man,

786
00:42:13,920 --> 00:42:16,160
Speaker 2: you know, like a big brother type thing, like spending

787
00:42:16,239 --> 00:42:18,319
Speaker 2: time with him. I don't have time for him, and

788
00:42:18,360 --> 00:42:21,160
Speaker 2: I'm working on these artists. And so he felt some

789
00:42:21,320 --> 00:42:24,200
Speaker 2: type of way when he was growing up that I

790
00:42:24,280 --> 00:42:27,640
Speaker 2: wasn't with him as much as he liked. So even

791
00:42:27,680 --> 00:42:32,239
Speaker 2: when you make me want to jumped off of him.

792
00:42:32,280 --> 00:42:37,319
Speaker 2: With Jamaine, he had already did six years of structured

793
00:42:37,400 --> 00:42:43,200
Speaker 2: discipline training understanding the business. In the same time his

794
00:42:43,360 --> 00:42:47,840
Speaker 2: voice was changing, so he knew what hardship felt like,

795
00:42:48,200 --> 00:42:50,000
Speaker 2: and he knew what it was like to be in

796
00:42:50,080 --> 00:42:54,080
Speaker 2: a light and get accepted and rejected at the same time,

797
00:42:55,760 --> 00:42:58,399
Speaker 2: and then he had a support team that supported him,

798
00:42:58,719 --> 00:43:01,319
Speaker 2: like his mom and certain things that he could go

799
00:43:01,400 --> 00:43:05,319
Speaker 2: to like Keith, people that was around him, that was

800
00:43:05,360 --> 00:43:09,600
Speaker 2: consistent in his life, that held him up and helped

801
00:43:09,640 --> 00:43:11,840
Speaker 2: him up to his truth. You know. So everything was

802
00:43:11,880 --> 00:43:13,600
Speaker 2: a challenge. You know, it wasn't an easy for him.

803
00:43:14,040 --> 00:43:17,120
Speaker 2: So even when you see him today, it's like he

804
00:43:17,239 --> 00:43:21,080
Speaker 2: understands every song starts with a thought and an idea

805
00:43:21,840 --> 00:43:24,600
Speaker 2: that he has to execute and he has to go

806
00:43:24,640 --> 00:43:27,239
Speaker 2: to the same steps all over and over again to

807
00:43:27,320 --> 00:43:28,760
Speaker 2: bring that art to life.

808
00:43:29,080 --> 00:43:31,760
Speaker 3: I've heard so many people, especially on our show, mentioned

809
00:43:31,840 --> 00:43:36,040
Speaker 3: him about his passion, about his focus.

810
00:43:36,239 --> 00:43:38,239
Speaker 1: Yeah, you know how he locks in.

811
00:43:38,719 --> 00:43:40,960
Speaker 2: He's like one of the best understudies, one of the

812
00:43:40,960 --> 00:43:42,200
Speaker 2: best students of the game.

813
00:43:42,560 --> 00:43:42,920
Speaker 1: He is.

814
00:43:43,920 --> 00:43:45,760
Speaker 2: And I would say, on the flip side, the hardest

815
00:43:45,800 --> 00:43:49,440
Speaker 2: working person that understood the business and the game and

816
00:43:49,520 --> 00:43:52,680
Speaker 2: put the work in double time would be puffed.

817
00:44:02,400 --> 00:44:07,040
Speaker 3: Okay, So when you see an artist, would you rather

818
00:44:07,600 --> 00:44:09,600
Speaker 3: have the most talented or.

819
00:44:09,600 --> 00:44:11,160
Speaker 1: The hardest working, hardest working?

820
00:44:11,280 --> 00:44:14,799
Speaker 2: The hardest working, Yeah, talent is diamond, doesn't I mean

821
00:44:14,840 --> 00:44:21,319
Speaker 2: you could be you can be American Idol top vocalist

822
00:44:21,640 --> 00:44:26,919
Speaker 2: critically acclaimed. Yeah, and still can't sell records. Right, I've

823
00:44:26,960 --> 00:44:29,640
Speaker 2: seen it. You can be number one on the Voice,

824
00:44:29,840 --> 00:44:32,520
Speaker 2: you could be number one on American Idol, and you

825
00:44:32,520 --> 00:44:35,920
Speaker 2: can skip the artist development and the an R process

826
00:44:36,520 --> 00:44:39,200
Speaker 2: and you'll go absolutely nowhere. He'll just be famous.

827
00:44:39,719 --> 00:44:39,920
Speaker 1: You know.

828
00:44:40,000 --> 00:44:42,600
Speaker 3: My dad always used to say practice makes perfect, right,

829
00:44:42,600 --> 00:44:44,000
Speaker 3: Michael Jackson, Joe Jackson.

830
00:44:44,520 --> 00:44:46,120
Speaker 1: It's a certain mindset of it.

831
00:44:46,920 --> 00:44:49,759
Speaker 3: Do you think there is like a minimum that these

832
00:44:49,840 --> 00:44:52,000
Speaker 3: artists should be doing? Like if you're if you're a

833
00:44:52,080 --> 00:44:54,880
Speaker 3: new artist and you're talking to a new artist, a

834
00:44:55,280 --> 00:44:59,560
Speaker 3: new artists talking to you, what would you tell them

835
00:44:59,680 --> 00:45:03,240
Speaker 3: as as what it takes to perfect their craft?

836
00:45:02,880 --> 00:45:04,480
Speaker 1: Like, like what is the.

837
00:45:04,480 --> 00:45:07,480
Speaker 3: Minimum in your mind that like you got to practice

838
00:45:07,520 --> 00:45:09,719
Speaker 3: this much every week or this What would be your

839
00:45:09,760 --> 00:45:10,439
Speaker 3: advice to them?

840
00:45:10,480 --> 00:45:13,320
Speaker 2: Well, it's not even free games, it's not even a

841
00:45:14,800 --> 00:45:19,239
Speaker 2: matter of hours. It is a thing of where it

842
00:45:19,239 --> 00:45:23,799
Speaker 2: becomes a lifestyle because it's nothing you can put on

843
00:45:23,840 --> 00:45:26,359
Speaker 2: and take off. Yeah, it's something you have to wear

844
00:45:27,800 --> 00:45:34,080
Speaker 2: all the time. And if you consistent with the work,

845
00:45:35,440 --> 00:45:41,200
Speaker 2: then it becomes natural to you, and it becomes natural

846
00:45:41,200 --> 00:45:45,040
Speaker 2: to you. Then when other people see it, it seems

847
00:45:45,080 --> 00:45:49,440
Speaker 2: like it's obtainable. So that's when you connect. It's like

848
00:45:49,600 --> 00:45:52,319
Speaker 2: step Curry, you know, like how can you come in

849
00:45:52,360 --> 00:45:58,000
Speaker 2: and change the NBA without having a regiment right right,

850
00:45:58,040 --> 00:46:00,719
Speaker 2: and then putting in the work. See what he did

851
00:46:00,840 --> 00:46:07,160
Speaker 2: was with outwork everybody and people say was it's a secret.

852
00:46:07,160 --> 00:46:09,440
Speaker 2: Well how did he get to this level of success?

853
00:46:09,480 --> 00:46:12,440
Speaker 2: He outworked you who don't have the talent. They don't

854
00:46:12,440 --> 00:46:13,960
Speaker 2: matter if you had the talent. He just outworked you.

855
00:46:15,719 --> 00:46:19,279
Speaker 2: So he can exploit your talent. He can go right here.

856
00:46:19,320 --> 00:46:21,920
Speaker 2: You can create a record, creat a beat. You're gonna

857
00:46:21,920 --> 00:46:23,680
Speaker 2: sit on that record. You're gonna listen to that record

858
00:46:23,680 --> 00:46:26,960
Speaker 2: one hundred times. The beauty that he had, you can

859
00:46:26,960 --> 00:46:30,040
Speaker 2: have the whole hit man. Everybody here making records, all

860
00:46:30,080 --> 00:46:33,240
Speaker 2: these companies offering them production deals, everybody got side deals

861
00:46:33,239 --> 00:46:35,880
Speaker 2: and everything. The only thing y'all don't have is the

862
00:46:36,000 --> 00:46:39,640
Speaker 2: hustle that he has. He gonna take that record and

863
00:46:39,680 --> 00:46:42,160
Speaker 2: it's on Hot nine seven the next day while you're

864
00:46:42,160 --> 00:46:46,000
Speaker 2: still listening to it. He's put it in motion. He

865
00:46:46,040 --> 00:46:47,799
Speaker 2: done took that record and played it for twenty other

866
00:46:47,800 --> 00:46:52,040
Speaker 2: people while you still sleep. He put it in motion.

867
00:46:52,880 --> 00:46:56,840
Speaker 2: And that's what the game needs.

868
00:46:57,160 --> 00:46:59,040
Speaker 1: And missing the hustle.

869
00:46:59,560 --> 00:47:04,600
Speaker 2: Well, everything that you know they want to take away

870
00:47:04,600 --> 00:47:11,799
Speaker 2: from our culture is the black exec Yeah, the lifestyle,

871
00:47:11,960 --> 00:47:17,279
Speaker 2: the lifestyle, the culture. So I heard an interview when

872
00:47:17,800 --> 00:47:24,520
Speaker 2: La was talking about there's no more us in the buildings. Yeah, well,

873
00:47:25,120 --> 00:47:27,799
Speaker 2: a lot of us didn't start in a building. So

874
00:47:27,880 --> 00:47:31,440
Speaker 2: we just got to get back to the art and

875
00:47:31,480 --> 00:47:32,239
Speaker 2: the discipline of.

876
00:47:32,280 --> 00:47:34,840
Speaker 1: What it takes to take over the building.

877
00:47:34,960 --> 00:47:36,920
Speaker 2: To take over the building, we are the building.

878
00:47:37,480 --> 00:47:37,719
Speaker 1: Yeah.

879
00:47:38,200 --> 00:47:40,319
Speaker 2: I didn't operate from a building. I didn't take a job.

880
00:47:40,920 --> 00:47:44,239
Speaker 2: I became a multi making there without a job in

881
00:47:44,320 --> 00:47:51,120
Speaker 2: a building. Yeah, just through the hustle and the creator. Yeah,

882
00:47:51,160 --> 00:47:51,680
Speaker 2: and that's it.

883
00:47:52,160 --> 00:47:54,720
Speaker 1: Wow, Now that it's amazing.

884
00:47:54,760 --> 00:47:57,720
Speaker 3: And the way you broke it down is it's perfect

885
00:47:57,760 --> 00:48:02,600
Speaker 3: in my eyes, of giving somebody the playbook of do

886
00:48:02,719 --> 00:48:05,560
Speaker 3: the work, get to it.

887
00:48:05,080 --> 00:48:08,040
Speaker 2: It's no quick way and it's no easy it's no

888
00:48:08,280 --> 00:48:12,440
Speaker 2: cheat code. People think that, oh, well she cheated because

889
00:48:12,480 --> 00:48:14,879
Speaker 2: she's sampled. Oh this person, she didn't know. They still

890
00:48:14,880 --> 00:48:18,319
Speaker 2: put in the work, right, does a matter They went

891
00:48:18,400 --> 00:48:20,520
Speaker 2: to work and if they still here today, they understood

892
00:48:21,920 --> 00:48:24,680
Speaker 2: that that takes a certain kind of work ethic to

893
00:48:24,760 --> 00:48:27,880
Speaker 2: stay in this game. And right now, the problem I

894
00:48:27,920 --> 00:48:33,680
Speaker 2: have with the new kids today. I mean, true talent

895
00:48:34,040 --> 00:48:37,720
Speaker 2: will always rise, but at the same time, quick fame

896
00:48:38,520 --> 00:48:41,640
Speaker 2: mm hmm. I've seen that happen in this business where

897
00:48:41,680 --> 00:48:45,799
Speaker 2: you inquire all these things from quick fame and crash

898
00:48:45,880 --> 00:48:48,960
Speaker 2: and burn. That's why so many suicides, so much mental

899
00:48:49,680 --> 00:48:53,480
Speaker 2: a lot of mental health, because people are watching other

900
00:48:53,480 --> 00:48:56,400
Speaker 2: people's success. It's not really putting in the work, and

901
00:48:56,920 --> 00:49:01,720
Speaker 2: they're actually you can strike, you can get a spike

902
00:49:01,760 --> 00:49:06,720
Speaker 2: off social media, and you can think that that's where

903
00:49:06,760 --> 00:49:11,120
Speaker 2: you should be. That you'll see like, let me give

904
00:49:11,120 --> 00:49:14,080
Speaker 2: you an example of something. So you'll see an artist go,

905
00:49:16,280 --> 00:49:17,840
Speaker 2: they like this post.

906
00:49:18,680 --> 00:49:21,840
Speaker 1: I know you're going, right, yeah, yeah, yeah.

907
00:49:21,320 --> 00:49:25,560
Speaker 2: But you don't know why they like that post. Okay,

908
00:49:25,600 --> 00:49:27,759
Speaker 2: well you just made an ass of yourself. They love it.

909
00:49:30,840 --> 00:49:35,960
Speaker 2: On this side of it, here you grinding and you

910
00:49:35,960 --> 00:49:38,640
Speaker 2: didn't make an ass of yourself, and you got the talent,

911
00:49:39,200 --> 00:49:42,560
Speaker 2: but you're not getting many likes long right, so you

912
00:49:42,680 --> 00:49:44,280
Speaker 2: thinking this is not working.

913
00:49:44,400 --> 00:49:45,760
Speaker 1: You got to make an ass of myself.

914
00:49:46,280 --> 00:49:48,160
Speaker 2: I got to make an ass out of myself. So

915
00:49:48,200 --> 00:49:49,840
Speaker 2: then you turn around make an ass out of yourself

916
00:49:49,840 --> 00:49:52,879
Speaker 2: and they like it, and then I turn around and go,

917
00:49:54,400 --> 00:49:58,920
Speaker 2: why do you feel better ass and then you'll look

918
00:49:58,920 --> 00:50:00,239
Speaker 2: at me like, what are you talking about? I know

919
00:50:00,280 --> 00:50:02,360
Speaker 2: they like this post, let me do more of these,

920
00:50:02,800 --> 00:50:07,120
Speaker 2: and I go and this is no disrespect. I seen

921
00:50:07,160 --> 00:50:09,200
Speaker 2: one of the artists do one of the biggest songs

922
00:50:09,680 --> 00:50:11,359
Speaker 2: and it came out and when it as soon as

923
00:50:11,400 --> 00:50:14,120
Speaker 2: it hit, I said, oh, that's the wrong song for him.

924
00:50:14,360 --> 00:50:15,760
Speaker 2: And that was the thong song.

925
00:50:17,280 --> 00:50:19,840
Speaker 1: For Cisco incredibly talented artists.

926
00:50:19,920 --> 00:50:26,320
Speaker 2: Yeah, Verry, And I said, that's off brand. Yeah, hmm hmm.

927
00:50:26,520 --> 00:50:30,799
Speaker 2: That's off and it's going and it's going and it's

928
00:50:30,800 --> 00:50:34,040
Speaker 2: going and it's going. And I said, damn, Now he's

929
00:50:34,040 --> 00:50:38,320
Speaker 2: suspended mid air. Do you got another thong song in him?

930
00:50:38,400 --> 00:50:42,120
Speaker 2: Is there another record in that space in that atmosphere?

931
00:50:42,520 --> 00:50:46,919
Speaker 2: It didn't have one because he's very soulful kid, right, Okay,

932
00:50:47,000 --> 00:50:49,200
Speaker 2: up there, you suspend the mid air. It's no soul

933
00:50:49,320 --> 00:50:52,520
Speaker 2: up there, So now how do you go from there

934
00:50:54,120 --> 00:51:00,399
Speaker 2: back to this base? Could never find his way from

935
00:51:00,400 --> 00:51:03,839
Speaker 2: the thumb song. I'm not saying he ain't. He's one

936
00:51:03,840 --> 00:51:07,319
Speaker 2: of the greatest performers, yeah, but he couldn't find his

937
00:51:07,400 --> 00:51:12,480
Speaker 2: way back. The song took him out, And for me,

938
00:51:12,719 --> 00:51:14,520
Speaker 2: I would have said, that's a great song, but they don't.

939
00:51:14,320 --> 00:51:16,719
Speaker 1: Fit you, and it's not many people that do that.

940
00:51:16,800 --> 00:51:19,399
Speaker 2: I would have said the same thing too, and there's

941
00:51:19,440 --> 00:51:21,960
Speaker 2: no disrespect here. I would have said the same thing

942
00:51:22,000 --> 00:51:26,799
Speaker 2: to Ralph Tresvant. I love sensitivity, but I don't think

943
00:51:26,840 --> 00:51:29,160
Speaker 2: no woman want to say that out loud, that they

944
00:51:29,160 --> 00:51:37,040
Speaker 2: want a man with sensitivity. They won't. Bobby Brown, I

945
00:51:37,080 --> 00:51:37,600
Speaker 2: don't give.

946
00:51:37,480 --> 00:51:39,600
Speaker 1: A fuck, right, it's my progative.

947
00:51:39,600 --> 00:51:44,120
Speaker 2: It's my parrogative. Wanted a bad boy boom takes off. Yeah,

948
00:51:44,120 --> 00:51:46,120
Speaker 2: I know Ralph is the voice and the energy of

949
00:51:46,160 --> 00:51:47,800
Speaker 2: no addition, But I still think.

950
00:51:47,600 --> 00:51:50,520
Speaker 1: That particular record from a solo standpoint.

951
00:51:50,400 --> 00:51:55,000
Speaker 2: Slowed down the solo process because even Michael Jackson, I'm bad,

952
00:51:55,840 --> 00:52:01,759
Speaker 2: Even Michael Jackson, Billy Jeanie, that ain't mine, right, you

953
00:52:01,760 --> 00:52:04,279
Speaker 2: know what I'm saying. So, you know, sometimes you got

954
00:52:04,280 --> 00:52:07,640
Speaker 2: to know how to navigate through the space. Sometimes it's

955
00:52:07,640 --> 00:52:10,520
Speaker 2: just not a good song. Sometimes it's your brand. Sometimes

956
00:52:10,520 --> 00:52:13,000
Speaker 2: that's certain things of off brand, and it's just the

957
00:52:13,080 --> 00:52:15,319
Speaker 2: way I kind of put it together in the way

958
00:52:15,320 --> 00:52:15,960
Speaker 2: I think about it.

959
00:52:16,000 --> 00:52:24,160
Speaker 3: There's a certain bravado from male artists that the public wants, Yeah, and.

960
00:52:24,120 --> 00:52:26,000
Speaker 2: I've seen it with female artists too. And I've seen

961
00:52:26,040 --> 00:52:29,080
Speaker 2: where some people when they come in and they tie

962
00:52:29,160 --> 00:52:34,480
Speaker 2: relationships in and you know, they expose, you know, they

963
00:52:34,480 --> 00:52:37,040
Speaker 2: want to show you who they are, and then the

964
00:52:37,080 --> 00:52:40,080
Speaker 2: consumer don't buy into it. We still live in a

965
00:52:40,640 --> 00:52:41,800
Speaker 2: very magical.

966
00:52:41,360 --> 00:52:44,160
Speaker 1: Space, yes, and what we do is magic, right.

967
00:52:44,320 --> 00:52:46,600
Speaker 2: People still love magic and you got to know how

968
00:52:46,640 --> 00:52:47,160
Speaker 2: to create it.

969
00:52:47,440 --> 00:52:47,680
Speaker 1: Yeah.

970
00:52:47,840 --> 00:52:52,879
Speaker 3: Okay, So in creating it and now learning the business, yes,

971
00:52:53,000 --> 00:52:56,960
Speaker 3: as you've been doing. At this point of your journey,

972
00:52:57,880 --> 00:53:01,560
Speaker 3: when do you say to yourself it's time for upfront,

973
00:53:01,920 --> 00:53:04,239
Speaker 3: It's time, it's time to start this.

974
00:53:04,560 --> 00:53:05,360
Speaker 1: Uh.

975
00:53:05,480 --> 00:53:08,600
Speaker 2: I think when I work, I think, I think when

976
00:53:08,600 --> 00:53:10,040
Speaker 2: I worked my way all the way up to Clive

977
00:53:10,120 --> 00:53:13,760
Speaker 2: Davis and big shout out to Melinda Dancer and Monica

978
00:53:13,800 --> 00:53:17,880
Speaker 2: for setting that meeting up. And I get there with

979
00:53:17,960 --> 00:53:22,640
Speaker 2: Clive and this was like, this was the eye opener

980
00:53:24,239 --> 00:53:27,160
Speaker 2: I'm playing in my music now. I made my music

981
00:53:28,200 --> 00:53:31,680
Speaker 2: in my basement studio on a basement. This is my

982
00:53:31,880 --> 00:53:32,560
Speaker 2: upfront moment.

983
00:53:32,600 --> 00:53:34,760
Speaker 3: But this is also Atlanta, so I'm sure that basement

984
00:53:34,840 --> 00:53:38,160
Speaker 3: is expansive and it's I mean, I'm.

985
00:53:37,960 --> 00:53:39,880
Speaker 2: In I'm in a million dollars, I'm in a million

986
00:53:39,920 --> 00:53:42,840
Speaker 2: dollar crib in the Fourth War So I'm standing in

987
00:53:42,840 --> 00:53:46,080
Speaker 2: the unclayed and it's and it's and it's like it's fly.

988
00:53:46,640 --> 00:53:48,359
Speaker 1: Yeah, it's in the middle of it's in the middle

989
00:53:48,400 --> 00:53:49,960
Speaker 1: of the hood. It's at the regular basement.

990
00:53:50,040 --> 00:53:52,320
Speaker 2: Yeah, I'm on Boulevard and in the middle of the

991
00:53:52,360 --> 00:53:56,480
Speaker 2: hood with a million dollar house and and I'm making music, right,

992
00:53:56,760 --> 00:53:58,799
Speaker 2: So I take this music and I play it for

993
00:53:58,840 --> 00:54:01,399
Speaker 2: Clive and then this batch of music, you know, it's

994
00:54:01,560 --> 00:54:07,120
Speaker 2: very artists and Cloud listened and then he turned around

995
00:54:07,160 --> 00:54:08,719
Speaker 2: and asked me, and then he wanted to play me

996
00:54:08,760 --> 00:54:12,800
Speaker 2: some music. And then he started playing me all the

997
00:54:12,880 --> 00:54:13,520
Speaker 2: music that he.

998
00:54:13,520 --> 00:54:19,000
Speaker 1: Had and I'm listening and the quality of it.

999
00:54:21,600 --> 00:54:24,400
Speaker 2: This was made at the Hit Factory, so sonically, he

1000
00:54:24,560 --> 00:54:27,760
Speaker 2: just out beat me in the meeting. And I'm sitting

1001
00:54:27,800 --> 00:54:32,520
Speaker 2: there like, wow, this is incredible. And at this moment,

1002
00:54:32,560 --> 00:54:36,080
Speaker 2: I'm thinking he's about to give me a production deal. Right.

1003
00:54:41,400 --> 00:54:44,239
Speaker 2: I come from the face, I come from bad boy,

1004
00:54:44,920 --> 00:54:48,400
Speaker 2: I come from rowdy Boom, I'm next.

1005
00:54:48,239 --> 00:54:53,640
Speaker 3: Up baby, Yeah, yeah, for sure, he shot me down. Okay, Boom,

1006
00:54:53,680 --> 00:54:55,719
Speaker 3: did you give one of those letters? Not those letters though,

1007
00:54:55,800 --> 00:54:57,879
Speaker 3: because you know, have you heard about those?

1008
00:54:58,000 --> 00:54:58,160
Speaker 1: Now?

1009
00:54:58,160 --> 00:54:58,799
Speaker 2: I get the letter?

1010
00:54:58,920 --> 00:55:02,880
Speaker 3: Yea letter when he would turn down songs back in

1011
00:55:02,920 --> 00:55:05,759
Speaker 3: the day, like probably before our time, even because then

1012
00:55:05,840 --> 00:55:08,760
Speaker 3: O G showed me one he would he would handwrite

1013
00:55:08,760 --> 00:55:09,880
Speaker 3: a letter to you.

1014
00:55:09,920 --> 00:55:11,920
Speaker 1: No, no, no, I didn't get not wanting to. I

1015
00:55:11,920 --> 00:55:14,759
Speaker 1: didn't even get by you. I didn't even get you.

1016
00:55:14,880 --> 00:55:15,560
Speaker 1: I didn't get that.

1017
00:55:16,040 --> 00:55:19,560
Speaker 2: What he said was he asked me, do I mind

1018
00:55:19,600 --> 00:55:23,560
Speaker 2: helping him with his talent? So then I end up

1019
00:55:23,600 --> 00:55:28,200
Speaker 2: picking up work, but as a production company, No, he said.

1020
00:55:28,280 --> 00:55:30,280
Speaker 2: I didn't have anything better than what he was playing.

1021
00:55:31,880 --> 00:55:35,480
Speaker 2: So I said, okay, great, all right, cool, So boom.

1022
00:55:35,080 --> 00:55:36,000
Speaker 1: Are you discouraged?

1023
00:55:36,640 --> 00:55:39,560
Speaker 2: Oh I'm in pieces. I'm shocking. So it's like a

1024
00:55:39,600 --> 00:55:41,560
Speaker 2: Spike Lee movie for me. I'm moving like this now

1025
00:55:42,239 --> 00:55:43,160
Speaker 2: in the streets.

1026
00:55:42,800 --> 00:55:44,439
Speaker 1: Of New York, the buildings, the movement.

1027
00:55:45,920 --> 00:55:48,799
Speaker 2: Yeah, I'm floating. So I'm like, man, how do I

1028
00:55:48,840 --> 00:55:51,600
Speaker 2: go back home and tell all the artists that's in

1029
00:55:51,640 --> 00:55:52,240
Speaker 2: the basement.

1030
00:55:52,920 --> 00:55:55,600
Speaker 1: Ah, now in.

1031
00:55:55,560 --> 00:56:01,160
Speaker 2: The basement is akon in the basement ship it's future

1032
00:56:01,160 --> 00:56:07,840
Speaker 2: in the basement. I have countless of artists that's depending

1033
00:56:07,920 --> 00:56:13,960
Speaker 2: on me. Yeah, and producers and writers to go back

1034
00:56:14,000 --> 00:56:18,319
Speaker 2: and say it didn't work. Yeah, And I never really

1035
00:56:18,360 --> 00:56:20,480
Speaker 2: said it didn't work. I said, guys, let's switch this up.

1036
00:56:20,520 --> 00:56:22,240
Speaker 2: Give me this, give me this, give me this. Because

1037
00:56:22,239 --> 00:56:24,719
Speaker 2: now I've been in all these rooms, I know what

1038
00:56:24,800 --> 00:56:25,120
Speaker 2: it is.

1039
00:56:25,440 --> 00:56:25,840
Speaker 1: Yeah.

1040
00:56:26,840 --> 00:56:29,719
Speaker 2: Right, So I went and tuned it, fine tuning I want.

1041
00:56:29,719 --> 00:56:33,160
Speaker 2: I fixed it. Never discouraging the artists, I just start

1042
00:56:33,200 --> 00:56:36,000
Speaker 2: asking for different things, and over a course of time,

1043
00:56:36,040 --> 00:56:41,200
Speaker 2: I start getting it. And then I realized I was

1044
00:56:41,280 --> 00:56:45,279
Speaker 2: ready to play. So then I went. Then I went

1045
00:56:45,320 --> 00:56:51,719
Speaker 2: to other companies and I got rejected. Probably. I mean,

1046
00:56:51,800 --> 00:56:53,600
Speaker 2: I went to a lot of record execs, man.

1047
00:56:53,480 --> 00:56:56,960
Speaker 3: And everybody's turning your deal down. Everybody wants to give

1048
00:56:57,000 --> 00:57:00,160
Speaker 3: you a production label deal, anything of the sort now.

1049
00:57:01,000 --> 00:57:02,399
Speaker 1: But they're still hiring you.

1050
00:57:02,760 --> 00:57:04,440
Speaker 2: Yeah, they still hired me to do their talent, but

1051
00:57:04,440 --> 00:57:05,680
Speaker 2: they're not giving me a production deal.

1052
00:57:05,719 --> 00:57:09,400
Speaker 3: Okay, so are you questioning like in for transparency? Are

1053
00:57:09,400 --> 00:57:13,160
Speaker 3: each question like maybe I don't. I started thinking that

1054
00:57:13,520 --> 00:57:15,520
Speaker 3: I don't know about what I got. No, not that

1055
00:57:15,600 --> 00:57:18,600
Speaker 3: I didn't have it. I felt like outside of timing,

1056
00:57:18,920 --> 00:57:19,640
Speaker 3: they didn't get it.

1057
00:57:19,920 --> 00:57:20,240
Speaker 1: Okay.

1058
00:57:20,400 --> 00:57:22,600
Speaker 2: I wasn't really discouraged. And you know, I felt like

1059
00:57:22,640 --> 00:57:25,919
Speaker 2: if it was easy and if what I was doing

1060
00:57:26,080 --> 00:57:28,919
Speaker 2: was common, everybody would be doing it correct. I felt

1061
00:57:28,960 --> 00:57:30,960
Speaker 2: like it was different and at the time when I

1062
00:57:31,040 --> 00:57:36,960
Speaker 2: came through with the music, even shopping Acon, it wasn't

1063
00:57:37,040 --> 00:57:39,800
Speaker 2: your norm. People didn't understand what it was. If I

1064
00:57:39,800 --> 00:57:41,960
Speaker 2: showed you a photo of what he looked like and

1065
00:57:42,000 --> 00:57:44,160
Speaker 2: then I played the music, you didn' quite didn't understand

1066
00:57:44,160 --> 00:57:47,400
Speaker 2: the tone, didn't understand the look. I say, he's African.

1067
00:57:47,880 --> 00:57:49,880
Speaker 2: That wasn't even a thing, you know what I mean,

1068
00:57:50,080 --> 00:57:53,240
Speaker 2: just like the first African African American to break in

1069
00:57:53,280 --> 00:57:57,480
Speaker 2: the US. So I'm doing something totally left from what

1070
00:57:57,480 --> 00:58:01,400
Speaker 2: they're accustomed to doing, and I felt like it was unique.

1071
00:58:01,680 --> 00:58:04,880
Speaker 2: But one thing about it, I said to myself, I said,

1072
00:58:04,920 --> 00:58:09,360
Speaker 2: once this pop, it's gonna go. It's gonna go all

1073
00:58:09,400 --> 00:58:13,200
Speaker 2: the way. It's gonna be international. And that kept me

1074
00:58:13,320 --> 00:58:17,680
Speaker 2: going more so than the nose. There was more so

1075
00:58:17,880 --> 00:58:20,360
Speaker 2: my belief. And then plus I have done so many

1076
00:58:20,440 --> 00:58:22,280
Speaker 2: artists that I kind of had the hot head in

1077
00:58:22,360 --> 00:58:24,880
Speaker 2: terms of, oh what I'm doing gonna work. You just

1078
00:58:24,880 --> 00:58:26,480
Speaker 2: don't get it. Give me a second, I'll be back.

1079
00:58:27,000 --> 00:58:31,120
Speaker 2: So then I went on my own, pressing up cdsake

1080
00:58:31,200 --> 00:58:32,800
Speaker 2: the Independence I mean records. Yeah, I did the whole

1081
00:58:32,960 --> 00:58:35,000
Speaker 2: I did the whole Independent, I mean, I bought a

1082
00:58:35,040 --> 00:58:35,800
Speaker 2: conversion van.

1083
00:58:36,680 --> 00:58:38,560
Speaker 1: I've been there wrapped the van.

1084
00:58:39,200 --> 00:58:42,320
Speaker 2: Yeah, street teams up and down the highway, taking a

1085
00:58:42,400 --> 00:58:45,120
Speaker 2: com music at a different places. It was funny story

1086
00:58:45,160 --> 00:58:50,720
Speaker 2: because I was actually doing Mary's tour and I used

1087
00:58:50,760 --> 00:58:53,440
Speaker 2: to go to the after parties and I would have

1088
00:58:53,600 --> 00:59:00,920
Speaker 2: them play Acon's music at Mary and say, hey, man,

1089
00:59:00,920 --> 00:59:03,560
Speaker 2: can you play this? Yeah, So even at all the clubs,

1090
00:59:03,600 --> 00:59:05,760
Speaker 2: so everywhere I went, I was working on another artist.

1091
00:59:05,960 --> 00:59:08,840
Speaker 2: I was asking to utilizing your network right to play

1092
00:59:08,920 --> 00:59:10,800
Speaker 2: to play the music. While I'm doing that, I got

1093
00:59:10,840 --> 00:59:15,960
Speaker 2: to kind of frustrated why people ain't really get it right.

1094
00:59:16,040 --> 00:59:18,040
Speaker 2: I was kind of like, man, this is crazy. So

1095
00:59:18,080 --> 00:59:22,680
Speaker 2: I called the friend up. I called Bernard Alexander. Ah, yeah, yeah,

1096
00:59:22,720 --> 00:59:25,000
Speaker 2: my god. I called Bernard. I said, oh, Bernard, check

1097
00:59:25,040 --> 00:59:27,080
Speaker 2: this out. I need you to come to the house.

1098
00:59:27,240 --> 00:59:29,880
Speaker 2: So Bernard came to the house, Men Bernard. Before we

1099
00:59:29,960 --> 00:59:32,439
Speaker 2: even got all the way into it, we went to church.

1100
00:59:33,720 --> 00:59:36,560
Speaker 2: So men Bernard went to church uh with my mom

1101
00:59:36,880 --> 00:59:42,600
Speaker 2: and spent the night. And then I played him what

1102
00:59:42,680 --> 00:59:46,080
Speaker 2: I had. I played him Acons music and then I

1103
00:59:46,120 --> 00:59:50,680
Speaker 2: played in this song called Lonely and he said stop, stop, stop, stop,

1104
00:59:50,680 --> 00:59:53,200
Speaker 2: stop right there and stop right there. He said, give

1105
00:59:53,200 --> 00:59:55,959
Speaker 2: me that give me, give it to me, and he said,

1106
00:59:55,960 --> 00:59:58,080
Speaker 2: give me, give me a few days. I'm gonna come back.

1107
00:59:58,160 --> 01:00:00,280
Speaker 2: I got you, I got you. He said, we get

1108
01:00:00,280 --> 01:00:04,160
Speaker 2: to this song right here. It's out of here. In

1109
01:00:04,160 --> 01:00:05,640
Speaker 2: my mind, I was like, all right, bet if you

1110
01:00:05,760 --> 01:00:08,760
Speaker 2: got something, let me know. But in the midst of that,

1111
01:00:09,880 --> 01:00:13,280
Speaker 2: let me go back. Because I did get a production deal.

1112
01:00:14,880 --> 01:00:17,640
Speaker 2: I missed this one piece that I cannot miss. I

1113
01:00:17,680 --> 01:00:21,000
Speaker 2: had one guy to believe in me early on, before

1114
01:00:21,040 --> 01:00:23,560
Speaker 2: the records even popped, before I even did that, and

1115
01:00:23,600 --> 01:00:36,160
Speaker 2: it was Hiram Hicks shout out. So I had I

1116
01:00:36,200 --> 01:00:39,640
Speaker 2: was working on Kelly Price, Drew Hill, Mona Li some

1117
01:00:39,800 --> 01:00:43,080
Speaker 2: other things that he have signed, and he was at

1118
01:00:43,240 --> 01:00:49,120
Speaker 2: Island Death time and he gave me a three act situation.

1119
01:00:50,080 --> 01:00:52,120
Speaker 2: But he gave it to me right on the end

1120
01:00:52,320 --> 01:00:58,240
Speaker 2: of what it was, making a shift. I think at

1121
01:00:58,240 --> 01:01:03,920
Speaker 2: this time, Kevin Lyles and le Or was coming. Yeah,

1122
01:01:04,200 --> 01:01:10,920
Speaker 2: so at that moment he stepped down. They came in

1123
01:01:11,920 --> 01:01:16,600
Speaker 2: and if I can recall taking a meeting.

1124
01:01:16,320 --> 01:01:19,520
Speaker 1: With Kevin, it was it was just it was crazy.

1125
01:01:19,960 --> 01:01:22,880
Speaker 2: Uh, it was crazy. It was crazy. Tina and Tina

1126
01:01:22,960 --> 01:01:28,200
Speaker 2: Davis was sitting there, you know, she was having a meeting,

1127
01:01:28,760 --> 01:01:33,520
Speaker 2: and she she was talking to me. I was playing

1128
01:01:33,520 --> 01:01:36,160
Speaker 2: the music. Kevin was on the phone. It's the meeting

1129
01:01:36,200 --> 01:01:39,480
Speaker 2: with Kevin. So Kevin is talking on the phone. Every

1130
01:01:39,480 --> 01:01:42,440
Speaker 2: time the phone and he goes Tina looking at me

1131
01:01:42,520 --> 01:01:45,320
Speaker 2: like this. She said, one second, divine. One second. She's

1132
01:01:45,320 --> 01:01:47,760
Speaker 2: trying to be nice. She said, one second, divine. So

1133
01:01:47,920 --> 01:01:50,560
Speaker 2: I'm probably on the third or fourth song. Kevin's on

1134
01:01:50,600 --> 01:01:52,760
Speaker 2: the phone, and the meeting is for Kevin. But I

1135
01:01:52,800 --> 01:01:54,160
Speaker 2: came in the door with hire them.

1136
01:01:54,280 --> 01:01:54,960
Speaker 1: Yeah.

1137
01:01:55,360 --> 01:02:00,320
Speaker 2: So by the time it got to and I'm playing Acon,

1138
01:02:00,440 --> 01:02:03,920
Speaker 2: I'm playing Acon, I'm playing a couple of artist artists

1139
01:02:03,920 --> 01:02:07,640
Speaker 2: I have signed Cha Cha, I'm playing this music and

1140
01:02:08,280 --> 01:02:11,040
Speaker 2: I stopped it myself. I said ten, excuse me, I

1141
01:02:11,080 --> 01:02:14,920
Speaker 2: stopped it. I got the CD, grabbed my bag. He

1142
01:02:15,040 --> 01:02:17,240
Speaker 2: on the phone, and I'm getting ready to walk out,

1143
01:02:18,080 --> 01:02:21,720
Speaker 2: and Tina was like, divine, just wait a second. I said, no, no, no,

1144
01:02:21,600 --> 01:02:23,520
Speaker 2: it's not a problem. It's not a problem. I said,

1145
01:02:23,600 --> 01:02:25,280
Speaker 2: this is cool. She said no, no, no, no, just

1146
01:02:25,320 --> 01:02:27,400
Speaker 2: wait a second. He'll be off in a second.

1147
01:02:27,760 --> 01:02:29,480
Speaker 1: I said, don't worry about it.

1148
01:02:29,800 --> 01:02:32,440
Speaker 2: I call you. Got up when I'm and when I

1149
01:02:32,440 --> 01:02:34,360
Speaker 2: got to the door, he looked up and he's like, yo, yo, yo.

1150
01:02:35,840 --> 01:02:38,680
Speaker 2: He said, divine you ever you ever you ever thought

1151
01:02:38,680 --> 01:02:44,320
Speaker 2: about working inside? I said, no, sir, nah, I never

1152
01:02:44,360 --> 01:02:49,240
Speaker 2: thought about it. All right, all right, I said no, no, no,

1153
01:02:49,200 --> 01:02:51,520
Speaker 2: it's not It's cool. We'll talk. We'll talk in a minute,

1154
01:02:52,040 --> 01:02:53,919
Speaker 2: we'll talk. Thank you, thank you for your time, sir,

1155
01:02:54,480 --> 01:02:58,560
Speaker 2: and I walked out, and then fast forward back at

1156
01:02:58,560 --> 01:03:02,840
Speaker 2: home creating. Then that's when Bernard came. Bernard took the

1157
01:03:02,960 --> 01:03:09,040
Speaker 2: music to Barry Hankinson. Okay, so Barry wanted to do

1158
01:03:09,120 --> 01:03:12,520
Speaker 2: the deal. And then he said, I got this other play.

1159
01:03:13,040 --> 01:03:14,520
Speaker 2: And I don't know how it happened. I know him

1160
01:03:14,560 --> 01:03:17,000
Speaker 2: and Kenny Burns go back and forth about who who

1161
01:03:17,040 --> 01:03:20,320
Speaker 2: took it to Steve Rifkin, but I know Bernard had it.

1162
01:03:20,360 --> 01:03:23,520
Speaker 2: And Bernard went into Rifkin's office played in the music,

1163
01:03:23,560 --> 01:03:26,360
Speaker 2: and Rifkin wanted to meet Akon wanted to do the deal.

1164
01:03:27,320 --> 01:03:30,400
Speaker 2: But when he came to Atlanta, came to my house,

1165
01:03:30,440 --> 01:03:34,000
Speaker 2: the million dollar house in the hood, and he saw

1166
01:03:34,640 --> 01:03:39,120
Speaker 2: Usher there, he saw Eric Sermon there, he saw Candy

1167
01:03:39,160 --> 01:03:41,960
Speaker 2: and tiny downstairs writing met Acon.

1168
01:03:42,280 --> 01:03:44,720
Speaker 1: So he's like, yo, what is this factory going on?

1169
01:03:45,080 --> 01:03:46,960
Speaker 2: Like what is this and then then I said, no, no, man,

1170
01:03:47,040 --> 01:03:50,280
Speaker 2: let's go we're talking business. I said, let's go play basketball.

1171
01:03:50,440 --> 01:03:54,120
Speaker 2: So I walked him through the hood and fourth Ward

1172
01:03:55,000 --> 01:03:58,880
Speaker 2: basketball court. Everybody takes off running because they thought I

1173
01:03:58,920 --> 01:04:00,480
Speaker 2: came to the hood with white boys. Thought they were

1174
01:04:00,480 --> 01:04:06,160
Speaker 2: the Feds. I thought they were the police. You got

1175
01:04:06,200 --> 01:04:08,560
Speaker 2: Steve Rifkin with you. I got Rifkin with me. We

1176
01:04:08,600 --> 01:04:11,320
Speaker 2: got to I'm taking and go play ball. We're going

1177
01:04:11,480 --> 01:04:14,960
Speaker 2: down here to talk. So we do that, and then

1178
01:04:16,320 --> 01:04:18,720
Speaker 2: I still wasn't all the way sold on doing a

1179
01:04:18,760 --> 01:04:21,400
Speaker 2: deal with Rifkin. I had to go make one stop.

1180
01:04:21,440 --> 01:04:24,440
Speaker 2: I had to go back to hire them, and I

1181
01:04:24,480 --> 01:04:26,600
Speaker 2: took Rifkin up to hire them and then hire them

1182
01:04:26,640 --> 01:04:29,360
Speaker 2: green lighted it. And then that's what made me take

1183
01:04:29,360 --> 01:04:31,040
Speaker 2: the deal because Hiram is the one who gave me

1184
01:04:31,080 --> 01:04:34,240
Speaker 2: the money to bail a coon out of jail the

1185
01:04:34,280 --> 01:04:38,280
Speaker 2: second time. Yeah, I paid for the first one and

1186
01:04:38,320 --> 01:04:40,080
Speaker 2: the second. Yeah, they gave me the money for the

1187
01:04:40,080 --> 01:04:40,560
Speaker 2: second one.

1188
01:04:40,920 --> 01:04:48,800
Speaker 3: So, connecting of episodes, DJ More Milly, DJ Okay Jimmy's nephew.

1189
01:04:49,080 --> 01:04:53,800
Speaker 3: Yeah yeah. So he says he had Polo he got yeah,

1190
01:04:53,920 --> 01:04:56,520
Speaker 3: and Polo wanted to do the deal.

1191
01:04:57,000 --> 01:04:58,560
Speaker 1: Also so I just go.

1192
01:04:59,040 --> 01:05:02,360
Speaker 2: I discovered Polo and it was sixteen been around me

1193
01:05:02,400 --> 01:05:02,960
Speaker 2: since then.

1194
01:05:05,880 --> 01:05:09,880
Speaker 1: So because I guess was singing hook hooks.

1195
01:05:10,040 --> 01:05:15,320
Speaker 2: So how we even was working. There was Billy I

1196
01:05:15,440 --> 01:05:18,240
Speaker 2: forget Billy last name, and he'll kill me for this.

1197
01:05:18,720 --> 01:05:23,560
Speaker 2: I gave Billy a CD with nothing but hooks on

1198
01:05:23,600 --> 01:05:27,040
Speaker 2: it with Acon because we were trying to figure out

1199
01:05:27,320 --> 01:05:30,040
Speaker 2: how to get these songs out, and then we was like,

1200
01:05:30,080 --> 01:05:32,040
Speaker 2: if we give it to some rappers, give it to

1201
01:05:32,040 --> 01:05:35,240
Speaker 2: certain people that just thought the verse on it, and

1202
01:05:35,400 --> 01:05:38,200
Speaker 2: give it back or put it out. So that's how

1203
01:05:38,240 --> 01:05:44,360
Speaker 2: we began to use other marketing strategies to get Acon's

1204
01:05:44,360 --> 01:05:44,800
Speaker 2: boys out.

1205
01:05:44,880 --> 01:05:47,480
Speaker 1: Yeah, so that's how you end up on the rich

1206
01:05:47,480 --> 01:05:49,760
Speaker 1: boys stuff. Right. But but in.

1207
01:05:49,760 --> 01:05:55,040
Speaker 2: That group of people's Polo still producing. Yes, right, So

1208
01:05:58,080 --> 01:06:01,560
Speaker 2: Polo had the CD and was shopping it too, right,

1209
01:06:02,120 --> 01:06:04,840
Speaker 2: and wasn't getting a bite, so he didn't come back

1210
01:06:04,880 --> 01:06:06,439
Speaker 2: to me with anything. So I was like, okay, boo.

1211
01:06:06,640 --> 01:06:08,480
Speaker 2: The only person came back was.

1212
01:06:08,520 --> 01:06:12,160
Speaker 1: Riff because he brought Rifkin. He brought Rifkin. Was it

1213
01:06:12,200 --> 01:06:14,760
Speaker 1: immediate for Rifkin? Was he like I get it? Yeah?

1214
01:06:14,840 --> 01:06:17,120
Speaker 2: I mean he came down right away, you know. Bernard

1215
01:06:17,240 --> 01:06:19,000
Speaker 2: called and he was like, yeah, yeah.

1216
01:06:18,680 --> 01:06:22,080
Speaker 1: And how long had you been working with KHN before this?

1217
01:06:22,280 --> 01:06:24,440
Speaker 2: Oh? Man, it's probably about ten years prior to that.

1218
01:06:24,600 --> 01:06:26,560
Speaker 1: He waited ten years. Yeah. I moved him in my

1219
01:06:26,600 --> 01:06:30,480
Speaker 1: home and he kept going to jail. Yeah.

1220
01:06:30,760 --> 01:06:32,920
Speaker 2: Oh, so what happened is we kept going to jail

1221
01:06:33,120 --> 01:06:34,360
Speaker 2: when he wasn't in my home.

1222
01:06:35,600 --> 01:06:36,520
Speaker 1: Okay, right, so.

1223
01:06:37,960 --> 01:06:40,000
Speaker 2: What made me move in my home? I think I

1224
01:06:40,040 --> 01:06:42,720
Speaker 2: was at a tribe called Quest concert and I came

1225
01:06:42,760 --> 01:06:53,360
Speaker 2: outside and my security was like, akon, want to holler

1226
01:06:53,400 --> 01:06:55,200
Speaker 2: at you now. The whole time, I'm thinking he's still

1227
01:06:55,240 --> 01:06:58,160
Speaker 2: in jail because the third time I left him in there,

1228
01:06:58,200 --> 01:07:01,000
Speaker 2: I didn't even go back. Mother, everybody pissed off. I

1229
01:07:01,040 --> 01:07:02,880
Speaker 2: didn't even I just like, he gonna have to set

1230
01:07:02,960 --> 01:07:08,320
Speaker 2: that out right. So I'm walking outside the concert and

1231
01:07:09,600 --> 01:07:12,040
Speaker 2: security said some you know the kid, Hey, come on

1232
01:07:12,120 --> 01:07:14,920
Speaker 2: to hollt you. I'm like, yo, where is that. He's

1233
01:07:14,920 --> 01:07:17,520
Speaker 2: across the street. I look across the street. He's like

1234
01:07:17,600 --> 01:07:22,800
Speaker 2: yo yo D yo D and I'm like so he

1235
01:07:22,880 --> 01:07:23,400
Speaker 2: walks over.

1236
01:07:23,680 --> 01:07:25,400
Speaker 1: He said, yo, man, I just want to tell you man,

1237
01:07:25,720 --> 01:07:26,320
Speaker 1: I'm sorry.

1238
01:07:26,360 --> 01:07:26,560
Speaker 3: Man.

1239
01:07:26,640 --> 01:07:29,880
Speaker 2: I apologize, you know. He apologized and everything. I was like, yeah, yeah,

1240
01:07:29,880 --> 01:07:32,040
Speaker 2: it's all good, man, I said, I tell you what, Man,

1241
01:07:32,080 --> 01:07:35,000
Speaker 2: you got my number right, just just call me. Because

1242
01:07:35,440 --> 01:07:37,080
Speaker 2: you got to think how I met him. I met

1243
01:07:37,160 --> 01:07:40,560
Speaker 2: him through Little Zane, so I didn't discover him. What

1244
01:07:40,720 --> 01:07:43,600
Speaker 2: you met a khan through lil Zane, Through little Zaye.

1245
01:07:43,640 --> 01:07:47,040
Speaker 2: Litle Zane brought him to me. Okay, So at this

1246
01:07:47,120 --> 01:07:51,160
Speaker 2: at my rehearsal at my studio rehearsal hall. In order

1247
01:07:51,160 --> 01:07:56,280
Speaker 2: for me to hear him, they got crafty and rented

1248
01:07:56,320 --> 01:08:00,360
Speaker 2: the space out so I can hear it. And you know,

1249
01:08:00,440 --> 01:08:02,120
Speaker 2: for a minute, I was just walking past the rooms.

1250
01:08:02,160 --> 01:08:03,959
Speaker 2: I never went in the room, and what he saw

1251
01:08:04,200 --> 01:08:07,680
Speaker 2: was pink coming out of the studio. He's seen all

1252
01:08:07,680 --> 01:08:09,360
Speaker 2: these artists coming, so he was like, I want to

1253
01:08:09,400 --> 01:08:11,200
Speaker 2: be in there. So Zaye was like, yo, you got

1254
01:08:11,200 --> 01:08:11,960
Speaker 2: to just meet my man.

1255
01:08:12,840 --> 01:08:14,680
Speaker 1: So he brought him.

1256
01:08:14,680 --> 01:08:17,120
Speaker 2: I heard it, and the only thing I thought about

1257
01:08:17,160 --> 01:08:19,679
Speaker 2: when I first heard it, when I heard the tone

1258
01:08:19,720 --> 01:08:24,200
Speaker 2: the pitch of his voice, I said, that's it. That's

1259
01:08:24,240 --> 01:08:28,000
Speaker 2: it right there, Yeah, that's it. And then but I

1260
01:08:28,040 --> 01:08:31,160
Speaker 2: still in budge on it, so they come would keep

1261
01:08:31,240 --> 01:08:34,639
Speaker 2: coming back. But then he started asking me business questions

1262
01:08:35,280 --> 01:08:37,760
Speaker 2: and he had did a deal with famous music publishing

1263
01:08:38,840 --> 01:08:41,280
Speaker 2: and did I yeah, yeah.

1264
01:08:41,520 --> 01:08:43,040
Speaker 1: So he had did a deal and he asked me

1265
01:08:43,080 --> 01:08:44,080
Speaker 1: about the deal and I.

1266
01:08:44,080 --> 01:08:47,200
Speaker 2: Was like, yeah, yeah, yeah. So he told me how

1267
01:08:47,280 --> 01:08:50,400
Speaker 2: much money it was. And back then, you know, he

1268
01:08:50,560 --> 01:08:54,680
Speaker 2: was really on this car thing heavy, right. So he

1269
01:08:54,720 --> 01:08:56,760
Speaker 2: had a car think it might have been a Corolla,

1270
01:08:57,479 --> 01:09:00,800
Speaker 2: and he had flags on it, rim on it, like you,

1271
01:09:00,960 --> 01:09:05,439
Speaker 2: I mean a Corona, Corolla, Corolla something like that.

1272
01:09:05,520 --> 01:09:08,040
Speaker 1: With flags and rims on it, flags.

1273
01:09:07,680 --> 01:09:11,040
Speaker 2: Rims, the whole none. I'm like, yo, what is this money?

1274
01:09:11,360 --> 01:09:14,479
Speaker 2: So he ended up and I said, yo, man, check

1275
01:09:14,520 --> 01:09:17,720
Speaker 2: us out. Don't spend all your money. Don't spend all

1276
01:09:17,760 --> 01:09:21,639
Speaker 2: your money on this man investing yourself. And I said,

1277
01:09:22,400 --> 01:09:26,120
Speaker 2: you're a producer, you're a writer, you know, a singer. Yeah,

1278
01:09:26,160 --> 01:09:28,240
Speaker 2: And at the time he wasn't really he was trying

1279
01:09:28,240 --> 01:09:32,640
Speaker 2: to sing. He had just got dropped from Electra and

1280
01:09:32,720 --> 01:09:35,519
Speaker 2: being him both was there at the same time. So

1281
01:09:36,800 --> 01:09:38,880
Speaker 2: I said to him, I said, listen, I'm just giving

1282
01:09:38,960 --> 01:09:41,080
Speaker 2: him game, giving him game about the business. And he

1283
01:09:41,120 --> 01:09:43,599
Speaker 2: just kept coming back, kept coming back, and then I said,

1284
01:09:43,600 --> 01:09:45,080
Speaker 2: you know what, man, I'll tell you what. Let's lock

1285
01:09:45,120 --> 01:09:48,040
Speaker 2: in and let's do this. I got you, and then

1286
01:09:49,439 --> 01:09:53,479
Speaker 2: we locked in and just giving him game, but the

1287
01:09:53,560 --> 01:09:58,320
Speaker 2: music wasn't quite there. He was part of the refugee

1288
01:09:58,360 --> 01:10:02,280
Speaker 2: camp with wy Cleft. Okay, so he used to run

1289
01:10:02,320 --> 01:10:04,599
Speaker 2: back and forth, you know, in the Book of Basement.

1290
01:10:05,160 --> 01:10:10,639
Speaker 2: So Fuji comes out boom, and I'm thinking, like, man,

1291
01:10:12,280 --> 01:10:18,720
Speaker 2: that sounded like what we're doing. Takes off. He's like, nah, man,

1292
01:10:18,920 --> 01:10:20,800
Speaker 2: why Clefts gonna do this? Why Clef's gonna do that?

1293
01:10:20,840 --> 01:10:24,360
Speaker 2: And I'm like, yeah, yeah, yeah, yeah, okay, okay, it

1294
01:10:24,479 --> 01:10:26,680
Speaker 2: never happened, you know what I'm saying. So one day

1295
01:10:26,680 --> 01:10:28,680
Speaker 2: we at the Source Awards. We're sitting there. He's like, man,

1296
01:10:28,680 --> 01:10:30,599
Speaker 2: why Clef gonna pull me up on stage? Watch this?

1297
01:10:30,680 --> 01:10:33,400
Speaker 2: Watch this. We're sitting there and I'm with shake, I'm

1298
01:10:33,439 --> 01:10:37,880
Speaker 2: with secure and uh man shake, we tripping. Little John

1299
01:10:38,120 --> 01:10:39,840
Speaker 2: eats all of you know they have in a moment.

1300
01:10:40,240 --> 01:10:42,400
Speaker 2: And I was the creative director of a Source that year,

1301
01:10:42,439 --> 01:10:45,960
Speaker 2: so I'm standing on the side and why Cleft do

1302
01:10:46,040 --> 01:10:52,040
Speaker 2: this big number? Then call him up? He destroyed. I

1303
01:10:52,120 --> 01:10:54,800
Speaker 2: was like, man, I'm looked at him. I said, man,

1304
01:10:54,800 --> 01:10:56,960
Speaker 2: don't worry about it. Nobody wanted to take a picture,

1305
01:10:57,040 --> 01:10:59,080
Speaker 2: you know, no interviews, no nothing, I said, Man, don't

1306
01:10:59,080 --> 01:11:00,960
Speaker 2: worry about the next year. Man, you're going you'll be

1307
01:11:01,040 --> 01:11:03,400
Speaker 2: up there. You're gonna kill it. He looked at me,

1308
01:11:03,439 --> 01:11:05,680
Speaker 2: he said for real. I said, yeah, next year, you'll

1309
01:11:05,680 --> 01:11:08,200
Speaker 2: be up there and little and behold, next year he

1310
01:11:08,240 --> 01:11:10,880
Speaker 2: was up there. But very next year, the very next year,

1311
01:11:10,960 --> 01:11:14,360
Speaker 2: I'll show your clip of him performing at the Source

1312
01:11:14,360 --> 01:11:20,760
Speaker 2: Awards Standing Ovation. And from those moments going into that

1313
01:11:21,200 --> 01:11:28,360
Speaker 2: doing a deal with Rifkin. Still they promised me up

1314
01:11:28,400 --> 01:11:32,240
Speaker 2: front megatainment situation, but they only gave me a deal

1315
01:11:32,960 --> 01:11:36,840
Speaker 2: for Acon. Now in this deal, you still I got

1316
01:11:36,840 --> 01:11:42,840
Speaker 2: another group called FA and Future is in that group, right.

1317
01:11:42,840 --> 01:11:43,920
Speaker 1: Yeah, he said he was.

1318
01:11:44,080 --> 01:11:50,880
Speaker 3: He was in the basement, okright in the deal. Yes,

1319
01:11:50,960 --> 01:11:53,559
Speaker 3: so amazing that it's just in this deal as well. Yeah,

1320
01:11:53,600 --> 01:11:54,479
Speaker 3: you get a deal for them too.

1321
01:11:54,520 --> 01:11:54,720
Speaker 1: Okay.

1322
01:11:55,200 --> 01:11:58,519
Speaker 2: So then I had an outside studios called RETZ one

1323
01:11:59,400 --> 01:12:01,559
Speaker 2: where all the dudes in the hood. I just let

1324
01:12:01,640 --> 01:12:05,840
Speaker 2: her run through that studio. So that's why the street

1325
01:12:05,880 --> 01:12:10,240
Speaker 2: dudes being over there and at Red Swan. But how

1326
01:12:10,240 --> 01:12:17,040
Speaker 2: it flipped was more so when Akon came out. It

1327
01:12:17,120 --> 01:12:21,679
Speaker 2: came out with belly Dancer, right, and the whole time

1328
01:12:21,720 --> 01:12:25,920
Speaker 2: I'm like, yo, what's this man? You know you know,

1329
01:12:25,960 --> 01:12:28,160
Speaker 2: we we shot the video, did every you know whatever,

1330
01:12:28,160 --> 01:12:32,160
Speaker 2: and I kept saying they wanted to recoup whatever money

1331
01:12:32,160 --> 01:12:34,799
Speaker 2: they gave us, and just so you know, the album.

1332
01:12:35,000 --> 01:12:37,320
Speaker 2: What they gave me for an album was two twenty.

1333
01:12:37,040 --> 01:12:38,679
Speaker 1: Five to make the first album.

1334
01:12:38,960 --> 01:12:42,519
Speaker 2: First album, and it was fourteen points. That's what we.

1335
01:12:42,479 --> 01:12:44,960
Speaker 1: Started with split amongst Yeah, that was the.

1336
01:12:45,760 --> 01:12:48,880
Speaker 2: Production company, the artists, and I probably was already one

1337
01:12:48,960 --> 01:12:56,320
Speaker 2: hundred thousand in out of my my pocket. So doing

1338
01:12:56,360 --> 01:13:01,040
Speaker 2: that deal turned around. I'm trying to find a fast

1339
01:13:01,080 --> 01:13:03,000
Speaker 2: forward and slow it down at the same time. So

1340
01:13:04,280 --> 01:13:08,080
Speaker 2: doing that deal at the time wasn't an idea. Deals

1341
01:13:08,160 --> 01:13:11,280
Speaker 2: more about the opportunity on what I really believed in,

1342
01:13:11,320 --> 01:13:13,320
Speaker 2: because I could have easily went with Barry. Barry had

1343
01:13:13,360 --> 01:13:17,599
Speaker 2: more money, and and I could have also waited because

1344
01:13:18,200 --> 01:13:21,040
Speaker 2: I wasn't really stressed for money. I just really wanted

1345
01:13:21,040 --> 01:13:23,559
Speaker 2: to get going. I wanted to get it going, but

1346
01:13:23,600 --> 01:13:25,720
Speaker 2: I only wanted to get it going because of what

1347
01:13:25,880 --> 01:13:26,560
Speaker 2: was promised.

1348
01:13:27,000 --> 01:13:29,160
Speaker 1: Ah got you, got you, got.

1349
01:13:28,920 --> 01:13:32,280
Speaker 2: You, Okay, So belly Dancers come out. I look at

1350
01:13:32,280 --> 01:13:35,120
Speaker 2: the CD, I look at everything, Boom boom boom, snow

1351
01:13:35,200 --> 01:13:38,280
Speaker 2: upfront on anything, everything set src.

1352
01:13:40,080 --> 01:13:40,360
Speaker 1: Right.

1353
01:13:40,439 --> 01:13:42,040
Speaker 2: So I'm gonna tell you my first RAMDMA when I

1354
01:13:42,080 --> 01:13:44,200
Speaker 2: learned the business the hard way, right at this moment,

1355
01:13:45,360 --> 01:13:49,280
Speaker 2: that moment that I was waiting on now, mind you,

1356
01:13:49,320 --> 01:13:53,360
Speaker 2: prior to all this, I pressed up final I pressed

1357
01:13:53,400 --> 01:13:57,519
Speaker 2: up CDs. So in my house, I have all of

1358
01:13:57,560 --> 01:14:00,680
Speaker 2: this with upfront on it front. It okay, but they

1359
01:14:00,720 --> 01:14:05,880
Speaker 2: have the machine. So it's start seeing everything. Man, I'm

1360
01:14:05,880 --> 01:14:10,360
Speaker 2: like going places, I'm looking, I'm listening. Man, my name

1361
01:14:10,360 --> 01:14:14,000
Speaker 2: ain't nowhere like man. Then they start blocking it where

1362
01:14:14,680 --> 01:14:18,280
Speaker 2: they say it ain't no budget where we couldn't travel

1363
01:14:18,320 --> 01:14:21,320
Speaker 2: together because it ain't no budget, so I would have

1364
01:14:21,320 --> 01:14:22,840
Speaker 2: to pay for my own flights if I want to

1365
01:14:22,840 --> 01:14:28,280
Speaker 2: be there. So you start seeing the separation. And I

1366
01:14:28,320 --> 01:14:29,800
Speaker 2: told him, I said, look, man, I've been doing this

1367
01:14:29,840 --> 01:14:32,519
Speaker 2: for ten years. Man, I'll tell you what you go ahead,

1368
01:14:33,720 --> 01:14:36,160
Speaker 2: you go ahead and fly. I got this. I hold

1369
01:14:36,160 --> 01:14:38,639
Speaker 2: this down while you do that. He said, I bet.

1370
01:14:38,800 --> 01:14:40,280
Speaker 2: I said, I don't need to hold your hand, nigga.

1371
01:14:40,360 --> 01:14:42,599
Speaker 2: If you've been with me for last ten years ago,

1372
01:14:43,200 --> 01:14:46,759
Speaker 2: you're like nah, yeah. So he kind of reluctant about

1373
01:14:48,120 --> 01:14:50,519
Speaker 2: going and not me not being there, but at the

1374
01:14:50,600 --> 01:14:51,960
Speaker 2: end of the day, wasn't going to pay for me

1375
01:14:52,000 --> 01:14:54,160
Speaker 2: to be there, so and I was sudden there saying

1376
01:14:54,200 --> 01:14:55,960
Speaker 2: I ain't need to sit with you to do this,

1377
01:14:56,360 --> 01:14:58,719
Speaker 2: and plus there was a lot of disrespect in terms

1378
01:14:58,720 --> 01:15:05,280
Speaker 2: of not including me. So I said to myself, while

1379
01:15:05,360 --> 01:15:07,519
Speaker 2: they do this, I'm going to press up this record.

1380
01:15:07,800 --> 01:15:12,000
Speaker 2: So I press up locked up. I knew because I

1381
01:15:12,040 --> 01:15:14,360
Speaker 2: realized they was going in the wrong direction anyway, I

1382
01:15:14,360 --> 01:15:16,120
Speaker 2: said the belly Dance record. They were saying they just

1383
01:15:16,120 --> 01:15:18,160
Speaker 2: trying to get their money back. I said, it's too

1384
01:15:18,200 --> 01:15:22,080
Speaker 2: soon for the record. But at this point they're not listening.

1385
01:15:23,040 --> 01:15:25,439
Speaker 2: So I got the version that styles P is not

1386
01:15:25,520 --> 01:15:27,839
Speaker 2: even on that I'm working in the street.

1387
01:15:27,640 --> 01:15:30,720
Speaker 1: And that's okay. So that's it's just this record is

1388
01:15:31,320 --> 01:15:35,040
Speaker 1: just con just con version.

1389
01:15:35,280 --> 01:15:38,559
Speaker 2: On this version. That's the same record I'm playing in

1390
01:15:38,560 --> 01:15:42,479
Speaker 2: the clubs when I'm on tour with me. So as

1391
01:15:42,479 --> 01:15:45,479
Speaker 2: I'm playing the records, I'm doing my part. Then I

1392
01:15:45,560 --> 01:15:49,760
Speaker 2: see them doing their part. And then the an R

1393
01:15:49,880 --> 01:15:52,320
Speaker 2: is like, yo, let's put somebody on the record. So

1394
01:15:52,360 --> 01:15:54,800
Speaker 2: the n R guy, his name is nobody, he went

1395
01:15:54,840 --> 01:15:57,920
Speaker 2: and got styles P. Put styles P on the record.

1396
01:16:00,640 --> 01:16:04,439
Speaker 2: They reshipped the record. Still not on the record.

1397
01:16:06,240 --> 01:16:09,280
Speaker 1: Okay, okay, right.

1398
01:16:08,520 --> 01:16:12,560
Speaker 2: The record goes out boom record catch.

1399
01:16:12,840 --> 01:16:14,519
Speaker 1: But no upfront on the record at all.

1400
01:16:14,439 --> 01:16:17,960
Speaker 2: No upfront nowhere now and what they not understanding creatively

1401
01:16:18,840 --> 01:16:22,320
Speaker 2: how the record was even created, which could have caused

1402
01:16:22,320 --> 01:16:25,120
Speaker 2: a pause if I wanted to cause the pause. So

1403
01:16:25,560 --> 01:16:27,280
Speaker 2: out of that group of guys that I tell you

1404
01:16:27,439 --> 01:16:30,040
Speaker 2: was how a whole bunch of guys and making records

1405
01:16:30,080 --> 01:16:33,040
Speaker 2: or whatever they come was in the studio at that time,

1406
01:16:33,439 --> 01:16:39,040
Speaker 2: may have had about twenty other guys in the studio, writers, producers, rappers.

1407
01:16:39,479 --> 01:16:42,080
Speaker 2: So that song was inspired by another group that I had,

1408
01:16:43,360 --> 01:16:46,120
Speaker 2: and they had a song called Lockdown in the Pin,

1409
01:16:47,640 --> 01:16:51,240
Speaker 2: how Let Your Boy? So that's how it was a

1410
01:16:51,320 --> 01:16:55,920
Speaker 2: jail song, okay, right, And the song went, now I'm

1411
01:16:55,920 --> 01:16:58,679
Speaker 2: locked down in the pin, nigga, how let your boy?

1412
01:16:59,400 --> 01:17:02,280
Speaker 2: How let your boy? Y'all on the outside looking in, nigga,

1413
01:17:02,680 --> 01:17:05,680
Speaker 2: I'll let your boy. So it was a whole jail thing.

1414
01:17:05,680 --> 01:17:06,920
Speaker 2: And I was like, hey, can you need to hop

1415
01:17:06,920 --> 01:17:10,679
Speaker 2: on us? So Akon took it and flipped it. I said,

1416
01:17:10,680 --> 01:17:12,920
Speaker 2: they're trying to find no more whatever. I was like,

1417
01:17:13,000 --> 01:17:20,400
Speaker 2: oh now, So then that whole campaign around it. So technically,

1418
01:17:20,400 --> 01:17:22,519
Speaker 2: while they're making that move doing that, I already know what,

1419
01:17:22,560 --> 01:17:25,360
Speaker 2: the records inspired by I could have stopped the record,

1420
01:17:26,640 --> 01:17:28,880
Speaker 2: could have stopped your whole motion. These kids could have

1421
01:17:28,920 --> 01:17:32,880
Speaker 2: even soothed if they wanted to, because we just took

1422
01:17:32,880 --> 01:17:35,800
Speaker 2: the idea you got it. But because they with me

1423
01:17:36,200 --> 01:17:41,080
Speaker 2: and they believe in that, I got this upfront situation

1424
01:17:42,240 --> 01:17:50,000
Speaker 2: that they next lo and behold. Whole time. Bernard is

1425
01:17:50,000 --> 01:17:54,040
Speaker 2: still in my ear. He said, if you can just

1426
01:17:54,080 --> 01:17:58,280
Speaker 2: get to that Lonely record, he'll be fine, because that's what.

1427
01:17:58,240 --> 01:18:00,000
Speaker 1: He's been telling you from the beginning. You got it.

1428
01:18:00,320 --> 01:18:02,600
Speaker 2: You got to get to Lonely. That's what you just

1429
01:18:02,600 --> 01:18:09,080
Speaker 2: get the Lonely. So they put out Ghetto did okay. Meanwhile,

1430
01:18:09,080 --> 01:18:14,160
Speaker 2: while they're doing that, that CD is circulating with acon

1431
01:18:14,640 --> 01:18:19,600
Speaker 2: hooks on them. So and in the batch of that

1432
01:18:19,680 --> 01:18:25,080
Speaker 2: CD is I want to Love you the rich Boy.

1433
01:18:25,160 --> 01:18:38,160
Speaker 2: Like it's a whole lot of hooks flying right. So

1434
01:18:39,120 --> 01:18:44,080
Speaker 2: Lonely comes. I pop back on the scene finally for singers, Yeah,

1435
01:18:44,080 --> 01:18:45,479
Speaker 2: I'm in a video the whole night, like I pop

1436
01:18:45,520 --> 01:18:47,400
Speaker 2: back up like he yeah, I pay for everyone to

1437
01:18:47,400 --> 01:18:50,720
Speaker 2: get there or whatever. But gonna his was going to

1438
01:18:50,760 --> 01:18:55,599
Speaker 2: blow you away. So why while that's happening and the

1439
01:18:55,600 --> 01:18:58,280
Speaker 2: Lonely record is coming. I'm telling Acon, like, yo, man,

1440
01:18:58,280 --> 01:19:00,920
Speaker 2: how these people just gonna disrespect the situation? They already

1441
01:19:00,960 --> 01:19:01,519
Speaker 2: knew what it was.

1442
01:19:01,960 --> 01:19:04,200
Speaker 1: He was like, yeah, man, but don't worry about it.

1443
01:19:04,240 --> 01:19:06,200
Speaker 2: When you get the Lonely, I'll tell you what, because

1444
01:19:06,200 --> 01:19:09,000
Speaker 2: we had this plan when you get the Lonely, When

1445
01:19:09,000 --> 01:19:11,640
Speaker 2: you get the Lonely, you just come in. Man. I

1446
01:19:11,680 --> 01:19:16,160
Speaker 2: was like, I bet now he told me I can

1447
01:19:16,200 --> 01:19:18,519
Speaker 2: come in, But now he's telling me just get the

1448
01:19:18,520 --> 01:19:22,160
Speaker 2: way to this record. And then and then I really discovered.

1449
01:19:22,200 --> 01:19:25,120
Speaker 2: I called the attorney and I say, look, man, they

1450
01:19:25,200 --> 01:19:27,120
Speaker 2: keep leaving me out of everything. I'm not on this,

1451
01:19:27,200 --> 01:19:31,120
Speaker 2: I'm not on that. Why is it a problem. And

1452
01:19:31,160 --> 01:19:38,160
Speaker 2: then I realized that the attorney was Rifkin's attorney attorney.

1453
01:19:40,080 --> 01:19:49,880
Speaker 2: It's Kenny Mersalis. Oh oh shit. Kenny was like, yo, Rifkin,

1454
01:19:49,920 --> 01:19:56,479
Speaker 2: why don't you fix whatever? Whatever? Okay, Boom deluxe, whatever came. Yeah,

1455
01:19:56,920 --> 01:19:58,360
Speaker 2: they put it on there, but they put it in

1456
01:19:59,120 --> 01:20:01,080
Speaker 2: they put it in a little civil font where you

1457
01:20:01,080 --> 01:20:04,880
Speaker 2: could barely see it, but it's on there. Oh yeah, fixed,

1458
01:20:04,960 --> 01:20:06,479
Speaker 2: we fixed it. So now I'm realizing I got the

1459
01:20:06,479 --> 01:20:12,000
Speaker 2: same attorney. So in terms of my renegotiation and negotiation.

1460
01:20:14,040 --> 01:20:16,720
Speaker 2: I had to make a switch, but Kenny set me

1461
01:20:16,800 --> 01:20:21,640
Speaker 2: up right. I left from there, still waiting on this

1462
01:20:21,720 --> 01:20:26,000
Speaker 2: lonely thing. Lonely came, Wow, I need to go in

1463
01:20:26,080 --> 01:20:29,080
Speaker 2: and have a talk. I took a meeting with Melo,

1464
01:20:29,160 --> 01:20:33,840
Speaker 2: went to Smellow, went to Doug Marris running point at Universal.

1465
01:20:37,280 --> 01:20:41,040
Speaker 2: Melo went to didn't even know I existed. He didn't

1466
01:20:41,040 --> 01:20:44,559
Speaker 2: even know acme was scientist production coming right direct. I mean,

1467
01:20:44,600 --> 01:20:48,200
Speaker 2: it's too low talking about and it wasn't introduced properly,

1468
01:20:48,880 --> 01:20:49,559
Speaker 2: so it was all that.

1469
01:20:49,600 --> 01:20:54,559
Speaker 1: It was all rifkin. So I said, cool to meet you.

1470
01:20:55,040 --> 01:21:00,080
Speaker 2: Meanwhile, they didn't promised ak on everything, like did you

1471
01:21:00,160 --> 01:21:03,000
Speaker 2: own studio? We're gonna set you up like everything that

1472
01:21:03,640 --> 01:21:08,080
Speaker 2: I had. A coon wanted it, all the artists and

1473
01:21:08,080 --> 01:21:09,640
Speaker 2: the studio to set up. So this is how he

1474
01:21:09,720 --> 01:21:12,439
Speaker 2: was groomed. So he want what he saw. You know,

1475
01:21:12,479 --> 01:21:14,719
Speaker 2: if you got them, you know, we get them ja's,

1476
01:21:14,720 --> 01:21:16,760
Speaker 2: He want them ja's. You know, it's like he want

1477
01:21:16,800 --> 01:21:19,599
Speaker 2: what he saw. So I wasn't mad at that they

1478
01:21:19,640 --> 01:21:22,400
Speaker 2: offered him that. So then he came to me and

1479
01:21:22,640 --> 01:21:25,720
Speaker 2: asked me could I co sign for him to do this?

1480
01:21:26,080 --> 01:21:30,240
Speaker 2: I said, yeah, once they give me what they promised.

1481
01:21:31,840 --> 01:21:38,080
Speaker 2: And then I realized another business part of it that

1482
01:21:38,240 --> 01:21:46,759
Speaker 2: Akon couldn't sign that agreement without my signature because technically

1483
01:21:46,800 --> 01:21:49,479
Speaker 2: he was because he was signed to a production company

1484
01:21:49,479 --> 01:21:56,880
Speaker 2: and they said exclusive. So boom, he's asking me to

1485
01:21:57,000 --> 01:22:00,400
Speaker 2: sign this. I said, Man, I'm not sign than that.

1486
01:22:01,640 --> 01:22:04,240
Speaker 2: I'm not I'm not signing. They gotta figure this out, man,

1487
01:22:04,760 --> 01:22:12,760
Speaker 2: they got to make this right. He's screaming. So now

1488
01:22:12,800 --> 01:22:15,160
Speaker 2: he starts to we start to see the divide and

1489
01:22:15,160 --> 01:22:18,800
Speaker 2: conquer happen. Like he's screaming top of his lungs. Did

1490
01:22:18,840 --> 01:22:21,040
Speaker 2: I go back have a conversation with my godfather and

1491
01:22:21,040 --> 01:22:23,719
Speaker 2: I said, look, man, this is what's going on. He said, okay,

1492
01:22:23,720 --> 01:22:26,280
Speaker 2: well let's have a meeting and that's what we're going

1493
01:22:26,360 --> 01:22:33,960
Speaker 2: to do. So that's what I shift is shift. Hey,

1494
01:22:34,000 --> 01:22:35,920
Speaker 2: cong what if I tell you I got a better

1495
01:22:35,960 --> 01:22:44,800
Speaker 2: situation for you that believes in producers and songwriters because

1496
01:22:44,840 --> 01:22:47,080
Speaker 2: you're a producer and a songwriter, you more than just

1497
01:22:49,320 --> 01:22:55,840
Speaker 2: you make hits. Yes, he says, oh d man, I

1498
01:22:55,880 --> 01:23:00,200
Speaker 2: mean I mean whatever, do whatever you think said?

1499
01:23:00,240 --> 01:23:03,439
Speaker 1: You did tell me I can come in. So since

1500
01:23:03,439 --> 01:23:04,519
Speaker 1: you're telling me to come in, this.

1501
01:23:04,640 --> 01:23:08,400
Speaker 2: The move I got how about if I just take

1502
01:23:08,400 --> 01:23:10,519
Speaker 2: you across the street. I don't think Doug would be mad.

1503
01:23:12,280 --> 01:23:17,799
Speaker 2: We're just gonna We're gonna switch Wardens. He says, okay,

1504
01:23:18,960 --> 01:23:24,200
Speaker 2: take you to Jimmy Ivan. He looked at me, says,

1505
01:23:24,200 --> 01:23:28,080
Speaker 2: no way. You don't know Jimmy. You can't get to Jimmy.

1506
01:23:29,360 --> 01:23:32,360
Speaker 2: I said, are you cool, I'll make the play. He said, yeah,

1507
01:23:33,439 --> 01:23:36,599
Speaker 2: run the play. I said, now only that, let's look

1508
01:23:36,640 --> 01:23:40,400
Speaker 2: at Universal ROSSIP. At the time they had Nelly Lil

1509
01:23:40,479 --> 01:23:43,599
Speaker 2: Wayne was bubbling a little bit, trying to figure out

1510
01:23:43,920 --> 01:23:47,479
Speaker 2: what the next move. The Hot Boys broke up, you know,

1511
01:23:47,520 --> 01:23:49,439
Speaker 2: they was trying to figure out what was next. Want

1512
01:23:49,560 --> 01:23:52,720
Speaker 2: nothing really major at Universal at the time, so a

1513
01:23:52,840 --> 01:24:00,080
Speaker 2: Kon had leverage. So I move it to Endoscope and

1514
01:24:02,240 --> 01:24:06,040
Speaker 2: Jimmy welcome them with open arms. At the same time

1515
01:24:06,040 --> 01:24:14,200
Speaker 2: they're ushering in Tubby. So Tubby became the an R

1516
01:24:15,000 --> 01:24:21,040
Speaker 2: for the company. So I switched it from Convict Music

1517
01:24:22,160 --> 01:24:24,160
Speaker 2: because it had people that have tied him and I'm

1518
01:24:24,200 --> 01:24:30,880
Speaker 2: not to con Live distribution, and that's who did the

1519
01:24:30,880 --> 01:24:35,519
Speaker 2: deal with Jimmy with me as the manager running point

1520
01:24:37,120 --> 01:24:37,799
Speaker 2: on the business.

1521
01:24:37,920 --> 01:24:41,360
Speaker 3: So now it's no longer a production deal. You've moved

1522
01:24:41,360 --> 01:24:42,559
Speaker 3: over to the management side.

1523
01:24:42,720 --> 01:24:48,360
Speaker 2: Yep, I moved over to management. Production is still at Universal. Hey,

1524
01:24:49,479 --> 01:24:53,400
Speaker 2: gotcha con deals now as a label head?

1525
01:24:53,760 --> 01:24:53,920
Speaker 3: Is that?

1526
01:24:54,120 --> 01:24:54,760
Speaker 2: Andoscope?

1527
01:24:54,960 --> 01:25:00,960
Speaker 1: Yeah? So now ripkin heat it pissed.

1528
01:25:02,520 --> 01:25:06,680
Speaker 2: Ah, I'm building and I did this. I spent my

1529
01:25:07,600 --> 01:25:09,680
Speaker 2: and how are you gonna take Crushret? Well, we're in

1530
01:25:09,720 --> 01:25:12,160
Speaker 2: the same boat. I spent more money than you. I

1531
01:25:12,240 --> 01:25:14,400
Speaker 2: spent way more money before we even got to this point,

1532
01:25:15,280 --> 01:25:18,880
Speaker 2: before even I met you. I've spent money. These relationships

1533
01:25:18,920 --> 01:25:22,760
Speaker 2: are already done. So it wasn't honorable. So I said, not

1534
01:25:22,800 --> 01:25:27,200
Speaker 2: a problem. Got to Jimmy. Doug ain't gonna be mad

1535
01:25:27,240 --> 01:25:29,599
Speaker 2: because we're getting ready. We're gonna make Dugs some money too.

1536
01:25:30,280 --> 01:25:32,960
Speaker 2: I mean, we're gonna keep making duck. We get to

1537
01:25:33,040 --> 01:25:36,400
Speaker 2: Jimmy and I tell Conn. I said, here's what we

1538
01:25:36,439 --> 01:25:40,559
Speaker 2: gotta do to crack the code in this building. We're

1539
01:25:40,560 --> 01:25:43,639
Speaker 2: gonna look at the roster of everything that Jimmy has

1540
01:25:44,080 --> 01:25:49,000
Speaker 2: that he's in debt with, and we're gonna furnish them.

1541
01:25:49,160 --> 01:25:51,800
Speaker 2: So we took on brick and lace. Nobody know who

1542
01:25:51,800 --> 01:25:56,240
Speaker 2: it was. They have put Ron Ferns in place. So

1543
01:25:56,280 --> 01:26:01,000
Speaker 2: we went to Ron checked out his roster, tapped into

1544
01:26:01,080 --> 01:26:06,000
Speaker 2: that where he was struggling. Swiss Beasts had a deal

1545
01:26:06,040 --> 01:26:12,879
Speaker 2: there he was struggling. He had signed Bone Thugs and Harmony.

1546
01:26:13,520 --> 01:26:15,200
Speaker 2: I think the last hit they had is the one

1547
01:26:15,240 --> 01:26:20,720
Speaker 2: I gave them that we gave them Swiss Bone Thugs

1548
01:26:20,760 --> 01:26:23,840
Speaker 2: and Harmony was signed the Swiss. Pharrell was working on

1549
01:26:23,880 --> 01:26:28,280
Speaker 2: gwen Stefani. We came in and gave Gwynn Sweet Escape.

1550
01:26:31,760 --> 01:26:34,360
Speaker 2: Moved over. We said, okay, Jimmy struggling with the pussy

1551
01:26:34,360 --> 01:26:41,599
Speaker 2: Cat Dolls. Hmmm, let's give Jimmy something with the pussy

1552
01:26:41,600 --> 01:26:46,200
Speaker 2: Cat Dolls. But before that, we gotta make our rounds

1553
01:26:46,200 --> 01:26:52,519
Speaker 2: because I'm still working on a CON's album. Right. We

1554
01:26:52,560 --> 01:26:56,679
Speaker 2: want Eminem, but we got to make a play. Let's

1555
01:26:56,680 --> 01:27:01,120
Speaker 2: go do Obie Trice. Yeah, So I'm gonna show you

1556
01:27:01,200 --> 01:27:04,400
Speaker 2: the strategy. There's a mind behind a business strategy behind

1557
01:27:04,439 --> 01:27:08,479
Speaker 2: the talent that people don't honor, and these business moves

1558
01:27:08,520 --> 01:27:13,519
Speaker 2: what set the talent up wasn't just the talent. So

1559
01:27:15,439 --> 01:27:18,839
Speaker 2: we knock got Obi trace the whole time. Now Eminem

1560
01:27:18,880 --> 01:27:21,760
Speaker 2: goes in and give a con smack that. Now, how

1561
01:27:21,760 --> 01:27:25,840
Speaker 2: are we going to get this cleared? We got to

1562
01:27:25,880 --> 01:27:29,360
Speaker 2: go get doctor Dre. So then we do cush with

1563
01:27:29,439 --> 01:27:32,920
Speaker 2: Doctor Dre. Then we turn around and do he had

1564
01:27:32,920 --> 01:27:35,880
Speaker 2: a rap artist by the name of Hayes. We do

1565
01:27:36,040 --> 01:27:38,760
Speaker 2: Hayes had a couple more things that he had, So

1566
01:27:38,800 --> 01:27:40,640
Speaker 2: then we furnished.

1567
01:27:40,200 --> 01:27:41,840
Speaker 1: Doctor Dre and buildship.

1568
01:27:42,240 --> 01:27:46,559
Speaker 2: Right now we're presenting our own talent. Now that we

1569
01:27:46,720 --> 01:27:52,480
Speaker 2: covered the bases on. We came here to work together.

1570
01:27:52,360 --> 01:27:55,360
Speaker 1: Right right right right, we're an asset.

1571
01:27:55,640 --> 01:27:58,479
Speaker 2: We step up to bat with Kobe o'donna's.

1572
01:27:58,640 --> 01:28:00,799
Speaker 1: Shout out to cove Man. Because I have.

1573
01:28:00,720 --> 01:28:06,760
Speaker 2: A indie background of how to work a record from

1574
01:28:06,760 --> 01:28:10,080
Speaker 2: the ground up. We started Kobe's record.

1575
01:28:11,160 --> 01:28:11,240
Speaker 1: No.

1576
01:28:12,040 --> 01:28:15,960
Speaker 2: We did Ray Lavender first. Oh yeah, girl got a girlfriend,

1577
01:28:16,040 --> 01:28:20,639
Speaker 2: Ye dope record. Yeah, So then we worked that record

1578
01:28:20,640 --> 01:28:23,680
Speaker 2: from the street. So then we came with Kobe and

1579
01:28:23,680 --> 01:28:28,280
Speaker 2: then we came with Cardonell Official. Right so now we're

1580
01:28:28,360 --> 01:28:30,639
Speaker 2: just kind of working our way and then we signed

1581
01:28:30,720 --> 01:28:32,880
Speaker 2: rock City.

1582
01:28:33,280 --> 01:28:37,240
Speaker 1: Yeah. So now we have.

1583
01:28:37,280 --> 01:28:44,000
Speaker 2: A roster about eight artists. Acon can't even believe it,

1584
01:28:44,560 --> 01:28:45,920
Speaker 2: Like what is like hot?

1585
01:28:45,960 --> 01:28:47,000
Speaker 1: Did no? No?

1586
01:28:47,000 --> 01:28:48,559
Speaker 2: No? The only thing I need you to do.

1587
01:28:49,080 --> 01:28:52,240
Speaker 1: Let's keep working, be great. You can stay in the studio,

1588
01:28:53,240 --> 01:28:54,120
Speaker 1: stay creative.

1589
01:28:54,840 --> 01:29:00,720
Speaker 2: We got this. Things are moving. Everything that's in Jimmy Building. Yeah,

1590
01:29:00,720 --> 01:29:04,800
Speaker 2: I'm taking it and putting it on Acon's album.

1591
01:29:05,120 --> 01:29:09,479
Speaker 1: Oh okay, now you get all your features. Now you get.

1592
01:29:09,439 --> 01:29:13,759
Speaker 2: Features, the whole nine. And I'm collaborating with the other artists,

1593
01:29:13,800 --> 01:29:14,599
Speaker 2: so they're coming.

1594
01:29:14,400 --> 01:29:16,559
Speaker 1: Out right, So it's not one sided. Right.

1595
01:29:17,120 --> 01:29:21,439
Speaker 2: So while all this is happening, there's a business model happening.

1596
01:29:22,240 --> 01:29:24,360
Speaker 2: And we keep putting out these records and putting out

1597
01:29:24,360 --> 01:29:32,280
Speaker 2: these urban records, and we'll catch the first one, second

1598
01:29:32,280 --> 01:29:38,960
Speaker 2: one of flop, go to the next one. Catch the

1599
01:29:38,960 --> 01:29:43,320
Speaker 2: first one. We'll work the first one independent, the second

1600
01:29:43,320 --> 01:29:47,519
Speaker 2: one flop. We'll catch Cardinal Dangerous, then the second one flop.

1601
01:29:48,280 --> 01:29:51,000
Speaker 2: Kobe had dunnas just dance is his right? Yeah, yeah,

1602
01:29:51,040 --> 01:29:53,400
Speaker 2: so Ray, even Ray Lavender, even when we got the

1603
01:29:53,400 --> 01:29:56,240
Speaker 2: Tank records stay, it didn't go as far as we

1604
01:29:56,520 --> 01:29:59,599
Speaker 2: wanted it to go. So but I'm working and working

1605
01:30:00,280 --> 01:30:04,360
Speaker 2: like damn, something's off, and at the same time, but

1606
01:30:04,479 --> 01:30:07,920
Speaker 2: this is going on, I'm getting extorted. So the extortion

1607
01:30:08,080 --> 01:30:10,840
Speaker 2: was coming from Yeah, it was coming. It was heavy,

1608
01:30:10,880 --> 01:30:13,040
Speaker 2: it was thick, it was coming from so many different areas.

1609
01:30:14,439 --> 01:30:20,599
Speaker 2: So I said to myself, hmmm, we got switched this up,

1610
01:30:21,840 --> 01:30:24,640
Speaker 2: because now I ran up a bill. They ran me

1611
01:30:24,720 --> 01:30:28,599
Speaker 2: up a six million dollar tab and scu I seen

1612
01:30:28,640 --> 01:30:31,519
Speaker 2: the play. I seen it clear as day, and I said,

1613
01:30:31,720 --> 01:30:33,120
Speaker 2: what's going to happen? And we're going to get a

1614
01:30:33,120 --> 01:30:39,120
Speaker 2: call from ran Hoffman and he's just gonna say no more.

1615
01:30:39,240 --> 01:30:39,680
Speaker 1: This is it.

1616
01:30:40,479 --> 01:30:43,160
Speaker 2: So I said, before we get to that point, let's

1617
01:30:43,200 --> 01:30:49,080
Speaker 2: switch this up. Everybody go pop because I realized we

1618
01:30:49,120 --> 01:30:51,720
Speaker 2: had a problem with the Urban staff. So from the

1619
01:30:51,760 --> 01:30:54,880
Speaker 2: Gwen stuff Funny Escape record, a kind of goes on

1620
01:30:54,960 --> 01:30:58,240
Speaker 2: tour with Gwen, we come in and and at that moment,

1621
01:30:58,280 --> 01:31:01,040
Speaker 2: that's that was happened for real because for executive producer

1622
01:31:01,080 --> 01:31:06,040
Speaker 2: of that project, and that's the only record popped off

1623
01:31:06,080 --> 01:31:10,800
Speaker 2: that project. So we had all the bases covered. And

1624
01:31:10,840 --> 01:31:13,840
Speaker 2: then we went in to work on the Pussycat Dolls

1625
01:31:15,240 --> 01:31:18,000
Speaker 2: and we zoned in on a producer by the name

1626
01:31:18,000 --> 01:31:21,840
Speaker 2: of Red One, right, so it was getting the business

1627
01:31:21,840 --> 01:31:24,479
Speaker 2: with a Red One go in the studio to work

1628
01:31:24,479 --> 01:31:30,200
Speaker 2: on the Pussycat Dolls. We needed somebody to demo the songs, right,

1629
01:31:31,479 --> 01:31:39,960
Speaker 2: so read new artist that was on Death Jam, but

1630
01:31:39,960 --> 01:31:42,880
Speaker 2: I think she had just got dropped from Death Jam

1631
01:31:43,280 --> 01:31:50,160
Speaker 2: and was working on a new deal and moved her

1632
01:31:50,200 --> 01:31:54,479
Speaker 2: over to Eno scope. But she was in the studio

1633
01:31:54,840 --> 01:31:58,640
Speaker 2: and I walked in Record Plant while at working on

1634
01:31:58,640 --> 01:32:04,720
Speaker 2: the Pussycat Dolls, and I hear the songs. I go, yo,

1635
01:32:05,040 --> 01:32:11,599
Speaker 2: who is singing that? And a concess girl right there,

1636
01:32:11,680 --> 01:32:15,080
Speaker 2: she's sitting she's sitting down on the floor. She kind

1637
01:32:15,080 --> 01:32:22,400
Speaker 2: of lives, had fishnet stockings with holes in them, with

1638
01:32:22,520 --> 01:32:29,040
Speaker 2: Doc Martin's hair of mess. And he said she's singing it.

1639
01:32:30,479 --> 01:32:34,360
Speaker 2: I said wow. And immediately when I looked at her,

1640
01:32:36,240 --> 01:32:47,320
Speaker 2: I said, she's a star. It's Lady Gaga. And I said,

1641
01:32:49,439 --> 01:32:50,960
Speaker 2: ain't no way in the hell we're giving these songs

1642
01:32:51,000 --> 01:32:52,320
Speaker 2: to the pussy Cat Dogs.

1643
01:32:54,360 --> 01:32:54,679
Speaker 1: Nowhere.

1644
01:32:54,760 --> 01:33:04,920
Speaker 2: Now, it's impossible. So call set up a meeting. We

1645
01:33:05,080 --> 01:33:11,639
Speaker 2: march Red One in Jimmy's office and we played the songs.

1646
01:33:12,840 --> 01:33:19,000
Speaker 2: We introduced Red One to Jimmy played the song. Jimmy like, oh, oh,

1647
01:33:19,080 --> 01:33:22,880
Speaker 2: this is great, and the whole time he think the

1648
01:33:22,920 --> 01:33:26,240
Speaker 2: pusgether dogs and Nicole is out of here. You know

1649
01:33:26,800 --> 01:33:33,040
Speaker 2: that's what you're thinking. As soon as it stopped, I said, Jimmy,

1650
01:33:33,040 --> 01:33:37,759
Speaker 2: it so only one problem, man, So only one problem.

1651
01:33:38,080 --> 01:33:41,800
Speaker 2: He said, who is this singing it? I said, already

1652
01:33:41,800 --> 01:33:45,599
Speaker 2: by the name of Lady Gaga. I said, but you know,

1653
01:33:47,160 --> 01:33:50,720
Speaker 2: she signed here. She's here with Vincent Herbert and he

1654
01:33:51,200 --> 01:33:55,120
Speaker 2: was like yeah, I said, Jimmy, is just one problem though.

1655
01:33:57,400 --> 01:34:00,240
Speaker 2: We would like to keep these songs on her. Mm

1656
01:34:00,320 --> 01:34:05,720
Speaker 2: hm oh really, Jimmy, she's a star. You need to

1657
01:34:05,720 --> 01:34:06,080
Speaker 2: meet her.

1658
01:34:06,479 --> 01:34:09,360
Speaker 1: She signed there, she is there already. He has not

1659
01:34:09,520 --> 01:34:09,920
Speaker 1: met her.

1660
01:34:10,000 --> 01:34:12,879
Speaker 2: He don't really know it like that, okay, all right?

1661
01:34:12,920 --> 01:34:16,000
Speaker 2: He annoy it because she was doing cabaret music, jazz music,

1662
01:34:16,080 --> 01:34:21,880
Speaker 2: music game. It wasn't there yet. So first thing I thought, Oh,

1663
01:34:21,960 --> 01:34:23,879
Speaker 2: this is the next share, this is next Madonna.

1664
01:34:24,000 --> 01:34:24,559
Speaker 1: We got it.

1665
01:34:24,600 --> 01:34:29,000
Speaker 2: We got it. And at the time, Vincent is on

1666
01:34:29,040 --> 01:34:32,880
Speaker 2: the on the bench, Troy Carter on his way out.

1667
01:34:33,200 --> 01:34:35,840
Speaker 2: I think he had just got fired from EVE and

1668
01:34:35,880 --> 01:34:38,280
Speaker 2: he was on his way moving to Atlanta, and I

1669
01:34:38,320 --> 01:34:41,799
Speaker 2: was helping him look for a house, and we said,

1670
01:34:42,040 --> 01:34:46,040
Speaker 2: hold on a second. Jimmy says, y'all believe in it

1671
01:34:46,080 --> 01:34:49,960
Speaker 2: that much? All right, let's do a deal. So we

1672
01:34:50,000 --> 01:34:52,439
Speaker 2: did a three album deal with Jimmy. We partner with

1673
01:34:52,520 --> 01:34:57,280
Speaker 2: him to do Lady God Got And they're like, what

1674
01:34:57,280 --> 01:35:00,800
Speaker 2: about Vince, Oh, I don't worry about Vince. Will you

1675
01:35:00,880 --> 01:35:02,880
Speaker 2: worried about Visceda? We're not worry about this. We will

1676
01:35:02,920 --> 01:35:10,000
Speaker 2: make Vince Gonna. I'm so, I said, okay, back boom paperwork. Meanwhile,

1677
01:35:11,360 --> 01:35:18,439
Speaker 2: Rifking heated there's a artist that they working on that

1678
01:35:18,560 --> 01:35:21,160
Speaker 2: Doug Marris signed. Her name was Tammy Chen.

1679
01:35:21,880 --> 01:35:22,559
Speaker 1: I'm pay for me.

1680
01:35:22,880 --> 01:35:26,679
Speaker 2: Okay, So Tammy Chen going back and forth with Sylvia

1681
01:35:26,680 --> 01:35:29,920
Speaker 2: and Riffkin. You know, I think Sylvia had it first,

1682
01:35:29,960 --> 01:35:33,719
Speaker 2: and then Doug thinks Riffing got a hot handle because

1683
01:35:33,720 --> 01:35:35,800
Speaker 2: of Akon, So maybe Akon can do some record, so

1684
01:35:36,000 --> 01:35:39,120
Speaker 2: switch it over to Rifkin. But the whole time, Doug

1685
01:35:39,200 --> 01:35:41,360
Speaker 2: not Doug don't even know me. He not knowing that

1686
01:35:42,080 --> 01:35:44,679
Speaker 2: it ain't a Riffking play. It ain't a Sylvia play.

1687
01:35:44,720 --> 01:35:47,519
Speaker 2: It's if you talk to me, I'm going to deliver it.

1688
01:35:48,760 --> 01:36:00,439
Speaker 2: I never got the call. So a Kon John On

1689
01:36:02,040 --> 01:36:06,000
Speaker 2: Just Dance got Go's first single, and so that wasn't

1690
01:36:06,040 --> 01:36:09,479
Speaker 2: Kobe's first single. No, No, that's Kobe. That's Kobe singing

1691
01:36:09,520 --> 01:36:10,280
Speaker 2: a cons verse.

1692
01:36:10,680 --> 01:36:12,760
Speaker 1: Okay, okay, because I know Kobe's on the song.

1693
01:36:13,320 --> 01:36:16,919
Speaker 2: Yeah, you singing a cons verse. We just told Kobe because.

1694
01:36:16,680 --> 01:36:18,080
Speaker 1: They wouldn't clear, because the wouldn't clear.

1695
01:36:18,200 --> 01:36:22,599
Speaker 2: How you're not gonna clear a kN on his on

1696
01:36:22,640 --> 01:36:29,639
Speaker 2: his own artists. Yeah right, So somehow they tell Vincent

1697
01:36:30,880 --> 01:36:34,160
Speaker 2: that I wouldn't clear it, so to create this thing

1698
01:36:34,160 --> 01:36:39,280
Speaker 2: between me and Vince, and now Vince is thinking, oh

1699
01:36:39,360 --> 01:36:43,040
Speaker 2: the vinest no hate, so no I hate, man, How

1700
01:36:43,040 --> 01:36:45,080
Speaker 2: are we gonna clear all these I'm a clear Obie Trice,

1701
01:36:45,479 --> 01:36:48,800
Speaker 2: how I'm a clear song on own Thugs and Harmony.

1702
01:36:48,800 --> 01:36:49,800
Speaker 2: I'm gonna clear all these songs.

1703
01:36:50,120 --> 01:36:52,920
Speaker 1: I had a vested interest in got it was, yeah,

1704
01:36:52,920 --> 01:36:54,080
Speaker 1: we get this.

1705
01:36:54,120 --> 01:36:56,280
Speaker 2: We've got three albums with this. Why wouldn't I clear this?

1706
01:36:56,880 --> 01:36:59,920
Speaker 2: So needless to say, we had the herb and throw

1707
01:37:00,040 --> 01:37:03,479
Speaker 2: Kobe on the record because so then we went to

1708
01:37:03,560 --> 01:37:08,080
Speaker 2: twenty markets promoting go Go.

1709
01:37:09,960 --> 01:37:14,880
Speaker 1: To just Dance record and then it popped here and

1710
01:37:14,920 --> 01:37:15,960
Speaker 1: now we're in the big box.

1711
01:37:16,080 --> 01:37:19,640
Speaker 2: Yeah, and they never talk about those parts. They just

1712
01:37:19,680 --> 01:37:22,600
Speaker 2: talk about They don't talk about if it wasn't for

1713
01:37:22,640 --> 01:37:25,960
Speaker 2: the sound sonically.

1714
01:37:25,720 --> 01:37:25,960
Speaker 1: No A.

1715
01:37:26,080 --> 01:37:30,720
Speaker 3: Kon Akon was one of the hottest producers in the

1716
01:37:30,800 --> 01:37:32,040
Speaker 3: game at that point.

1717
01:37:32,080 --> 01:37:36,759
Speaker 2: Absolutely absolutely between him and T Pain, and the ultimate

1718
01:37:36,840 --> 01:37:37,400
Speaker 2: goal was.

1719
01:37:37,439 --> 01:37:39,960
Speaker 1: In T Pain. Yeah, same family for y'all.

1720
01:37:40,040 --> 01:37:42,840
Speaker 2: Yeah, See, the ultimate goal was to cover the hip

1721
01:37:42,840 --> 01:37:46,000
Speaker 2: hop R and B sector. Then to cover the international

1722
01:37:46,160 --> 01:37:49,000
Speaker 2: sector and then cover the global sector. And we had

1723
01:37:49,040 --> 01:37:52,639
Speaker 2: that within the big three. So my big three was Ga, Ga,

1724
01:37:53,200 --> 01:37:54,160
Speaker 2: Acon and T Pain.

1725
01:37:54,520 --> 01:37:54,760
Speaker 1: Yeah.

1726
01:37:55,600 --> 01:37:58,080
Speaker 2: And and before I can wrap that and give it

1727
01:37:58,080 --> 01:38:03,280
Speaker 2: a hug, they can't, man and just dismantled it and

1728
01:38:03,439 --> 01:38:04,320
Speaker 2: pushed me out of the way.

1729
01:38:04,760 --> 01:38:05,960
Speaker 1: And why do you think that was?

1730
01:38:06,360 --> 01:38:08,640
Speaker 2: I call it a kid because they do it to

1731
01:38:08,680 --> 01:38:12,360
Speaker 2: all of us. Just hit me with the kid. That's all.

1732
01:38:13,080 --> 01:38:15,559
Speaker 2: Anybody's having that much success, everybody want.

1733
01:38:15,439 --> 01:38:18,720
Speaker 3: In right, how do you maintain it all? If you

1734
01:38:18,800 --> 01:38:22,240
Speaker 3: look back at it now and you're giving that advice

1735
01:38:22,520 --> 01:38:25,639
Speaker 3: to a young executive who wants to be a Barry

1736
01:38:25,640 --> 01:38:29,240
Speaker 3: Gordy wants to be a divine Stevens wants to be

1737
01:38:29,280 --> 01:38:31,519
Speaker 3: a baby and slim, you know what I mean?

1738
01:38:31,560 --> 01:38:35,960
Speaker 1: How do you keep it under one roof?

1739
01:38:39,000 --> 01:38:41,800
Speaker 2: It's all about the team. It's all about the team,

1740
01:38:41,960 --> 01:38:47,760
Speaker 2: and it's all about the development. It goes back to that.

1741
01:38:47,840 --> 01:38:50,080
Speaker 2: It goes back to your level of understanding about the game,

1742
01:38:50,920 --> 01:38:54,960
Speaker 2: you know, and it goes back to educating artists about

1743
01:38:54,960 --> 01:38:59,720
Speaker 2: the business because they can't get to a certain point

1744
01:38:59,720 --> 01:39:01,760
Speaker 2: where they is surprised about business and they think and

1745
01:39:01,800 --> 01:39:05,439
Speaker 2: they just want a lottery So what that means is

1746
01:39:05,439 --> 01:39:09,519
Speaker 2: if I educate about how the game goes, when you

1747
01:39:09,640 --> 01:39:13,400
Speaker 2: finally touch some money, you'll know how to utilize your

1748
01:39:13,400 --> 01:39:16,040
Speaker 2: bunds it. And then once you get to that point,

1749
01:39:16,080 --> 01:39:18,800
Speaker 2: do you know how to make better business decisions? You

1750
01:39:18,840 --> 01:39:22,000
Speaker 2: don't have to tear down a mansion to build a

1751
01:39:22,040 --> 01:39:25,720
Speaker 2: hood home. And they kind of put us in that

1752
01:39:25,800 --> 01:39:30,320
Speaker 2: same circle. Yeah, you know, as production companies. And that's

1753
01:39:30,360 --> 01:39:33,080
Speaker 2: the reason why the black exec and the creator and

1754
01:39:33,600 --> 01:39:37,000
Speaker 2: the an R is extinct. So I don't take it

1755
01:39:37,439 --> 01:39:40,160
Speaker 2: like I was targeted. I just feel like this is

1756
01:39:41,200 --> 01:39:44,880
Speaker 2: it comes with the industry. But also we don't own

1757
01:39:44,920 --> 01:39:48,360
Speaker 2: the platforms, we don't own the infrastructure, so we're playing

1758
01:39:48,439 --> 01:39:53,760
Speaker 2: somebody else's game on they turf. Yeah, and anything can

1759
01:39:53,840 --> 01:39:56,320
Speaker 2: happen when you know, it's also.

1760
01:39:56,080 --> 01:40:01,639
Speaker 3: Shifting now right with you know, with more distribution companies

1761
01:40:01,640 --> 01:40:07,879
Speaker 3: popping up, with you know, more funded upstarts, and obviously

1762
01:40:07,920 --> 01:40:12,280
Speaker 3: the access is different because now it's a click away, right,

1763
01:40:12,360 --> 01:40:14,640
Speaker 3: So if you put the and if they're you know

1764
01:40:14,720 --> 01:40:17,680
Speaker 3: the right people, the right business minded people who are

1765
01:40:17,720 --> 01:40:22,160
Speaker 3: tenured in this thing and understand how to develop and

1766
01:40:22,200 --> 01:40:25,799
Speaker 3: create the way that you have and you know, people

1767
01:40:26,280 --> 01:40:28,840
Speaker 3: of the same cloth have over the years. I think

1768
01:40:28,920 --> 01:40:33,439
Speaker 3: now we don't have the same system as far as

1769
01:40:34,360 --> 01:40:36,160
Speaker 3: distributing things to the public.

1770
01:40:36,800 --> 01:40:39,720
Speaker 2: Yeah, but but it's not also just the distributing, it's

1771
01:40:39,720 --> 01:40:45,000
Speaker 2: the mentality of the people and how business. So let

1772
01:40:45,000 --> 01:40:48,760
Speaker 2: me give you an example. The contract that we may

1773
01:40:48,840 --> 01:40:54,080
Speaker 2: sign to enter into the institution, those laws and everything

1774
01:40:54,120 --> 01:40:57,479
Speaker 2: that's there hasn't changed. It's the same contract James Brown did.

1775
01:40:59,280 --> 01:41:00,960
Speaker 1: So do you have to say sign that contract?

1776
01:41:01,160 --> 01:41:03,400
Speaker 2: Well, if you want distribution, let's say if it's fifteen

1777
01:41:04,360 --> 01:41:08,479
Speaker 2: let's say if it's only fifteen percent. Those laws hasn't changed.

1778
01:41:09,120 --> 01:41:12,920
Speaker 2: And we're not taught. We don't understand politics, we don't

1779
01:41:13,000 --> 01:41:16,680
Speaker 2: understand laws, and certain things, you still sign that distribution fee.

1780
01:41:16,680 --> 01:41:19,280
Speaker 2: Even to use your AT and T phone, there's fees,

1781
01:41:19,320 --> 01:41:21,960
Speaker 2: there's certain things, there's certain things that they got access

1782
01:41:21,960 --> 01:41:24,679
Speaker 2: to if you use an Apple phone. So my point

1783
01:41:24,800 --> 01:41:30,080
Speaker 2: is it's that platform, it's they tools that we use,

1784
01:41:30,400 --> 01:41:33,599
Speaker 2: and we'll still govern and control by a certain thing.

1785
01:41:33,760 --> 01:41:36,200
Speaker 2: And if you take the mentality of a person that

1786
01:41:36,320 --> 01:41:40,479
Speaker 2: never had anything and you give them money, that's the

1787
01:41:40,520 --> 01:41:42,599
Speaker 2: problem with the game. Now you look at that right now,

1788
01:41:43,479 --> 01:41:47,800
Speaker 2: last Big Records was Drake and Kendrick Lamar. But here's

1789
01:41:47,800 --> 01:41:51,920
Speaker 2: the thing. Give us a whole lot of money and

1790
01:41:51,960 --> 01:41:57,880
Speaker 2: then watch us be disrespectful for the clicks that likes

1791
01:41:57,880 --> 01:42:00,479
Speaker 2: to views the whole nine. That's disrespect But even if

1792
01:42:00,479 --> 01:42:03,000
Speaker 2: you're going against the people that gave you the money,

1793
01:42:03,520 --> 01:42:05,800
Speaker 2: even if you're trying to teach the next generation how

1794
01:42:05,800 --> 01:42:10,200
Speaker 2: to do it, there's still ways you have to govern

1795
01:42:10,240 --> 01:42:15,600
Speaker 2: the information. And it's still by law. So if you

1796
01:42:15,600 --> 01:42:17,799
Speaker 2: don't know the law, like you just said, you're teaching

1797
01:42:17,840 --> 01:42:22,879
Speaker 2: people about perpetuity, they're not reading that in the contract.

1798
01:42:23,439 --> 01:42:25,519
Speaker 2: But why is that.

1799
01:42:25,439 --> 01:42:27,160
Speaker 1: Clause even in there?

1800
01:42:27,840 --> 01:42:30,880
Speaker 2: But you can't change the law by saying you bringing

1801
01:42:30,920 --> 01:42:34,760
Speaker 2: awareness to it for us to remove it. How do

1802
01:42:34,840 --> 01:42:37,160
Speaker 2: we get to change that law? That's got to go

1803
01:42:37,240 --> 01:42:41,559
Speaker 2: through Congress's got to go You see the steps. Now

1804
01:42:41,560 --> 01:42:44,800
Speaker 2: we are here campaigning. Now we're standing on the front

1805
01:42:44,800 --> 01:42:46,680
Speaker 2: line when naturally the only thing you want to do

1806
01:42:46,720 --> 01:42:51,120
Speaker 2: is feed your family. How much enagey you got for

1807
01:42:51,200 --> 01:42:55,439
Speaker 2: it to prove to somebody else that we need to

1808
01:42:55,520 --> 01:43:01,639
Speaker 2: change this and do something about it. Which the first

1809
01:43:01,640 --> 01:43:05,000
Speaker 2: thing was you brought awareness to it. Cool, Now it

1810
01:43:05,120 --> 01:43:11,479
Speaker 2: steps to getting what we observe as we move through

1811
01:43:11,520 --> 01:43:14,640
Speaker 2: this maze. But as they continue to make us extinct,

1812
01:43:15,160 --> 01:43:17,400
Speaker 2: you and I both know only thing we do is

1813
01:43:17,439 --> 01:43:22,080
Speaker 2: get more creative, right, So that's why you'll see boom.

1814
01:43:22,320 --> 01:43:25,760
Speaker 2: While they destroy one thing, something else can pop. That's

1815
01:43:25,800 --> 01:43:28,320
Speaker 2: why there's a Tyler Perry. You see, he's not using

1816
01:43:28,320 --> 01:43:33,320
Speaker 2: the same infrastructure. It's a whole different infrastructure. Boom you got.

1817
01:43:33,360 --> 01:43:37,040
Speaker 2: You see little things. And right now in Atlanta, like

1818
01:43:37,080 --> 01:43:40,520
Speaker 2: they said, it used to be a DTP, a CTE.

1819
01:43:41,560 --> 01:43:44,600
Speaker 2: I can and I can just name all these subsidiaries,

1820
01:43:44,640 --> 01:43:48,559
Speaker 2: all these companies. They just moved them all to artists base.

1821
01:43:49,640 --> 01:43:54,400
Speaker 2: So they take advantage of artists of not knowing how

1822
01:43:54,439 --> 01:43:55,120
Speaker 2: to do business.

1823
01:43:55,400 --> 01:43:58,599
Speaker 1: So they moved, they moved, they removed it executives.

1824
01:43:58,920 --> 01:44:01,200
Speaker 2: Same thing. You don't you know who did Rihanna? Them

1825
01:44:01,240 --> 01:44:04,639
Speaker 2: guys came in, delivered something and was wiped out before

1826
01:44:04,720 --> 01:44:09,479
Speaker 2: they even got across the water. And it happens time

1827
01:44:09,520 --> 01:44:15,960
Speaker 2: and time and time again, and people not interested and

1828
01:44:16,040 --> 01:44:21,240
Speaker 2: the cure of why that's happening. They just want to

1829
01:44:21,280 --> 01:44:22,960
Speaker 2: make fun, make jokes.

1830
01:44:23,520 --> 01:44:24,160
Speaker 1: Ah.

1831
01:44:24,200 --> 01:44:26,760
Speaker 2: You know, they came on the island by itself. Do

1832
01:44:26,880 --> 01:44:29,439
Speaker 2: y'all think that's cool when you ain't had a hit

1833
01:44:32,000 --> 01:44:34,759
Speaker 2: in ten fifteen years. How you go from the hottest

1834
01:44:34,760 --> 01:44:37,000
Speaker 2: thing on the block to you're not hot?

1835
01:44:37,040 --> 01:44:37,120
Speaker 1: No?

1836
01:44:37,160 --> 01:44:40,640
Speaker 2: More like, how you get that amount of money and

1837
01:44:40,640 --> 01:44:42,400
Speaker 2: then say, oh, well you make this amount of money?

1838
01:44:43,280 --> 01:44:50,559
Speaker 2: He distracted? No, he's not distracted. It's a system. How

1839
01:44:50,560 --> 01:44:56,000
Speaker 2: are we not hot? How all of a sudden what

1840
01:44:56,120 --> 01:45:00,000
Speaker 2: he comes up with? He knows more about what's going

1841
01:45:00,160 --> 01:45:02,360
Speaker 2: on in the streets and what's happening out here then

1842
01:45:02,439 --> 01:45:06,559
Speaker 2: somebody pushing buttons at Apple. Absolutely okay, but why that's

1843
01:45:06,600 --> 01:45:14,040
Speaker 2: not surfacing. It's way deeper than the creatives. It's the platforms.

1844
01:45:14,080 --> 01:45:15,960
Speaker 2: It's the tools that we're using. So we are going

1845
01:45:16,040 --> 01:45:21,280
Speaker 2: to have to some point get together and create new tools,

1846
01:45:21,840 --> 01:45:25,559
Speaker 2: new platforms that and new ownership because right now everybody's

1847
01:45:25,600 --> 01:45:29,120
Speaker 2: talking about own this on that, which is the worst

1848
01:45:29,160 --> 01:45:29,559
Speaker 2: thing ever.

1849
01:45:29,680 --> 01:45:32,479
Speaker 3: Yeah, because if you don't know how to, for lack

1850
01:45:32,520 --> 01:45:33,960
Speaker 3: of a better term, exploit it.

1851
01:45:34,479 --> 01:45:37,080
Speaker 1: Well, if you don't know how to, well, some people

1852
01:45:37,120 --> 01:45:39,479
Speaker 1: don't possess these other things.

1853
01:45:39,600 --> 01:45:43,640
Speaker 2: I'm not a good administrative person, so I have to

1854
01:45:43,720 --> 01:45:47,160
Speaker 2: hire somebody that does administration. I don't know too many

1855
01:45:47,280 --> 01:45:51,200
Speaker 2: artists that I work with throughout the years to understand.

1856
01:45:50,760 --> 01:45:54,400
Speaker 3: Admin So how are you going to own something you

1857
01:45:54,439 --> 01:45:59,040
Speaker 3: don't know right, how you gonna My grandma said to

1858
01:45:59,080 --> 01:45:59,600
Speaker 3: me one time, She.

1859
01:45:59,600 --> 01:46:03,120
Speaker 2: Said, back, baby, could you? Could you? You know, she

1860
01:46:03,200 --> 01:46:06,960
Speaker 2: worked at a dry cleaner for over thirty something years,

1861
01:46:07,320 --> 01:46:11,120
Speaker 2: but she worked on the pressing machine, and she says,

1862
01:46:11,479 --> 01:46:15,400
Speaker 2: can I invest in a dry cleaner for it? I said, sure,

1863
01:46:15,400 --> 01:46:18,920
Speaker 2: I could do that. I said I need a business

1864
01:46:18,960 --> 01:46:24,479
Speaker 2: plan and a P and L. She thought at that

1865
01:46:24,600 --> 01:46:31,719
Speaker 2: moment I was being disrespectful. I just insulted her. Oh no, baby,

1866
01:46:31,760 --> 01:46:34,960
Speaker 2: I've been doing this for I said, yeah, I know,

1867
01:46:34,960 --> 01:46:36,960
Speaker 2: you've been doing it for thirty plus years, bab. I

1868
01:46:37,000 --> 01:46:39,800
Speaker 2: do know that, and I'm willing to invest, but I

1869
01:46:39,800 --> 01:46:42,400
Speaker 2: don't know anything about it right. So only way I

1870
01:46:42,479 --> 01:46:43,840
Speaker 2: need to look at the numbers. I need to look

1871
01:46:43,880 --> 01:46:45,280
Speaker 2: at the business plan. I need to see how these

1872
01:46:45,320 --> 01:46:49,400
Speaker 2: people ran this dry cleaner for years. And she didn't

1873
01:46:49,439 --> 01:46:55,479
Speaker 2: get that. Artists don't get that. So you saying you

1874
01:46:56,000 --> 01:47:00,080
Speaker 2: own something, but you don't know anything about the business.

1875
01:47:00,080 --> 01:47:00,720
Speaker 1: Or how to run it.

1876
01:47:01,000 --> 01:47:03,719
Speaker 2: Oh you're own your masters? Oh one hundred percent of zero,

1877
01:47:04,240 --> 01:47:09,120
Speaker 2: that is phenomenal. I became a multi millionaire of fourteen cent.

1878
01:47:12,160 --> 01:47:12,439
Speaker 1: Yeah.

1879
01:47:13,439 --> 01:47:15,559
Speaker 2: Oh no, jay Z, say on your masters, that's not

1880
01:47:15,600 --> 01:47:18,599
Speaker 2: what jay Z did at the beginning. And if jay

1881
01:47:18,680 --> 01:47:20,720
Speaker 2: Z had the opportunity to go do a deal with

1882
01:47:20,800 --> 01:47:24,599
Speaker 2: Live Nation in the beginning, I guarantee jay Z would

1883
01:47:24,640 --> 01:47:27,840
Speaker 2: have done that deal differently. The jay Z now would

1884
01:47:27,880 --> 01:47:29,599
Speaker 2: do a totally different deal when he took that two

1885
01:47:29,680 --> 01:47:33,240
Speaker 2: hundred and fifty million dollars. But only thing he did

1886
01:47:33,280 --> 01:47:39,240
Speaker 2: when he took that he wanted out of his situation. Now,

1887
01:47:39,280 --> 01:47:42,080
Speaker 2: how you give a bundled deal. So let's say you

1888
01:47:42,080 --> 01:47:44,280
Speaker 2: rent their venue, you go, you're play in their venue,

1889
01:47:45,280 --> 01:47:51,720
Speaker 2: and I guarantee you if they got AT and T,

1890
01:47:52,120 --> 01:47:56,960
Speaker 2: Coca Cola, whatever mobile carrier, whatever sponsors that they had

1891
01:47:57,680 --> 01:48:00,400
Speaker 2: at that moment when he did that deal, guarantee you

1892
01:48:00,439 --> 01:48:00,880
Speaker 2: here and get.

1893
01:48:00,760 --> 01:48:03,679
Speaker 1: A back end because you got to recoup that deal.

1894
01:48:03,920 --> 01:48:05,880
Speaker 2: I guess, I guarantee it. I bet you're bundled in

1895
01:48:05,920 --> 01:48:08,639
Speaker 2: the two fifty Let him go do a deal now,

1896
01:48:09,520 --> 01:48:10,519
Speaker 2: it's not going to be the same.

1897
01:48:11,040 --> 01:48:13,080
Speaker 1: That's the point I'm making. Yeah, he learned the game.

1898
01:48:13,120 --> 01:48:15,280
Speaker 2: He learned the game right, And what I'm saying to

1899
01:48:15,320 --> 01:48:19,840
Speaker 2: you is, so it's not fair for us to say

1900
01:48:20,000 --> 01:48:26,880
Speaker 2: you should be an owner and own everything you do without.

1901
01:48:26,320 --> 01:48:29,400
Speaker 1: Having the information because you don't know.

1902
01:48:29,479 --> 01:48:34,719
Speaker 3: Right, and without having the capital and having the finances,

1903
01:48:34,760 --> 01:48:38,560
Speaker 3: because in any business, if someone puts up the finances,

1904
01:48:39,040 --> 01:48:42,240
Speaker 3: the deal is more advantageous to them. You go to

1905
01:48:42,320 --> 01:48:45,720
Speaker 3: a bank and now you got a loan and that's

1906
01:48:45,720 --> 01:48:50,000
Speaker 3: what that two fifty was, and you're paying that off first, right,

1907
01:48:50,120 --> 01:48:53,600
Speaker 3: And that's why you saw the packaging. Packaging with your

1908
01:48:55,400 --> 01:48:56,280
Speaker 3: things got slow.

1909
01:48:56,560 --> 01:48:59,280
Speaker 2: Shit, let's package it with justin timberlake, whatever we got

1910
01:48:59,320 --> 01:49:02,080
Speaker 2: to do the packages. Get this money down so I

1911
01:49:02,120 --> 01:49:05,439
Speaker 2: can get out of debt to get to this next space. Yeah, okay,

1912
01:49:05,439 --> 01:49:08,960
Speaker 2: but let me just go with my wife. So you're

1913
01:49:09,000 --> 01:49:10,760
Speaker 2: not seeing it behind the scenes. You're just seeing what

1914
01:49:10,800 --> 01:49:13,439
Speaker 2: they're putting in front of you. And my point is

1915
01:49:13,560 --> 01:49:16,439
Speaker 2: the person that knows the business behind not just having

1916
01:49:16,479 --> 01:49:22,200
Speaker 2: resource but being sourceful. You gotta have both, yeah, and

1917
01:49:22,240 --> 01:49:24,760
Speaker 2: that's what these kids are really lacking. So right now

1918
01:49:24,760 --> 01:49:26,320
Speaker 2: today they'll tell you we're gonna throw this out, we're

1919
01:49:26,320 --> 01:49:27,880
Speaker 2: gonna do this, We're gonna do this, and then you'll

1920
01:49:27,880 --> 01:49:31,080
Speaker 2: spike a little success and then it goes away. So

1921
01:49:31,160 --> 01:49:34,320
Speaker 2: are you working with newer artists now? Yeah, I work

1922
01:49:34,360 --> 01:49:37,360
Speaker 2: with new artists. I consult I consult with companies, I

1923
01:49:37,400 --> 01:49:40,879
Speaker 2: work with new artists. I'm more like the quiet Storm

1924
01:49:41,040 --> 01:49:41,800
Speaker 2: because it's you.

1925
01:49:41,760 --> 01:49:43,080
Speaker 1: Know, artists, silent giant.

1926
01:49:43,200 --> 01:49:46,240
Speaker 2: Yeah, yeah, I learned differently, you know the days of

1927
01:49:47,840 --> 01:49:49,680
Speaker 2: you know, the way it used to be done. I

1928
01:49:49,800 --> 01:49:51,400
Speaker 2: just do it a little different today. Yeah, you have

1929
01:49:51,439 --> 01:49:53,919
Speaker 2: to just but yeah I still.

1930
01:49:53,680 --> 01:49:58,000
Speaker 3: Do That's great, bro, because a lot of times you

1931
01:49:58,080 --> 01:50:02,680
Speaker 3: find that, you know, the pillars of our community and

1932
01:50:02,680 --> 01:50:07,800
Speaker 3: people who have literally built this thing get to a

1933
01:50:07,800 --> 01:50:10,680
Speaker 3: point where you're just like, I'm cool, right, and you know,

1934
01:50:11,040 --> 01:50:11,920
Speaker 3: it's a different business.

1935
01:50:12,000 --> 01:50:13,479
Speaker 1: I don't want to I don't want to be a

1936
01:50:13,520 --> 01:50:14,720
Speaker 1: part of that. No.

1937
01:50:14,960 --> 01:50:18,360
Speaker 2: No, I think for a moment, what it did was

1938
01:50:18,439 --> 01:50:22,679
Speaker 2: it robbed me up my energy because you know, doing

1939
01:50:23,120 --> 01:50:29,000
Speaker 2: so much, plugging into so many different vibes and people,

1940
01:50:29,240 --> 01:50:33,360
Speaker 2: and sometimes when you to go to it gets it

1941
01:50:33,400 --> 01:50:34,480
Speaker 2: gets a little tough.

1942
01:50:34,320 --> 01:50:34,880
Speaker 1: You know what I mean.

1943
01:50:36,040 --> 01:50:40,599
Speaker 2: And then when you need something that you know are plugging,

1944
01:50:42,040 --> 01:50:42,639
Speaker 2: it's not there.

1945
01:50:42,680 --> 01:50:43,240
Speaker 1: It's not there.

1946
01:50:43,680 --> 01:50:47,920
Speaker 2: So sometimes that's tough. And then when you start seeing

1947
01:50:48,000 --> 01:50:52,760
Speaker 2: all this chaos and and people dying over this and

1948
01:50:52,960 --> 01:50:58,360
Speaker 2: people going to jail, it starts to get put you

1949
01:50:58,400 --> 01:51:01,439
Speaker 2: in a dark place because the only thing you want

1950
01:51:01,479 --> 01:51:03,479
Speaker 2: to do is be creative. And this was your go

1951
01:51:03,560 --> 01:51:05,840
Speaker 2: to you know what I mean, if you go and

1952
01:51:05,880 --> 01:51:07,840
Speaker 2: this is what this if this is what you was

1953
01:51:08,000 --> 01:51:11,439
Speaker 2: escaping too, right, and then all of a sudden you

1954
01:51:11,479 --> 01:51:12,520
Speaker 2: start seeing.

1955
01:51:12,600 --> 01:51:15,080
Speaker 1: That it's putting you there. Yeah, what's coming.

1956
01:51:14,800 --> 01:51:17,839
Speaker 2: Out of it? You know? These you seeing childhood friends

1957
01:51:17,880 --> 01:51:23,000
Speaker 2: being divided, you seeing people getting shot up, people going

1958
01:51:23,040 --> 01:51:27,479
Speaker 2: to jail. You know, it's it's it's so much energy

1959
01:51:27,520 --> 01:51:30,600
Speaker 2: in a negative space to be in the space that

1960
01:51:31,240 --> 01:51:33,479
Speaker 2: it took a minute before I said, you know what,

1961
01:51:33,600 --> 01:51:37,240
Speaker 2: let me let me tap into this again, because I

1962
01:51:37,280 --> 01:51:41,240
Speaker 2: realized my purpose was to serve and help people, whether

1963
01:51:41,280 --> 01:51:45,040
Speaker 2: it came back or not. So I literally just kind

1964
01:51:45,040 --> 01:51:49,160
Speaker 2: of pushed back. Started a private school, went from K

1965
01:51:49,240 --> 01:51:55,040
Speaker 2: through twelve. It's now yeah, so it's it's education and

1966
01:51:55,080 --> 01:51:55,519
Speaker 2: the arts.

1967
01:51:55,760 --> 01:51:56,000
Speaker 1: Okay.

1968
01:51:56,680 --> 01:52:01,720
Speaker 2: So and I'm also in the process working on a

1969
01:52:01,840 --> 01:52:02,800
Speaker 2: larger facility.

1970
01:52:03,680 --> 01:52:06,240
Speaker 1: Is how many students do you have as it how

1971
01:52:06,240 --> 01:52:07,040
Speaker 1: many students do you.

1972
01:52:07,000 --> 01:52:13,720
Speaker 2: Have currently three hundred? So now just working on bigger facility,

1973
01:52:14,360 --> 01:52:18,960
Speaker 2: more partners. I kind of incubated behind a head master

1974
01:52:19,080 --> 01:52:24,320
Speaker 2: that she's been doing education for eighteen years. Private school,

1975
01:52:25,080 --> 01:52:28,760
Speaker 2: So learning the space, learning the politics, kind of just

1976
01:52:28,800 --> 01:52:33,040
Speaker 2: taking the energy, moving a different direction, yeah, but still developing.

1977
01:52:34,360 --> 01:52:36,519
Speaker 2: So still in my craft, but I catching it early,

1978
01:52:36,680 --> 01:52:38,800
Speaker 2: you know, So I got this whole thing that's still

1979
01:52:38,840 --> 01:52:44,040
Speaker 2: playing in my head. I'm still chasing Disneyland, Walt Disney,

1980
01:52:44,600 --> 01:52:49,400
Speaker 2: you know. And that's how throughout the years, the facilities

1981
01:52:49,439 --> 01:52:55,040
Speaker 2: and the properties from Dreamland to Starland to Victory Land,

1982
01:52:55,120 --> 01:53:00,519
Speaker 2: these are all properties where entertainers I developed talent.

1983
01:53:01,040 --> 01:53:01,280
Speaker 1: Yeah.

1984
01:53:02,160 --> 01:53:09,200
Speaker 2: So now I'm working on something a little bit mostrositytrosity, Yeah,

1985
01:53:09,479 --> 01:53:14,160
Speaker 2: something special for this generation and the next generation. So yeah,

1986
01:53:14,200 --> 01:53:17,920
Speaker 2: I'm in a great space creatively. And the beauty about

1987
01:53:18,000 --> 01:53:22,559
Speaker 2: all of it is that even in my darkest moments

1988
01:53:22,920 --> 01:53:25,599
Speaker 2: in this business is when I saw the most light,

1989
01:53:27,400 --> 01:53:30,880
Speaker 2: I was able to create better. Yeah, And that's the

1990
01:53:30,920 --> 01:53:34,519
Speaker 2: part that kind of hunts me. It's almost like going

1991
01:53:34,560 --> 01:53:38,760
Speaker 2: to being a football player. But you got to go

1992
01:53:38,800 --> 01:53:41,559
Speaker 2: to mini camp, then you got to go to training camp,

1993
01:53:41,920 --> 01:53:44,000
Speaker 2: then you got to go to summer camp, then you

1994
01:53:44,040 --> 01:53:46,200
Speaker 2: got to go to preseason.

1995
01:53:45,880 --> 01:53:49,120
Speaker 1: To get to it every year, yeah, every year.

1996
01:53:49,240 --> 01:53:54,400
Speaker 2: Yeah, So I put myself in the same program. So

1997
01:53:54,479 --> 01:53:57,000
Speaker 2: if you don't see me right away, just know probably

1998
01:53:57,000 --> 01:54:00,559
Speaker 2: in mini camp. But that don't mean I ain't coming. Yeah. Yeah,

1999
01:54:00,800 --> 01:54:01,320
Speaker 2: I'm coming.

2000
01:54:01,640 --> 01:54:02,400
Speaker 1: Nah. I love that.

2001
01:54:02,400 --> 01:54:02,639
Speaker 2: Man.

2002
01:54:03,600 --> 01:54:10,479
Speaker 3: Man, your story is amazing, your path is amazing. And honestly, bro,

2003
01:54:10,560 --> 01:54:13,479
Speaker 3: we need you. I think the game needs you and

2004
01:54:14,040 --> 01:54:17,080
Speaker 3: the game appreciates you. And I don't think that is

2005
01:54:17,160 --> 01:54:20,080
Speaker 3: always you know, that's not always said. You know, maybe

2006
01:54:20,120 --> 01:54:22,720
Speaker 3: monetarily at times, you know, you get you know, you

2007
01:54:22,760 --> 01:54:24,519
Speaker 3: get your just due, you get your you know, you

2008
01:54:24,560 --> 01:54:26,960
Speaker 3: get your bag. But as far as like you know,

2009
01:54:27,120 --> 01:54:38,320
Speaker 3: just from but even that community speaking to you, and.

2010
01:54:38,400 --> 01:54:40,560
Speaker 2: Just so I want to say this to young generation.

2011
01:54:41,200 --> 01:54:43,680
Speaker 2: You know, I know we live in a money, money

2012
01:54:43,680 --> 01:54:50,160
Speaker 2: grab environment and you you need money to live, to live.

2013
01:54:51,240 --> 01:54:56,000
Speaker 2: But one thing I can really tell you that the money,

2014
01:54:57,440 --> 01:55:06,280
Speaker 2: it's not gonna you can't buy happiness like I have

2015
01:55:06,520 --> 01:55:11,200
Speaker 2: tempted to buy the surroundings of it. And I remember

2016
01:55:11,520 --> 01:55:14,320
Speaker 2: one day I was in a club and I was

2017
01:55:14,320 --> 01:55:18,120
Speaker 2: sitting there and I don't drink. I don't drink alcohol,

2018
01:55:18,120 --> 01:55:20,200
Speaker 2: I don't smoke, I don't pop pills, I don't do

2019
01:55:20,240 --> 01:55:25,200
Speaker 2: any stuff. And I'm sitting there and because the promoter

2020
01:55:25,320 --> 01:55:28,480
Speaker 2: and the owner, you know, they know me, They're bringing

2021
01:55:28,520 --> 01:55:31,040
Speaker 2: all these bottles because I got a bunch of people

2022
01:55:31,080 --> 01:55:33,680
Speaker 2: with me, and I'm sitting there and I don't really

2023
01:55:33,720 --> 01:55:36,720
Speaker 2: know these girls, and the security guy got with me.

2024
01:55:36,840 --> 01:55:39,760
Speaker 2: I probably hired them for the night. And if a

2025
01:55:39,800 --> 01:55:43,320
Speaker 2: fight breakout, I don't know if this stick is gonna run, Oh,

2026
01:55:43,400 --> 01:55:46,640
Speaker 2: you're gonna help. I know he's paid. And I had

2027
01:55:46,640 --> 01:55:48,840
Speaker 2: a couple other people with me and I'm sitting there

2028
01:55:49,280 --> 01:55:51,040
Speaker 2: and I got to say, it had to be one

2029
01:55:51,080 --> 01:55:54,760
Speaker 2: of the most loneliest feelings I ever had. I mean,

2030
01:55:54,800 --> 01:55:56,640
Speaker 2: they was trying to talk to me in one ear,

2031
01:55:56,720 --> 01:55:59,440
Speaker 2: this person's saying this, ask me. They pawing, and the

2032
01:55:59,480 --> 01:56:08,560
Speaker 2: girls taking ass everywhere, and I'm like, a shift happened

2033
01:56:10,400 --> 01:56:12,040
Speaker 2: that I no longer want to be in the space.

2034
01:56:13,920 --> 01:56:16,800
Speaker 2: I don't know, it's just something came over me. I

2035
01:56:16,840 --> 01:56:22,200
Speaker 2: felt lonely and I felt unprotected. And then I stopped

2036
01:56:22,240 --> 01:56:27,360
Speaker 2: going out, and then certain other things start happening, and

2037
01:56:27,400 --> 01:56:31,520
Speaker 2: then I started going into and then I ran into

2038
01:56:32,080 --> 01:56:34,920
Speaker 2: issue with the IRS. And the way I ran into

2039
01:56:34,960 --> 01:56:39,880
Speaker 2: the issue was it was deep. It was deep, and

2040
01:56:39,920 --> 01:56:43,520
Speaker 2: it was strategic from a side that placed me into

2041
01:56:44,520 --> 01:56:48,960
Speaker 2: the situation. And as things start layering back and I

2042
01:56:49,000 --> 01:56:52,400
Speaker 2: started learning more, learning more like, Okay, how I'm gonna

2043
01:56:52,400 --> 01:56:56,600
Speaker 2: teach my artists about the IRS? If I don't really

2044
01:56:56,640 --> 01:56:59,760
Speaker 2: know it, how I'm going to teach them about financing

2045
01:56:59,760 --> 01:57:01,160
Speaker 2: if I don't know it how much.

2046
01:57:01,320 --> 01:57:02,720
Speaker 1: So now God has.

2047
01:57:02,640 --> 01:57:05,400
Speaker 2: Taken me through all these little things, removing me from

2048
01:57:05,480 --> 01:57:11,120
Speaker 2: the things I once knew into unfamiliar territory. So I

2049
01:57:11,200 --> 01:57:16,800
Speaker 2: got very lonely. I'm talking about extremely lonely, where I

2050
01:57:16,840 --> 01:57:20,400
Speaker 2: felt like, God, what's going on? Why, what's what's happening?

2051
01:57:20,800 --> 01:57:24,360
Speaker 2: And then he realized that I was winning too. I

2052
01:57:24,440 --> 01:57:32,080
Speaker 2: literally went into god witness protection program and it was

2053
01:57:32,120 --> 01:57:37,840
Speaker 2: the most amazing thing because all these years I carried

2054
01:57:37,920 --> 01:57:46,120
Speaker 2: all these people and then there was nobody I sense

2055
01:57:48,160 --> 01:57:56,480
Speaker 2: when I say crickets. I didn't know what peace was,

2056
01:57:57,800 --> 01:57:59,320
Speaker 2: and I ain't even I didn't even know what it

2057
01:57:59,360 --> 01:58:06,720
Speaker 2: felt like. And then a shift happened and he kept

2058
01:58:06,720 --> 01:58:08,840
Speaker 2: talking to me. He kept talking to me, and then

2059
01:58:08,840 --> 01:58:17,000
Speaker 2: he showed me. He showed me everything and every person

2060
01:58:17,400 --> 01:58:19,880
Speaker 2: that was in my life and why they was in

2061
01:58:19,920 --> 01:58:26,440
Speaker 2: my life and the reason for being there. And at

2062
01:58:26,440 --> 01:58:31,600
Speaker 2: that moment, I said, Okay, I got this. I got this.

2063
01:58:32,520 --> 01:58:42,040
Speaker 2: I fell in love all over again with myself because

2064
01:58:42,080 --> 01:58:47,160
Speaker 2: I ain't seen that kid since he was five. I

2065
01:58:47,200 --> 01:58:51,200
Speaker 2: plugged into everything that I thought I could possibly plug into.

2066
01:58:51,960 --> 01:58:57,240
Speaker 2: So he just unplugged it off. I'm talking about unplugged everything.

2067
01:59:00,280 --> 01:59:12,360
Speaker 2: The cars, the houses, the women, all the clothes, like

2068
01:59:12,400 --> 01:59:15,040
Speaker 2: they said, all the shoes, but couldn't take a step

2069
01:59:15,040 --> 01:59:15,879
Speaker 2: in the right direction.

2070
01:59:19,720 --> 01:59:20,960
Speaker 1: Anything you could think of.

2071
01:59:22,440 --> 01:59:28,120
Speaker 2: I got access to and would let anybody use it.

2072
01:59:30,600 --> 01:59:33,560
Speaker 2: Man take the car, Hey, yeah, you can have a house,

2073
01:59:34,320 --> 01:59:36,680
Speaker 2: you know, beautiful thing. Even Jamie came and got the

2074
01:59:36,680 --> 01:59:38,840
Speaker 2: house for the whole week while he was shooting Baby

2075
01:59:38,920 --> 01:59:41,320
Speaker 2: Driver here, like, you take the house, you could take

2076
01:59:41,320 --> 01:59:46,640
Speaker 2: the house over there. I got so detached to material

2077
01:59:46,720 --> 01:59:54,640
Speaker 2: things because none of it made me happy. None of it.

2078
01:59:56,000 --> 01:59:57,520
Speaker 2: I didn't even like what was coming with it. I

2079
01:59:57,560 --> 02:00:03,480
Speaker 2: pull up to the stoplight, women hanging out like, oh man,

2080
02:00:04,760 --> 02:00:08,480
Speaker 2: they blowing. I got the top down. They loving the car,

2081
02:00:09,560 --> 02:00:14,640
Speaker 2: they love in the rims. I'm moving. I go pick

2082
02:00:14,680 --> 02:00:17,400
Speaker 2: up the raggedy pickup truck. I come back same light.

2083
02:00:18,440 --> 02:00:20,680
Speaker 2: Seen some girls coming that I saw when I went

2084
02:00:20,680 --> 02:00:22,280
Speaker 2: to park the car and came back in the regular

2085
02:00:22,320 --> 02:00:27,000
Speaker 2: truck to go move something. I say, bump. They sped

2086
02:00:27,080 --> 02:00:35,800
Speaker 2: past me. I said, this is beautiful. You start seeing things,

2087
02:00:36,880 --> 02:00:40,120
Speaker 2: start finding purpose. So I say to the young people,

2088
02:00:42,440 --> 02:00:47,720
Speaker 2: enjoy yourself. Enjoy your life, put something back, save as

2089
02:00:47,800 --> 02:00:52,280
Speaker 2: much as you can. We are in a recession. You

2090
02:00:52,360 --> 02:00:56,720
Speaker 2: don't know the law, you don't understand things and things

2091
02:00:56,760 --> 02:00:59,720
Speaker 2: that they put in front of you. It's not necessarily

2092
02:00:59,760 --> 02:01:04,720
Speaker 2: to try truth. So we got to do more of this. Yeah,

2093
02:01:05,160 --> 02:01:10,000
Speaker 2: gotta do more of coming together, more unifying. And I'm

2094
02:01:10,000 --> 02:01:12,600
Speaker 2: not saying in large groups, but in small groups to

2095
02:01:12,680 --> 02:01:15,640
Speaker 2: be effective. And I know I just went on the

2096
02:01:15,680 --> 02:01:18,960
Speaker 2: whole thing, but I just want to tell you, thank you,

2097
02:01:19,240 --> 02:01:21,760
Speaker 2: thank you, bro. Yeah, because I was getting ready to

2098
02:01:22,680 --> 02:01:26,080
Speaker 2: take that somewhere and I stopped because it was it's

2099
02:01:26,120 --> 02:01:30,800
Speaker 2: all good. Yeah, Okay, it was about to go into somebody.

2100
02:01:31,680 --> 02:01:34,400
Speaker 1: No, it's all good. Well this is about you, bro. Now.

2101
02:01:34,480 --> 02:01:36,680
Speaker 1: Now I want to get into the mind of you musically.

2102
02:01:37,320 --> 02:01:41,520
Speaker 3: Musically, Yeah, so I got something we'reben play something for

2103
02:01:41,600 --> 02:01:42,200
Speaker 3: him man.

2104
02:01:43,840 --> 02:02:01,440
Speaker 1: Fin Yeah, your top five, man five, your R and

2105
02:02:01,600 --> 02:02:02,480
Speaker 1: B songs.

2106
02:02:04,520 --> 02:02:08,840
Speaker 2: We got to know before you go there, WRO on

2107
02:02:09,000 --> 02:02:09,520
Speaker 2: this show.

2108
02:02:09,960 --> 02:02:36,840
Speaker 1: Your body want to know. Yes, it's tak crazy. So

2109
02:02:37,000 --> 02:02:37,520
Speaker 1: we want to know.

2110
02:02:39,440 --> 02:02:43,120
Speaker 3: The top five R and B singers and R and

2111
02:02:43,200 --> 02:02:46,120
Speaker 3: B songs. Let's start with the singers. Who are your

2112
02:02:46,200 --> 02:02:48,280
Speaker 3: top five R and B singers?

2113
02:02:48,560 --> 02:02:50,720
Speaker 2: Okay, I would say this guy because he went R

2114
02:02:50,760 --> 02:02:57,720
Speaker 2: and B and turnpop. Michael Jackson, Prince, Prince, Whitney Houston. Yeah,

2115
02:02:57,960 --> 02:03:02,680
Speaker 2: Michael Jackson, Prince R Kelly, Yes, And I'm gonna say

2116
02:03:02,720 --> 02:03:04,240
Speaker 2: this one because they like to leave him out of

2117
02:03:05,640 --> 02:03:13,840
Speaker 2: conversations sometimes. Teddy Riley Top five R and B singers, Well,

2118
02:03:14,000 --> 02:03:18,000
Speaker 2: it's not Teddy as guy, it's it was just that

2119
02:03:18,160 --> 02:03:21,680
Speaker 2: whole time period. Yeah, yeah, I would say that. I

2120
02:03:21,720 --> 02:03:26,120
Speaker 2: would say, yeah, usher.

2121
02:03:27,960 --> 02:03:31,520
Speaker 1: So eight, can I go back and do it?

2122
02:03:32,080 --> 02:03:32,120
Speaker 3: No?

2123
02:03:32,320 --> 02:03:36,600
Speaker 1: No, no, no, you got it. It's yours. Okay, it's

2124
02:03:36,640 --> 02:03:40,560
Speaker 1: yours absolutely, Okay, Top five R and B Songs.

2125
02:03:41,240 --> 02:03:45,280
Speaker 2: Here we go, Adore by Prince, Yes, Michael Jackson, out

2126
02:03:45,320 --> 02:03:49,120
Speaker 2: of my life, She's out of my life, baby Face

2127
02:03:49,560 --> 02:03:55,400
Speaker 2: one love saw it Ah, Yes, okay, okay, R Kelly

2128
02:03:56,480 --> 02:03:57,320
Speaker 2: when a woman's.

2129
02:03:57,080 --> 02:04:02,600
Speaker 3: Fed up amazing, Okay, that's that's right. Yeah, one more more,

2130
02:04:02,720 --> 02:04:08,360
Speaker 3: what's going on? Perfect song for the Times All timer. Okay,

2131
02:04:08,440 --> 02:04:10,040
Speaker 3: So that showed your top five songs.

2132
02:04:11,080 --> 02:04:15,880
Speaker 1: Got another segment. It's called the Voltron. Okay, where you build,

2133
02:04:16,000 --> 02:04:19,000
Speaker 1: which is is what you dow?

2134
02:04:19,080 --> 02:04:25,600
Speaker 3: You build the ultimate R and B superstar superhero. You

2135
02:04:25,760 --> 02:04:32,120
Speaker 3: take four elements, the voice, the stage performance, the styling

2136
02:04:32,920 --> 02:04:33,680
Speaker 3: and the passion.

2137
02:04:34,160 --> 02:04:37,800
Speaker 2: Okay, and build one artist. And build one artist that's

2138
02:04:37,880 --> 02:04:40,040
Speaker 2: Chris Brown. Chris Brown, Chris Brown, and Chris Brown.

2139
02:04:45,080 --> 02:04:47,680
Speaker 1: I take the voice and style of the choreography and

2140
02:04:47,840 --> 02:04:48,720
Speaker 1: change before.

2141
02:04:50,040 --> 02:04:51,000
Speaker 2: It's all Chris Brown.

2142
02:04:51,160 --> 02:04:54,360
Speaker 1: And I'm going to say it, but I know, so

2143
02:04:54,440 --> 02:04:57,120
Speaker 1: who's going to develop this artist? Who would you choose?

2144
02:04:57,680 --> 02:04:59,920
Speaker 2: I would say me and a team, Okay, because I

2145
02:05:00,000 --> 02:05:02,040
Speaker 2: I still think, even to this day, I could still

2146
02:05:02,120 --> 02:05:04,600
Speaker 2: take Chris to another level that he hasn't reached yet.

2147
02:05:05,360 --> 02:05:10,080
Speaker 3: Huh yeah, yeah, yeah, Okay, all right, all right, all right,

2148
02:05:10,560 --> 02:05:12,000
Speaker 3: we got we got one more, we got one more.

2149
02:05:12,000 --> 02:05:13,400
Speaker 1: We got one more thing for you man before I

2150
02:05:13,480 --> 02:05:13,800
Speaker 1: let you go.

2151
02:05:14,000 --> 02:05:22,480
Speaker 3: Okay, A saying no nigga, saying no names, saying no names,

2152
02:05:23,120 --> 02:05:27,840
Speaker 3: saying no names. Who you was, what you did?

2153
02:05:28,480 --> 02:05:29,000
Speaker 2: Don't say?

2154
02:05:29,160 --> 02:05:43,120
Speaker 3: She said? Very important part of the show. Okay, Will

2155
02:05:43,160 --> 02:05:47,520
Speaker 3: you tell us a story funny or fucked up? Are

2156
02:05:47,640 --> 02:05:51,080
Speaker 3: funny and fucked up? The only rule to the game

2157
02:05:51,480 --> 02:05:52,720
Speaker 3: is you can't say no names.

2158
02:05:52,960 --> 02:05:56,360
Speaker 2: Oh wow, I need one. Okay, So I give you

2159
02:05:56,400 --> 02:05:58,240
Speaker 2: a story about I think I might have been.

2160
02:05:58,800 --> 02:05:59,040
Speaker 1: I was.

2161
02:05:59,160 --> 02:06:05,080
Speaker 2: I was working on an artists and at the record

2162
02:06:05,120 --> 02:06:07,640
Speaker 2: company has spent probably about two million dollars on the artist,

2163
02:06:07,840 --> 02:06:10,760
Speaker 2: and they was kind of chasing this sound, chasing this vibe,

2164
02:06:11,600 --> 02:06:12,680
Speaker 2: and I kept saying.

2165
02:06:13,920 --> 02:06:14,840
Speaker 1: Nah, no, no, no.

2166
02:06:15,000 --> 02:06:18,240
Speaker 2: And this artist was actually in a group, so I

2167
02:06:18,320 --> 02:06:23,160
Speaker 2: kept saying, man, I kept saying, like, why y'all can't

2168
02:06:23,200 --> 02:06:27,040
Speaker 2: get this right. She's a superstar. And I know she's

2169
02:06:27,640 --> 02:06:30,440
Speaker 2: you know, maybe standing next to a superstar, but she's

2170
02:06:30,440 --> 02:06:32,680
Speaker 2: a superstar. And then when I listened to the music,

2171
02:06:32,720 --> 02:06:38,960
Speaker 2: I kept saying, man, why y'all not making no real

2172
02:06:39,160 --> 02:06:47,360
Speaker 2: chocolate music because she's chocolate, But you can't make no

2173
02:06:47,480 --> 02:06:50,120
Speaker 2: chocolate music on her. You keep chasing this big thing.

2174
02:06:50,240 --> 02:06:52,720
Speaker 2: This big thing. Can't chase the past, got to chase

2175
02:06:52,720 --> 02:06:58,200
Speaker 2: the future. Gotta go. So I managed for probably about

2176
02:06:58,200 --> 02:07:03,040
Speaker 2: a good six I had that contract, and when I

2177
02:07:03,120 --> 02:07:05,320
Speaker 2: got it or whatever they signed it, I just put

2178
02:07:05,360 --> 02:07:08,880
Speaker 2: the contract on the desk. I never signed it. So

2179
02:07:09,080 --> 02:07:12,640
Speaker 2: one of the producers take an executive meeting and we

2180
02:07:12,760 --> 02:07:19,360
Speaker 2: walk in there and they upset because I start changing

2181
02:07:19,440 --> 02:07:24,520
Speaker 2: the direction of the artists. And I brought the artists

2182
02:07:24,520 --> 02:07:28,160
Speaker 2: to Atlanta, set them up up in one of my

2183
02:07:28,240 --> 02:07:33,880
Speaker 2: homes and started working and changing it. And then I

2184
02:07:34,040 --> 02:07:38,760
Speaker 2: take it back and the producer who who brought her in,

2185
02:07:39,000 --> 02:07:42,840
Speaker 2: and the executive. They upset. They're like, oh man, and

2186
02:07:42,920 --> 02:07:44,920
Speaker 2: they want me to play this music. So I played

2187
02:07:44,960 --> 02:07:47,800
Speaker 2: them a couple of songs. Can't tell you who did

2188
02:07:47,840 --> 02:07:51,920
Speaker 2: the songs, all right, So so I'm playing the songs

2189
02:07:52,400 --> 02:07:55,360
Speaker 2: and then they get upset. You know, it's the ubsess

2190
02:07:55,440 --> 02:07:57,920
Speaker 2: a heated argument. I'm in there arguing back and forth

2191
02:07:58,000 --> 02:08:01,640
Speaker 2: with this guy with the executive sitting here. We having

2192
02:08:01,680 --> 02:08:04,800
Speaker 2: a heated conversation. Now I know the guy and known

2193
02:08:04,880 --> 02:08:09,760
Speaker 2: him on his come up. Yeah right, he gets so

2194
02:08:09,960 --> 02:08:15,760
Speaker 2: upset with me, takes off, go back to his city

2195
02:08:17,000 --> 02:08:25,920
Speaker 2: and turns around, write a song. They send the song

2196
02:08:26,000 --> 02:08:28,920
Speaker 2: to the exact and then they send it to me.

2197
02:08:30,240 --> 02:08:32,760
Speaker 2: It sits on the exact desk for about a month.

2198
02:08:34,440 --> 02:08:36,560
Speaker 2: I got the record. When I got it, I listened,

2199
02:08:37,880 --> 02:08:42,400
Speaker 2: I leaked the record, put the record out, put the record.

2200
02:08:43,440 --> 02:08:47,720
Speaker 2: We're going record goes top five. I get a call

2201
02:08:47,840 --> 02:08:51,360
Speaker 2: from the attorney that I've been released. I got fired,

2202
02:08:51,440 --> 02:08:54,080
Speaker 2: But yeah, I got fired the record.

2203
02:08:55,040 --> 02:08:56,560
Speaker 1: You got fired for putting out a hit.

2204
02:08:57,200 --> 02:08:59,480
Speaker 2: Yeah, and then never got the credit for the hit.

2205
02:09:01,840 --> 02:09:02,040
Speaker 3: Man.

2206
02:09:02,600 --> 02:09:06,000
Speaker 2: You know what I might need to take the simple

2207
02:09:06,080 --> 02:09:11,600
Speaker 2: to steal gin Man, and then I realized I couldn't even.

2208
02:09:11,960 --> 02:09:16,360
Speaker 2: I couldn't do anything I was. I wasn't even. I

2209
02:09:16,480 --> 02:09:18,320
Speaker 2: went back and I looked. I said, oh, I didn't

2210
02:09:18,320 --> 02:09:20,280
Speaker 2: even sign a contract whatever. I just tore it up

2211
02:09:21,720 --> 02:09:26,640
Speaker 2: and moved on. And the artists haven't had a hit

2212
02:09:26,680 --> 02:09:27,200
Speaker 2: record since.

2213
02:09:27,800 --> 02:09:34,040
Speaker 1: Yeah, you know what man, Like I said, Bro, I

2214
02:09:34,200 --> 02:09:35,360
Speaker 1: appreciate you coming here.

2215
02:09:36,000 --> 02:09:38,200
Speaker 3: This has been a great time. I'm glad you shared

2216
02:09:38,200 --> 02:09:41,040
Speaker 3: your story. I'm glad you shared your knowledge. Respect, you

2217
02:09:41,120 --> 02:09:43,200
Speaker 3: know what I mean. With with our audience, with the world.

2218
02:09:43,800 --> 02:09:45,280
Speaker 3: You know what I mean, because they need to hear you.

2219
02:09:45,480 --> 02:09:48,480
Speaker 3: And like I said, once again, Bro, thank you, thank you,

2220
02:09:48,640 --> 02:09:51,640
Speaker 3: thank you, thank you, saying I'm Jay Valentine Yah the

2221
02:09:51,800 --> 02:09:55,480
Speaker 3: RV Money Podcast and this is the legend himself.

2222
02:09:57,360 --> 02:10:01,680
Speaker 2: Yeah, man, mistake, there are who you a