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Speaker 1: Welcome back to unplug. This episode is presented to you

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Speaker 1: by DraftKings. The crown is yours. Today we got an

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Speaker 1: exciting show.

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Speaker 2: Uh.

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Speaker 1: Someone, I'm a huge fan of the Missa. If you've

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Speaker 1: seen him on Instagram, make sure you tap in a

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Speaker 1: wealth of knowledge. And I'm really excited to talk to

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Speaker 1: him now. I want to welcome to the show.

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Speaker 2: Man.

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Speaker 1: Someone I've been a big fan of probably found this

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Speaker 1: page about a year and a half and I finally

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Speaker 1: got the balls to reach out and uh holler Adam

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Speaker 1: and lo and beold.

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Speaker 2: He hit me back and shit, we've been.

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Speaker 3: Some other way around, bro, I'm supposed to be Yeah.

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Speaker 1: Hell Instagram buddies ever since. We Welcome to the show,

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Speaker 1: Damien the Missa Young.

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Speaker 2: Appreciate you, Bro.

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Speaker 3: Thank you, I appreciate it. Thank you for this big time. No,

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Speaker 3: this is uh, I'm playing with the big fellas now.

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Speaker 2: No, I feel like again.

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Speaker 1: I mean, and I think I told you this the

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Speaker 1: other day and just an era where there's just so

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Speaker 1: much negativity and disrespect and insecurity. You're just a clear

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Speaker 1: cut breath of fresh air that gives an unbiased opinion

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Speaker 1: and really educates more than anything. And again I can

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Speaker 1: sit up and just watch your reels and just feel like, damn,

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Speaker 1: I just took a college course, you know what I mean.

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Speaker 1: So thank you, Thank you for spending some time with

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Speaker 1: us today. I mean, you've been around a lot of

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Speaker 1: legends and and and the music industry.

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Speaker 2: Season. I think you're sa season is a better word.

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Speaker 1: Obviously, there's been a ton of movement in media over

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Speaker 1: the past few weeks, big mergers, potentially Netflix dealing with

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Speaker 1: iHeart bringing podcasts in. We were just having an off

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Speaker 1: camera conversation where we had to hop because you were

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Speaker 1: talking too much good shit, and I said, we got

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Speaker 1: to get it on camera. Talk to me about where

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Speaker 1: you see this media space coming. And I love the

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Speaker 1: comparison you made because again, you were in the in

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Speaker 1: the mix of the record industry when this kind of

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Speaker 1: consolidation happens. So talk to us a little bit about

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Speaker 1: just kind of what do you feel the landscape is

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Speaker 1: and where we're headed.

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Speaker 3: Well, the world is not all about content, and it's

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Speaker 3: all about real content is real estate. So it's all

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Speaker 3: about keeping you on these platforms as long as they

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Speaker 3: can because while you're watching this content, they're extracting data,

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Speaker 3: and data is the new goal. So every time they

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Speaker 3: can have content or acquire content that keeps you on

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Speaker 3: these platforms longer, that's the name of the game. So

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Speaker 3: it's really just about content acquidition, acquisition and consolidation. I mean,

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Speaker 3: if you look at Paramount, I mean, look at how

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Speaker 3: many movies they actually put out in theaters as opposed

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Speaker 3: to other content, you know, I mean, they're basically just

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Speaker 3: a big catalog. I mean, Paramount you have everything from

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Speaker 3: the Sopranos and Shameless to Star Trek, you know what

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Speaker 3: I mean, and a lot of the old TV shows

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Speaker 3: and stuff.

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Speaker 2: So really what it is is it's.

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Speaker 3: Just consolidation of archives and new content and put it

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Speaker 3: on their platform. So Netflix is basically buying up catalogs,

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Speaker 3: which is like what's happening in the music business. I

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Speaker 3: mean you hear you know they're doing fifty times multiples

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Speaker 3: on some of these catalogs. Well, the reason why is

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Speaker 3: because these catalogs are the new gold and if they

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Speaker 3: can acquire all of the old catalogs, then they can

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Speaker 3: train their ais on the old catalogs. And what was

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Speaker 3: a hit like? If you know, you look at like Universal,

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Speaker 3: for instance, how many number one records do they have

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Speaker 3: do you know what I mean, Like, how much that's data?

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Speaker 3: So you take all of those number one records, you

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Speaker 3: throw them in a blender and spit out something insuno.

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Speaker 3: There you go.

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Speaker 2: Well, they're about to do the.

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Speaker 3: Same thing with movies. I mean, if you think that

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Speaker 3: human actors and all of this do great jobs, wait

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Speaker 3: till Agi comes on.

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Speaker 2: You know what I mean.

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Speaker 3: And that's scary when you stop and think about it.

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Speaker 3: But that's what's happening. Consolidation of content. I mean, go

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Speaker 3: back to the nineties with the record labels. So we

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Speaker 3: have def Jam, we had Uptown, we had all of

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Speaker 3: these great labels, full staffs, everything. Well, now you just

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Speaker 3: have the catalogs and the logo and they can use

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Speaker 3: that to create new material.

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Speaker 1: So who do you kind of feel like right now

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Speaker 1: is jocking for position? Obviously Netflix and YouTube are kind

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Speaker 1: of going at each other. Does YouTube have a play

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Speaker 1: do you see? Or they kind of just sit back

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Speaker 1: and kind of let the dust set and see what's

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Speaker 1: going on?

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Speaker 3: Well, I mean, look, it's always gonna be big fish

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Speaker 3: eat little fish, you.

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Speaker 2: Know what I mean?

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Speaker 3: So right now, I mean the one to watch is Disney.

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Speaker 3: Is Disney going to I mean there's no other big

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Speaker 3: catalog like that out there, do you know what I mean?

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Speaker 2: So?

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Speaker 3: Is it going to be with Netflix? Busy doing? You know,

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Speaker 3: the Warner, the paramount, you know, all of this kind

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Speaker 3: of stuff. I mean, is Disney gonna get eaten by YouTube?

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Speaker 3: Or is Disney? I mean, it's not like Disney can

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Speaker 3: buy YouTube?

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Speaker 2: Do you know what I mean? When you you know

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Speaker 2: what I mean?

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Speaker 1: Like again, I'm I'm more of a surface level guy.

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Speaker 1: But when you said that a second ago, when you

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Speaker 1: said YouTube by like, I don't think I grasped my

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Speaker 1: guess how big YouTube is?

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Speaker 3: Well, okay, look at it like this, Apple is a

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Speaker 3: trillion dollar company. A couple trillion now right something like that. Okay,

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Speaker 3: we're talking about billions over here.

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Speaker 2: Do you know what I mean?

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Speaker 3: So they still have a lot of growth to go, right,

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Speaker 3: do you know what I mean? So it's far from monopoly,

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Speaker 3: but it's definitely monopoly. Yeah. Do you know what I mean.

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Speaker 1: To say that YouTube's big play hypothetically or possibly could

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Speaker 1: be to go snatch?

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Speaker 3: I don't see a world where it being anything more

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Speaker 3: than YouTube and Netflix.

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Speaker 2: Really, I just don't see it.

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Speaker 3: Wow, you know, like I'm surprised that like Warner Music

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Speaker 3: hasn't been brought by Universal. Do you know what I'm saying?

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Speaker 1: You know, I mean, would you say right now with

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Speaker 1: this transitional shift with the iHeart, you know, partnering with

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Speaker 1: Netflix and and this, you know pods going over there,

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Speaker 1: is this kind of a transitional or or not?

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Speaker 2: I wouldn't.

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Speaker 1: I hate to use the word guinea pig, but is

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Speaker 1: this kind of just a let's see how this works out?

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Speaker 2: Or this is gonna work out?

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Speaker 3: It's content? So the podcast what if you're gonna go

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Speaker 3: what is okay? You look at like YouTube for instance,

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Speaker 3: what do they have content wise? That Netflix doesn't podcasting,

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Speaker 3: So they're not doing a deal with iHeart for radio

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Speaker 3: station right, They're not trying to get into that space.

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Speaker 3: They're trying to get all of their podcast content. So like,

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Speaker 3: you know, I'm surprised that you haven't done it deal.

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Speaker 3: I mean, you got wet the number one sports.

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Speaker 1: We've actually talked to them here we go. No, we've

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Speaker 1: actually had literally when you walked up, we were having

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Speaker 1: our end of the year review call and our strategy

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Speaker 1: for twenty six and obviously the Netflix and iHeart because

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Speaker 1: we're with iHeart, we have a strategic partnership with Netflix

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Speaker 1: on some other stuff. So obviously that conversation had jumped up.

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Speaker 1: But you know, I think we're we're riding steady as

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Speaker 1: a company and can just kind of continuing to build

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Speaker 1: ourselves out.

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Speaker 3: Well, and you did it right, Okay, you're if I'm

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Speaker 3: not mistaken, you have to correct me if I'm not.

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Speaker 3: But your license every right, so you own your catalog.

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Speaker 3: So what's going to happen is they're going to need

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Speaker 3: all of that. You know, someone is whether it's and

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Speaker 3: and I think that will create a bidding war. And

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Speaker 3: that's really what it is now. I mean I said

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Speaker 3: something the other day that people I don't think latched

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Speaker 3: onto is you are your IP? Do you know what

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Speaker 3: I'm saying? Intellectual property? We are intellectual people. You know

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Speaker 3: what I'm saying, We deal and it. You know, somebody's

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Speaker 3: got to sit and consume what the what they're platform

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Speaker 3: per forming. You know how things go viral is you

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Speaker 3: know the algo recognizes how many times things get l liked,

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Speaker 3: how many times things get shared, and how many comments

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Speaker 3: go quickly and then it catches onto that momentum. So

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Speaker 3: how do I word this? Your your personality, your profession.

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Speaker 3: Whatever you do is a part of your intellectual property.

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Speaker 3: So what's going to happen is AI is going to

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Speaker 3: have what's called agents, which is a carbon copy of you.

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Speaker 3: So yeah, so what's going to happen is if you're

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Speaker 3: a specialist in anything. You could be a doctor, you

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Speaker 3: could be a lawyer, you could be a basketball player,

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Speaker 3: you could be a radio program or anything like that.

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Speaker 3: When someone goes to do that, it's a lot like

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Speaker 3: you know, we have pro tools in the music industry,

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Speaker 3: and what happens is is in the pro tools you

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Speaker 3: have what's called presets, okay, which is they got the

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Speaker 3: best people in the world, say for engineering, the EQ guys,

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Speaker 3: John Marie Horvat, Dave Way, Chris Lord, Algae, and they

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Speaker 3: created presets. So if you're using a snare, you just

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Speaker 3: load up the preset and it's a program that was

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Speaker 3: originally set up by one of the best in the

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Speaker 3: business that you can apply to your snare. Well, that's

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Speaker 3: what they're going to do with AI is everybody who's specialist.

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Speaker 3: AI will be the hands of the doctor. But you

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Speaker 3: can pick the back heart surgeon in the world to

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Speaker 3: do your heart through the agent.

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Speaker 2: Do you see what I'm saying, I hope that's clear.

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Speaker 1: I mean transitioning to that's how you said that, Sora, Sora, Ai.

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Speaker 2: Just did a deal with Disney. Can you kind of

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Speaker 2: speak to.

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Speaker 3: Well, Sora, what's interesting about that? And you know it's

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Speaker 3: funny because look at how many with Sora, how many

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Speaker 3: like you know, the Jake Paul Ones and all of

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Speaker 3: those that were done that were kind of suspect. Do

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Speaker 3: you know what I mean Disney being a wholesome family company.

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Speaker 3: I mean just think like snow White and the Seven

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Speaker 3: Dwarfs with people how they you know, think and stuff crazy.

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Speaker 3: I mean, yeah, for Disney. I mean I can't wait

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Speaker 3: to see the restrictions on the like how to do it?

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Speaker 3: But I mean, look every like I said, everything is

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Speaker 3: a carbon copy of a brand or an intellectual property,

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Speaker 3: whether or not it was drawn a ridge only by

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Speaker 3: a human. And now look at that evolution. A perfect

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Speaker 3: way to explain where we are and where we're going

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Speaker 3: is go back to the pen and paper and Disney

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Speaker 3: early early days and look at how that's evolved from

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Speaker 3: someone having to draw a sketch on a piece of paper,

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Speaker 3: then put it on a cell, then you know, film

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Speaker 3: it the way that they do to Pixar. Now Pixar

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Speaker 3: to AI, do you know what I mean? Everything is

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Speaker 3: just a tool. So it's just going to be really

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Speaker 3: interesting to see, like with Agi, you know, and and

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Speaker 3: Super you know, with Agi is like, well, the way

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Speaker 3: that AI is, it's basically conscious AI. It's an AI

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Speaker 3: that can think for itself, you know what I mean?

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Speaker 3: And you know it goes into the deep discussion of

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Speaker 3: are we AI? You know, we're walking around in a

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Speaker 3: biomechanical suit that some people would say need an upgrade.

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Speaker 2: Do you know what I'm saying.

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Speaker 3: So if you don't think that they can consciousness transfers

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Speaker 3: and all of that kind of stuff in some lab

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Speaker 3: on area fifty one, you're crazy, you know.

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Speaker 2: What I mean?

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Speaker 3: You know, I mean you think of it like this,

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Speaker 3: The government has to stay thirty to fifty years ahead

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Speaker 3: of what the public has or else. It's not because

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Speaker 3: if you go back in history, they were talking about,

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Speaker 3: you know, jet propulsion and stuff like that in the forties,

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Speaker 3: you know what I mean, the stuff that they're using,

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Speaker 3: that's what they were saying. Elon Muskot originally mad at

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Speaker 3: Is in his Doge data thing, which Doge was just

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Speaker 3: a trojan horse to get a bunch of information and

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Speaker 3: throw it in to Grock. I mean, he found all

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Speaker 3: of this technology that everybody's been fragmenting and keeping from

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Speaker 3: each other. So he's like, I'm talking about rockets from

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Speaker 3: the forties and you have gravity manipulation, and that's what

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Speaker 3: started the Yeah, you know what I mean. Supposedly, I don't.

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Speaker 2: Know a lot of people said it, but I wanted it.

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Speaker 2: You know, I'll get a little that's dope, Dereka.

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Speaker 1: I love that extensive background in the radio space, experience,

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Speaker 1: worked in the two biggest markets in the country, top

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Speaker 1: two hip hop stations Hot ninety seven and POWERWEO six.

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Speaker 1: Talk to us just about that, that journey, what you

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Speaker 1: learn from it and some of the amazing people.

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Speaker 2: You know.

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Speaker 3: I've kind of always looked at myself as like the

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Speaker 3: forest Gump of hip hop, do you know what I mean.

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Speaker 3: I've always just been or music. I've always been really,

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Speaker 3: really lucky to be in the right place at the

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Speaker 3: right time to see some cool shit happen. I started

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Speaker 3: in radio when I was twelve years old in Santa Barbara,

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Speaker 3: and my first mentors were Steve Smith and Michael Newman.

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Speaker 3: Steve Smith Rest in Peace, who were the greatest radio

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Speaker 3: programmers ever in the history of the music business.

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Speaker 2: Steve went on.

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Speaker 3: To program Hot ninety seven in New York. Michael went

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Speaker 3: on to become the biggest consultant of radio in the world.

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Speaker 3: But when I was twelve years old, Michael Newman was

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Speaker 3: the night job at the local radio station. So they

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Speaker 3: gave out the phone number one time and I just

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Speaker 3: called and bugged him until he called me in and

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Speaker 3: let me be an intern. So same thing I do

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Speaker 3: to you.

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Speaker 1: This is this is like sixth grade though, right twelve

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Speaker 1: years old, sixth seventh grade, you.

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Speaker 2: Know what I mean.

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Speaker 3: I was going I was just getting ready to go

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Speaker 3: to junior high okay, And you know, I just bugged

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Speaker 3: him finally, you know, I would push buttons when you

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Speaker 3: know he was on the air.

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Speaker 2: And I learned that way.

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Speaker 3: And one night the overnight jock didn't show up and

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Speaker 3: they said, you can go on the radio, but don't

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Speaker 3: talk too much. It's like a chipmunk, you know what

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Speaker 3: I mean. So I just went on and that that

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Speaker 3: just turned into my love of radio music, connection with

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Speaker 3: people and creating synergy with it all, you know. So

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Speaker 3: I never thought of radio as a radio programmer, Like,

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Speaker 3: I learned from the best, and I had these mentors

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Speaker 3: that were great, So it kind of, you know, was

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Speaker 3: like osmosis. You know, I learned so much, but I

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Speaker 3: always thought of it as a fan. So I am

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Speaker 3: what you get when you give the fan an all

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Speaker 3: access pass and a little bit of power. Do you

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Speaker 3: know what I'm saying. So, Like in nineteen ninety seven,

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Speaker 3: when I went to Power one, I'm six. I wasn't

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Speaker 3: thinking of ratings. I was thinking, I got to meet

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Speaker 3: Doctor Dre and DJ quick before I get fired, do

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Speaker 3: you know what I'm saying. So I wanted to get

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Speaker 3: Dre and Snoop somehow in the room together, you know

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Speaker 3: what I mean?

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Speaker 1: So I said, you were instrumental in that. Come man,

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Speaker 1: toot your own a little bit. Talk to me about that.

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Speaker 1: I mean too, I'm a huge West Coast fan, but.

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Speaker 3: I mean that's I mean.

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Speaker 2: You know.

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Speaker 3: A funny story is when I did finally get them

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Speaker 3: together and I played well, let me rewind, I played

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Speaker 3: a trick on them. That's how it happened. I ran

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Speaker 3: into Snoop at a show and he had just gotten

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Speaker 3: off death row. Well, he said he had just gotten

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Speaker 3: off death Row. They were paying him five thousand a

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Speaker 3: month on ret tainer or something and not his royalties,

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Speaker 3: and he had they had just cut that off. So

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Speaker 3: me thinking, oh shit, we'll come to work at Power

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Speaker 3: one six, you know, and in the middle of the

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Speaker 3: death Row era by the way, showing up Monday morning

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Speaker 3: to your boss and saying, by the way, I just

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Speaker 3: hired Snoop Dog. You don't hire that kind of Power.

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Speaker 3: It's kind of an interesting, you know, situation. But anyways,

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Speaker 3: they went for it, and then I met Drey.

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Speaker 2: Oh so you got Snoop haired.

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Speaker 3: Yeah, he was an employee of Power doing what he

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Speaker 3: was on the air for on Saturdays.

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Speaker 2: So he had after this.

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Speaker 3: This is ninety seven, okay, eight ninety seven ninety eight,

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Speaker 3: so he was doing weekends for us, and I was like, look,

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Speaker 3: you can play in your music that you're making. You can.

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Speaker 3: Because it was kind of a lull for Drey and Snoop.

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Speaker 3: I mean, Dre had the Aftermath album, he had the

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Speaker 3: Firm album, and then he did Zoom Zoom with Hell

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Speaker 3: Cool Jay.

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Speaker 2: So everybody them went to no limit.

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Speaker 3: Then right, well, Master P heard Snoop on the radio

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Speaker 3: playing new music, calls me and goes, Yo, how do

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Speaker 3: I get in touch with snow? Oh, here's a hotline number,

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Speaker 3: call him? You know what I mean, Like, I'm a

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Speaker 3: sneaky little you know what.

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Speaker 2: Do that get it done?

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Speaker 3: And master P, I mean, such an amazing dude, you

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Speaker 3: know what I mean? Like he would like the most humble,

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Speaker 3: the most down to earth, Like he would show up

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Speaker 3: at my office every morning until we played a master

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Speaker 3: P record, you know, because we weren't playing the Dirty South.

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Speaker 3: We're a West Coast rappers.

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Speaker 2: Ninety eight is my senior year. I'm kind of dating myself.

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Speaker 2: But that double album with a true t are you

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Speaker 2: are you?

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Speaker 1: That double album that was around that ninety seven ninety

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Speaker 1: eight time, and we were bumping that up a Sacramento

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Speaker 1: but you would never never hear it on the radio.

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Speaker 3: Well, and he wanted to know everything, like how do

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Speaker 3: Howard Records researched? How do you develop? How did what

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00:16:55,240 --> 00:16:57,880
Speaker 3: are the mixtures? What role do they play? How do

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Speaker 3: I need to do this? And he literally would show

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Speaker 3: every morning to the point where I started going to

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Speaker 3: the back door, you know what I mean, and not

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Speaker 3: through the front. Well, he'd get it and he'd go

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Speaker 3: to the back door you know what I mean. But

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Speaker 3: then he met everybody in the office and they basically

352
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Speaker 3: gave him a freaking key card, you know what I mean,

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Speaker 3: Like he would be in my office when I got there,

354
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Speaker 3: you know what I mean. So it was just it

355
00:17:21,359 --> 00:17:26,280
Speaker 3: was awesome. So anyways, when Snoop was doing the Weekends,

356
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Speaker 3: I met Dre at the Zoom Zoom video shoot and

357
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Speaker 3: I said to Dre, I said, what the fuck is this?

358
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Speaker 3: And he's like, what are you talking about? I said,

359
00:17:33,600 --> 00:17:35,679
Speaker 3: Zoom Zoom? What happened to the one that was in

360
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Speaker 3: the Compton Squap Meets that I had Snoop on it?

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Speaker 3: Like what are you doing? And he goes, how the

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Speaker 3: hell do you know that record? I said, bro, I'm

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Speaker 3: a fan and he was like, okay, I messed with you,

364
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Speaker 3: like you're You're cool. So we exchanged numbers and now

365
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Speaker 3: it was just about how do I get them in

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Speaker 3: the room. So I tried everything. I was like, Dre,

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Speaker 3: you know you're DJ, come in and mix while he's

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Speaker 3: on the air. No, I don't think that's right. You

369
00:18:00,200 --> 00:18:02,040
Speaker 3: know this, that and the other. So I was like, okay,

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Speaker 3: well I got Snoop for a powerhouse, you know, and

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Speaker 3: around the same time, I became kind of just a

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Speaker 3: sounding board for Dre because after having those you know,

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Speaker 3: Jimmy had given him thirty million dollars you know what

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Speaker 3: I mean for the aftermath thing. So they weren't trying

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Speaker 3: to spend any money on Dre, and Dre was kind

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Speaker 3: of like, what am I going to do?

377
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Speaker 2: You know what I mean? So no one was we're

378
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Speaker 2: both kind of at a crossroad, so to speak, just.

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Speaker 3: At different levels. Yeah, both Snoop Andrew. Yeah, so Snoop

380
00:18:29,359 --> 00:18:33,000
Speaker 3: met Pe that starts to buzz up and I'm like, look,

381
00:18:33,119 --> 00:18:35,359
Speaker 3: you know we're doing this show. Why don't you come

382
00:18:35,400 --> 00:18:40,280
Speaker 3: to the show. Well he says, uh, this is huh,

383
00:18:40,320 --> 00:18:43,040
Speaker 3: this is grey, and so he goes, yeah, I'll come

384
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Speaker 3: to the show. So he comes to the show, and

385
00:18:45,440 --> 00:18:49,080
Speaker 3: at the show, I'm like, I'm like, well, I'll put

386
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Speaker 3: a dressing room next to Snoops, so when Dra comes in,

387
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Speaker 3: he'll be in that area. Well, then I started getting

388
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Speaker 3: sneaky and I switched the names on the door.

389
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Speaker 2: So they walked into each other.

390
00:19:02,840 --> 00:19:06,280
Speaker 3: So when he walked in, he walked into snoop stressing room.

391
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Speaker 2: Yeah, how'd that go?

392
00:19:07,840 --> 00:19:10,199
Speaker 3: It wasn't great? They you know, I knew that, you

393
00:19:10,200 --> 00:19:12,879
Speaker 3: know from talking to the two. There was no animosity,

394
00:19:13,080 --> 00:19:15,399
Speaker 3: you know what I mean, And there was such you know,

395
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Speaker 3: it was such a crazy time for hip hop. I mean,

396
00:19:18,080 --> 00:19:20,320
Speaker 3: you know you had you had Biggie and Puff doing

397
00:19:20,359 --> 00:19:23,080
Speaker 3: what they were doing, you had Mac ten and West

398
00:19:23,119 --> 00:19:25,480
Speaker 3: Side Connection. I mean, there was all of this. So

399
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Speaker 3: like my first show, the one that I met Snoop at,

400
00:19:28,880 --> 00:19:32,400
Speaker 3: was like ice Cube and mac ten and the Dog

401
00:19:32,520 --> 00:19:35,120
Speaker 3: Pound and you know all of this. Well, Puffy and

402
00:19:35,200 --> 00:19:39,040
Speaker 3: Mace and Biggie showed up to that show. So Biggie

403
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Speaker 3: and Snoop are standing on stage together and we're like thinking,

404
00:19:42,640 --> 00:19:44,680
Speaker 3: like the East West Beat, what are you talking about?

405
00:19:44,800 --> 00:19:46,320
Speaker 3: This is dope, you know what I mean?

406
00:19:46,359 --> 00:19:48,720
Speaker 1: But Snoop speaks to the how how cool him and

407
00:19:48,720 --> 00:19:49,200
Speaker 1: Biggie were.

408
00:19:49,240 --> 00:19:52,159
Speaker 3: That a lot of feathers though, Well, but you know

409
00:19:52,280 --> 00:19:55,720
Speaker 3: fuck that. You know, people that were supposed to have

410
00:19:55,800 --> 00:19:58,959
Speaker 3: problems for the narrative is what got us fucked up?

411
00:19:59,280 --> 00:20:01,320
Speaker 3: Do you know what I'm saying? And then I see

412
00:20:01,440 --> 00:20:04,119
Speaker 3: this and I'm like, oh, it's all about unity. It's

413
00:20:04,119 --> 00:20:08,000
Speaker 3: about bringing people together, causes reaction with the crowd. So okay,

414
00:20:08,040 --> 00:20:09,840
Speaker 3: So now this Drake and Snoop thing has to happen.

415
00:20:10,280 --> 00:20:13,240
Speaker 3: So while they were so, dra goes to the stage

416
00:20:13,280 --> 00:20:16,000
Speaker 3: with me. Snoop's on stage and I look over at

417
00:20:16,040 --> 00:20:19,840
Speaker 3: DJ Jam and I play deep Cover, Play deep Cover

418
00:20:20,000 --> 00:20:22,800
Speaker 3: and Dre's like, nah, no, you know we're not there yet.

419
00:20:22,840 --> 00:20:23,720
Speaker 2: We're not there yet.

420
00:20:23,880 --> 00:20:25,560
Speaker 3: I'm like, dog, you go out there and do nothing

421
00:20:25,600 --> 00:20:27,639
Speaker 3: but a gene thing. This place is gonna go freaking

422
00:20:27,880 --> 00:20:31,199
Speaker 3: go crazy. And he's like, look, look, and so I

423
00:20:31,240 --> 00:20:34,440
Speaker 3: grabbed two mics from the sound guy and I'm like, Drake,

424
00:20:34,760 --> 00:20:38,840
Speaker 3: pick one and go and he's like fuck this, walks

425
00:20:38,880 --> 00:20:41,480
Speaker 3: out there and they do deep Cover. Well after the

426
00:20:41,520 --> 00:20:45,199
Speaker 3: show I'm like, okay, so what are we doing? And

427
00:20:45,240 --> 00:20:47,000
Speaker 3: he goes, is that what you wanted? And I said, no,

428
00:20:47,080 --> 00:20:48,760
Speaker 3: what I want is an album. He said, don't push

429
00:20:48,760 --> 00:20:51,679
Speaker 3: your luck, kid. But then that Monday he called me

430
00:20:51,720 --> 00:20:54,720
Speaker 3: and goes, this was great, Like what can we do?

431
00:20:55,080 --> 00:20:56,560
Speaker 3: And he goes, Snoop and I are going to go

432
00:20:56,600 --> 00:20:59,240
Speaker 3: in We're gonna do which ended up being busting rocks

433
00:20:59,280 --> 00:21:02,840
Speaker 3: for know, the No Limit album and stuff like that.

434
00:21:02,880 --> 00:21:04,840
Speaker 3: But they started. I'm like, well, let's do a show

435
00:21:04,840 --> 00:21:07,520
Speaker 3: in Hawaii. You wouldn't Snoop together like you know, we'll

436
00:21:07,560 --> 00:21:10,439
Speaker 3: do it somewhere else because look at the time, no

437
00:21:10,480 --> 00:21:14,200
Speaker 3: one would ensure a West Coast rap act. I mean

438
00:21:14,440 --> 00:21:18,800
Speaker 3: in LA I mean, I mean, if I couldn't say

439
00:21:19,160 --> 00:21:21,520
Speaker 3: we're doing ice Cube at the Palace, do you know

440
00:21:21,560 --> 00:21:24,080
Speaker 3: what I'm saying. I could say the Dog Pound, you

441
00:21:24,119 --> 00:21:25,880
Speaker 3: know what I mean? But if I said ice Cube

442
00:21:25,960 --> 00:21:29,359
Speaker 3: or anything that was headlineable. You know, if I said

443
00:21:29,440 --> 00:21:31,440
Speaker 3: Biggie and Puffy were coming to the show, they would

444
00:21:31,480 --> 00:21:35,080
Speaker 3: have shut it down. I mean, look, when we had

445
00:21:35,119 --> 00:21:37,560
Speaker 3: that show at the and this was at the Pond

446
00:21:37,600 --> 00:21:40,200
Speaker 3: in Hollywood with Snoop and Dre, I got a call

447
00:21:40,240 --> 00:21:43,280
Speaker 3: from the Anaheim Police Department. They literally showed up to

448
00:21:43,359 --> 00:21:45,480
Speaker 3: my office and said, Sugar's getting out.

449
00:21:45,320 --> 00:21:46,120
Speaker 2: Of jail tomorrow.

450
00:21:46,480 --> 00:21:49,240
Speaker 3: Okay, there's a rumor he's coming to your show. We're

451
00:21:49,240 --> 00:21:51,760
Speaker 3: gonna shut it down. And I was like, well, why

452
00:21:51,760 --> 00:21:54,040
Speaker 3: doesn't somebody just call him and invite him? At least

453
00:21:54,040 --> 00:21:57,040
Speaker 3: when when the motherfucker I had And they're like, good,

454
00:21:57,160 --> 00:21:58,959
Speaker 3: you go ahead and do that. You got it, And

455
00:21:59,000 --> 00:22:02,840
Speaker 3: I was like, so I called Sugar and invited him,

456
00:22:02,880 --> 00:22:06,040
Speaker 3: and by showing that respect, he said, look, you ain't

457
00:22:06,040 --> 00:22:06,959
Speaker 3: gonna have a problem with me.

458
00:22:07,440 --> 00:22:08,040
Speaker 2: You know what I mean.

459
00:22:08,480 --> 00:22:11,439
Speaker 3: Now, what's messed up is the next morning after the show,

460
00:22:11,720 --> 00:22:14,720
Speaker 3: there's a knock at my door and I'm like, the

461
00:22:14,760 --> 00:22:17,359
Speaker 3: hell's going on. It's like seven o'clock in the morning. Knock.

462
00:22:17,400 --> 00:22:19,639
Speaker 3: I'm not getting that knock knock. I'm like, damn, I

463
00:22:19,680 --> 00:22:22,600
Speaker 3: open up the door. There's a basket on my doorstep

464
00:22:22,760 --> 00:22:25,800
Speaker 3: and it says, with my compliments, sug night, I get

465
00:22:25,800 --> 00:22:27,080
Speaker 3: that motherfucker my address.

466
00:22:27,160 --> 00:22:29,080
Speaker 2: Did he get your address that quick?

467
00:22:30,720 --> 00:22:31,480
Speaker 3: Scary time?

468
00:22:31,640 --> 00:22:32,080
Speaker 2: Yeah?

469
00:22:32,480 --> 00:22:35,320
Speaker 3: You know what I mean. No, but that's what started.

470
00:22:35,440 --> 00:22:39,440
Speaker 3: So we did the show. We announced the show in Hawaii.

471
00:22:39,480 --> 00:22:42,080
Speaker 3: Then I get a call from Jimmy Iveen, who's like,

472
00:22:42,119 --> 00:22:44,760
Speaker 3: wait a minute. You know a rapper that I haven't

473
00:22:44,760 --> 00:22:47,800
Speaker 3: seen since Death Throw and a producer who doesn't produce

474
00:22:47,840 --> 00:22:51,040
Speaker 3: that owes me thirty million dollars, like what are you doing?

475
00:22:51,320 --> 00:22:53,320
Speaker 3: And I'm like, look, we're gonna do this thing. You're

476
00:22:53,320 --> 00:22:55,440
Speaker 3: gonna get an album, and he goes, look, i'll pay

477
00:22:55,480 --> 00:22:57,200
Speaker 3: for the promotion. I'll give you the two hundred and

478
00:22:57,200 --> 00:22:59,560
Speaker 3: fifty thousand, but if I don't get an album out

479
00:22:59,600 --> 00:23:02,360
Speaker 3: of this, I'm gonna sue your ass. And he goes

480
00:23:02,400 --> 00:23:04,600
Speaker 3: because right now I'm trying to get my money back.

481
00:23:04,640 --> 00:23:07,720
Speaker 3: I'm talking about selling this. So then Jimmy goes, okay,

482
00:23:07,720 --> 00:23:11,080
Speaker 3: wait a minute, I got this kid, eminem. Do you

483
00:23:11,119 --> 00:23:13,760
Speaker 3: see what I'm saying. Now, let's put that with Dre

484
00:23:14,200 --> 00:23:17,040
Speaker 3: and at least I'll get my money back somewhere. So

485
00:23:17,080 --> 00:23:18,800
Speaker 3: then I get a call from Dre says, Yo, I

486
00:23:18,800 --> 00:23:20,159
Speaker 3: need you to come to the house. I come to

487
00:23:20,200 --> 00:23:22,320
Speaker 3: the house and he's like, how do I break the

488
00:23:22,359 --> 00:23:24,879
Speaker 3: White Boy? And I'm like, what do you mean? You

489
00:23:24,920 --> 00:23:28,439
Speaker 3: signed the white Boy? So he was in the booth

490
00:23:28,520 --> 00:23:31,639
Speaker 3: doing how my name is? He was cutting slim shady

491
00:23:31,680 --> 00:23:33,840
Speaker 3: you with base head, That's what he was doing. So

492
00:23:33,880 --> 00:23:35,919
Speaker 3: I was like, Dre, he's right in for you. And

493
00:23:35,960 --> 00:23:37,520
Speaker 3: he goes, no, no, no no. And I was like,

494
00:23:37,600 --> 00:23:39,680
Speaker 3: oh shit, you signed the white boy. And he goes,

495
00:23:39,720 --> 00:23:41,160
Speaker 3: how do I break him? I said, well, you tell

496
00:23:41,200 --> 00:23:43,840
Speaker 3: me the story from Nwa from beginning to end, and

497
00:23:43,880 --> 00:23:46,280
Speaker 3: I'll break the white boy for you. And so I

498
00:23:46,280 --> 00:23:48,520
Speaker 3: sat on his washer and dryer. He sat on his

499
00:23:48,560 --> 00:23:51,920
Speaker 3: stairs and he told me the story of Nwa from

500
00:23:52,160 --> 00:23:54,760
Speaker 3: you know, World Class Wrecking Crew and Lonzo and Doc

501
00:23:54,800 --> 00:23:56,920
Speaker 3: and all of this. About six o'clock in the morning

502
00:23:56,960 --> 00:23:58,440
Speaker 3: and comes out and he goes, I'm going back to

503
00:23:58,440 --> 00:24:00,320
Speaker 3: the real time going on. I said, no, you're going

504
00:24:00,320 --> 00:24:01,879
Speaker 3: to power on them six You're gonn announce you're doing

505
00:24:01,880 --> 00:24:03,879
Speaker 3: a Friday Night favorite ten year anniversary. Give me the

506
00:24:03,920 --> 00:24:04,560
Speaker 3: fucking record.

507
00:24:05,320 --> 00:24:07,240
Speaker 2: Wow. And that's how it came and.

508
00:24:07,160 --> 00:24:09,080
Speaker 3: That's how it came to be. So we did the

509
00:24:09,080 --> 00:24:12,200
Speaker 3: Hawaii thing. When we did the Hawaii thing, Jimmy got excited.

510
00:24:12,240 --> 00:24:15,040
Speaker 3: We had the Eminem thing. Then we added Eminem to

511
00:24:15,080 --> 00:24:18,520
Speaker 3: the Hawaii show, and the Hawaii show was at the

512
00:24:18,520 --> 00:24:21,040
Speaker 3: peak of how my name is. So then they come

513
00:24:21,119 --> 00:24:23,320
Speaker 3: back and they're like, look, we're gonna do a single.

514
00:24:23,800 --> 00:24:27,760
Speaker 3: Then we're gonna go on tour again. Nobody would insure it.

515
00:24:27,840 --> 00:24:29,320
Speaker 3: And he's like, well, how do we get around this?

516
00:24:29,400 --> 00:24:32,280
Speaker 3: I said, well, I just broke jay Z. Jay Z's

517
00:24:32,320 --> 00:24:35,920
Speaker 3: manager is Jay Brown. Jay Brown's wife works for Magic Johnson.

518
00:24:36,359 --> 00:24:38,760
Speaker 3: Why don't we have my Magic Johnson be the promoter

519
00:24:38,880 --> 00:24:39,320
Speaker 3: of the show.

520
00:24:40,119 --> 00:24:42,080
Speaker 2: Let me find out you're the fucking puppet master for

521
00:24:42,119 --> 00:24:42,600
Speaker 2: all this year?

522
00:24:42,680 --> 00:24:43,760
Speaker 3: Oh yes, I was.

523
00:24:45,960 --> 00:24:46,919
Speaker 2: The concert.

524
00:24:48,080 --> 00:24:51,440
Speaker 3: That's Chronic Island. That was my show is one.

525
00:24:51,359 --> 00:24:57,120
Speaker 2: Of the biggest spoke for him, catalyst for that. Uh yeah,

526
00:24:57,320 --> 00:24:57,800
Speaker 2: we did it.

527
00:24:59,840 --> 00:25:02,240
Speaker 3: I I mean it's literal quote was I want to

528
00:25:02,240 --> 00:25:04,040
Speaker 3: take the show on the road. How we do it?

529
00:25:04,560 --> 00:25:07,480
Speaker 3: And so well Hot ninety seven in New York was

530
00:25:07,520 --> 00:25:10,919
Speaker 3: doing summer jams. So I and Steve Smith, the owner

531
00:25:11,040 --> 00:25:15,760
Speaker 3: of the Radio Events Group, which was the consultancy and

532
00:25:15,920 --> 00:25:19,919
Speaker 3: the touring apparatus, I said, well, let's use that for

533
00:25:20,520 --> 00:25:24,800
Speaker 3: Chronic Island and then that'll be the infrastructure. Let's get magic,

534
00:25:25,000 --> 00:25:27,000
Speaker 3: take it on the road, promote it through the radio

535
00:25:27,080 --> 00:25:30,639
Speaker 3: stations for the consultancy HOT ninety seven Power one O

536
00:25:30,760 --> 00:25:33,160
Speaker 3: six thirty two stations in the middle. It will ensure

537
00:25:33,160 --> 00:25:35,480
Speaker 3: the ticket sales to.

538
00:25:35,480 --> 00:25:38,040
Speaker 2: The one of the biggest tours. Yeah, to date, that

539
00:25:38,119 --> 00:25:40,160
Speaker 2: was awesome. I want to back up though, because that's

540
00:25:40,840 --> 00:25:41,639
Speaker 2: fires fucked.

541
00:25:41,680 --> 00:25:43,680
Speaker 3: But now you see my little brains.

542
00:25:43,880 --> 00:25:46,200
Speaker 1: But I have a feeling you got some fifty cents

543
00:25:46,240 --> 00:25:48,320
Speaker 1: stories when he first joined RA too.

544
00:25:48,680 --> 00:25:52,639
Speaker 3: Well, I mean how fifty got signed? So how to

545
00:25:52,760 --> 00:25:54,960
Speaker 3: Rob was out now keep in mind.

546
00:25:54,720 --> 00:25:56,200
Speaker 1: But he wasn't getting a ton of buzz from that,

547
00:25:56,359 --> 00:26:01,240
Speaker 1: right well, respect for wellans.

548
00:26:00,280 --> 00:26:02,239
Speaker 3: How to Rob. I mean he got a lot of

549
00:26:02,560 --> 00:26:04,199
Speaker 3: I mean it was so bad. At the time. I

550
00:26:04,320 --> 00:26:08,919
Speaker 3: was kind of consulting Mariah and they said it are

551
00:26:09,040 --> 00:26:12,200
Speaker 3: fifty in the song said something about Mariah and said

552
00:26:12,200 --> 00:26:13,760
Speaker 3: you're not with Tommy and no more and all of

553
00:26:13,800 --> 00:26:17,360
Speaker 3: this stuff. So, I mean, he was definitely shaking the trees,

554
00:26:17,600 --> 00:26:20,399
Speaker 3: you know what I mean. But it wasn't like the

555
00:26:20,440 --> 00:26:23,800
Speaker 3: big buzz. But EM heard how to rob. So I

556
00:26:23,840 --> 00:26:26,359
Speaker 3: get a call from Em and Paul Rosenberg at Power

557
00:26:26,400 --> 00:26:28,280
Speaker 3: one morning and They're like, look, do you know fifty

558
00:26:28,320 --> 00:26:30,439
Speaker 3: cent And I'm like, no, I've never met him. I

559
00:26:30,440 --> 00:26:32,199
Speaker 3: saw him at like the Mike Suore Power Summit, but

560
00:26:32,280 --> 00:26:34,680
Speaker 3: I you know, I don't know him. And they're like, well, look,

561
00:26:34,720 --> 00:26:36,119
Speaker 3: we want to go on Power one O six and

562
00:26:36,160 --> 00:26:39,960
Speaker 3: doing attention Kmart shoppers. And I'm like, attention Kmart shoppers,

563
00:26:39,960 --> 00:26:42,359
Speaker 3: What does that mean? You want to go on Power

564
00:26:42,440 --> 00:26:45,680
Speaker 3: one O six and page fifty cent? And he goes yeah.

565
00:26:45,840 --> 00:26:49,439
Speaker 3: So I transferred Em and Paul to the studio on

566
00:26:49,560 --> 00:26:54,080
Speaker 3: with Big Boy or with the Bakers, and they said, hey,

567
00:26:54,080 --> 00:26:56,560
Speaker 3: we're looking for fifty cent, and that's how they found

568
00:26:56,600 --> 00:26:57,200
Speaker 3: fifty cent.

569
00:26:57,440 --> 00:27:00,359
Speaker 2: You get the fuck out of here. Yeah. Then fifty

570
00:27:00,400 --> 00:27:01,840
Speaker 2: flew out to LA and.

571
00:27:03,480 --> 00:27:06,880
Speaker 3: That's how it all happen. So I'm just sitting here

572
00:27:06,920 --> 00:27:09,320
Speaker 3: just playing game of thrones for real, you know what

573
00:27:09,359 --> 00:27:11,439
Speaker 3: I mean? Just putting people in the same room. Like

574
00:27:11,560 --> 00:27:13,359
Speaker 3: jay Z walks up to me at a Powerhouse and

575
00:27:13,400 --> 00:27:15,000
Speaker 3: he's like, Yo, I want to meet em, and m

576
00:27:15,440 --> 00:27:17,800
Speaker 3: I'm like, go ahead, you know what I mean, Like

577
00:27:19,040 --> 00:27:21,560
Speaker 3: this is Jane, you know what I mean. Like, and

578
00:27:21,960 --> 00:27:24,560
Speaker 3: that's how that happened. You know, with jay Z, it

579
00:27:24,680 --> 00:27:27,320
Speaker 3: was like you know, it was all look consistency and

580
00:27:27,359 --> 00:27:32,040
Speaker 3: repetition breeds familiarity. Familiarity breeds a relationship. A relationship breads

581
00:27:32,080 --> 00:27:35,719
Speaker 3: teamwork or synergy, and synergy is what wins games.

582
00:27:36,119 --> 00:27:36,720
Speaker 2: You know what I mean.

583
00:27:36,920 --> 00:27:40,120
Speaker 3: You practice getting that consistently and repeatedly getting that ball

584
00:27:40,160 --> 00:27:43,439
Speaker 3: in the hole. Then you created a relationship with that

585
00:27:43,520 --> 00:27:46,720
Speaker 3: who That's what got you to the championships. Do you

586
00:27:46,760 --> 00:27:48,920
Speaker 3: see what I'm saying. So if I could put all

587
00:27:48,960 --> 00:27:52,679
Speaker 3: of these people together one time a year at Powerhouse

588
00:27:52,720 --> 00:27:55,720
Speaker 3: and get them all working together, then we could control

589
00:27:55,760 --> 00:27:58,240
Speaker 3: the win and make hip hop the number one format

590
00:27:58,320 --> 00:28:00,439
Speaker 3: in the world. And that was the goal, you know,

591
00:28:00,560 --> 00:28:02,919
Speaker 3: is to take hip hop from what when I started

592
00:28:02,920 --> 00:28:05,560
Speaker 3: in ninety seven they said was over and I'm like

593
00:28:05,800 --> 00:28:08,280
Speaker 3: fuck that. I'm like, this is gonna be the number

594
00:28:08,320 --> 00:28:10,919
Speaker 3: one it's not a radio format. It wasn't a radio

595
00:28:11,000 --> 00:28:15,119
Speaker 3: format like yeah, hot was was the cameel and the

596
00:28:15,160 --> 00:28:18,520
Speaker 3: beat and those kind of stations were innovative, but it

597
00:28:18,720 --> 00:28:22,520
Speaker 3: wasn't a format. We made it Top forty and so

598
00:28:22,680 --> 00:28:25,000
Speaker 3: like with Jay, I said, look, you need to do

599
00:28:25,040 --> 00:28:27,480
Speaker 3: a record with Mariah and he's like, I can't do that.

600
00:28:27,520 --> 00:28:28,280
Speaker 3: I'm a street rapper.

601
00:28:28,359 --> 00:28:28,960
Speaker 2: Da da da dam.

602
00:28:29,119 --> 00:28:31,159
Speaker 3: I was like, I can't do that. He's just you know,

603
00:28:31,400 --> 00:28:32,879
Speaker 3: I'm a pop and they give me enough. Da da

604
00:28:32,960 --> 00:28:36,040
Speaker 3: da da da. I'm like, but DJ Clue produced your

605
00:28:36,119 --> 00:28:39,000
Speaker 3: new record. Do you see what I'm saying? Synergy that works?

606
00:28:39,240 --> 00:28:41,719
Speaker 2: And that was his first, his first number one.

607
00:28:41,880 --> 00:28:46,680
Speaker 3: Yeah, so now he copied that synergy plan associating yourself

608
00:28:46,720 --> 00:28:49,760
Speaker 3: to a bigger brand. And look at every deal he's done,

609
00:28:49,800 --> 00:28:54,800
Speaker 3: whether it's Barclays, whether it's Lincoln Park, whether it's so teaching.

610
00:28:54,840 --> 00:28:57,720
Speaker 3: Synergy marketing has always been just something that I did.

611
00:28:58,040 --> 00:29:00,719
Speaker 2: I feel like we're missing some weed for this fuck episode.

612
00:29:01,000 --> 00:29:02,640
Speaker 3: Don't get me high much worse.

613
00:29:03,160 --> 00:29:06,560
Speaker 1: No, I love walk us through how radio was the

614
00:29:06,560 --> 00:29:09,520
Speaker 1: main way artists used to be broken Because obviously you've

615
00:29:09,560 --> 00:29:11,760
Speaker 1: named some of the biggest artists and you've helped break

616
00:29:11,760 --> 00:29:13,640
Speaker 1: some of the biggest artists, But that was the only

617
00:29:13,680 --> 00:29:16,200
Speaker 1: way in at the time. Correct, Well, no, I mean.

618
00:29:16,360 --> 00:29:20,640
Speaker 3: It was the look MTV, you know, for all intents

619
00:29:20,640 --> 00:29:25,000
Speaker 3: and purposes, broke eminem right, but we incubated it. You know.

620
00:29:25,080 --> 00:29:27,120
Speaker 3: The way to break a record back in the day

621
00:29:27,200 --> 00:29:30,000
Speaker 3: or still to this day, which they are missing is

622
00:29:30,040 --> 00:29:32,560
Speaker 3: through taste makers, is through organics.

623
00:29:32,600 --> 00:29:32,800
Speaker 2: You know.

624
00:29:33,120 --> 00:29:35,960
Speaker 3: The problem with the reason why we don't have big

625
00:29:36,080 --> 00:29:39,160
Speaker 3: hit artists right now is half the world does not

626
00:29:39,240 --> 00:29:44,280
Speaker 3: have Internet. Okay, so you're dealing with maybe twenty to

627
00:29:44,320 --> 00:29:47,239
Speaker 3: thirty percent saturation, do you know what I mean? So

628
00:29:47,800 --> 00:29:49,800
Speaker 3: there's seventy five percent of the money it's still on

629
00:29:49,840 --> 00:29:52,480
Speaker 3: the table and they haven't gotten it yet. But tech

630
00:29:53,000 --> 00:29:57,200
Speaker 3: is such a big influence that they say, nothing else

631
00:29:57,280 --> 00:30:00,080
Speaker 3: is there, you know what I mean. So it's like,

632
00:30:01,040 --> 00:30:04,680
Speaker 3: you know, it's you're not reaching in. Look, there's only

633
00:30:04,720 --> 00:30:08,640
Speaker 3: a small amount or percentage of people that can afford

634
00:30:08,720 --> 00:30:11,520
Speaker 3: data plans on their cell phones, you know, and that

635
00:30:11,680 --> 00:30:14,520
Speaker 3: is not what incubates the culture, you know. It's the

636
00:30:14,640 --> 00:30:19,040
Speaker 3: nooks and crannies, the hoods. Look, we're spoiled in the metros. Okay,

637
00:30:19,080 --> 00:30:21,360
Speaker 3: we have internet, We have Wi Fi, We have all

638
00:30:21,360 --> 00:30:24,400
Speaker 3: of these things, but go into inner cities. They're not

639
00:30:24,480 --> 00:30:27,400
Speaker 3: sitting on TikTok all day. They're not eating up their

640
00:30:27,600 --> 00:30:31,440
Speaker 3: entire month's data plan on one playlist. You know, they're

641
00:30:32,280 --> 00:30:34,880
Speaker 3: checking their email, you know what I mean? If they

642
00:30:35,120 --> 00:30:36,960
Speaker 3: if they do that, you know what I mean. So

643
00:30:37,280 --> 00:30:39,840
Speaker 3: you know your FedEx driver, your liquor story. All of

644
00:30:39,880 --> 00:30:42,680
Speaker 3: these guys aren't sitting on YouTube all day. They have

645
00:30:42,760 --> 00:30:46,280
Speaker 3: the radio on. And people don't realize that. So radio

646
00:30:46,440 --> 00:30:50,520
Speaker 3: is still a very important part of people's lives, but

647
00:30:50,560 --> 00:30:54,160
Speaker 3: they don't even realize it. And it's it's never been

648
00:30:54,800 --> 00:30:57,480
Speaker 3: it's never been the end all be all, but it's

649
00:30:57,600 --> 00:31:01,200
Speaker 3: always been the fire starter, do you know what I'm saying.

650
00:31:01,280 --> 00:31:04,160
Speaker 3: So like, for instance, you know, back in the day,

651
00:31:04,200 --> 00:31:07,960
Speaker 3: you'd give the mixers the taste makers, the record, let

652
00:31:08,040 --> 00:31:09,960
Speaker 3: them play it for a couple of weeks, let it

653
00:31:10,040 --> 00:31:12,560
Speaker 3: sauce up, then you move it to the next Well,

654
00:31:12,600 --> 00:31:14,680
Speaker 3: now with the Internet, you just have the song on

655
00:31:14,840 --> 00:31:17,280
Speaker 3: and gone. And there's an old saying in the music business.

656
00:31:17,320 --> 00:31:19,520
Speaker 3: You got one record that sells a million or a

657
00:31:19,520 --> 00:31:22,720
Speaker 3: million records, it's a one. It's still the same number.

658
00:31:22,960 --> 00:31:25,680
Speaker 3: So now with pro rodas streaming and market share. It's

659
00:31:25,720 --> 00:31:29,440
Speaker 3: paid on records, So when somebody's song is played, it

660
00:31:29,480 --> 00:31:32,320
Speaker 3: doesn't go chi chang you of this person that amount

661
00:31:32,360 --> 00:31:36,000
Speaker 3: of money. It's all market share. Now do you see

662
00:31:36,000 --> 00:31:39,640
Speaker 3: what I'm saying, So it's not equated to an actual

663
00:31:39,800 --> 00:31:43,880
Speaker 3: spin or an actual stream where radio it is.

664
00:31:44,440 --> 00:31:45,400
Speaker 2: Do you see what I'm saying?

665
00:31:45,720 --> 00:31:50,120
Speaker 3: So it's it's always been the incubator, it's always been

666
00:31:50,160 --> 00:31:57,280
Speaker 3: the platform to get your message out, and it's just

667
00:31:57,360 --> 00:31:58,280
Speaker 3: it's being missed right.

668
00:31:58,920 --> 00:32:01,360
Speaker 2: Speak to obviously, if.

669
00:32:02,840 --> 00:32:06,960
Speaker 1: We're going to keep being ADHD together. Obviously they're saying

670
00:32:07,040 --> 00:32:09,959
Speaker 1: Linears is slowly coming to an end. Speak to those

671
00:32:10,000 --> 00:32:11,960
Speaker 1: who feel that radio is on that same path because

672
00:32:11,960 --> 00:32:12,720
Speaker 1: obviously you don't.

673
00:32:13,000 --> 00:32:16,800
Speaker 3: Well obviously look at look at the numbers. They're all declining.

674
00:32:17,320 --> 00:32:21,600
Speaker 3: Look anytime you do surveys, for instance, your your sample

675
00:32:21,640 --> 00:32:23,840
Speaker 3: size is going to get smaller and smaller if you

676
00:32:23,960 --> 00:32:26,320
Speaker 3: only play the one audience, you know what I mean.

677
00:32:26,400 --> 00:32:32,680
Speaker 3: So what's happening is it's it's oversaturated on one side

678
00:32:32,720 --> 00:32:36,880
Speaker 3: and lopsided. So radio, yes, is still an important part,

679
00:32:36,880 --> 00:32:41,800
Speaker 3: it's just not being attended to it, enough attention to it,

680
00:32:42,000 --> 00:32:45,720
Speaker 3: and it's not being it's not being able to play

681
00:32:45,760 --> 00:32:48,320
Speaker 3: its part. You know what I mean, it's still very

682
00:32:48,440 --> 00:32:50,440
Speaker 3: much a part. I mean, look at okay, look at

683
00:32:50,480 --> 00:32:53,160
Speaker 3: the iHeart deal. What is that? What is the breakfast

684
00:32:53,240 --> 00:32:56,760
Speaker 3: club deal? It's really just a deal with the morning

685
00:32:56,800 --> 00:33:00,280
Speaker 3: show of Power one oh five. It's if you say

686
00:33:00,400 --> 00:33:04,280
Speaker 3: radio isn't important anymore, there's your answer right there. It

687
00:33:04,360 --> 00:33:08,600
Speaker 3: incubated something to the public. Switch. Instead of being on

688
00:33:08,640 --> 00:33:11,800
Speaker 3: the frequency of one oh five, whatever it is, it's

689
00:33:11,880 --> 00:33:14,960
Speaker 3: now on the YouTube or the Netflix frequency.

690
00:33:15,600 --> 00:33:18,440
Speaker 1: In your perfect world, if you were tasked with giving

691
00:33:18,600 --> 00:33:21,520
Speaker 1: radio the support and needs, what would that look like?

692
00:33:21,600 --> 00:33:24,400
Speaker 3: I ain't going to give away the game like okay,

693
00:33:24,400 --> 00:33:27,120
Speaker 3: I mean no, because look no, it would be creating

694
00:33:27,160 --> 00:33:30,200
Speaker 3: a platform. Look it's backwards. You look at like iHeart

695
00:33:30,240 --> 00:33:33,280
Speaker 3: for instance, they have four thousand radio stations that broadcast

696
00:33:33,360 --> 00:33:36,160
Speaker 3: onto a platform. Why don't you have a platform that

697
00:33:36,240 --> 00:33:39,440
Speaker 3: broadcasts onto four thousand stations and cut out all of

698
00:33:39,480 --> 00:33:43,680
Speaker 3: the overhead. You're spending four billion to make six cut

699
00:33:43,680 --> 00:33:44,200
Speaker 3: out all.

700
00:33:44,080 --> 00:33:44,760
Speaker 2: Of the middleman.

701
00:33:45,120 --> 00:33:48,200
Speaker 3: Have the platform mix do drink Champs with a mixed

702
00:33:48,200 --> 00:33:51,480
Speaker 3: show or your show with a mix show and broadcast

703
00:33:51,560 --> 00:33:54,960
Speaker 3: it onto all four thousand stations? Do the tours, do

704
00:33:55,040 --> 00:33:58,480
Speaker 3: the packaging, do use the radio stations like for instance,

705
00:33:58,560 --> 00:34:04,000
Speaker 3: def Jam is an ip it has history documentaries, micro dramas,

706
00:34:04,080 --> 00:34:05,560
Speaker 3: all of these kind of stuff. You could do that

707
00:34:05,600 --> 00:34:08,479
Speaker 3: with radio Powerwino six is. I could go back and say,

708
00:34:08,520 --> 00:34:11,400
Speaker 3: oh the Dray and Snooper Union to now give me

709
00:34:11,440 --> 00:34:14,040
Speaker 3: another single single. Let's be a part of all of

710
00:34:14,040 --> 00:34:17,760
Speaker 3: that ecosystem. You know, imagine if the up and Smoke

711
00:34:17,840 --> 00:34:20,719
Speaker 3: or the chronic Island was in this social media world.

712
00:34:20,800 --> 00:34:22,839
Speaker 2: Oh fucking crazy, clipped up.

713
00:34:22,760 --> 00:34:26,640
Speaker 3: And fucking we had. You know, if I was smarter now,

714
00:34:26,719 --> 00:34:28,960
Speaker 3: we would have a cut of the tour, we'd have

715
00:34:29,000 --> 00:34:31,239
Speaker 3: a cut of this and that we'd consolidate it all

716
00:34:31,280 --> 00:34:34,560
Speaker 3: in the one thing. But people, anytime you say the

717
00:34:34,600 --> 00:34:37,080
Speaker 3: word radio, like I've said, look, I want to buy

718
00:34:37,080 --> 00:34:40,040
Speaker 3: Power one on six, I want to buy kDa and

719
00:34:40,120 --> 00:34:42,480
Speaker 3: I want to take the brands, and I want to

720
00:34:42,800 --> 00:34:44,920
Speaker 3: do it a certain way. The second I talked to

721
00:34:44,960 --> 00:34:46,799
Speaker 3: a VC about radio, they go, We're done.

722
00:34:47,239 --> 00:34:49,400
Speaker 2: Really, they just don't understand it. They're just like, no,

723
00:34:49,440 --> 00:34:49,879
Speaker 2: we're good.

724
00:34:50,160 --> 00:34:52,279
Speaker 3: It's all about tech, and I go, yes, in ten

725
00:34:52,360 --> 00:34:55,600
Speaker 3: years it will be. But it's a gateway drug. Do

726
00:34:55,600 --> 00:34:57,840
Speaker 3: you know what I mean you need to have the

727
00:34:57,960 --> 00:35:01,400
Speaker 3: platform and the and then slowly wean them off of it.

728
00:35:01,440 --> 00:35:02,680
Speaker 2: We're going to find some money for that.

729
00:35:02,760 --> 00:35:04,600
Speaker 3: Well, I mean, look, okay, I'll give you. Let me

730
00:35:04,600 --> 00:35:06,160
Speaker 3: give you, and I'll tell you how easy a deal

731
00:35:06,200 --> 00:35:09,000
Speaker 3: it would be. So Power was sold for eighty million

732
00:35:09,160 --> 00:35:13,399
Speaker 3: dollars and win ten years ago. Okay, they're worth twelve

733
00:35:13,480 --> 00:35:16,719
Speaker 3: five now because they're the last rated radio station in

734
00:35:16,800 --> 00:35:19,960
Speaker 3: Los Angeles. Now you get Power one O six. I'll

735
00:35:19,960 --> 00:35:23,080
Speaker 3: fix the ratings. It'll put it in the top fifteen. Right,

736
00:35:23,800 --> 00:35:27,040
Speaker 3: the valuation will go from twelve five to fifty million

737
00:35:27,200 --> 00:35:31,040
Speaker 3: and six months guaranteed, which would secure your investment. And

738
00:35:31,040 --> 00:35:33,799
Speaker 3: not just that, but you'll have an ieheart within ten years.

739
00:35:34,239 --> 00:35:39,680
Speaker 2: Monster explain that. I yeah, yeah, the game.

740
00:35:40,320 --> 00:35:43,239
Speaker 3: But what we would do is broadcast a morning show

741
00:35:43,280 --> 00:35:47,320
Speaker 3: and afternoon show in this on several formats, simul cast

742
00:35:47,360 --> 00:35:51,000
Speaker 3: it instead of syndicated like Big Boy. Simul Cast it

743
00:35:51,120 --> 00:35:54,480
Speaker 3: straight to the transmitters. Cut out all of the overhead

744
00:35:54,480 --> 00:35:58,000
Speaker 3: of all of those stations. No studios, no this, no that. There.

745
00:35:58,000 --> 00:36:04,600
Speaker 3: You are micro dramas on the history of music, docuseries, documentaries,

746
00:36:04,800 --> 00:36:07,080
Speaker 3: all of those kind of things. But people don't look

747
00:36:07,120 --> 00:36:10,000
Speaker 3: at like power win on six is a valuable ip.

748
00:36:10,920 --> 00:36:13,240
Speaker 3: Do you see what I'm saying, It's what you create

749
00:36:13,320 --> 00:36:15,960
Speaker 3: from it. It's the same way in ninety seven when

750
00:36:15,960 --> 00:36:19,279
Speaker 3: they said hip hop's not valuable, Drey and Snuper not valuable. Kid,

751
00:36:19,280 --> 00:36:22,120
Speaker 3: you're crazy. I'm like, you're not thinking of the future.

752
00:36:22,200 --> 00:36:23,160
Speaker 3: You're thinking now.

753
00:36:23,360 --> 00:36:24,680
Speaker 2: Yeah, look ahead.

754
00:36:24,840 --> 00:36:28,959
Speaker 1: I love right, No, I love it, but cut the check.

755
00:36:29,480 --> 00:36:32,640
Speaker 1: Explain the difference between obviously there's always been and you

756
00:36:32,880 --> 00:36:37,080
Speaker 1: even spoke to Snoop with royalties, how royalties were weren't

757
00:36:37,120 --> 00:36:40,680
Speaker 1: paid out, and how streaming kind of compares, how streams

758
00:36:40,680 --> 00:36:43,880
Speaker 1: compare paid out compared to how royalties of same bullshit.

759
00:36:43,640 --> 00:36:47,239
Speaker 3: Or stuff like that. Now it's pro rada streaming. It's

760
00:36:47,280 --> 00:36:50,000
Speaker 3: all about market share. So the way that they do

761
00:36:50,080 --> 00:36:53,160
Speaker 3: it is say, for instance, Drake has twenty percent of

762
00:36:53,200 --> 00:36:59,200
Speaker 3: Spotty Spotify's streams, where Universal has twenty percent of Spotify's

763
00:36:59,200 --> 00:37:03,480
Speaker 3: streams and they get twenty percent of the pool. It's not

764
00:37:03,600 --> 00:37:07,320
Speaker 3: equated to a stream. So for instance, if an independent

765
00:37:07,400 --> 00:37:12,240
Speaker 3: artist comes out and they say do eight hundred streams,

766
00:37:12,320 --> 00:37:15,919
Speaker 3: nine hundred streams, they don't get paid at all. They

767
00:37:15,960 --> 00:37:17,880
Speaker 3: take that money and they put it in a pool

768
00:37:18,320 --> 00:37:22,640
Speaker 3: and Universal that has the twenty percent they get that.

769
00:37:22,640 --> 00:37:25,959
Speaker 3: That's how messed up it is because it and think

770
00:37:26,040 --> 00:37:29,520
Speaker 3: how many of those artists there are. So the majority

771
00:37:29,719 --> 00:37:33,480
Speaker 3: of streams are independent artists and artists that are getting

772
00:37:33,480 --> 00:37:35,880
Speaker 3: two hundred. Remember that saying you have one record that

773
00:37:35,920 --> 00:37:38,479
Speaker 3: sells a million or a million that sell one, Well

774
00:37:38,600 --> 00:37:41,600
Speaker 3: the million that sell one is what's driving it. But

775
00:37:41,680 --> 00:37:44,840
Speaker 3: the record companies and the major label artists, the number

776
00:37:44,840 --> 00:37:48,919
Speaker 3: one artists are getting that money. And look, you got

777
00:37:48,920 --> 00:37:52,040
Speaker 3: to remember, the record business was built off of prohibition.

778
00:37:52,600 --> 00:37:56,040
Speaker 3: It was built off of bootlegging.

779
00:37:55,440 --> 00:37:56,080
Speaker 2: You know what I mean.

780
00:37:56,160 --> 00:37:58,799
Speaker 3: So in the speakeasies and back in the day when

781
00:37:58,800 --> 00:38:02,480
Speaker 3: they were doing a prohibition, they had these clubs, and

782
00:38:02,520 --> 00:38:05,200
Speaker 3: you know this, they had the clubs and they would

783
00:38:05,200 --> 00:38:08,279
Speaker 3: traffic liquor into these clubs so the rich people could

784
00:38:08,280 --> 00:38:10,399
Speaker 3: get away with drinking it, pay off the cops through

785
00:38:10,440 --> 00:38:12,840
Speaker 3: all of this kind of stuff. Well, they would traffic

786
00:38:12,920 --> 00:38:15,640
Speaker 3: the artists in the car with the liquor or right

787
00:38:15,719 --> 00:38:18,799
Speaker 3: behind it. And that was known as the circuit. So

788
00:38:18,920 --> 00:38:23,560
Speaker 3: when liquor became legal, what did they put through that system?

789
00:38:23,640 --> 00:38:27,440
Speaker 3: And that circuit the music business, and that's how the

790
00:38:27,560 --> 00:38:32,280
Speaker 3: music business was born, so it's always been developed out

791
00:38:32,320 --> 00:38:36,279
Speaker 3: of corruption and bullshit. Now with what we're talking about,

792
00:38:36,320 --> 00:38:40,399
Speaker 3: say this radio station, say okay, independent artists, you incubate them,

793
00:38:40,760 --> 00:38:43,880
Speaker 3: incubate them, you stream them. You create a competitor to

794
00:38:43,960 --> 00:38:47,600
Speaker 3: Spotify that's based for independence. You play the game with

795
00:38:47,640 --> 00:38:50,080
Speaker 3: the majors, give them the single and all of that stuff.

796
00:38:50,400 --> 00:38:55,799
Speaker 3: But in this hub and this ecosystem, you could promote, market, display,

797
00:38:56,120 --> 00:38:59,680
Speaker 3: play the artists everything. And now with like the big

798
00:38:59,760 --> 00:39:03,120
Speaker 3: artist like Alicia Keys or or wasn't Alisha It was

799
00:39:04,200 --> 00:39:11,319
Speaker 3: Justin Bieber licensed his album to deaf Jam. Hello. You

800
00:39:11,400 --> 00:39:16,200
Speaker 3: create a whole new spot. You consolidate Spotify, YouTube, radio,

801
00:39:16,400 --> 00:39:18,799
Speaker 3: everything into one hub. But they don't want to hear

802
00:39:18,840 --> 00:39:19,360
Speaker 3: me though.

803
00:39:19,280 --> 00:39:22,200
Speaker 1: That the hip hop world was flips upside down when

804
00:39:22,520 --> 00:39:27,920
Speaker 1: the fifty cent piece came out about Puff on Netflix.

805
00:39:29,080 --> 00:39:31,759
Speaker 1: Living through that, Ara, what was just some of your takeaways?

806
00:39:31,920 --> 00:39:34,000
Speaker 3: See, I can't say a bad thing about Puff because

807
00:39:34,000 --> 00:39:36,319
Speaker 3: Puff gave me a shot, you know what I mean?

808
00:39:36,400 --> 00:39:38,759
Speaker 3: Like that first show when they told me that I

809
00:39:38,760 --> 00:39:41,200
Speaker 3: couldn't do Dre and Snoop and Hawaii, the first show

810
00:39:41,239 --> 00:39:43,840
Speaker 3: that I did was Puffy and Paradise. Where was that

811
00:39:43,880 --> 00:39:46,480
Speaker 3: at that was in the same Hope the Hilton Hawaiian

812
00:39:46,640 --> 00:39:48,880
Speaker 3: Village Ballroom. Okay, you know what I mean, and this

813
00:39:49,000 --> 00:39:51,600
Speaker 3: is okay. So Puffy and Mace did Can't Nobody Hold

814
00:39:51,640 --> 00:39:53,560
Speaker 3: Me Down? That was one of the first records that

815
00:39:53,600 --> 00:39:57,120
Speaker 3: I broke. That in the Benjamin's at Power. So when

816
00:39:57,160 --> 00:40:01,960
Speaker 3: that happened, Biggie was literally sitting in my office the

817
00:40:02,000 --> 00:40:05,319
Speaker 3: morning before he died and he was playing Hypnotized and

818
00:40:05,360 --> 00:40:09,640
Speaker 3: all of these records. Well, when he passed, Diddy comes

819
00:40:09,640 --> 00:40:12,239
Speaker 3: out with I'll be Missing You and comes to me

820
00:40:12,280 --> 00:40:14,680
Speaker 3: and is like, how do I break this record? I'm like, look,

821
00:40:14,719 --> 00:40:16,400
Speaker 3: I'll take care of it for you. So when I

822
00:40:16,440 --> 00:40:18,799
Speaker 3: started playing it, he was like, look, what are we

823
00:40:18,840 --> 00:40:20,480
Speaker 3: doing to set up my album? I'm gonna do an

824
00:40:20,480 --> 00:40:22,759
Speaker 3: album now. So I said, well, let's do this show

825
00:40:22,760 --> 00:40:25,040
Speaker 3: in Hawaii's and say, won't let me do the Dray

826
00:40:25,120 --> 00:40:28,400
Speaker 3: and Snoop thing. It'll prove that it works. It works,

827
00:40:28,520 --> 00:40:30,600
Speaker 3: then they'll let me do the Dray and Snoop thing.

828
00:40:31,160 --> 00:40:32,920
Speaker 3: You know this, that and the other and plus La

829
00:40:33,000 --> 00:40:35,080
Speaker 3: is too hot for you right now. And he's like,

830
00:40:35,160 --> 00:40:38,880
Speaker 3: what a great idea. Let's do it. So we marketed

831
00:40:38,920 --> 00:40:42,000
Speaker 3: it across power hot in the thirty two stations, flew

832
00:40:42,040 --> 00:40:46,000
Speaker 3: the listeners to Hawaii and he spent two hundred and

833
00:40:46,040 --> 00:40:49,759
Speaker 3: fifty grand, you know, five hundred grand something crazy to

834
00:40:49,840 --> 00:40:51,759
Speaker 3: do it. But we sold more records in LA than

835
00:40:51,760 --> 00:40:53,480
Speaker 3: we did in New York, you know what I mean.

836
00:40:53,560 --> 00:40:56,080
Speaker 3: So he gave me a shot, you know what I mean.

837
00:40:56,200 --> 00:40:58,719
Speaker 3: So Puff's always been great to me. I never saw

838
00:40:58,800 --> 00:41:01,319
Speaker 3: none of this shit. I'll tell you another story about

839
00:41:01,320 --> 00:41:06,160
Speaker 3: Puff that was of why I'm such a an advocate

840
00:41:06,200 --> 00:41:09,440
Speaker 3: for him personally. And the reason why is like, we

841
00:41:09,440 --> 00:41:11,799
Speaker 3: were supposed to have a meeting and I said, look,

842
00:41:11,840 --> 00:41:13,680
Speaker 3: my grandma's having knee surgery. I got to go to

843
00:41:13,719 --> 00:41:16,759
Speaker 3: Santa Barbara. And he's like, oh, no, cool, cool, Wait

844
00:41:16,760 --> 00:41:20,000
Speaker 3: there's Santa Barbara, like and yeah, Cottage hospital you know,

845
00:41:20,080 --> 00:41:22,360
Speaker 3: da da da da da. She's they didn't give her

846
00:41:22,440 --> 00:41:25,000
Speaker 3: enough pain medication or something. She called me crying, I'm

847
00:41:25,040 --> 00:41:27,239
Speaker 3: going back to Santa Barbara and he's like, oh, no,

848
00:41:27,239 --> 00:41:30,359
Speaker 3: no problem, no problem. And when Grandma called me, she said,

849
00:41:30,360 --> 00:41:32,640
Speaker 3: look the nurses, you know, they're not paying attention to me.

850
00:41:32,719 --> 00:41:35,120
Speaker 3: I'm sitting here, you know, I'm in pain. It's the

851
00:41:35,120 --> 00:41:36,759
Speaker 3: worst day of my life, all of this stuff and

852
00:41:36,800 --> 00:41:39,440
Speaker 3: I'm telling Puff this. He's like, na, nah, go go go,

853
00:41:39,600 --> 00:41:43,000
Speaker 3: It's all good. I get to Santa Barbara, the whole

854
00:41:43,000 --> 00:41:45,640
Speaker 3: floor is buzzing and I'm like, what the hell is

855
00:41:45,680 --> 00:41:48,200
Speaker 3: going on? I walk in. My Grandma's got this big

856
00:41:48,200 --> 00:41:50,560
Speaker 3: old smile on her face and the room is filled

857
00:41:50,600 --> 00:41:53,400
Speaker 3: with flowers, and I'm like, mom, what happened? And she

858
00:41:53,480 --> 00:41:57,759
Speaker 3: goes Puff called and I was like what. And she

859
00:41:57,840 --> 00:42:02,399
Speaker 3: goes Sean Puff whatever his name is called and said,

860
00:42:02,480 --> 00:42:06,560
Speaker 3: I'm a very important person. And all of the staff

861
00:42:06,600 --> 00:42:09,040
Speaker 3: now is treating me like who is John? I need

862
00:42:09,080 --> 00:42:10,400
Speaker 3: to call him and say thank you.

863
00:42:10,520 --> 00:42:10,840
Speaker 2: Wow.

864
00:42:11,200 --> 00:42:13,759
Speaker 3: She had no cluestion, you know, it just had no clue, right,

865
00:42:13,960 --> 00:42:17,440
Speaker 3: but just one random phone or one phone.

866
00:42:17,200 --> 00:42:19,320
Speaker 2: Clumb he didn't have to do, but took my grandma

867
00:42:19,360 --> 00:42:21,399
Speaker 2: out of pain. I love that, you know what I mean?

868
00:42:21,480 --> 00:42:24,560
Speaker 3: So I always love you.

869
00:42:24,520 --> 00:42:26,719
Speaker 1: Had an interesting I saw one of your stories how

870
00:42:26,719 --> 00:42:28,560
Speaker 1: you had talked about it, and I had no clue

871
00:42:29,800 --> 00:42:32,880
Speaker 1: that they were in LA. When I say they puff

872
00:42:32,960 --> 00:42:35,440
Speaker 1: and been big for almost a whole month, devoting and

873
00:42:35,440 --> 00:42:36,960
Speaker 1: do it should talk to because I don't think a

874
00:42:36,960 --> 00:42:37,799
Speaker 1: lot of people know that.

875
00:42:38,120 --> 00:42:38,359
Speaker 2: Well.

876
00:42:38,440 --> 00:42:40,560
Speaker 3: They had the Source Awards you know what I mean.

877
00:42:40,600 --> 00:42:42,719
Speaker 3: They had like the Awards show that you know, all

878
00:42:42,719 --> 00:42:44,799
Speaker 3: of that season, you know what I mean, And they

879
00:42:44,800 --> 00:42:48,120
Speaker 3: were getting ready to put out ready to die. So

880
00:42:48,280 --> 00:42:50,640
Speaker 3: they were using it as the base of operations for

881
00:42:50,840 --> 00:42:54,920
Speaker 3: going to Phoenix, San Francisco, Sacramento. I mean, they were

882
00:42:54,960 --> 00:42:58,080
Speaker 3: doing a radio tour. And you know, it was crazy

883
00:42:58,080 --> 00:43:00,239
Speaker 3: because in that morning when I was talking to big

884
00:43:00,280 --> 00:43:02,440
Speaker 3: you know recently on Joe and Jada, they were talking

885
00:43:02,480 --> 00:43:06,399
Speaker 3: about how did Biggie want to be in La?

886
00:43:06,880 --> 00:43:07,520
Speaker 2: You know what I mean?

887
00:43:07,760 --> 00:43:11,319
Speaker 3: He loved you know what I mean, he loved in

888
00:43:11,360 --> 00:43:15,640
Speaker 3: that morning, Palm Trees women, we the fact that California

889
00:43:15,719 --> 00:43:18,319
Speaker 3: loves my music. I spent so much time out here.

890
00:43:18,400 --> 00:43:20,200
Speaker 3: Listen to the song I made and played me going

891
00:43:20,239 --> 00:43:22,600
Speaker 3: back to Cali, you know what I mean. That's how

892
00:43:22,920 --> 00:43:24,799
Speaker 3: influenced he was by La.

893
00:43:25,320 --> 00:43:25,959
Speaker 2: Snoop Dogg.

894
00:43:26,000 --> 00:43:29,239
Speaker 3: He's like my dog D D D D D. So

895
00:43:29,600 --> 00:43:31,960
Speaker 3: I mean, yeah, he was out there for a month,

896
00:43:32,040 --> 00:43:36,120
Speaker 3: Like we had that show two weeks before. Uh, it

897
00:43:36,200 --> 00:43:39,120
Speaker 3: was like late February, early March. You know, he passed

898
00:43:39,320 --> 00:43:42,719
Speaker 3: March ninth, but he even came to the shows, you

899
00:43:42,719 --> 00:43:44,919
Speaker 3: know what I mean. He was he was out here

900
00:43:45,120 --> 00:43:47,959
Speaker 3: and he was. He was like twenty four years old.

901
00:43:48,040 --> 00:43:51,000
Speaker 2: Brow. I don't think people understand not to cut you

902
00:43:51,040 --> 00:43:54,000
Speaker 2: off him how young. Him and Puck both were just babies.

903
00:43:54,040 --> 00:43:57,160
Speaker 1: They were just so far ahead of their years and

904
00:43:57,160 --> 00:44:00,480
Speaker 1: in wisdom and game and the way they could spit well.

905
00:44:00,520 --> 00:44:03,640
Speaker 3: And you knew that that Diddy was aware of it,

906
00:44:03,719 --> 00:44:05,719
Speaker 3: you know because like, for instance, the show that they

907
00:44:05,760 --> 00:44:08,120
Speaker 3: came to, he called me five minutes before they were

908
00:44:08,120 --> 00:44:10,800
Speaker 3: coming and said, I'm coming, but I didn't tell anybody,

909
00:44:10,880 --> 00:44:13,480
Speaker 3: you know what I mean, But I'm coming to support you.

910
00:44:13,480 --> 00:44:14,120
Speaker 2: You know what I mean.

911
00:44:14,200 --> 00:44:16,960
Speaker 3: Like, And that's the way he was, at least with me,

912
00:44:17,320 --> 00:44:20,399
Speaker 3: is there's no middle ground there, you know what I mean.

913
00:44:20,440 --> 00:44:24,000
Speaker 3: If loves you and he's supporting you, that's the way

914
00:44:24,040 --> 00:44:27,040
Speaker 3: it is. But I you know, it was where it was.

915
00:44:27,440 --> 00:44:31,120
Speaker 1: You were a major player on both coasts in regards

916
00:44:31,160 --> 00:44:35,239
Speaker 1: to radio. When this whole East West beef kicked up

917
00:44:35,239 --> 00:44:37,239
Speaker 1: and we lost to the greatest to ever do it.

918
00:44:37,239 --> 00:44:39,239
Speaker 1: What were your thoughts and kind of positions, because again

919
00:44:39,280 --> 00:44:42,239
Speaker 1: you were instrumental in the New York stations and the

920
00:44:42,400 --> 00:44:43,120
Speaker 1: LA stations.

921
00:44:43,200 --> 00:44:47,239
Speaker 3: Well, you know, after seeing snooping big on stage, I

922
00:44:48,560 --> 00:44:52,960
Speaker 3: couldn't put it together, this East West thing, and I

923
00:44:53,760 --> 00:44:57,239
Speaker 3: didn't get it, so I never really paid attention to it,

924
00:44:57,320 --> 00:45:00,800
Speaker 3: you know what I mean? And you know me, IRV, Gotti,

925
00:45:01,200 --> 00:45:04,680
Speaker 3: Jah jay Z, they always are. Irv used to say

926
00:45:04,680 --> 00:45:06,840
Speaker 3: that I'm the guy that built the bridge, do you

927
00:45:06,880 --> 00:45:09,319
Speaker 3: know what I'm saying. I just always looked at it

928
00:45:09,360 --> 00:45:11,560
Speaker 3: as we all need to come together and work together.

929
00:45:11,840 --> 00:45:14,000
Speaker 3: So I know it's it's kind of a roundabout, but

930
00:45:14,200 --> 00:45:17,240
Speaker 3: I just never paid attention to the East West thing, so.

931
00:45:17,160 --> 00:45:19,760
Speaker 2: It's kind of a I don't know any Puck stories.

932
00:45:19,920 --> 00:45:27,040
Speaker 3: Yes, actually so uh the Grammys, remember when he came

933
00:45:27,080 --> 00:45:30,640
Speaker 3: with kiss on stage and you know, opened it up

934
00:45:30,719 --> 00:45:32,759
Speaker 3: or whatever it was. Well, that night there was a

935
00:45:32,760 --> 00:45:37,120
Speaker 3: Grammy's party and death Row showed up at the party

936
00:45:37,239 --> 00:45:39,680
Speaker 3: was at the Four Seasons in Hollywood, and everybody was

937
00:45:39,719 --> 00:45:42,760
Speaker 3: scared and hit the walls. Well me, I see Sugar Poc.

938
00:45:43,120 --> 00:45:44,920
Speaker 3: I'm a hip hop fan. I'm like, I'm gonna go

939
00:45:44,960 --> 00:45:45,640
Speaker 3: meet Tupac.

940
00:45:46,080 --> 00:45:48,080
Speaker 2: So I walk up and did you know either of

941
00:45:48,160 --> 00:45:48,719
Speaker 2: them at that point?

942
00:45:48,880 --> 00:45:51,839
Speaker 3: No, never met either of them, and everybody else hit

943
00:45:51,880 --> 00:45:54,719
Speaker 3: the walls, like I mean, nobody, I mean, but it

944
00:45:54,840 --> 00:45:57,040
Speaker 3: was everybody in death Row. You know what I mean

945
00:45:57,040 --> 00:45:59,239
Speaker 3: it was it was everybody but Dre you know what

946
00:45:59,320 --> 00:46:02,279
Speaker 3: I mean. It was the dog pound mc hammer was

947
00:46:02,280 --> 00:46:03,799
Speaker 3: with him. You know, it was during that era. It

948
00:46:03,880 --> 00:46:05,960
Speaker 3: was like everybody was together in the middle of the room,

949
00:46:06,160 --> 00:46:08,400
Speaker 3: but nobody would go talk to him, you know. So

950
00:46:08,560 --> 00:46:11,040
Speaker 3: I just walk up and I'm like, yo, I love

951
00:46:11,120 --> 00:46:13,640
Speaker 3: the new album. And Pak looks over at me and goes,

952
00:46:13,680 --> 00:46:15,680
Speaker 3: the album doesn't come out till Tuesday. How the fuck

953
00:46:15,719 --> 00:46:18,760
Speaker 3: did you get it? And I'm like huh and he goes, shug.

954
00:46:19,320 --> 00:46:22,280
Speaker 3: This little motherfucker says he got the album, shows like, wait,

955
00:46:22,360 --> 00:46:23,920
Speaker 3: how'd you get it? And I said, oh, I'm an

956
00:46:23,920 --> 00:46:27,080
Speaker 3: alternative radio. They sent it us to us the friday

957
00:46:27,120 --> 00:46:29,239
Speaker 3: before because they know we can't play it. And then

958
00:46:29,280 --> 00:46:31,319
Speaker 3: Pak looks over and goes, so, what's your favorite song?

959
00:46:32,280 --> 00:46:34,920
Speaker 3: And I said, oh, song one, just two, A million

960
00:46:34,960 --> 00:46:37,279
Speaker 3: pairs of eyes looking hard, and then he says it

961
00:46:37,320 --> 00:46:41,040
Speaker 3: with me, did you will never see the peak? And

962
00:46:40,280 --> 00:46:42,920
Speaker 3: he and he goes have you met Snoop? And then

963
00:46:43,080 --> 00:46:45,680
Speaker 3: just like I mean and induced And you know the

964
00:46:45,719 --> 00:46:49,640
Speaker 3: craziest thing about that moment was I met Nate dog resting.

965
00:46:49,680 --> 00:46:54,360
Speaker 3: People who would have known, just like five years later

966
00:46:54,640 --> 00:46:57,399
Speaker 3: that would be one of my best friends. Really, Nate

967
00:46:57,600 --> 00:46:59,839
Speaker 3: was I mean, I did music in me, I did

968
00:47:00,680 --> 00:47:02,960
Speaker 3: where I want to be, I did wake Up, I

969
00:47:03,000 --> 00:47:05,920
Speaker 3: did it. I mean, Nate was my guy, you know

970
00:47:05,960 --> 00:47:06,319
Speaker 3: what I mean.

971
00:47:06,320 --> 00:47:09,520
Speaker 2: We work together. He doesn't get talked about love. What

972
00:47:09,560 --> 00:47:10,879
Speaker 2: kind of do was he? Because he was.

973
00:47:11,200 --> 00:47:16,040
Speaker 3: The greatest, Like our relationship was so sarcastic and funny,

974
00:47:16,120 --> 00:47:18,200
Speaker 3: Like you know, there was a story I tell sometimes

975
00:47:18,239 --> 00:47:21,680
Speaker 3: where we're doing what would you do? We're doing Glitter,

976
00:47:21,719 --> 00:47:25,600
Speaker 3: We're doing if we for Glitter. But while we were

977
00:47:25,640 --> 00:47:28,319
Speaker 3: waiting for Mariah, Nate does a whole nother song to

978
00:47:28,360 --> 00:47:31,360
Speaker 3: the record. Right, So we're sitting there doing it or whatever,

979
00:47:31,680 --> 00:47:34,400
Speaker 3: and I said, hey, in this little bridge part or

980
00:47:34,400 --> 00:47:36,360
Speaker 3: in this part, we could do a bridge. He's like,

981
00:47:36,440 --> 00:47:38,840
Speaker 3: I don't do bridges, motherfuckers. You know. And this is like,

982
00:47:38,880 --> 00:47:40,719
Speaker 3: you know, back in the day. So he's like, I

983
00:47:40,719 --> 00:47:43,400
Speaker 3: don't do bridges, motherfucker. I said, no, no, right here? Oo

984
00:47:44,200 --> 00:47:45,880
Speaker 3: like new Edition? Do I look like New Addition?

985
00:47:45,920 --> 00:47:46,120
Speaker 2: Do you?

986
00:47:46,160 --> 00:47:49,759
Speaker 3: Motherfucker? And I'm like sitting there going like, come on, Nate,

987
00:47:49,880 --> 00:47:51,520
Speaker 3: you know, we just go back and forth like this.

988
00:47:51,680 --> 00:47:54,080
Speaker 3: So we're playing the record and he sits there and

989
00:47:54,160 --> 00:47:58,239
Speaker 3: goes ooo, and he goes, yeah, go back play that again.

990
00:47:58,280 --> 00:48:02,640
Speaker 3: I'm gonna record something you're looking like, new edition. Motherfucker.

991
00:48:03,280 --> 00:48:05,400
Speaker 3: Fuck you miss put a little more base in it,

992
00:48:06,000 --> 00:48:08,840
Speaker 3: like but that was our dope.

993
00:48:09,800 --> 00:48:10,319
Speaker 2: I love it.

994
00:48:10,840 --> 00:48:14,560
Speaker 3: And yeah, So Nate, he was the greatest ever, one

995
00:48:14,600 --> 00:48:17,880
Speaker 3: of the greatest writers, greatest performers. I mean, he was

996
00:48:18,080 --> 00:48:18,680
Speaker 3: just awesome.

997
00:48:18,680 --> 00:48:21,160
Speaker 2: I've always heard this is such a good dude, just

998
00:48:21,200 --> 00:48:24,840
Speaker 2: a great dude. Rest in peace. So you met everyone.

999
00:48:24,600 --> 00:48:27,200
Speaker 3: That you talked about that night at that fourth season. Yeah,

1000
00:48:27,200 --> 00:48:29,239
Speaker 3: I was a kid in a candy store, but I

1001
00:48:29,280 --> 00:48:33,000
Speaker 3: didn't There wasn't any meaningful connection. It was just in passing.

1002
00:48:33,080 --> 00:48:34,960
Speaker 3: Meet your favorite artists, take a picture, move on. I

1003
00:48:35,000 --> 00:48:37,920
Speaker 3: didn't get a picture with that's the fucking camera in

1004
00:48:37,960 --> 00:48:38,239
Speaker 3: the car.

1005
00:48:38,960 --> 00:48:42,800
Speaker 2: Ran to the car and then they left. Motherless goat.

1006
00:48:44,160 --> 00:48:44,399
Speaker 3: Yeah.

1007
00:48:45,280 --> 00:48:48,640
Speaker 1: March ninth, nineteen ninety seven, I turned seventeen.

1008
00:48:49,480 --> 00:48:54,279
Speaker 2: Big was killed. Where were you at? Thoughts? Again? You

1009
00:48:54,400 --> 00:48:56,120
Speaker 2: were with him the evening with or the day.

1010
00:48:56,040 --> 00:48:59,239
Speaker 3: Before without Friday. He was doing radio, so he was

1011
00:48:59,280 --> 00:49:01,800
Speaker 3: at power on. I was one of the last people

1012
00:49:01,800 --> 00:49:05,959
Speaker 3: to record him. He did a Baker Boys drop and

1013
00:49:06,120 --> 00:49:10,160
Speaker 3: he was on crutches, so he said after doing radio.

1014
00:49:10,239 --> 00:49:12,120
Speaker 3: He was walking by my office and he stuck his

1015
00:49:12,160 --> 00:49:13,640
Speaker 3: head in the door and he goes, hey, little my

1016
00:49:13,719 --> 00:49:15,600
Speaker 3: legs are killing me. He want me to go cut

1017
00:49:15,600 --> 00:49:17,080
Speaker 3: this drop? He goes, but can I just sit in

1018
00:49:17,120 --> 00:49:19,040
Speaker 3: here and kick it for a minute? And I was

1019
00:49:19,080 --> 00:49:21,080
Speaker 3: like fuck yah. So he sat on my couch and

1020
00:49:21,120 --> 00:49:23,800
Speaker 3: we sat there for an hour and we just talked

1021
00:49:23,840 --> 00:49:28,160
Speaker 3: about hip hop and music everything from KRS Won. You know,

1022
00:49:28,200 --> 00:49:30,040
Speaker 3: he's getting back with faith and can't wait to go

1023
00:49:30,080 --> 00:49:32,000
Speaker 3: back to New York and see my kid and you know,

1024
00:49:32,480 --> 00:49:36,280
Speaker 3: all of this stuff. You know, just great guy. And

1025
00:49:36,320 --> 00:49:39,600
Speaker 3: then you know, the next he ran down to I

1026
00:49:39,640 --> 00:49:42,360
Speaker 3: think it was it was either let's see March ninth

1027
00:49:42,400 --> 00:49:45,160
Speaker 3: with it. So the Saturday, it was a Saturday night

1028
00:49:45,239 --> 00:49:48,880
Speaker 3: Sunday morning when he passed. So another thing is he

1029
00:49:48,920 --> 00:49:51,640
Speaker 3: took a tour bus and the record rep comes in

1030
00:49:52,000 --> 00:49:54,160
Speaker 3: and big hands in this list while I'm sitting on

1031
00:49:54,160 --> 00:49:56,960
Speaker 3: the couch. And then a couple about a half hour later,

1032
00:49:57,040 --> 00:50:00,319
Speaker 3: the guy comes in with these bags of frozen TV

1033
00:50:00,480 --> 00:50:03,160
Speaker 3: dinners for the bus and he lives over at me

1034
00:50:03,200 --> 00:50:06,680
Speaker 3: and goes, I eat three in one setting, you know

1035
00:50:06,719 --> 00:50:11,760
Speaker 3: what I mean, like hungry. It was just awesome. But anyways, Yeah,

1036
00:50:11,800 --> 00:50:15,360
Speaker 3: so he goes does that quick run or whatever it was,

1037
00:50:15,400 --> 00:50:18,960
Speaker 3: and then I go to the Outcast party because there

1038
00:50:19,000 --> 00:50:21,360
Speaker 3: was two parties that night. There was a Peterson Audio

1039
00:50:21,480 --> 00:50:24,719
Speaker 3: Autumn Museum and then there was Outcasts having there at

1040
00:50:24,800 --> 00:50:28,359
Speaker 3: Quemini party. Well, I was still new. I started February third,

1041
00:50:28,440 --> 00:50:31,200
Speaker 3: nineteen ninety seven. This is March eighth, you know what

1042
00:50:31,239 --> 00:50:33,040
Speaker 3: I mean. So I didn't have no juice in la.

1043
00:50:33,600 --> 00:50:35,759
Speaker 3: I went to the Outcast party thinking I'll go to

1044
00:50:35,800 --> 00:50:37,440
Speaker 3: this and then I'll go over to Peterson. But I

1045
00:50:37,440 --> 00:50:40,200
Speaker 3: had tennis shoes on, so they said you can't get in.

1046
00:50:40,520 --> 00:50:44,040
Speaker 3: So I'm like, damn, I'm just gonna go home whatever whatever.

1047
00:50:44,120 --> 00:50:46,320
Speaker 3: So I went home. I had just gotten in bed,

1048
00:50:46,680 --> 00:50:49,960
Speaker 3: and E one was doing the street Team promotion stuff

1049
00:50:49,960 --> 00:50:53,000
Speaker 3: for Arista calls and says they got big, and I'm like,

1050
00:50:53,200 --> 00:50:55,040
Speaker 3: what are you talking about. They're like, they got big.

1051
00:50:55,080 --> 00:50:58,040
Speaker 3: I'm on my way to Cedar Sinai right now, and

1052
00:50:58,120 --> 00:51:01,759
Speaker 3: I'm like okay, And it didn't really hit me in

1053
00:51:01,760 --> 00:51:04,080
Speaker 3: the moment I got big when they got in a fight,

1054
00:51:04,280 --> 00:51:07,480
Speaker 3: like what happened? So then he calls me from Cedar

1055
00:51:07,520 --> 00:51:10,600
Speaker 3: Sinai and I just hear this screaming and I was like,

1056
00:51:10,719 --> 00:51:13,319
Speaker 3: that sounds like puff, you know. He goes, yes, he's

1057
00:51:13,360 --> 00:51:16,359
Speaker 3: on the phone with BIG's mom right now. BIG's dead.

1058
00:51:17,560 --> 00:51:23,120
Speaker 3: And I was like, that's when that East West or

1059
00:51:23,160 --> 00:51:26,080
Speaker 3: whatever the label you could put on it hit me

1060
00:51:26,560 --> 00:51:29,480
Speaker 3: like It's like, okay, two kids just died in the

1061
00:51:29,480 --> 00:51:33,160
Speaker 3: street kids. And I was like, he was just in

1062
00:51:33,239 --> 00:51:37,160
Speaker 3: my office, like and you know, everything went through my

1063
00:51:37,200 --> 00:51:42,600
Speaker 3: head Red Blue Gang's music, like, I mean, it just

1064
00:51:42,800 --> 00:51:46,560
Speaker 3: it all went and I just couldn't process it, you know.

1065
00:51:46,719 --> 00:51:47,400
Speaker 2: And then you know.

1066
00:51:47,440 --> 00:51:50,720
Speaker 3: But the craziest story is Johnny j rest In Peace

1067
00:51:50,840 --> 00:51:53,680
Speaker 3: was really close with a Phoenix Shaquor. I said, look,

1068
00:51:53,800 --> 00:51:56,520
Speaker 3: you know we're going to do this special on Sunday

1069
00:51:56,600 --> 00:51:59,560
Speaker 3: night about Big. Do you think a Phoenish Shakur would

1070
00:51:59,600 --> 00:52:02,480
Speaker 3: call in? And he said, look, I'll give her the message,

1071
00:52:02,480 --> 00:52:04,960
Speaker 3: but she doesn't like doing public stuff or whatever. So

1072
00:52:04,960 --> 00:52:07,120
Speaker 3: I'm sitting in my office it was like seven or

1073
00:52:07,160 --> 00:52:08,799
Speaker 3: eight o'clock at night in the phone rings and I

1074
00:52:08,800 --> 00:52:11,440
Speaker 3: pick it up and she says, this is a Phoenix

1075
00:52:11,440 --> 00:52:15,960
Speaker 3: Shakur and I said, oh wow. And she goes, look,

1076
00:52:16,239 --> 00:52:19,200
Speaker 3: I don't want to do your radio show. She goes

1077
00:52:19,200 --> 00:52:21,719
Speaker 3: I don't want to go on the radio, but I

1078
00:52:21,760 --> 00:52:23,640
Speaker 3: will tell you the story of me and my son

1079
00:52:24,680 --> 00:52:29,000
Speaker 3: if you can get me of Valletta Wallace's number. And

1080
00:52:29,080 --> 00:52:32,000
Speaker 3: I'm like what. She's like, I want to call Valletta

1081
00:52:32,040 --> 00:52:35,040
Speaker 3: Wallace And I said, yeah, I'll give the number. You know,

1082
00:52:35,160 --> 00:52:38,400
Speaker 3: I can't promise anything. She goes, but you know whatever.

1083
00:52:38,440 --> 00:52:41,000
Speaker 3: So we sat on the phone for probably two hours

1084
00:52:41,600 --> 00:52:45,239
Speaker 3: and she told me like just about everything from the

1085
00:52:45,280 --> 00:52:50,040
Speaker 3: Black Panthers and Baltimore and Oakland and you know, crack addiction,

1086
00:52:50,800 --> 00:52:54,600
Speaker 3: you know, just everything. And at the end of the conversation,

1087
00:52:54,760 --> 00:52:56,839
Speaker 3: she goes, you can go on the air and say

1088
00:52:56,840 --> 00:52:58,840
Speaker 3: that you talk to me and tell whatever part of

1089
00:52:58,840 --> 00:53:02,120
Speaker 3: the story you want. And I never did, you know,

1090
00:53:02,160 --> 00:53:04,480
Speaker 3: I just I couldn't do it. I was like, it

1091
00:53:04,600 --> 00:53:06,920
Speaker 3: was such a special story of a mother and her

1092
00:53:06,960 --> 00:53:12,560
Speaker 3: son that I was just like you, it wouldn't do

1093
00:53:12,600 --> 00:53:14,600
Speaker 3: it justice to get up there. And I didn't want

1094
00:53:14,600 --> 00:53:17,680
Speaker 3: to be like, yeah, I talked to Phoenix Poor and so,

1095
00:53:17,920 --> 00:53:21,600
Speaker 3: but the connection so but they did end up talking

1096
00:53:22,040 --> 00:53:22,799
Speaker 3: and that was more.

1097
00:53:22,719 --> 00:53:24,879
Speaker 1: Important to me than they talked. And then they came

1098
00:53:24,880 --> 00:53:26,200
Speaker 1: out of some award shows they.

1099
00:53:26,680 --> 00:53:28,840
Speaker 3: Did, but it was just awesome to be able to

1100
00:53:29,160 --> 00:53:33,040
Speaker 3: just yeah, but it's like the dre thing sitting on

1101
00:53:33,080 --> 00:53:35,480
Speaker 3: his washer and listening to it. I've always been like

1102
00:53:35,719 --> 00:53:38,319
Speaker 3: Buster rhymes so cool. One time, you know, he was

1103
00:53:38,320 --> 00:53:40,280
Speaker 3: in the studio and I got all of the young

1104
00:53:40,440 --> 00:53:43,080
Speaker 3: interns together. You know, there's a picture that I posted

1105
00:53:43,120 --> 00:53:45,239
Speaker 3: the other day of Jim Brown used to do the

1106
00:53:45,280 --> 00:53:47,120
Speaker 3: same thing. I took Day one up and all the

1107
00:53:47,160 --> 00:53:50,760
Speaker 3: young rappers up to go meet Jim, Like these are Look,

1108
00:53:51,480 --> 00:53:53,879
Speaker 3: the people that are that are in our lives right

1109
00:53:53,920 --> 00:53:57,720
Speaker 3: now are the keepers of the past that can teach

1110
00:53:57,800 --> 00:54:00,080
Speaker 3: these young people the way that it was done, you

1111
00:54:00,120 --> 00:54:01,879
Speaker 3: know what I mean. And that's like, you know, with

1112
00:54:01,960 --> 00:54:06,040
Speaker 3: tech and with radio and all of these we've lost mentorship, yes,

1113
00:54:06,080 --> 00:54:09,080
Speaker 3: do you know what I'm saying. And without mentorship, we

1114
00:54:09,200 --> 00:54:11,799
Speaker 3: have nothing. If we don't know the history and we

1115
00:54:11,880 --> 00:54:15,680
Speaker 3: can't share the craft with the next generation, then that Look,

1116
00:54:16,000 --> 00:54:17,719
Speaker 3: you want to know why music is so fucked up

1117
00:54:17,760 --> 00:54:18,160
Speaker 3: right now?

1118
00:54:18,320 --> 00:54:19,520
Speaker 2: Blindly and blind.

1119
00:54:19,320 --> 00:54:22,120
Speaker 3: It's the blind leading. It's a kid can get everything,

1120
00:54:22,480 --> 00:54:24,319
Speaker 3: go sit in his room and do it himself. There's

1121
00:54:24,840 --> 00:54:26,720
Speaker 3: music is a collaborative effort.

1122
00:54:26,960 --> 00:54:27,120
Speaker 2: You know.

1123
00:54:27,200 --> 00:54:29,440
Speaker 3: The drummer played off of the bass player the bass

1124
00:54:29,440 --> 00:54:32,719
Speaker 3: player riffed with a guitar player. Everybody bounced off of

1125
00:54:32,760 --> 00:54:35,080
Speaker 3: each other, and we just don't have that anymore. And

1126
00:54:35,360 --> 00:54:39,560
Speaker 3: with social distancing, COVID, all of these things that are designed,

1127
00:54:40,760 --> 00:54:44,160
Speaker 3: I said, it designed to keep us separated and on

1128
00:54:44,600 --> 00:54:51,719
Speaker 3: our devices so that they can continue to monitor our data. Yeah,

1129
00:54:51,800 --> 00:54:53,560
Speaker 3: you know, it's what we've got to get back to.

1130
00:54:53,800 --> 00:54:57,600
Speaker 3: And it's all about being organic people. Is about connecting

1131
00:54:57,640 --> 00:55:01,040
Speaker 3: and the reason why we have these problems in society

1132
00:55:01,160 --> 00:55:04,880
Speaker 3: is because we are not connecting. And that was the

1133
00:55:04,920 --> 00:55:07,200
Speaker 3: thing with hip hop. I saw it and I said, look,

1134
00:55:07,800 --> 00:55:10,000
Speaker 3: Drey and Snoop do not have a problem. They just

1135
00:55:10,040 --> 00:55:12,560
Speaker 3: haven't talked to each other. So I will fall on

1136
00:55:12,600 --> 00:55:15,160
Speaker 3: the sword here and do it. You know what I

1137
00:55:15,160 --> 00:55:18,359
Speaker 3: mean that. You know it was funny because when we

1138
00:55:18,360 --> 00:55:21,319
Speaker 3: were in the Hawaii, the Buoja tribe showed up and

1139
00:55:21,360 --> 00:55:24,600
Speaker 3: they were there on behalf of sug right. They were

1140
00:55:24,640 --> 00:55:27,560
Speaker 3: there to disrupt it. So I go down or Snoop

1141
00:55:27,600 --> 00:55:29,480
Speaker 3: is getting ready to go down. He's like the Bouoja

1142
00:55:29,480 --> 00:55:31,640
Speaker 3: tribes here because we gotta da da dada. I was like, no, no,

1143
00:55:31,680 --> 00:55:33,359
Speaker 3: I'll take care of it all. The white boy gotta

1144
00:55:33,360 --> 00:55:35,480
Speaker 3: go talk Tobu tribe, good luck with that one. Blah

1145
00:55:35,520 --> 00:55:37,080
Speaker 3: blah blah blahlah. I was like, Snoop, just let me

1146
00:55:37,120 --> 00:55:39,759
Speaker 3: handle this. I go down and I'm like, hey, you know,

1147
00:55:39,960 --> 00:55:42,760
Speaker 3: and keep in mind, I know their history. I study

1148
00:55:42,800 --> 00:55:44,960
Speaker 3: the game. So I'm like, oh my god, I was

1149
00:55:45,000 --> 00:55:47,480
Speaker 3: playing you guys when you were on MCA with UC

1150
00:55:47,560 --> 00:55:49,399
Speaker 3: and Da dah Da Da Da. So you guys gonna

1151
00:55:49,440 --> 00:55:51,000
Speaker 3: drop in it? Well, wait a minute, hold on, we

1152
00:55:51,080 --> 00:55:52,400
Speaker 3: heard about you.

1153
00:55:52,400 --> 00:55:52,920
Speaker 2: You know what I mean.

1154
00:55:53,200 --> 00:55:56,280
Speaker 3: Why don't you come in as my guest and watch

1155
00:55:56,360 --> 00:55:58,560
Speaker 3: the show and then when you guys have a record,

1156
00:55:58,600 --> 00:56:02,040
Speaker 3: hit me up the woman and so it just diffused

1157
00:56:02,080 --> 00:56:05,080
Speaker 3: the situation. Snoop walks off to the backstage, says, yo,

1158
00:56:05,120 --> 00:56:06,960
Speaker 3: where the boya? Travis said? They're in the audience.

1159
00:56:08,320 --> 00:56:10,759
Speaker 2: He's like, what's like? What? Cut?

1160
00:56:11,400 --> 00:56:13,560
Speaker 3: I said? You see that ring of police around him?

1161
00:56:14,080 --> 00:56:16,880
Speaker 3: I said, I told him they were stars. They needed

1162
00:56:16,880 --> 00:56:20,439
Speaker 3: to protect them from the fans. We know where they're at,

1163
00:56:20,560 --> 00:56:25,000
Speaker 3: and there's a ringer cops around. Can't we know where

1164
00:56:25,000 --> 00:56:26,799
Speaker 3: they're all at? You know what I'm saying?

1165
00:56:27,120 --> 00:56:28,000
Speaker 2: Good move, Miser.

1166
00:56:28,400 --> 00:56:31,640
Speaker 3: I like you, but like him with John, you know

1167
00:56:31,800 --> 00:56:33,359
Speaker 3: him and John We're going to get into. At one

1168
00:56:33,400 --> 00:56:35,440
Speaker 3: point said no, I got on a plane, I went

1169
00:56:35,480 --> 00:56:37,440
Speaker 3: to New York. I walked in IRV Gotti's office and

1170
00:56:37,480 --> 00:56:39,840
Speaker 3: called Snoop Dogg and handed him the phone. You know

1171
00:56:39,880 --> 00:56:41,719
Speaker 3: what I mean, It's like, we're not going to do

1172
00:56:41,800 --> 00:56:45,360
Speaker 3: this again. And that's what's missing is people, not me,

1173
00:56:45,680 --> 00:56:49,480
Speaker 3: but people like me that that will cut through the bullshits.

1174
00:56:49,640 --> 00:56:51,520
Speaker 3: We can just call the motherfucker and.

1175
00:56:51,440 --> 00:56:53,719
Speaker 1: Just say the same issue. Obviously, no, it's not life

1176
00:56:53,840 --> 00:56:55,839
Speaker 1: or death. But I feel like we've spoke so much

1177
00:56:55,920 --> 00:56:58,319
Speaker 1: to professional sports, particularly in the NBA, about how it's

1178
00:56:58,320 --> 00:57:00,040
Speaker 1: so young now there's no vets. When I came in

1179
00:56:59,920 --> 00:57:02,280
Speaker 1: the NBA at twenty one twenty two, there was thirty

1180
00:57:02,280 --> 00:57:03,440
Speaker 1: eight to forty one year old.

1181
00:57:04,760 --> 00:57:06,319
Speaker 2: Know what I'm just saying, there was real old.

1182
00:57:06,400 --> 00:57:08,600
Speaker 1: There was ogs to put their arm around us, and

1183
00:57:08,600 --> 00:57:10,640
Speaker 1: what suits to buy, how to invest, you know, what

1184
00:57:10,680 --> 00:57:12,680
Speaker 1: women to state you just like you said, giving the

1185
00:57:12,840 --> 00:57:14,640
Speaker 1: history so we don't make some of them. I mean,

1186
00:57:14,640 --> 00:57:16,440
Speaker 1: we're still going to fuck up and bump our head,

1187
00:57:16,480 --> 00:57:18,800
Speaker 1: but you know, eliminating some of that, and obviously I

1188
00:57:18,800 --> 00:57:21,600
Speaker 1: think it goes across the board to exactly what you're

1189
00:57:21,640 --> 00:57:23,400
Speaker 1: talking about. I mean I feel like I could sit

1190
00:57:23,480 --> 00:57:24,520
Speaker 1: and talk to you, and I don't want to hold

1191
00:57:24,520 --> 00:57:26,120
Speaker 1: your whole day up. But there's a couple more people

1192
00:57:26,160 --> 00:57:26,600
Speaker 1: I want.

1193
00:57:26,440 --> 00:57:27,280
Speaker 2: To ask about.

1194
00:57:27,960 --> 00:57:32,840
Speaker 1: One of my favorite one of my favorite people, DJ Quick. Ah,

1195
00:57:32,880 --> 00:57:33,920
Speaker 1: that's my dumb.

1196
00:57:33,680 --> 00:57:38,560
Speaker 3: You know, the greatest. Speaking of mentors, Quick is the greatest.

1197
00:57:38,760 --> 00:57:40,920
Speaker 3: Quick was one of the first artists I met in power,

1198
00:57:41,280 --> 00:57:43,080
Speaker 3: you know, and we have the same sense of humor,

1199
00:57:43,480 --> 00:57:51,120
Speaker 3: which we're assholes. So we got along great. And from

1200
00:57:51,160 --> 00:57:55,960
Speaker 3: the very first conversation that I had with him, he

1201
00:57:56,080 --> 00:57:59,480
Speaker 3: was teaching, you know, he taught me everything you know

1202
00:57:59,560 --> 00:58:02,160
Speaker 3: about I wanted to be a producer. Quick would sit

1203
00:58:02,240 --> 00:58:04,360
Speaker 3: there with me, show me what to do. You know,

1204
00:58:04,560 --> 00:58:07,640
Speaker 3: when I produced lights Out for west Side Connection, right

1205
00:58:07,880 --> 00:58:11,600
Speaker 3: and I made the beat with Howie Hurst played the keys,

1206
00:58:11,680 --> 00:58:13,440
Speaker 3: you know, all of this kind of stuff, and I

1207
00:58:13,440 --> 00:58:15,720
Speaker 3: couldn't get the mix together. I was so nervous. I

1208
00:58:15,800 --> 00:58:17,400
Speaker 3: was like, what am I gonna do? So I go

1209
00:58:17,440 --> 00:58:20,320
Speaker 3: to Uncle Quick and I say Quick. He goes and

1210
00:58:20,680 --> 00:58:23,240
Speaker 3: he says, what is this and who's on this record?

1211
00:58:23,440 --> 00:58:25,880
Speaker 3: I said, ice Cube Mactenning, bring me the pro tools.

1212
00:58:26,000 --> 00:58:28,160
Speaker 3: I said, what He's like, bring it's like two o'clock

1213
00:58:28,160 --> 00:58:29,800
Speaker 3: in the morning. He's like, bring me the I'm like,

1214
00:58:30,000 --> 00:58:32,560
Speaker 3: my pro tools engineer is asleep, and he goes, well,

1215
00:58:32,560 --> 00:58:34,440
Speaker 3: I guess you don't want your record mix. Then I

1216
00:58:34,480 --> 00:58:36,560
Speaker 3: was like, I'll be right back. So I go back.

1217
00:58:36,600 --> 00:58:38,920
Speaker 3: I'm banging on this fool's window, old German guy, what

1218
00:58:39,080 --> 00:58:41,440
Speaker 3: did you know? All this yelling at me and stuff.

1219
00:58:41,480 --> 00:58:42,760
Speaker 3: Here's the pro tools that I had to put it

1220
00:58:42,800 --> 00:58:45,080
Speaker 3: on a CD rama. Take it back to DJ Quick.

1221
00:58:45,120 --> 00:58:47,600
Speaker 3: He's asleep on the couch. I'm like, oh, I got

1222
00:58:47,680 --> 00:58:50,000
Speaker 3: to wake up DJ Quick. What the fuck? He's like, nah,

1223
00:58:50,040 --> 00:58:53,080
Speaker 3: I got this, walks in thirty minutes, mixes the whole record,

1224
00:58:53,680 --> 00:58:55,080
Speaker 3: hands it to me and goes, I'm proud of you.

1225
00:58:55,200 --> 00:58:55,720
Speaker 3: Do it again.

1226
00:58:56,840 --> 00:58:59,760
Speaker 2: And I was like, quicks proud, you know what I mean.

1227
00:58:59,800 --> 00:59:02,200
Speaker 3: But like when I came back, the first one of

1228
00:59:02,200 --> 00:59:03,760
Speaker 3: the first people to call me is like, Quick, what

1229
00:59:03,760 --> 00:59:04,200
Speaker 3: are you doing?

1230
00:59:04,200 --> 00:59:04,760
Speaker 2: What are we doing?

1231
00:59:05,320 --> 00:59:05,480
Speaker 3: You know?

1232
00:59:05,520 --> 00:59:07,120
Speaker 2: What are we doing? You know what I mean?

1233
00:59:07,200 --> 00:59:08,840
Speaker 3: So I was like, look, I'm going to record one.

1234
00:59:08,880 --> 00:59:12,040
Speaker 3: I'm gonna go over to Dre's I'm doing this. It's

1235
00:59:12,080 --> 00:59:13,800
Speaker 3: like I'll be over. I was like, yeah, I'm having

1236
00:59:13,840 --> 00:59:17,600
Speaker 3: problem with this mix. So he comes in and he's like,

1237
00:59:17,760 --> 00:59:19,360
Speaker 3: and I was like, remember when you mix light Top

1238
00:59:19,400 --> 00:59:20,920
Speaker 3: for me? He goes, no, no, no, you're gonna mix

1239
00:59:20,960 --> 00:59:22,960
Speaker 3: this one. And I'm just gonna sit here on your shoulder,

1240
00:59:23,320 --> 00:59:25,040
Speaker 3: you know what I mean. And he's and but that's

1241
00:59:25,040 --> 00:59:29,400
Speaker 3: the evolution of Quick. He doesn't forget anything. He's always teaching.

1242
00:59:29,480 --> 00:59:32,680
Speaker 3: He's there, but he's spent all day just showing me

1243
00:59:32,720 --> 00:59:33,720
Speaker 3: how to turn knobs.

1244
00:59:34,160 --> 00:59:36,880
Speaker 1: I don't think I think he's someone And I don't

1245
00:59:36,880 --> 00:59:38,880
Speaker 1: want to say lost, because obviously he is a legend,

1246
00:59:38,880 --> 00:59:40,600
Speaker 1: but I don't think he gets the credit he deserves

1247
00:59:40,600 --> 00:59:41,200
Speaker 1: for his greatness.

1248
00:59:41,200 --> 00:59:44,200
Speaker 3: Stuff. Well, like I have always said, he is the

1249
00:59:44,200 --> 00:59:48,480
Speaker 3: producer's producer. He is Dre. But Dre had the machine.

1250
00:59:49,120 --> 00:59:51,520
Speaker 3: You know, He's never had a Jimmy Iya. He's never

1251
00:59:51,560 --> 00:59:55,560
Speaker 3: had an inner scope. He's always been so low, you

1252
00:59:55,600 --> 00:59:58,080
Speaker 3: know what I mean. So you know anytime, I mean,

1253
00:59:58,120 --> 00:59:59,840
Speaker 3: I did the Trauma deal for him, you know what,

1254
01:00:00,160 --> 01:00:04,160
Speaker 3: with Brian Shafton, and it was the first number one

1255
01:00:04,360 --> 01:00:06,520
Speaker 3: you know. When I left the industry, the last deal

1256
01:00:06,560 --> 01:00:10,480
Speaker 3: that I did was DJ Quick Trauma with Fontana. He

1257
01:00:10,560 --> 01:00:13,760
Speaker 3: got eighty percent of his it was an eighty twenty deal.

1258
01:00:14,080 --> 01:00:16,840
Speaker 3: He got an advance based on his sound scan. It

1259
01:00:16,880 --> 01:00:19,120
Speaker 3: was That's when I left. I was like, eight bucks

1260
01:00:19,120 --> 01:00:20,960
Speaker 3: a record, this is good, this is the future in

1261
01:00:20,960 --> 01:00:23,320
Speaker 3: the record business. We're all right, come back and it's

1262
01:00:23,360 --> 01:00:27,440
Speaker 3: point six. I'm like, what the what happened? It was

1263
01:00:27,440 --> 01:00:31,120
Speaker 3: like coming home and dad on vacation coming home in

1264
01:00:31,160 --> 01:00:33,680
Speaker 3: the house is trashed. I was like, what the hell

1265
01:00:33,720 --> 01:00:34,480
Speaker 3: did you guys do?

1266
01:00:34,840 --> 01:00:39,880
Speaker 1: The business of Drake obviously took the world by store

1267
01:00:39,960 --> 01:00:43,560
Speaker 1: one of the greatest artists of all time, hit after hit. Obviously,

1268
01:00:43,680 --> 01:00:45,080
Speaker 1: I don't even care about the I'm not even talking

1269
01:00:45,080 --> 01:00:47,080
Speaker 1: about the beef with Kendrick. I'm just talking about the

1270
01:00:47,120 --> 01:00:51,440
Speaker 1: behind the scenes business of who he is as an individual,

1271
01:00:51,560 --> 01:00:55,720
Speaker 1: the power he carries and is the business of Drake

1272
01:00:55,760 --> 01:00:57,120
Speaker 1: as high as it was a year ago.

1273
01:00:57,240 --> 01:00:59,600
Speaker 3: Drake is one of the smartest artist there is, Okay.

1274
01:01:00,160 --> 01:01:04,360
Speaker 3: I mean, you know, one thing that he does, or

1275
01:01:05,200 --> 01:01:07,920
Speaker 3: was the first to do, is own his own touring apparatus.

1276
01:01:08,440 --> 01:01:10,760
Speaker 3: You know, like, for instance, he owns the trucks, he

1277
01:01:10,800 --> 01:01:13,360
Speaker 3: owns the rigging, he owns all of that and then

1278
01:01:13,480 --> 01:01:16,120
Speaker 3: leases it out when he's not on tour. You know,

1279
01:01:16,480 --> 01:01:18,280
Speaker 3: I mean, I think Future is using it right now,

1280
01:01:18,720 --> 01:01:21,320
Speaker 3: you know, what I mean or something. But but he's

1281
01:01:22,320 --> 01:01:25,760
Speaker 3: he's such a smart guy, you know, and that's why

1282
01:01:25,880 --> 01:01:29,240
Speaker 3: you know this, I don't see how him being who

1283
01:01:29,280 --> 01:01:33,200
Speaker 3: he is. I think it's probably ego got involved in

1284
01:01:33,240 --> 01:01:36,240
Speaker 3: this whole thing. You know, it was very ill advised,

1285
01:01:36,480 --> 01:01:41,200
Speaker 3: and whoever's advising him now is also ill advised. You

1286
01:01:41,240 --> 01:01:44,440
Speaker 3: know I think that that. I mean, it would be

1287
01:01:44,480 --> 01:01:48,040
Speaker 3: so easy to repackage him. Really, you know, you gotta

1288
01:01:48,120 --> 01:01:52,160
Speaker 3: go back. Look I when Mariah did Glitter, they said

1289
01:01:52,160 --> 01:01:55,240
Speaker 3: there's no way she's going to come back. I'm like,

1290
01:01:56,080 --> 01:01:59,520
Speaker 3: watch this, you know what I mean, Go see Jermaine.

1291
01:02:00,680 --> 01:02:02,880
Speaker 3: Let me introduce you to Benny Medina, where I met

1292
01:02:02,960 --> 01:02:06,720
Speaker 3: during the Puffy years. And you know what I mean,

1293
01:02:07,440 --> 01:02:10,200
Speaker 3: call me when you get back from Atlanta. And literally

1294
01:02:10,240 --> 01:02:12,520
Speaker 3: when the plane landed, I drove my plane on to

1295
01:02:12,600 --> 01:02:14,640
Speaker 3: the Tim actually got in the car, played me we

1296
01:02:14,680 --> 01:02:16,760
Speaker 3: belong together, and I was like, there we go.

1297
01:02:17,680 --> 01:02:18,120
Speaker 2: Wow.

1298
01:02:18,640 --> 01:02:21,440
Speaker 3: You know, it'd be so easy to repackage and you

1299
01:02:21,440 --> 01:02:23,760
Speaker 3: know what I mean, it's such a I mean, look,

1300
01:02:23,800 --> 01:02:25,280
Speaker 3: all he's got to do is go back to making

1301
01:02:25,400 --> 01:02:26,400
Speaker 3: R and B records.

1302
01:02:26,120 --> 01:02:28,200
Speaker 1: And rise above the fray, you know what I mean,

1303
01:02:28,280 --> 01:02:31,280
Speaker 1: Like it's harder today, that's easier said than done from

1304
01:02:31,280 --> 01:02:35,280
Speaker 1: a standpoint of we live our lives based on the

1305
01:02:35,360 --> 01:02:36,120
Speaker 1: outside noise.

1306
01:02:36,160 --> 01:02:38,920
Speaker 3: Now unfortunately, Yeah, but if you got to decide which.

1307
01:02:38,760 --> 01:02:41,120
Speaker 2: Noise you're gonna listen to, you know what I mean?

1308
01:02:41,160 --> 01:02:43,760
Speaker 3: And that was the problem is you know, like for instance,

1309
01:02:43,800 --> 01:02:46,960
Speaker 3: Mariah's listening to the critics. You're washed up, You're watched up.

1310
01:02:47,000 --> 01:02:49,280
Speaker 3: Now let's go to the super Bowl, you know what

1311
01:02:49,360 --> 01:02:51,520
Speaker 3: I mean? Like, what are you talking about? It's nine

1312
01:02:51,560 --> 01:02:53,880
Speaker 3: to eleven, Come do the super Bowl. I can't do that.

1313
01:02:53,960 --> 01:02:55,440
Speaker 3: My first thing. What if I screw up and know

1314
01:02:55,560 --> 01:02:58,440
Speaker 3: it's a stadium d don't worry, We'll take care of it.

1315
01:02:58,920 --> 01:03:01,360
Speaker 3: Let's just go do the super Bowl? Mind everybody, who

1316
01:03:01,360 --> 01:03:01,920
Speaker 3: the fuck you are?

1317
01:03:02,640 --> 01:03:03,200
Speaker 2: You know what I mean?

1318
01:03:03,320 --> 01:03:06,720
Speaker 3: Like, it's all about, like I said, perception is reality,

1319
01:03:06,920 --> 01:03:08,800
Speaker 3: but perspective is.

1320
01:03:08,720 --> 01:03:11,160
Speaker 1: More effects, you know what I mean, the behind the

1321
01:03:11,200 --> 01:03:16,040
Speaker 1: scenes and people obviously because of I guess the image

1322
01:03:16,040 --> 01:03:19,360
Speaker 1: he tries to portray, and I didn't feel fully understood it.

1323
01:03:19,360 --> 01:03:21,040
Speaker 1: But again I was cliff Note like the most of

1324
01:03:21,040 --> 01:03:22,720
Speaker 1: the people when he was behind the scenes kind of

1325
01:03:22,800 --> 01:03:26,600
Speaker 1: suing the labels and for the streams and all that stuff,

1326
01:03:26,640 --> 01:03:28,800
Speaker 1: Like did that help, not help. How did that end

1327
01:03:28,880 --> 01:03:29,640
Speaker 1: up working out for him?

1328
01:03:29,800 --> 01:03:34,160
Speaker 3: Well, what people don't realize about that lawsuit is, yeah,

1329
01:03:34,280 --> 01:03:36,960
Speaker 3: it had to do with Kendrick, but it had nothing

1330
01:03:37,000 --> 01:03:39,720
Speaker 3: to do with Kendrack. Because you know how we're talking

1331
01:03:39,760 --> 01:03:43,160
Speaker 3: about this Parada streaming, So while somebody's listening to a

1332
01:03:43,280 --> 01:03:48,360
Speaker 3: Drake record, they are taking data. Okay, the record company's

1333
01:03:48,360 --> 01:03:50,400
Speaker 3: getting a cut of that data, but the artist isn't.

1334
01:03:51,040 --> 01:03:53,560
Speaker 3: So what Drake wanted to do was find out every

1335
01:03:53,720 --> 01:03:58,880
Speaker 3: dollar that they're making while his shit's playing. Why if

1336
01:03:58,920 --> 01:04:02,480
Speaker 3: you if your making more money than you have ever

1337
01:04:02,680 --> 01:04:06,000
Speaker 3: made and record sales are making this, where are you

1338
01:04:06,160 --> 01:04:09,120
Speaker 3: getting that money from? And how are you getting it?

1339
01:04:09,200 --> 01:04:11,800
Speaker 3: And am I connected to that money? And you're not

1340
01:04:11,920 --> 01:04:12,360
Speaker 3: telling me?

1341
01:04:12,520 --> 01:04:14,920
Speaker 2: Obviously he was, So he wanted to pull the sheet up.

1342
01:04:15,000 --> 01:04:17,680
Speaker 3: So he wanted to audit the label.

1343
01:04:17,760 --> 01:04:19,880
Speaker 2: Pretty much for everybody. Obviously he'll use hisself.

1344
01:04:19,920 --> 01:04:22,360
Speaker 3: Oh no, everything, come on, he's selfish. It had nothing

1345
01:04:22,400 --> 01:04:22,640
Speaker 3: to do.

1346
01:04:22,600 --> 01:04:24,320
Speaker 2: With anybody, okay, him, you know what I mean?

1347
01:04:24,400 --> 01:04:26,040
Speaker 3: Like, you know, it was funny because one of my

1348
01:04:26,160 --> 01:04:28,760
Speaker 3: first posts I tried to say that and I got

1349
01:04:28,800 --> 01:04:30,760
Speaker 3: a call from Jermaine Duprix in like two seconds.

1350
01:04:30,800 --> 01:04:31,360
Speaker 2: Come on, bro.

1351
01:04:31,800 --> 01:04:34,040
Speaker 3: This has nothing to do with anybody else. He doesn't

1352
01:04:34,080 --> 01:04:37,360
Speaker 3: care about anybody else, but he's But look at it

1353
01:04:37,400 --> 01:04:39,840
Speaker 3: like this Drake has a four hundred million dollar plane.

1354
01:04:39,920 --> 01:04:42,600
Speaker 3: He's got all of this overhead, he's got all of

1355
01:04:42,640 --> 01:04:44,800
Speaker 3: this staff, he's got all of this stuff. If he's

1356
01:04:44,800 --> 01:04:48,160
Speaker 3: not making big deals and have big income, then he's

1357
01:04:48,200 --> 01:04:50,440
Speaker 3: going to go bankrupt, you know what I mean. So

1358
01:04:50,880 --> 01:04:54,080
Speaker 3: I mean looking at a label making probably a billion

1359
01:04:54,120 --> 01:04:57,360
Speaker 3: dollars a year off of him, and he's doing a

1360
01:04:57,400 --> 01:04:59,840
Speaker 3: five year deal and he gets four hundred at the

1361
01:05:00,040 --> 01:05:03,360
Speaker 3: beginning of it, and then maybe a cut of a crumb.

1362
01:05:03,400 --> 01:05:03,920
Speaker 2: You know what I mean.

1363
01:05:03,960 --> 01:05:06,200
Speaker 3: That's the old record company bait and switch bullshit.

1364
01:05:06,600 --> 01:05:07,240
Speaker 2: You know what I mean.

1365
01:05:07,320 --> 01:05:11,640
Speaker 1: So you're saying his laying back in your opinion, with

1366
01:05:11,680 --> 01:05:14,120
Speaker 1: your expertise, is get back to what you started with.

1367
01:05:14,240 --> 01:05:16,560
Speaker 3: Okay, look at the Dray and Snoopy union. Go Look,

1368
01:05:16,640 --> 01:05:20,800
Speaker 3: anytime an old radio saying is is when you're under attack,

1369
01:05:20,920 --> 01:05:24,000
Speaker 3: go back to what you made you famous, Riah, go

1370
01:05:24,080 --> 01:05:26,200
Speaker 3: back to making R and B records with Jermaine Dupree.

1371
01:05:27,720 --> 01:05:30,640
Speaker 3: Remarket yourself as what you were. Look, you know, when

1372
01:05:30,640 --> 01:05:33,120
Speaker 3: Michael Jackson went out on stage and did smooth criminal.

1373
01:05:33,200 --> 01:05:33,840
Speaker 2: He wasn't wearing the.

1374
01:05:33,840 --> 01:05:36,440
Speaker 3: Beat it outfit. Do you know what I'm saying? Like,

1375
01:05:36,800 --> 01:05:41,440
Speaker 3: if it's consistency and repetition, if you're consistently and repeatedly

1376
01:05:41,520 --> 01:05:44,840
Speaker 3: do what your audience expects from you, then you will win.

1377
01:05:45,440 --> 01:05:46,080
Speaker 2: You know what I mean?

1378
01:05:46,120 --> 01:05:51,480
Speaker 3: What he's doing is he's projecting something that he wants

1379
01:05:51,520 --> 01:05:54,040
Speaker 3: to be, not what he is. Do you see what

1380
01:05:54,040 --> 01:05:56,800
Speaker 3: I'm saying to try to be to keep stay young

1381
01:05:56,880 --> 01:05:59,560
Speaker 3: with the young audience. But he's not listening to what

1382
01:05:59,560 --> 01:06:03,640
Speaker 3: they're saying. He's doing it arrogantly. He's trying to dictate

1383
01:06:03,840 --> 01:06:06,560
Speaker 3: what they want what they want as opposed to.

1384
01:06:06,800 --> 01:06:08,560
Speaker 2: Knowing what they want. What are you currently working on?

1385
01:06:08,600 --> 01:06:10,440
Speaker 2: What's going on with you? Where work wire? We find? Yeah?

1386
01:06:10,480 --> 01:06:12,160
Speaker 3: You know, I'm just hanging out with you doing What

1387
01:06:12,160 --> 01:06:12,600
Speaker 3: are we doing?

1388
01:06:12,840 --> 01:06:16,280
Speaker 2: We're about to We're about to give you that Deafino contract.

1389
01:06:15,960 --> 01:06:20,120
Speaker 3: Before you leave here. Done. No, you know, I'm just

1390
01:06:20,200 --> 01:06:22,240
Speaker 3: trying to figure it out. Like I'm one of those

1391
01:06:22,240 --> 01:06:24,680
Speaker 3: people that just lives in the moment and I love

1392
01:06:24,760 --> 01:06:27,840
Speaker 3: working with people. So you know, I've been doing a

1393
01:06:27,840 --> 01:06:31,400
Speaker 3: minute and thirty radio breaks on Instagram basically instead of

1394
01:06:31,440 --> 01:06:32,240
Speaker 3: a radio station.

1395
01:06:32,800 --> 01:06:34,200
Speaker 2: Look at it. That's fucking crazy.

1396
01:06:34,360 --> 01:06:35,040
Speaker 3: Is't not crazy?

1397
01:06:35,320 --> 01:06:37,080
Speaker 2: But it's true, real, yeah facts.

1398
01:06:37,160 --> 01:06:39,200
Speaker 3: I went back to what made me famous, right, you know.

1399
01:06:39,320 --> 01:06:41,400
Speaker 3: I mean when I got back, they said, look.

1400
01:06:41,400 --> 01:06:42,680
Speaker 2: You're fifty years old.

1401
01:06:43,200 --> 01:06:46,040
Speaker 3: It's the world has changed. You haven't been here in

1402
01:06:46,120 --> 01:06:49,800
Speaker 3: twenty years. That it's a social media world. You'll never

1403
01:06:49,880 --> 01:06:53,280
Speaker 3: be able to make yourself relevant. I said, okay, well.

1404
01:06:53,400 --> 01:06:58,000
Speaker 1: Let me see, hi, who are some of the because

1405
01:06:58,000 --> 01:06:59,760
Speaker 1: you I don't want to name drop the name unless

1406
01:06:59,760 --> 01:07:01,360
Speaker 1: you want to. You when I was talking the other

1407
01:07:01,400 --> 01:07:02,800
Speaker 1: day when I was at the mall, you said so

1408
01:07:02,840 --> 01:07:04,600
Speaker 1: and so hit me and said, like, who are some

1409
01:07:04,640 --> 01:07:06,840
Speaker 1: of the people. Now that you've kind of put yourself

1410
01:07:06,880 --> 01:07:08,800
Speaker 1: back in this space and you're starting to make noise,

1411
01:07:08,840 --> 01:07:10,160
Speaker 1: You're like, okay, yeah, dope.

1412
01:07:10,240 --> 01:07:13,400
Speaker 3: Well, yesterday and the day before yesterday, Van Jones, I

1413
01:07:13,440 --> 01:07:15,520
Speaker 3: think this is when I told you Van Jones hit

1414
01:07:15,600 --> 01:07:19,120
Speaker 3: me up, and I'm like motherfucking sea watching right, you

1415
01:07:19,160 --> 01:07:20,800
Speaker 3: know what I mean. Some just kind of blew me

1416
01:07:20,800 --> 01:07:23,360
Speaker 3: away like that blew me away. It's you know, I'm

1417
01:07:23,440 --> 01:07:25,560
Speaker 3: such a fan of pop culture. I'm a fan of

1418
01:07:26,160 --> 01:07:28,320
Speaker 3: his you know what I mean. So you know when

1419
01:07:28,320 --> 01:07:31,360
Speaker 3: I Big Tigger hit me up this morning. I was

1420
01:07:31,440 --> 01:07:35,400
Speaker 3: like the basement rap basement, you know what I mean, Like,

1421
01:07:35,920 --> 01:07:38,240
Speaker 3: you know, I mean, I'm such a fan that, like

1422
01:07:38,360 --> 01:07:41,120
Speaker 3: I still can't believe, like I said, I'm the first gump,

1423
01:07:41,280 --> 01:07:43,320
Speaker 3: you know what I mean, Like it's just it's so

1424
01:07:43,520 --> 01:07:47,040
Speaker 3: cool to see, you know, I've been really blessed. But

1425
01:07:47,320 --> 01:07:49,480
Speaker 3: I got a hand into like Fools going Wild and

1426
01:07:49,560 --> 01:07:52,560
Speaker 3: Teddy Riley, those were the first two that said, oh,

1427
01:07:52,600 --> 01:07:54,840
Speaker 3: this motherfucker's back and teed off.

1428
01:07:54,920 --> 01:07:57,640
Speaker 2: So that was really last question.

1429
01:07:57,800 --> 01:07:59,800
Speaker 3: I tripped that when you hit me up, I saw

1430
01:07:59,840 --> 01:08:04,160
Speaker 3: your like and I was like, fucking basketball player. My

1431
01:08:04,240 --> 01:08:08,000
Speaker 3: little brother fucking lost it. Like he's like, what you

1432
01:08:08,080 --> 01:08:10,479
Speaker 3: know who? But I'm not. I'm the guy who didn't

1433
01:08:10,480 --> 01:08:12,360
Speaker 3: even know who Shack was. I'm like the tall rapper

1434
01:08:12,920 --> 01:08:17,200
Speaker 3: and he's like, like I played for the Lakers. I

1435
01:08:17,280 --> 01:08:22,679
Speaker 3: was like, whoops, Yeah, I mean he had a record

1436
01:08:22,680 --> 01:08:25,519
Speaker 3: with DJ Quick out right straight player when I was

1437
01:08:25,560 --> 01:08:28,080
Speaker 3: getting a power one six. So I'm like, you know,

1438
01:08:28,240 --> 01:08:30,840
Speaker 3: he'd come to the office and everybody would start losing

1439
01:08:30,840 --> 01:08:33,000
Speaker 3: it and I'd be like, what the fuck he goes

1440
01:08:33,240 --> 01:08:35,880
Speaker 3: and they were like he's a famous basketball player and

1441
01:08:35,920 --> 01:08:37,280
Speaker 3: I'm like the tall rapper.

1442
01:08:40,040 --> 01:08:42,559
Speaker 1: Last question someone you and I both love and the

1443
01:08:42,600 --> 01:08:46,280
Speaker 1: door big Boy not Outcast, big Boy Power one six,

1444
01:08:46,360 --> 01:08:50,800
Speaker 1: big Boy La, big Boy Talk too to do it dope, right, dude,

1445
01:08:50,880 --> 01:08:51,400
Speaker 1: he is.

1446
01:08:52,160 --> 01:08:54,320
Speaker 3: You know I I would start crying if I told

1447
01:08:54,320 --> 01:08:56,679
Speaker 3: you how much I loved that guy, like he has

1448
01:08:56,760 --> 01:09:01,559
Speaker 3: been not only my biggest supporter, biggest advert kid. I mean,

1449
01:09:01,840 --> 01:09:05,120
Speaker 3: I can't even put in the words, you know, I

1450
01:09:05,200 --> 01:09:07,200
Speaker 3: mean we came up together, you know, I mean we

1451
01:09:07,760 --> 01:09:10,200
Speaker 3: He started a little bit before me at Power, but

1452
01:09:10,400 --> 01:09:13,640
Speaker 3: we started doing full time. He went to mornings and

1453
01:09:13,680 --> 01:09:16,599
Speaker 3: I went to programming, like right at the same time.

1454
01:09:16,840 --> 01:09:20,080
Speaker 3: So Big Boy was the voice and it was my boombox,

1455
01:09:20,520 --> 01:09:22,599
Speaker 3: you know what I'm saying. So I played the records.

1456
01:09:23,040 --> 01:09:25,439
Speaker 3: He was the one, you know, and without Big Boy

1457
01:09:25,479 --> 01:09:29,240
Speaker 3: there would be no me because every time they would

1458
01:09:29,280 --> 01:09:33,120
Speaker 3: say he's crazy, We're not doing this, you know, Da

1459
01:09:33,200 --> 01:09:36,680
Speaker 3: da da da da, Big would go, Man, you might

1460
01:09:36,720 --> 01:09:39,680
Speaker 3: want to listen him. And Fuzzy Fuzzy too, you know,

1461
01:09:39,760 --> 01:09:43,080
Speaker 3: Fuzzy Fuzzy. You know, like how I met Snoop was

1462
01:09:43,120 --> 01:09:46,680
Speaker 3: through Fuzzy. He Fuzzy invited him to that show, and

1463
01:09:47,040 --> 01:09:49,680
Speaker 3: Fuzzy would say, yeah, the white Boy's crazy, but you

1464
01:09:50,040 --> 01:09:52,000
Speaker 3: listen to it, you know what I mean. And if

1465
01:09:52,000 --> 01:09:55,000
Speaker 3: it wasn't for Fuzzy and Jeff Garcia and our team,

1466
01:09:55,560 --> 01:09:58,680
Speaker 3: you know, yeah, I'm maybe the face of Power one

1467
01:09:58,720 --> 01:10:01,120
Speaker 3: oh six, but it is our team that did it.

1468
01:10:01,360 --> 01:10:01,559
Speaker 2: You know.

1469
01:10:02,080 --> 01:10:04,719
Speaker 3: We had the Baker Boys, we had the good Fellas Romeo.

1470
01:10:05,240 --> 01:10:08,759
Speaker 3: You know, we had a Big Boy, we had a Fuzzy.

1471
01:10:08,840 --> 01:10:13,840
Speaker 3: I mean, everybody played a role in making this platform.

1472
01:10:14,040 --> 01:10:18,639
Speaker 3: And and Big I just I cannot put into words

1473
01:10:18,680 --> 01:10:20,960
Speaker 3: what he has meant to me, not only as a friend,

1474
01:10:21,080 --> 01:10:23,960
Speaker 3: but you know, he's he'll he'll pull my collar when

1475
01:10:23,960 --> 01:10:28,320
Speaker 3: I'm tripping, He'll he's a mentor, you know, just but

1476
01:10:28,560 --> 01:10:32,760
Speaker 3: just the most genuine heart felt There's a reason why

1477
01:10:32,760 --> 01:10:33,400
Speaker 3: he's still is.

1478
01:10:33,439 --> 01:10:34,160
Speaker 2: Big Boy, right.

1479
01:10:34,280 --> 01:10:36,920
Speaker 3: You know, he's never had a scandal, He's never you know,

1480
01:10:38,320 --> 01:10:41,400
Speaker 3: not been able to go every place in Los Angeles.

1481
01:10:41,400 --> 01:10:44,880
Speaker 3: And that's also why we were so successful, is it

1482
01:10:44,960 --> 01:10:48,639
Speaker 3: was Big Boy, you know what I mean. We our era,

1483
01:10:49,200 --> 01:10:52,360
Speaker 3: we didn't have no shootings, we had no fights, we

1484
01:10:52,400 --> 01:10:55,120
Speaker 3: had no problems that any Power one on six event,

1485
01:10:55,520 --> 01:10:57,720
Speaker 3: and a lot of that is because our ambassador was

1486
01:10:57,800 --> 01:10:58,320
Speaker 3: big Boy.

1487
01:10:58,560 --> 01:10:59,040
Speaker 2: Big Boy.

1488
01:10:59,120 --> 01:11:04,280
Speaker 1: For all these content creators ips out there. What is

1489
01:11:04,320 --> 01:11:08,840
Speaker 1: one message where you see the business going? What is

1490
01:11:08,880 --> 01:11:09,960
Speaker 1: one message you leave them with?

1491
01:11:10,080 --> 01:11:13,479
Speaker 3: You are your IP and make sure whatever it is

1492
01:11:13,479 --> 01:11:16,960
Speaker 3: that you do, you copyright it, you trademarket, you do

1493
01:11:17,080 --> 01:11:21,080
Speaker 3: whatever it is to ensure your legacy. Get a lawyer.

1494
01:11:21,240 --> 01:11:23,240
Speaker 3: Make sure that you have a lawyer. Make sure that

1495
01:11:23,280 --> 01:11:27,160
Speaker 3: you check before you click that terms of service and

1496
01:11:27,240 --> 01:11:30,920
Speaker 3: I mean the record, the new record contract or the

1497
01:11:30,960 --> 01:11:35,799
Speaker 3: new contract for you content creators, is the term of service.

1498
01:11:36,240 --> 01:11:40,000
Speaker 3: You can ruin your whole fucking career by clicking that

1499
01:11:40,120 --> 01:11:43,320
Speaker 3: terms of service and it's agreeing to it. You're giving

1500
01:11:43,400 --> 01:11:47,200
Speaker 3: up your likeness, your biometrics, everything. Make sure that you

1501
01:11:47,360 --> 01:11:50,439
Speaker 3: read the terms of service and get a fucking lawyer.

1502
01:11:51,160 --> 01:11:51,559
Speaker 3: There you go.

1503
01:11:51,600 --> 01:11:54,200
Speaker 1: Sorry with that, man, I want to thank you for

1504
01:11:54,320 --> 01:11:55,439
Speaker 1: your time today.

1505
01:11:55,520 --> 01:12:02,519
Speaker 3: You read the number one one sports podcast on the

1506
01:12:02,560 --> 01:12:03,519
Speaker 3: freaking planet.

1507
01:12:03,760 --> 01:12:05,960
Speaker 2: Man, we're trying to we're trying to work. Man, get

1508
01:12:06,040 --> 01:12:06,719
Speaker 2: that bag.

1509
01:12:06,840 --> 01:12:08,599
Speaker 3: Bro, Do you need an agent?

1510
01:12:09,080 --> 01:12:10,680
Speaker 1: No, we need you to come over here and help us.

1511
01:12:11,200 --> 01:12:13,559
Speaker 1: So we're gonna I need a job. Yeah, we're gonna

1512
01:12:13,560 --> 01:12:14,120
Speaker 1: make that happen.

1513
01:12:14,280 --> 01:12:16,760
Speaker 3: No, but doing a minute thirty radio breaks side get one.

1514
01:12:16,920 --> 01:12:18,760
Speaker 1: Yeah what I what I wanted to say, was. I've

1515
01:12:19,000 --> 01:12:21,560
Speaker 1: you know, been blessed to sit down with the multitude

1516
01:12:21,600 --> 01:12:24,760
Speaker 1: of people across several different spaces, but this has been

1517
01:12:24,800 --> 01:12:30,439
Speaker 1: my favorite, most educational, probably funnest interview I've ever had. Bro,

1518
01:12:30,479 --> 01:12:31,800
Speaker 1: So I really want to thank you for that.

1519
01:12:31,800 --> 01:12:34,200
Speaker 2: Thank you. Sure, yes, yes.

1520
01:12:34,560 --> 01:12:37,040
Speaker 3: I'm telling you my little brother's gonna be Hey. Yeah,

1521
01:12:37,360 --> 01:12:39,559
Speaker 3: you were excited he was following me, not a look.

1522
01:12:39,840 --> 01:12:43,240
Speaker 2: Yeah again, I feel like we could talk for hours.

1523
01:12:43,280 --> 01:12:44,719
Speaker 2: We need to go downstairs and light one.

1524
01:12:44,760 --> 01:12:48,960
Speaker 1: But I appreciate your time, man, Thank you, and uh.

1525
01:12:49,000 --> 01:12:50,200
Speaker 3: I appreciate the opportunity.

1526
01:12:50,600 --> 01:12:53,040
Speaker 1: This is the last show of twenty twenty five. I

1527
01:12:53,040 --> 01:12:56,000
Speaker 1: hope you guys have enjoyed Unplugged this year. Shout out

1528
01:12:56,040 --> 01:12:58,880
Speaker 1: to my team behind the scenes. We really wanted to

1529
01:12:58,880 --> 01:13:01,000
Speaker 1: bring try to bring you guys some different We've had

1530
01:13:01,000 --> 01:13:04,400
Speaker 1: some amazing guests stop buy, such as Jeff Pearlman today,

1531
01:13:04,439 --> 01:13:10,439
Speaker 1: Demisa mad Max Stack, other people have stopped by. We

1532
01:13:10,520 --> 01:13:12,880
Speaker 1: hope you guys are enjoying it. The numbers are saying

1533
01:13:12,960 --> 01:13:15,160
Speaker 1: you guys are enjoying it, so we hope to continue

1534
01:13:15,160 --> 01:13:18,160
Speaker 1: to bring you guys different shit. Obviously, all the smoke

1535
01:13:18,240 --> 01:13:19,720
Speaker 1: is one thing, and you're gonna sit down and get

1536
01:13:19,720 --> 01:13:22,599
Speaker 1: your custom interviews with your your some of your favorite people.

1537
01:13:22,600 --> 01:13:25,360
Speaker 1: But I think my goal with this was to uncover

1538
01:13:25,439 --> 01:13:28,120
Speaker 1: stories and introduce you guys to people that are instrumental

1539
01:13:28,120 --> 01:13:30,639
Speaker 1: behind the scenes, and I think we've done a fairly

1540
01:13:30,680 --> 01:13:33,240
Speaker 1: decent job at that. So thank you, guys for all

1541
01:13:33,280 --> 01:13:35,840
Speaker 1: your support. Twenty twenty six.

1542
01:13:37,680 --> 01:13:38,559
Speaker 2: We're coming, y'all.

1543
01:13:38,760 --> 01:13:40,800
Speaker 1: Twenty twenty six is going to be a fun year

1544
01:13:41,240 --> 01:13:44,519
Speaker 1: across the board for all the Smoke productions, so thank you.

1545
01:13:45,160 --> 01:13:49,880
Speaker 1: Stay tuned, Happy holidays, happy New Years, and we'll see

1546
01:13:49,880 --> 01:13:50,800
Speaker 1: you guys in twenty six.

1547
01:13:51,240 --> 01:13:53,160
Speaker 2: That's a wrap. We'll see you guys in twenty six.

1548
01:13:53,240 --> 01:13:54,400
Speaker 2: Be safe, peace and love.