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Speaker 1: Wake that ass up in the morning.

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Speaker 2: Breakfast Club.

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Speaker 1: Morning.

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Speaker 3: Everybody is the j n V. Jess Hilarious, Charlamagne the Guy.

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Speaker 3: We are the Breakfast Club. We got some special guests

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Speaker 3: in the building, right. We got the o G, the icon,

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Speaker 3: the legend, Rodney Jerkins celebrating thirty years of Dog Child.

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Speaker 3: He's inducted into the Songwriters Hall of Fame. Congratulations, and

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Speaker 3: he also brought his new artist, John Keith.

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Speaker 2: Well, how are you feeling?

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Speaker 1: First and foremost?

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Speaker 2: I'm good, bro, I'm good, You're good.

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Speaker 4: Bless John Keith. No pressure.

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Speaker 5: But Rodney has sold over five hundred million records worldwide.

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Speaker 5: He's worked with Whitney Houston, Michael Jackson, Beyonce, Brandy, Justin Bieber,

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Speaker 5: syl Sam Smith, just to name.

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Speaker 4: No pressure, No pressure.

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Speaker 6: Okay, easy work.

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Speaker 1: So how are you feeling?

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Speaker 2: First?

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Speaker 3: And four morefore we got to get to you know,

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Speaker 3: I like to bring when we have icons and legends

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Speaker 3: like you. I like to start from the from the beginning.

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Speaker 3: Now you from Atlantic City, from Atlantic City? And how

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Speaker 3: did you get into music? What made you say I

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Speaker 3: want to be a producer?

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Speaker 1: And then being.

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Speaker 3: From Atlantic City, anybody from Atlantic City to tell you

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Speaker 3: it's very difficult to get out there. How did you

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Speaker 3: get out there where people started hearing your beats and

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Speaker 3: you started selling some stuff.

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Speaker 6: My mom was a housekeeper.

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Speaker 2: She would go and she would take other people's houses

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Speaker 2: and she would hear these little kids playing piano or

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Speaker 2: being taught. She was like, I need them. I need

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Speaker 2: this guy to teach my son. So I'm five years old.

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Speaker 2: I didn't want to play the piano, to be honest,

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Speaker 2: but my dad had a house rule. You gotta play piano.

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Speaker 2: Live under this roof, all siblings play, we all play.

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Speaker 2: I took the lessons, and probably when I was about

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Speaker 2: ten to eleven, I discovered like I wanted to be

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Speaker 2: a producer. I heard Michael Jackson's album and then I

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Speaker 2: started like, you know, back in the day you read

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Speaker 2: the credits. Yeah, was someone that I really admired from

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Speaker 2: Teddy Rowley on a lot of credits, and I'm like, no,

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Speaker 2: I want to do this.

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Speaker 6: I needed to do this.

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Speaker 2: So back in the day, there was a magazine called

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Speaker 2: black Beat, and I saw an interview and it said

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Speaker 2: like it had like all the top producers, Pete Rock,

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Speaker 2: you know, everybody, and it was like, we use the

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Speaker 2: NPC to.

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Speaker 1: Make the BEATBC sixty back then, and I was.

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Speaker 2: Like, I need this, I need this, can't afford that.

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Speaker 2: My dad borrowed twelve hundred dollars off his life insurance

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Speaker 2: got the NPC for me. We're going.

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Speaker 4: Random question. How was it growing up in Atlantic City?

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Speaker 5: Because I love Atlantic City because my daughter does a

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Speaker 5: lot of cheerleading competitions, and for some reason, when I

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Speaker 5: go out there, I just get a good piece of mind,

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Speaker 5: Like I go out there and writing all types of stuff.

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Speaker 5: How was it growing up there?

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Speaker 4: As a job?

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Speaker 6: It was hard.

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Speaker 2: Because there wasn't there was no outlet. There was no

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Speaker 2: studios there, there was no outlet for music. So I

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Speaker 2: did to get on New Jersey transit up, you know,

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Speaker 2: taking that too and a half half an hour bus

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Speaker 2: ride pretty much every other day just to try to

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Speaker 2: get put on. But yeah, but let me tell you

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Speaker 2: I got discovered. I got discovered by Teddy Riley at

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Speaker 2: the Impact Convention. Where was that at Blank City?

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Speaker 5: Wow?

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Speaker 4: Break that down?

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Speaker 2: So he heard a demo that I produced. He wasn't

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Speaker 2: really into the guy singing the demo, but he was like, Yo,

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Speaker 2: this producer is dope.

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Speaker 6: So the manager told me.

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Speaker 2: I told my dad I'm like, Dad, Teddy heard it.

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Speaker 2: We need to go see him. He's like, where's he at?

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Speaker 2: I said, well, the credits say he's in Virginia Beach,

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Speaker 2: so we gotta go to Virginia Beach. My dad was

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Speaker 2: like that's like a six hour drive. Like whatever, let's go.

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Speaker 6: Yeah.

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Speaker 2: Yeah. So we hop in the car, we hop in

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Speaker 2: the van, the church van because my dad's a pastor,

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Speaker 2: hopping in the church man. We go to Virginia Beach

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Speaker 2: standing in Teddy Rally. He was in his parking lot

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Speaker 2: probably for like half.

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Speaker 3: The day now for people that don't know Teddy Rally

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Speaker 3: from Harlem, he built this huge studio in Virginia Beach

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Speaker 3: and it was beautiful. Everybody worked there, from Pharrell to

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Speaker 3: Bobby Brown to Michael Jackson.

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Speaker 2: Yep. So we go there in the parking lot, were

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Speaker 2: just waiting for him to show up, and then finally

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Speaker 2: he shows up, like six seven hours later. Pull up

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Speaker 2: on him. I'm like, I'm the kid that produced. I'm

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Speaker 2: like literally fourteen years old. I'm like, you just heard

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Speaker 2: my beat. He was like that was you and I

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Speaker 2: was like yeah. He was like, come on, come in

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Speaker 2: the studio. From then, you know, rest is history, and

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Speaker 2: so now and then I'm getting inducted at Teddy Rally's

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Speaker 2: the one inducted me.

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Speaker 1: Wow, that's amazing.

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Speaker 7: So where did the famous child come from? Where did

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Speaker 7: you get that?

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Speaker 2: I just, you know, it was really the name itself

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Speaker 2: came from the style that I felt that I was created.

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Speaker 2: I loved dark minded chords. I was I was youthful,

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Speaker 2: you know, I'm a young kids. So I kind of

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Speaker 2: took those words and played with it. But then I

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Speaker 2: just started saying I didn't know that I was really

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Speaker 2: one of the first ones, probably maybe the first one

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Speaker 2: doing a producer. I didn't know it at the time

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Speaker 2: because I was just like, I was just trying to

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Speaker 2: brand myself, you know, in a way, because I wasn't

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Speaker 2: the type that wanted to be like him and be

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Speaker 2: on the microphone rapping all the time, even though you know,

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Speaker 2: I could spit a little bit, but I didn't want

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Speaker 2: to do that. So I was like, how they gonna

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Speaker 2: know who did the record? So I was like child,

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Speaker 2: I was saying, and then what happened was the artist

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Speaker 2: started to say it, so like Tony Braxon sang it,

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Speaker 2: and then Whitney said it, and then Michael said it

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Speaker 2: and then her said it. They just started saying so

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Speaker 2: I was like, yeah, I ain't got to say no,

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Speaker 2: want let them say it.

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Speaker 3: I love that was there like a producer beat camp

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Speaker 3: really because it was y'all. It was you for real neptunes.

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Speaker 3: There was a bunch of y'us. So I was working

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Speaker 3: in that beat camp because you had producers. You're learning

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Speaker 3: from an icon, but you' all became your own and

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Speaker 3: your own separate ways.

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Speaker 6: Yeah.

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Speaker 2: I think that's what was special about being in VA

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Speaker 2: is like Teddy's studio, Like you wanted to get into

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Speaker 2: his room and see what he was doing, right, And

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Speaker 2: when I came forelling him was already there. So I

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Speaker 2: was the one. I was the one that had to

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Speaker 2: really kind of wait for my turn because he was

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Speaker 2: already down there. And it was kind of like Teddy

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Speaker 2: was cool because he wasn't like signing nobody, so it

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Speaker 2: was more so just like yo, you here, let me

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Speaker 2: hear what you got. So I been there and I'm

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Speaker 2: just waiting for my shot, and then eventually he'd be like,

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Speaker 2: all right, come in, little bro, and then you press playing.

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Speaker 2: It's just like all right, cool, We're gonna get to

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Speaker 2: work and that's how it kind of happened.

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Speaker 4: How many hits did you make back then that you

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Speaker 4: didn't get the credit.

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Speaker 2: For I got credit for my head. I always I

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Speaker 2: always think, So it's funny you say that, though, right.

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Speaker 2: I always look at like how people do their business,

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Speaker 2: and whatever's wrong with their business, it's not gonna be

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Speaker 2: wrong with my business. So there's a lot of ms

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Speaker 2: stakes that I would see in the industry, and I'd

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Speaker 2: be like, y'all allow that to happen.

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Speaker 6: That can't happen to me, you know.

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Speaker 2: And and I've learned to play in a position affair

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Speaker 2: with my artists. I've learned to be I want to be.

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Speaker 2: I want to be one of those dudes where when

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Speaker 2: you know, like, oh you did the deal with him,

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Speaker 2: you got a good deal, you know. And and a

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Speaker 2: lot of producers now that's blown up, came from my camp,

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Speaker 2: d Mile Tommy Brown, like these are like the people

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Speaker 2: who did the mau just did. I think every Bruno

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Speaker 2: Mars record that you can think of, you know, I

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Speaker 2: don't know.

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Speaker 3: I don't I don't know any of the new We

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Speaker 3: don't read the credits anymore, like that stream.

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Speaker 2: They don't even understand what it means. They don't even

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Speaker 2: understand what it means. Like then, I think we were

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Speaker 2: in a different day right back in the day was

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Speaker 2: it was a producer driven industry. It wasn't foul sharing,

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Speaker 2: so I wasn't sending you a fiul like I'm in

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Speaker 2: the studio with Michael. I'm in the studio with and

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Speaker 2: I'm doing their vocals with him, I'm coaching them. Now

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Speaker 2: it's just like, Yo, send the files and we're gonna

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Speaker 2: cut that tonight and send it back to you.

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Speaker 1: And you gotta break that down.

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Speaker 7: In personal engagement, like it's none of that.

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Speaker 2: Is not at all, not at all. I think I

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Speaker 2: think that's where the game is lost. I think there's

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Speaker 2: a lot of producers and artists that don't even know

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Speaker 2: each other. Yeah, And it's and here's the difference too.

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Speaker 2: Remember like when credits was a thing, Yes, right, well,

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Speaker 2: credits was a thing, but it was also a thing

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Speaker 2: where you might only saw three to four names on

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Speaker 2: a song. The only time you saw multiple names is

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Speaker 2: when someone with someone sampled. Now you see ten fifteen

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Speaker 2: names on the record, You're like, dang, like who wrote what?

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Speaker 2: Like nobody can there's no real identity of a songwriter

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Speaker 2: anymore over a producer anymore, because it's so many names,

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Speaker 2: so we don't know who did what.

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Speaker 4: And then a lot of that have to do a

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Speaker 4: sample sometimes though.

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Speaker 6: That's what I'm saying this.

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Speaker 2: Back in the day, it didn't Now no, Now it's

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Speaker 2: just because you've been foul sharing. So it's like if

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Speaker 2: I if I'm working on the track and I started

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Speaker 2: and I'm like, oh, this is dope, let me send

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Speaker 2: it to him, and then he's like, Yo, this is dope,

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Speaker 2: but I think I could do a better eight o weight.

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Speaker 2: The minute that he has is eight o weight. He's

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Speaker 2: now a co producer, and then he sends it over

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Speaker 2: him He's like, yeah, this is fire. But yo, what

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Speaker 2: if we add this pad? Soon as he had that pad?

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Speaker 2: Now he's a producer. Now you got three producers versus

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Speaker 2: the one when I started out. Every song that I did,

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Speaker 2: I produce. So you're talking about fifty percent of the

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Speaker 2: publishing his mind right out the gate. That's how it

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Speaker 2: starts with every record. Fifty percent. Now I'm look at

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Speaker 2: when I look at splits, now I'll be seeing a

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Speaker 2: producer like seven percent five percent. Yo, what happened?

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Speaker 6: You know? So I'm blessing the time that I came up.

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Speaker 3: Yeah, yeah, And I gotta ask, now you just glazed

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Speaker 3: over Michael Jackson. Talk about how you started working with

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Speaker 3: Michael Jackson. How was that call? And how was he

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Speaker 3: in the studio? Because you were actually in the studio.

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Speaker 2: With him, the greatest, the greatest artist I've ever worked with,

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Speaker 2: hands down, like and you know Mike was so special

222
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Speaker 2: and different that he pushed you to limits like you

223
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Speaker 2: can't have imagine Like I remember him telling me, you

224
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Speaker 2: got to get exhausted in the music. I'm like, what, Like,

225
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Speaker 2: I ain't know what. I'm twenty one years old. He's

226
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Speaker 2: talking about twenty one year old kid working with Michael Jackson.

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Speaker 1: How did they call?

228
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Speaker 6: How was that?

229
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Speaker 2: How did he reach out? Oh? It called yo, this

230
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Speaker 2: is real crazy. It called from a dream, but it happened.

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Speaker 2: It happened from a dream. I was in my mom

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Speaker 2: say that before. I was in my mom and dad's

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Speaker 2: house on the couch, took a nap and I had

234
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Speaker 2: a dream, literally had this dream that I was pulling

235
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Speaker 2: up to this studio with glass windows, and I saw

236
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Speaker 2: Michael Jackson in the red shirt, that red shirt with

237
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Speaker 2: the black pants in the window. I woke up from

238
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Speaker 2: the dream, told my mother and father the dream. I

239
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Speaker 2: just had the phone rings like ten minutes later, lady

240
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Speaker 2: by the name of Carol beer Seger calls. You probably

241
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Speaker 2: even know what that is, she wrote, that's what friends

242
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Speaker 2: are four, it's the older lady whatever.

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Speaker 6: She said.

244
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Speaker 2: I had saved my name out at the time of

245
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Speaker 2: Destney's Child. She goes, Ronnie, I love this song you

246
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Speaker 2: have out. I wonder know if you would have to

247
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Speaker 2: come to my house and work this week. And I

248
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Speaker 2: was like, I didn't even know she was. She was like,

249
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Speaker 2: I'm working with Michael Jackson. I was like where, She's

250
00:10:11,920 --> 00:10:14,400
Speaker 2: like bell Air. I was like, I'm in Jersey, but

251
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Speaker 2: I'm out. I'm going for real. I got on the

252
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Speaker 2: plane and I stayed in the hotel until she called me.

253
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Speaker 2: She called me on Thursday, four days later and was like,

254
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Speaker 2: can you come to the house today. I'm like, yeah,

255
00:10:23,800 --> 00:10:26,800
Speaker 2: I came. I kid, you not pulling up the driveway,

256
00:10:27,040 --> 00:10:30,000
Speaker 2: I looked to the left. I see Michael Jackson in

257
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Speaker 2: the window with the red.

258
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Speaker 1: Shirt damn, staring out the window.

259
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Speaker 2: Just like just like the dream. And I was like,

260
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Speaker 2: nobody can't tell me. God, ain't real have you ever.

261
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Speaker 4: Told him that?

262
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Speaker 2: Did you tell him literally talk? I'm like, you know,

263
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Speaker 2: he blieves and stuff like that.

264
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Speaker 6: That was how I was supposed to happen.

265
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Speaker 4: Is that how you said?

266
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Speaker 2: I supposed to Mike's voice is actually giving it. That's

267
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Speaker 2: how I supposed to you a little deeper than that, right,

268
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Speaker 2: but it was true? Like it like like I just

269
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Speaker 2: feel like God just went like he showed me exactly

270
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Speaker 2: how going to be. So I can't have the story

271
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Speaker 2: to be able to tell him one day I was

272
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Speaker 2: supposed to be.

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Speaker 4: I want to say, envy. It's glossed over, not glazed.

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Speaker 5: Even though Michael Jackson deserves all the glazing because he's

275
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Speaker 5: the greatest of all time.

276
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Speaker 4: It's glossed over. Jesus, it's crazy.

277
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Speaker 1: Talk about working with MJ.

278
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Speaker 2: How is that amazing? Well?

279
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Speaker 6: He worked me hard, bro, He's different.

280
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Speaker 2: Like he'd be like he would call three four o'clock

281
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Speaker 2: in the morning, be like can I hear what you're

282
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Speaker 2: working on over the phone, and I'll be like, I'm

283
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Speaker 2: actually not working right now. I'm actually trying to take

284
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Speaker 2: a nap because I've been up for thirty hours. No, Well,

285
00:11:34,760 --> 00:11:35,960
Speaker 2: can you go to the studio right now?

286
00:11:36,080 --> 00:11:37,199
Speaker 6: Play? Like, he's like that.

287
00:11:37,679 --> 00:11:40,560
Speaker 2: So I get up and drive to the studio and playing,

288
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Speaker 2: and Mike was so crazy with it that this was crazy.

289
00:11:43,679 --> 00:11:45,360
Speaker 2: I would playing some of the phone. He'd be like,

290
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Speaker 2: can you turn the high hats down three DB's and

291
00:11:49,080 --> 00:11:51,880
Speaker 2: then make sure he's goes and make sure that pay

292
00:11:52,120 --> 00:11:57,439
Speaker 2: to the left. And I'll be like, really he goes, yes,

293
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Speaker 2: And I would be bugging and out. But only thing

294
00:11:59,840 --> 00:12:03,319
Speaker 2: I can think of right, which is crazy. Right. Michael

295
00:12:03,720 --> 00:12:11,560
Speaker 2: Jackson was taught by Barry Gordy Quincy Jones, Teddy Robby,

296
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Speaker 2: So that school. I'm a part of that school now, right,

297
00:12:17,679 --> 00:12:21,200
Speaker 2: And I'm getting what he learned from Barry Gordon Quincy Jones.

298
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Speaker 2: So I'm taking it all in. I'm learning. But dude

299
00:12:24,520 --> 00:12:28,080
Speaker 2: was he was incredible, bro like and a great person.

300
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Speaker 6: Like you know.

301
00:12:28,640 --> 00:12:31,800
Speaker 2: We we used to bet. We used to bet DVDs.

302
00:12:31,840 --> 00:12:36,679
Speaker 2: We played pool together, bet DVDs, bet DVDs. I used

303
00:12:36,679 --> 00:12:39,680
Speaker 2: to I used to bet him he beat me because

304
00:12:39,720 --> 00:12:43,520
Speaker 2: I scratch. And we go shopping right here, Virgin Music

305
00:12:43,520 --> 00:12:45,120
Speaker 2: Store on Tom Square.

306
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Speaker 1: He would walk in there with you, he put.

307
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Speaker 6: The disguise on. We went.

308
00:12:48,440 --> 00:12:51,280
Speaker 2: We went there and I had to buy the DVDs.

309
00:12:51,920 --> 00:12:53,640
Speaker 2: A lot of people don't notice. I took Michael to

310
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Speaker 2: Record Park and basketball.

311
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Speaker 6: No one knows this. Y'all know it now.

312
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Speaker 2: But when we did My World, Michael kept saying, we

313
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Speaker 2: need to go to a club and test it out.

314
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Speaker 2: And I was like, I was like, I got one better.

315
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Speaker 2: I said, I'm gonna take this as spot called Record Park,

316
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Speaker 2: and I didn't let him get out the car, but

317
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Speaker 2: I just wanted him to feel the energy. So I

318
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Speaker 2: went to the Record Park and I played the record

319
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Speaker 2: and they was going crazy. They didn't know that Mike.

320
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Speaker 2: The window was cracked the whole time. They didn't know

321
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Speaker 2: Mike was in the car.

322
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Speaker 4: Wow, that's crazy.

323
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Speaker 2: And I'm gonna tell you how cool we got this,

324
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Speaker 2: how cool we got.

325
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Speaker 6: I'm in Manhattan one time I could sense that.

326
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Speaker 2: I'm every time I went Mike, He's in disguise when

327
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Speaker 2: he goes out, like it's always that. One day I

328
00:13:39,320 --> 00:13:43,400
Speaker 2: was like, yo, hey, Mike, I'm coming to pick you up,

329
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Speaker 2: and he was like wow. I was like, just be read,

330
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Speaker 2: I'm coming to pick you up. I had a blue

331
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Speaker 2: Peakcock Bentley convertible. I dropped the top. I pulled up

332
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Speaker 2: to his apartment and I said, Yo, Mike, come out.

333
00:13:55,840 --> 00:13:58,079
Speaker 6: He's like, let me get skipped. Skip was his security guard.

334
00:13:58,080 --> 00:14:00,680
Speaker 2: It's like no, no, no, no, no, no, come out.

335
00:14:00,800 --> 00:14:01,800
Speaker 1: I'm trying to kill Michael.

336
00:14:01,920 --> 00:14:03,480
Speaker 6: Listen, I'm trying to kill him.

337
00:14:03,480 --> 00:14:05,120
Speaker 2: I'm I'm trying to let him see what I know

338
00:14:05,160 --> 00:14:08,280
Speaker 2: he wanted to see, right, and I knew no one

339
00:14:08,320 --> 00:14:10,240
Speaker 2: would do that for him but me. He gets in

340
00:14:10,360 --> 00:14:14,480
Speaker 2: my car. I put the windows up, but the top

341
00:14:14,559 --> 00:14:17,120
Speaker 2: is off. And I remember this day because that was

342
00:14:17,160 --> 00:14:20,440
Speaker 2: the day that Hot ninety seven was playing the Janet

343
00:14:20,560 --> 00:14:25,120
Speaker 2: Jackson Black Street record that just came out, and it

344
00:14:25,200 --> 00:14:27,080
Speaker 2: came on and I'm playing Hot ninety seven. I'm rolling

345
00:14:27,120 --> 00:14:31,120
Speaker 2: through Manhattan with Michael and he's going crazy. He's love.

346
00:14:31,200 --> 00:14:33,920
Speaker 2: He's just loving the fact. When we got back to

347
00:14:33,920 --> 00:14:36,280
Speaker 2: the apartment, he looked at him and he's like, thank you,

348
00:14:36,400 --> 00:14:38,680
Speaker 2: that's it. I'm just like, noo, this is what it's about,

349
00:14:39,360 --> 00:14:40,960
Speaker 2: trying to get him killed. I was just trying to

350
00:14:41,200 --> 00:14:43,560
Speaker 2: let him see reality because he ain't seen it in

351
00:14:43,640 --> 00:14:47,200
Speaker 2: so long. You feel what I'm saying, And that spills

352
00:14:47,240 --> 00:14:50,280
Speaker 2: over into our production, That spills over to Rock my World,

353
00:14:50,280 --> 00:14:53,080
Speaker 2: it spills over to what we're trying to create because

354
00:14:53,360 --> 00:14:55,360
Speaker 2: you have to still have a sense of what's going on,

355
00:14:55,480 --> 00:14:57,680
Speaker 2: or you can't really create from a real place.

356
00:14:57,720 --> 00:15:00,640
Speaker 5: You know, like you talk about my Jackson. You worked

357
00:15:00,640 --> 00:15:03,280
Speaker 5: with them, you worked with Whitney, you worked with Brandy Beyonce.

358
00:15:03,600 --> 00:15:05,920
Speaker 5: What's something they all had in common in the studio

359
00:15:06,040 --> 00:15:07,720
Speaker 5: that separated them from everybody else?

360
00:15:11,720 --> 00:15:18,880
Speaker 2: Tenacity, patience. You're talking about artists that focused on making albums,

361
00:15:19,760 --> 00:15:22,920
Speaker 2: which is another art form that we've lost a little bit. Right,

362
00:15:23,000 --> 00:15:25,400
Speaker 2: It wasn't about like just the single, it was about

363
00:15:25,400 --> 00:15:28,280
Speaker 2: like how to make a great a great album. I

364
00:15:28,320 --> 00:15:30,440
Speaker 2: felt like a lot of them sometimes got caught up

365
00:15:30,440 --> 00:15:34,320
Speaker 2: in trying to compete with themselves, especially Michael, like he

366
00:15:34,480 --> 00:15:37,840
Speaker 2: was overly trying to compete with himself. You never beat Thriller,

367
00:15:37,960 --> 00:15:40,320
Speaker 2: that's how could you?

368
00:15:40,320 --> 00:15:40,880
Speaker 6: You know what I mean?

369
00:15:40,920 --> 00:15:44,120
Speaker 2: But he believed he would, right, He believed he could.

370
00:15:44,120 --> 00:15:46,400
Speaker 2: He believed he would, which is crazy to think about it. Right,

371
00:15:47,600 --> 00:15:51,680
Speaker 2: if Michael was alive or was doing what he was

372
00:15:51,720 --> 00:15:54,040
Speaker 2: doing in the streaming world, I believe he could have

373
00:15:54,040 --> 00:15:57,800
Speaker 2: beat it. Really, yeah, I believe he could have been.

374
00:15:57,920 --> 00:16:00,520
Speaker 5: But you know what's interesting with an album, like, are

375
00:16:00,560 --> 00:16:03,720
Speaker 5: any artists what are you trying to beat Are you

376
00:16:03,760 --> 00:16:05,400
Speaker 5: trying to beat yourselves? Are you just trying to be

377
00:16:05,440 --> 00:16:07,360
Speaker 5: better musically? I would think you just would want to

378
00:16:07,360 --> 00:16:08,400
Speaker 5: be better musically.

379
00:16:08,560 --> 00:16:08,800
Speaker 2: I don't.

380
00:16:08,880 --> 00:16:09,520
Speaker 6: I don't think so.

381
00:16:10,280 --> 00:16:13,520
Speaker 2: I think someone like Michael got obsessed with knowing the

382
00:16:13,640 --> 00:16:16,720
Speaker 2: numbers that he that he did was so high that

383
00:16:16,800 --> 00:16:20,640
Speaker 2: he wasn't competing against anyone else anymore. Musically. It wasn't

384
00:16:20,640 --> 00:16:23,200
Speaker 2: a race with Prince anymore. It wasn't all He's like,

385
00:16:23,240 --> 00:16:27,040
Speaker 2: I already beat you. Now I'm trying to beat me right.

386
00:16:27,440 --> 00:16:30,840
Speaker 2: And And how I noticed to be factual was because

387
00:16:30,880 --> 00:16:34,120
Speaker 2: he didn't say that. He would say, I think there's

388
00:16:34,120 --> 00:16:36,920
Speaker 2: a day where I could do a billion cells. He

389
00:16:37,000 --> 00:16:40,120
Speaker 2: literally would say that, So that lets me know that

390
00:16:40,160 --> 00:16:42,760
Speaker 2: he's racing for that. He's racing for a number. And

391
00:16:42,800 --> 00:16:45,560
Speaker 2: he had to because in his mind he was like,

392
00:16:46,160 --> 00:16:49,560
Speaker 2: how do you stay hungry? How do you stay when

393
00:16:49,600 --> 00:16:51,200
Speaker 2: you're the greatest? Like how do you get up for

394
00:16:51,240 --> 00:16:53,440
Speaker 2: the fight? Like you know, a lot of great fighters

395
00:16:53,920 --> 00:16:56,120
Speaker 2: lose fights because they just can't get up for the

396
00:16:56,160 --> 00:16:58,520
Speaker 2: fight anymore because they've done That's why you got to

397
00:16:58,720 --> 00:17:01,080
Speaker 2: You gotta give props to someone of Floyd Mayweather. You

398
00:17:01,120 --> 00:17:03,200
Speaker 2: got be like, yo, this dude stayed hungry, like, no

399
00:17:03,240 --> 00:17:05,679
Speaker 2: matter what, some people get to forty and forty two

400
00:17:05,720 --> 00:17:07,480
Speaker 2: and no and they ready to just I'm done with it.

401
00:17:07,800 --> 00:17:10,080
Speaker 2: I'm not putting in that time no more. He saw

402
00:17:10,280 --> 00:17:14,040
Speaker 2: he had. He was super competitive. He was super competitive

403
00:17:14,080 --> 00:17:18,040
Speaker 2: with me, meaning like he would challenge me and tell me, like, yo,

404
00:17:18,800 --> 00:17:20,800
Speaker 2: that producer over there, he's coming for you.

405
00:17:21,119 --> 00:17:23,160
Speaker 6: He would tell me, just like I'd be like, you crazy.

406
00:17:23,520 --> 00:17:25,080
Speaker 2: If you think he got a chance to get on

407
00:17:25,080 --> 00:17:27,760
Speaker 2: this project, you out of your mind. That's how we talked.

408
00:17:30,320 --> 00:17:34,679
Speaker 2: And the coldest thing I saw Mike do was a

409
00:17:34,680 --> 00:17:38,480
Speaker 2: friend of mine. He ran E and My Publishing, Big

410
00:17:38,560 --> 00:17:41,879
Speaker 2: John Big John Platt. Big Big John Platt is the

411
00:17:42,040 --> 00:17:44,359
Speaker 2: is the CEO of Sony Music Publishing now YEP, but

412
00:17:44,480 --> 00:17:45,919
Speaker 2: at the time he was running E and I. He

413
00:17:45,920 --> 00:17:51,840
Speaker 2: wanted to meet Mike, So I took Mike to E

414
00:17:51,920 --> 00:17:54,480
Speaker 2: and I to meet him. I went to go make

415
00:17:54,480 --> 00:17:57,080
Speaker 2: sure everything was okay inside. I came back out, Mike

416
00:17:57,200 --> 00:17:59,280
Speaker 2: was gone and there was a van parked.

417
00:17:58,960 --> 00:17:59,439
Speaker 6: In the spot.

418
00:18:00,160 --> 00:18:02,920
Speaker 2: I'm like, what happened? Where do you go? The guy

419
00:18:02,920 --> 00:18:05,040
Speaker 2: got off the van and said Mike wanted some fried chicken,

420
00:18:05,960 --> 00:18:08,080
Speaker 2: so he went up to block the Kentucky Fried Chicken.

421
00:18:09,040 --> 00:18:11,520
Speaker 6: That's how he was. That's how he was.

422
00:18:11,600 --> 00:18:14,360
Speaker 2: And what was crazy was y'all were here to story

423
00:18:14,359 --> 00:18:16,600
Speaker 2: about jay Z doing the Summer Jam bringing Michael out of.

424
00:18:19,280 --> 00:18:19,359
Speaker 8: Me.

425
00:18:19,480 --> 00:18:21,680
Speaker 4: Yea, we heard stories he.

426
00:18:21,600 --> 00:18:26,040
Speaker 2: Brought Michael out Summer Jam. That doesn't happen without me

427
00:18:26,200 --> 00:18:30,560
Speaker 2: introducing him to micro jay Z Again, jay Z wants

428
00:18:30,600 --> 00:18:34,840
Speaker 2: to meet Michael Jackson. So my man, Big Chuck, Big John,

429
00:18:35,200 --> 00:18:36,760
Speaker 2: all of them call me like, yo, can you introduce

430
00:18:36,840 --> 00:18:38,560
Speaker 2: Jay to Mike. I'm like, yeah, I didn't even know

431
00:18:38,760 --> 00:18:41,600
Speaker 2: j yet. I'm like, yeah, I got him bring up

432
00:18:41,600 --> 00:18:43,320
Speaker 2: to the studio. That was the Actually, that was the

433
00:18:43,320 --> 00:18:45,760
Speaker 2: first time I seen Jay kind of in a just

434
00:18:45,800 --> 00:18:50,560
Speaker 2: a very chill like Michael Jackson, Like, this is Michael Jackson.

435
00:18:50,720 --> 00:18:53,480
Speaker 2: I introduced him to Michael. He had a great conversation.

436
00:18:53,600 --> 00:18:55,600
Speaker 2: We're talking. Next thing, you know. A couple months later,

437
00:18:56,000 --> 00:18:57,680
Speaker 2: he calls Michael to do Summer Jam.

438
00:18:58,080 --> 00:18:58,560
Speaker 6: Like he does it.

439
00:18:58,840 --> 00:19:00,639
Speaker 4: Then Michael and the Girls Girls Girl's Remix.

440
00:19:01,000 --> 00:19:01,639
Speaker 1: There's a version of.

441
00:19:01,680 --> 00:19:03,720
Speaker 6: Him, that's what they Yeah, that's what on on one

442
00:19:03,760 --> 00:19:04,400
Speaker 6: of the remixes.

443
00:19:04,480 --> 00:19:06,200
Speaker 1: Yeah, yeah, so I wanted to ask.

444
00:19:07,520 --> 00:19:10,520
Speaker 2: No, No. It was just like I think, like I was.

445
00:19:11,240 --> 00:19:13,119
Speaker 2: It was funny because I was just there trying to

446
00:19:13,119 --> 00:19:16,040
Speaker 2: introdate I think even fifty cent. It was just I

447
00:19:16,080 --> 00:19:18,840
Speaker 2: was introducing him to people that wanted to meet him

448
00:19:19,119 --> 00:19:21,600
Speaker 2: and that he wanted to meet. Mike was a diehard

449
00:19:21,600 --> 00:19:24,159
Speaker 2: fifty fan at the time, like no other rapper mattered

450
00:19:24,200 --> 00:19:27,959
Speaker 2: to Michael fifty and Biggie I was big and Biggie

451
00:19:28,000 --> 00:19:31,440
Speaker 2: was Biggie was gone. Biggie was gone. I remember Michael

452
00:19:31,520 --> 00:19:33,280
Speaker 2: used to do crazy challenges with me. I remember I

453
00:19:33,320 --> 00:19:35,920
Speaker 2: was working on this song called Unbreakable and as I

454
00:19:36,040 --> 00:19:38,959
Speaker 2: as I'm finishing it, Michael goes, we need Biggie on it,

455
00:19:39,440 --> 00:19:41,879
Speaker 2: as if he was alive. That's the way he spoke,

456
00:19:42,160 --> 00:19:43,920
Speaker 2: and I was like, what you mean.

457
00:19:43,960 --> 00:19:46,560
Speaker 6: He was like, I want Biggie on this. So I'm like, yo,

458
00:19:46,640 --> 00:19:47,360
Speaker 6: I'm gonna.

459
00:19:47,119 --> 00:19:51,600
Speaker 2: Get And then then I realized I had like an

460
00:19:51,640 --> 00:19:54,160
Speaker 2: a cappella for something that he did with Shock back

461
00:19:54,200 --> 00:19:56,000
Speaker 2: in the day, and I was like, Okay, I'm gonna

462
00:19:56,080 --> 00:19:57,400
Speaker 2: use this and see if I can time and get

463
00:19:57,400 --> 00:19:58,639
Speaker 2: it right. And I got it in there and he

464
00:19:58,760 --> 00:20:01,280
Speaker 2: was like, okay, good, We're good. I got Biggie.

465
00:20:01,280 --> 00:20:03,760
Speaker 5: But they worked together in real life too, though. That's

466
00:20:03,880 --> 00:20:05,720
Speaker 5: I always see that picture. I don't know if it's really.

467
00:20:06,040 --> 00:20:07,800
Speaker 2: I don't know. Maybe he did, I don't know, you

468
00:20:07,920 --> 00:20:09,639
Speaker 2: know he, I know he Biggie and fifty was the

469
00:20:09,720 --> 00:20:11,080
Speaker 2: two people he constantly talked to me.

470
00:20:11,160 --> 00:20:13,399
Speaker 4: Can you imagine Michael Jackson wild in the what up gangster?

471
00:20:14,040 --> 00:20:14,440
Speaker 5: Damn?

472
00:20:14,920 --> 00:20:19,280
Speaker 1: Yes, low key, yeah, yes, I can imagine that.

473
00:20:19,480 --> 00:20:21,480
Speaker 5: I'm interested in I was going to ask you about this,

474
00:20:21,480 --> 00:20:22,359
Speaker 5: but I want to ask you about it now.

475
00:20:22,359 --> 00:20:23,560
Speaker 4: I'm interested in your visions?

476
00:20:23,640 --> 00:20:25,760
Speaker 5: Right? Who just told the division you had about Michael?

477
00:20:25,760 --> 00:20:27,480
Speaker 5: And I heard the vision you had about jay Z.

478
00:20:27,920 --> 00:20:30,040
Speaker 5: Has Michael or Whitney visited you?

479
00:20:30,160 --> 00:20:32,120
Speaker 2: And then when he used to sing with my dad's

480
00:20:32,160 --> 00:20:34,840
Speaker 2: church in Pleasantville, New Jersey, a little church with fifty

481
00:20:34,960 --> 00:20:37,760
Speaker 2: fifty people in it, call me up one day.

482
00:20:37,680 --> 00:20:39,480
Speaker 1: I think, Charloman a dream, but I'm in the dream.

483
00:20:39,520 --> 00:20:40,359
Speaker 4: I had one of your visions.

484
00:20:40,400 --> 00:20:44,040
Speaker 2: Yeah? Has has said again said, have they visited you

485
00:20:44,080 --> 00:20:44,600
Speaker 2: in a vision?

486
00:20:45,080 --> 00:20:48,600
Speaker 6: Like you're saying since yeah, yeah, wow.

487
00:20:48,680 --> 00:20:53,520
Speaker 2: Yeah, Michael for sure, Michael for sure. Now you want

488
00:20:53,520 --> 00:20:55,960
Speaker 2: to share it, not not as much Whitney, but like,

489
00:20:56,480 --> 00:20:58,640
Speaker 2: but Michael for sure. Just lie to just be like,

490
00:20:59,080 --> 00:21:02,399
Speaker 2: I'm back in the lab with Michael created. And the

491
00:21:02,440 --> 00:21:04,760
Speaker 2: crazy thing is is when I've had that dream, which

492
00:21:04,800 --> 00:21:09,320
Speaker 2: just happened a few times, it was something like musically incredible,

493
00:21:09,880 --> 00:21:11,919
Speaker 2: and when I got up, I couldn't remember when what

494
00:21:12,000 --> 00:21:14,359
Speaker 2: I was creating in the dream. It was like, whoa,

495
00:21:14,680 --> 00:21:16,960
Speaker 2: it didn't sound like anything from here.

496
00:21:17,880 --> 00:21:20,440
Speaker 1: Like you was talking about Whitney coming to your dad's church.

497
00:21:20,880 --> 00:21:23,520
Speaker 2: Yeah. Like so me and Whitney bonded when I worked

498
00:21:23,520 --> 00:21:28,080
Speaker 2: with her, spiritually rebonded. And one day she just called

499
00:21:28,119 --> 00:21:30,399
Speaker 2: me out the blue and she was just like, oh,

500
00:21:30,800 --> 00:21:33,360
Speaker 2: we had just finished working together album that came out.

501
00:21:33,400 --> 00:21:35,840
Speaker 2: She was like, hey, what you're doing, dark child? Early

502
00:21:35,880 --> 00:21:37,879
Speaker 2: in the early Sunday morning. I was like, it's like

503
00:21:37,920 --> 00:21:39,399
Speaker 2: eight o'clock in the morning. What you mean, what am

504
00:21:39,400 --> 00:21:41,000
Speaker 2: I doing? She goes, I want to go to church today,

505
00:21:41,720 --> 00:21:43,280
Speaker 2: and I was like okay, and she's like, no, I

506
00:21:43,320 --> 00:21:45,280
Speaker 2: want to go to your church. And I was like,

507
00:21:45,320 --> 00:21:47,080
Speaker 2: my church is like two and a half hours from

508
00:21:47,080 --> 00:21:48,679
Speaker 2: mind of New Jersey. She was like, I'm on my

509
00:21:48,720 --> 00:21:52,600
Speaker 2: way and she pulled up to church. It's like like

510
00:21:52,680 --> 00:21:56,160
Speaker 2: she pulled up and she sang. She whispered in my ear.

511
00:21:56,600 --> 00:21:58,160
Speaker 2: She was like, tell your daddy, I want to sing

512
00:21:59,040 --> 00:22:02,359
Speaker 2: this is like in nineteen ninety eight or nine, Wow

513
00:22:02,880 --> 00:22:08,280
Speaker 2: and crazy, she's saying, killed it. But here, three months

514
00:22:08,280 --> 00:22:11,960
Speaker 2: before she passed away, she called me up. I ain't

515
00:22:12,000 --> 00:22:14,840
Speaker 2: talked to her in like probably five years. She called

516
00:22:14,880 --> 00:22:17,040
Speaker 2: me side, I need to see you. I said, what's up?

517
00:22:17,119 --> 00:22:19,760
Speaker 2: She goes, we need to pray together. She's like, where

518
00:22:19,760 --> 00:22:22,160
Speaker 2: are you at? I said, I'm at my studio in Hollywood.

519
00:22:22,240 --> 00:22:25,320
Speaker 2: She goes, I'm on my way. She came all the

520
00:22:25,320 --> 00:22:27,400
Speaker 2: way down from Newport Beach, wherever she was living at

521
00:22:27,400 --> 00:22:31,479
Speaker 2: the Toime literally came in the studio and next thing

522
00:22:31,480 --> 00:22:33,439
Speaker 2: you know, it turned into like a church service in

523
00:22:33,480 --> 00:22:36,600
Speaker 2: the studio, just three months before she passed away. So

524
00:22:36,640 --> 00:22:39,640
Speaker 2: we've always had that, like some of that type of connection. Now.

525
00:22:39,640 --> 00:22:43,480
Speaker 3: You also talked about the competition between Prince and Michael, right,

526
00:22:44,720 --> 00:22:46,720
Speaker 3: was it the competition where you couldn't work for Prince

527
00:22:46,720 --> 00:22:49,240
Speaker 3: because Mike had his people, Prince had his people?

528
00:22:49,320 --> 00:22:51,760
Speaker 1: How serious was that competition case? We hear stories all

529
00:22:51,760 --> 00:22:52,040
Speaker 1: the time.

530
00:22:52,119 --> 00:22:53,680
Speaker 2: Mike definitely stopped me from working with a lot of

531
00:22:53,680 --> 00:22:57,119
Speaker 2: people at that time, just a lot of artists. A

532
00:22:57,160 --> 00:22:58,960
Speaker 2: lot of artists was calling me to work at that time,

533
00:22:59,000 --> 00:23:01,199
Speaker 2: and Mike was just like I'll pay you not to

534
00:23:01,240 --> 00:23:04,879
Speaker 2: work with them. Yeah, she was like he was like,

535
00:23:05,160 --> 00:23:06,960
Speaker 2: I need you And it wasn't a thing. It wasn't

536
00:23:06,960 --> 00:23:08,720
Speaker 2: a thing of i'll pay you not to work with

537
00:23:08,760 --> 00:23:10,639
Speaker 2: them because they're not good or anything like that. Was

538
00:23:10,680 --> 00:23:13,280
Speaker 2: more so I need you here, focused on locked in

539
00:23:13,320 --> 00:23:14,040
Speaker 2: on what we're doing.

540
00:23:15,160 --> 00:23:17,000
Speaker 5: You know, we always hear a conspiracy theories, like you know,

541
00:23:17,000 --> 00:23:19,040
Speaker 5: they be like, oh, Bill Cobby was trying to buy NBC.

542
00:23:19,680 --> 00:23:23,320
Speaker 5: Michael's the only person I believe they really really tried

543
00:23:23,600 --> 00:23:25,719
Speaker 5: the railroad like that because of what he did with

544
00:23:26,040 --> 00:23:27,479
Speaker 5: the publishing in the music industry.

545
00:23:27,480 --> 00:23:30,560
Speaker 2: He talked about it all the time. He talked about

546
00:23:30,600 --> 00:23:32,480
Speaker 2: it all the time. One thing I will say is

547
00:23:32,520 --> 00:23:37,840
Speaker 2: that in the studio he would always talk about how

548
00:23:37,920 --> 00:23:41,920
Speaker 2: he he lived in a certain fear. And I used

549
00:23:41,920 --> 00:23:43,880
Speaker 2: to always try to real him in a direction like, Yo,

550
00:23:43,920 --> 00:23:47,680
Speaker 2: you only to post to fear. God man can't don't.

551
00:23:47,680 --> 00:23:50,399
Speaker 2: Shouldn't have you feeling like that, No man should have

552
00:23:50,440 --> 00:23:53,000
Speaker 2: you living in that space. But he lived in that

553
00:23:53,040 --> 00:23:55,320
Speaker 2: space a lot because he felt like he had something

554
00:23:55,320 --> 00:23:58,880
Speaker 2: that was so valuable what he did, He had something

555
00:23:58,920 --> 00:24:00,320
Speaker 2: so value that people want it.

556
00:24:00,520 --> 00:24:03,280
Speaker 4: He owned like half half of Sony ATV's publishers.

557
00:24:03,440 --> 00:24:05,679
Speaker 2: Yeah, I think what people have confused. I'm glad you

558
00:24:05,680 --> 00:24:07,560
Speaker 2: said it that way, because I think people have confused

559
00:24:07,560 --> 00:24:10,840
Speaker 2: the narrative. People for so long have said Michael owned

560
00:24:10,840 --> 00:24:14,719
Speaker 2: the Beatles catalog. I heard that Michael owned Sony ATV,

561
00:24:15,640 --> 00:24:21,160
Speaker 2: which is Babyface, Mariah the Beatles. Probably some of my

562
00:24:21,200 --> 00:24:26,440
Speaker 2: catalog was in there. Yes, Like, I mean, you got

563
00:24:26,440 --> 00:24:28,480
Speaker 2: three giants right at the time, you had three giants.

564
00:24:28,600 --> 00:24:30,800
Speaker 2: Sony was pretty much the biggest out the three at

565
00:24:30,800 --> 00:24:33,240
Speaker 2: that time, and they did a deal with him that,

566
00:24:33,440 --> 00:24:36,280
Speaker 2: you know forever. He felt that they want it back,

567
00:24:38,119 --> 00:24:38,800
Speaker 2: you know what I'm saying.

568
00:24:39,040 --> 00:24:42,080
Speaker 3: And you think they threw all those cases at Michael

569
00:24:42,600 --> 00:24:43,720
Speaker 3: because they wanted it back.

570
00:24:44,200 --> 00:24:46,040
Speaker 2: I think it could have had something to do with it.

571
00:24:46,400 --> 00:24:48,200
Speaker 2: I'm not going to say exactly that, but it could

572
00:24:48,200 --> 00:24:50,160
Speaker 2: have had something to do with it. But I believe

573
00:24:50,240 --> 00:24:52,639
Speaker 2: none of it because I was around Mike all the

574
00:24:52,680 --> 00:24:54,240
Speaker 2: time and I knew the kind of person he was,

575
00:24:54,320 --> 00:24:57,240
Speaker 2: So I'm like, they's really trying to kill his character.

576
00:24:57,800 --> 00:24:59,639
Speaker 2: And he would say it like he'd be like, he

577
00:24:59,840 --> 00:25:02,960
Speaker 2: just they just can't stand that I'm the greatest. He

578
00:25:03,000 --> 00:25:05,639
Speaker 2: would literally say that. He would literally say that he

579
00:25:05,760 --> 00:25:07,160
Speaker 2: just can't stand that I'm the greatest.

580
00:25:07,200 --> 00:25:08,800
Speaker 1: How was his mind frame during that time?

581
00:25:08,840 --> 00:25:11,880
Speaker 3: Did you feel like the culture, especially black people supported

582
00:25:11,960 --> 00:25:13,240
Speaker 3: him and loved him or did he feel like the

583
00:25:13,240 --> 00:25:14,440
Speaker 3: world was turning against him?

584
00:25:15,200 --> 00:25:18,880
Speaker 2: Now I would say we started to surround him with that,

585
00:25:19,640 --> 00:25:21,399
Speaker 2: like if you look, there was a period where I

586
00:25:21,400 --> 00:25:23,679
Speaker 2: think he didn't feel that, and I felt like he

587
00:25:23,800 --> 00:25:26,200
Speaker 2: was like, I need this right. So there were certain

588
00:25:26,240 --> 00:25:30,680
Speaker 2: people that he started to reach out to to put

589
00:25:30,720 --> 00:25:33,040
Speaker 2: their arms around him, and he started to feel that

590
00:25:33,040 --> 00:25:35,000
Speaker 2: that's why he would do it a summer jam with

591
00:25:35,080 --> 00:25:38,280
Speaker 2: jay Z. It was really like he knew, like, I

592
00:25:38,359 --> 00:25:40,239
Speaker 2: need people to have my back of this. And then

593
00:25:40,280 --> 00:25:43,000
Speaker 2: certain people did wrap their arms around him. And as

594
00:25:43,040 --> 00:25:45,880
Speaker 2: things progress, the one thing I can tell you about

595
00:25:45,960 --> 00:25:48,840
Speaker 2: Michael that I started to learn was his family was strong.

596
00:25:49,800 --> 00:25:52,000
Speaker 2: Like his family like when they got together and wore

597
00:25:52,040 --> 00:25:54,160
Speaker 2: all that white, they were run those white going into

598
00:25:54,240 --> 00:25:57,359
Speaker 2: court each day, you saw that unity in a different

599
00:25:57,400 --> 00:26:00,400
Speaker 2: type of light. You're like, oh yo, these Jackson's playing

600
00:26:00,440 --> 00:26:03,440
Speaker 2: around with this. They unified And I think that helped

601
00:26:03,480 --> 00:26:05,320
Speaker 2: him even though he was like probably going through a

602
00:26:05,400 --> 00:26:11,240
Speaker 2: mentally weak and all of that, and it's tough when

603
00:26:11,280 --> 00:26:17,760
Speaker 2: you know, you pretty much own something that everybody man.

604
00:26:17,880 --> 00:26:20,480
Speaker 7: So after all that, John Keith, what you got going on?

605
00:26:21,000 --> 00:26:25,800
Speaker 4: That's ready to get to you.

606
00:26:25,880 --> 00:26:31,840
Speaker 5: Yet we're gonna get to you. But you got to

607
00:26:31,840 --> 00:26:34,119
Speaker 5: sit here and look, we didn't have an interview. I

608
00:26:34,160 --> 00:26:37,640
Speaker 5: prefer that I don't. I don't want to go after Michael.

609
00:26:37,680 --> 00:26:38,200
Speaker 2: That's crazy.

610
00:26:39,600 --> 00:26:42,640
Speaker 5: You also helped shape the sound of Early Destiny Child.

611
00:26:43,960 --> 00:26:46,680
Speaker 5: Did you see Beyonce be coming to Beyonce?

612
00:26:47,040 --> 00:26:50,760
Speaker 2: We now know from the first session, say my name

613
00:26:50,840 --> 00:26:53,680
Speaker 2: was our first session and then you know we worked

614
00:26:53,680 --> 00:26:55,920
Speaker 2: together again. And when I got to day Dave with

615
00:26:55,960 --> 00:26:57,920
Speaker 2: her and Jade, that's what I really knew. I saw

616
00:26:58,000 --> 00:27:01,480
Speaker 2: the difference, right because in the group, in the group format,

617
00:27:01,520 --> 00:27:03,680
Speaker 2: she still was in the group, so she might have

618
00:27:03,760 --> 00:27:06,639
Speaker 2: been like somewhat. You know, if you really look at

619
00:27:06,720 --> 00:27:09,640
Speaker 2: Destney Chaud as the group, they never really showed her

620
00:27:09,720 --> 00:27:12,240
Speaker 2: as the leader. You know how you're in certain groups

621
00:27:12,240 --> 00:27:14,199
Speaker 2: and you know like that's the that's the leader. No,

622
00:27:14,720 --> 00:27:16,520
Speaker 2: it was kind of trying to position them somewhat like

623
00:27:16,520 --> 00:27:18,400
Speaker 2: a boys and men where they all could do their thing.

624
00:27:18,840 --> 00:27:21,560
Speaker 2: But we saw the leadership qualities when we worked with her, right,

625
00:27:21,880 --> 00:27:24,959
Speaker 2: But when I got to Deja vu Bro. I remember

626
00:27:25,000 --> 00:27:27,600
Speaker 2: playing her to demo to Deja voud for first time.

627
00:27:28,280 --> 00:27:30,560
Speaker 2: When the song went off, she was already telling me

628
00:27:30,600 --> 00:27:33,439
Speaker 2: her visual for the visuals. Wow. So she was like,

629
00:27:33,480 --> 00:27:35,520
Speaker 2: this is how I see it. I'm gonna paja on it.

630
00:27:35,560 --> 00:27:37,840
Speaker 2: Like she was like, this is she reminds me of

631
00:27:37,880 --> 00:27:40,680
Speaker 2: so much of Michael was scary. Like at that time,

632
00:27:40,680 --> 00:27:42,159
Speaker 2: I was like, Yo, she just came and she just

633
00:27:42,160 --> 00:27:44,720
Speaker 2: came into her own like mic like she's now you know,

634
00:27:44,720 --> 00:27:47,440
Speaker 2: I could just see the elevation of that, you know

635
00:27:47,480 --> 00:27:48,040
Speaker 2: what I mean, Like.

636
00:27:48,040 --> 00:27:50,200
Speaker 3: Really quickly, I want to ask, you know, at all,

637
00:27:50,280 --> 00:27:54,640
Speaker 3: besides Whitney and Michael Jackson, who's one of your best

638
00:27:54,720 --> 00:27:57,080
Speaker 3: artists to work with, Like the time and the fact

639
00:27:57,119 --> 00:27:59,240
Speaker 3: that they're there all the time, they're gonna grind it out,

640
00:27:59,280 --> 00:28:00,920
Speaker 3: They're amazing a vocalist.

641
00:28:00,920 --> 00:28:03,720
Speaker 1: Who is that next person? Of course, besides Beyonce.

642
00:28:05,040 --> 00:28:09,959
Speaker 2: Probably probably Brandy. I would think that's my girl. Take

643
00:28:10,040 --> 00:28:14,000
Speaker 2: us into a session with Brandy. Yeah, it was just

644
00:28:14,000 --> 00:28:16,280
Speaker 2: like well Brandy, it was. It was it was the

645
00:28:16,400 --> 00:28:20,199
Speaker 2: regiment that she had that was interested right, especially when

646
00:28:20,200 --> 00:28:22,480
Speaker 2: I was doing Never Say Never but Full Moon, especially

647
00:28:22,560 --> 00:28:26,359
Speaker 2: like she was playing tennis with Serena Williams before the

648
00:28:26,400 --> 00:28:29,320
Speaker 2: session every day, right, which was.

649
00:28:29,240 --> 00:28:30,080
Speaker 6: Interesting, was crazy.

650
00:28:31,240 --> 00:28:34,600
Speaker 2: Yeah, she was practicing with Serena every day. And she

651
00:28:34,640 --> 00:28:37,040
Speaker 2: would come in the studio shout out to my man

652
00:28:37,119 --> 00:28:39,320
Speaker 2: Paris Davis, because he was the an R like a

653
00:28:39,320 --> 00:28:42,080
Speaker 2: real an R cat right, and he had her. He

654
00:28:42,120 --> 00:28:44,000
Speaker 2: was the one that said you need to be playing tennis,

655
00:28:44,200 --> 00:28:47,120
Speaker 2: so he had her, had her playing tennis early in

656
00:28:47,160 --> 00:28:52,880
Speaker 2: the morning. Come in the studio and John can tell

657
00:28:52,880 --> 00:28:55,160
Speaker 2: you as an artist. Nowadays, artists can do a song

658
00:28:55,200 --> 00:28:56,640
Speaker 2: on one day. They've done it in and out a

659
00:28:56,640 --> 00:28:59,680
Speaker 2: few hours, it's done. We was doing songs. It was

660
00:28:59,680 --> 00:29:03,760
Speaker 2: taking us three four days. We really working on backgrounds

661
00:29:03,800 --> 00:29:06,440
Speaker 2: just on one day. I remember times where people, a

662
00:29:06,440 --> 00:29:09,160
Speaker 2: lot of artists would actually be like, yo, Rodney, please

663
00:29:09,240 --> 00:29:09,520
Speaker 2: let me.

664
00:29:09,600 --> 00:29:10,120
Speaker 6: I'm tired.

665
00:29:10,680 --> 00:29:12,640
Speaker 2: I'm like, we ain't done, Like it's not right yet.

666
00:29:12,680 --> 00:29:15,080
Speaker 2: Until we get this thing right, We're not done. Brandy

667
00:29:15,160 --> 00:29:18,080
Speaker 2: was one of those artists that would go the full

668
00:29:18,200 --> 00:29:22,360
Speaker 2: length and not complain about it. Michae would even sometimes

669
00:29:22,360 --> 00:29:24,680
Speaker 2: complain like Ridan, I'm getting horse like his vocalal s

670
00:29:24,680 --> 00:29:26,880
Speaker 2: would call me Seth Raves a call be like you're working,

671
00:29:26,920 --> 00:29:28,400
Speaker 2: you're working them too hard, right, and you're working too

672
00:29:28,440 --> 00:29:30,120
Speaker 2: hard And I'm like, yo, we're working on music, working

673
00:29:30,120 --> 00:29:31,640
Speaker 2: on this song, bro, like what we do?

674
00:29:31,840 --> 00:29:34,240
Speaker 3: How does that affect you now with these new artists

675
00:29:34,280 --> 00:29:37,600
Speaker 3: right because they're not staying in the studio that long

676
00:29:38,000 --> 00:29:40,400
Speaker 3: hour two? So how do you still have that same

677
00:29:40,440 --> 00:29:42,680
Speaker 3: conversation with a new artist and say, nah, I need

678
00:29:42,680 --> 00:29:44,040
Speaker 3: you to come back, I need you to stay longer.

679
00:29:44,560 --> 00:29:45,480
Speaker 1: It's not happening.

680
00:29:46,160 --> 00:29:48,719
Speaker 7: And then, like you said, you'll be like you used

681
00:29:48,760 --> 00:29:50,280
Speaker 7: to be, like, look, we're not done. So and your

682
00:29:50,360 --> 00:29:52,560
Speaker 7: artists stay there because they know the work and dedication

683
00:29:52,680 --> 00:29:55,520
Speaker 7: is gonna make for great music. You tell one of

684
00:29:55,520 --> 00:29:57,160
Speaker 7: these you know, new artists that.

685
00:29:57,080 --> 00:29:59,200
Speaker 2: They don't even know what they don't even know what

686
00:29:59,280 --> 00:30:01,480
Speaker 2: eight to ten hours, twelve hours it was times. You

687
00:30:01,480 --> 00:30:03,719
Speaker 2: know me personally, I stay in the studio. People know,

688
00:30:03,800 --> 00:30:06,400
Speaker 2: like I wouldn't leave. I'd be at two three days straight.

689
00:30:07,520 --> 00:30:10,520
Speaker 2: People like after three four hours, they kind of like, yo's.

690
00:30:10,480 --> 00:30:11,840
Speaker 1: Go to the music is worse.

691
00:30:12,000 --> 00:30:13,600
Speaker 2: I'm like, yo, that's not even like a nine to

692
00:30:13,680 --> 00:30:16,120
Speaker 2: five though, Like you like think about it, like if

693
00:30:16,120 --> 00:30:17,720
Speaker 2: you was working, like you're not even giving you a

694
00:30:17,720 --> 00:30:20,800
Speaker 2: full nut of file right now. So I don't know

695
00:30:20,880 --> 00:30:24,720
Speaker 2: when that that that shift happened exactly. I think like

696
00:30:24,960 --> 00:30:26,400
Speaker 2: maybe hip hop caused.

697
00:30:26,080 --> 00:30:27,560
Speaker 6: It, you know what I mean?

698
00:30:27,680 --> 00:30:31,120
Speaker 2: Or maybe when we hear stories of like when Lil

699
00:30:31,120 --> 00:30:34,360
Speaker 2: Wayne says you, I'm working on this album from the hotel,

700
00:30:34,880 --> 00:30:37,000
Speaker 2: it may have created a narrative like yo, I don't

701
00:30:37,000 --> 00:30:38,600
Speaker 2: need to go in the studio on the booth anymore.

702
00:30:39,400 --> 00:30:41,200
Speaker 2: I could just do like he did a record right

703
00:30:41,200 --> 00:30:43,200
Speaker 2: out of his car that's fired, like they you know,

704
00:30:43,320 --> 00:30:46,040
Speaker 2: maybe that's what happened, like something something had to shift

705
00:30:46,080 --> 00:30:47,720
Speaker 2: technology technology, So.

706
00:30:47,960 --> 00:30:50,480
Speaker 4: What does it take to build a superstar in today's game?

707
00:30:50,520 --> 00:30:53,360
Speaker 5: When the attention span is so short and most of

708
00:30:53,400 --> 00:30:55,560
Speaker 5: these guys and girls I already think they are brand.

709
00:30:56,680 --> 00:30:58,680
Speaker 6: I try to encourage, you know.

710
00:30:59,080 --> 00:31:01,760
Speaker 2: I try to encourage artists to do what I was

711
00:31:01,800 --> 00:31:06,160
Speaker 2: taught in that study, like study everybody before you like

712
00:31:06,280 --> 00:31:09,840
Speaker 2: know the errors of music and go deep into it,

713
00:31:10,000 --> 00:31:13,000
Speaker 2: understanding what it takes to be great. Right, It's not

714
00:31:13,160 --> 00:31:15,400
Speaker 2: just like I got a song that's that's dope and

715
00:31:15,440 --> 00:31:17,560
Speaker 2: it's popping, or I'm gonna do this TikTok video Da

716
00:31:17,600 --> 00:31:19,680
Speaker 2: da da dah, like that's gonna come, it's gonna go.

717
00:31:19,960 --> 00:31:23,320
Speaker 2: But if you really study and understand, Like there's a

718
00:31:23,440 --> 00:31:28,160
Speaker 2: reason why a Michael was a Michael because he looked

719
00:31:28,160 --> 00:31:31,520
Speaker 2: at Jackie Wilson and James Brown and he was like, Okay,

720
00:31:31,920 --> 00:31:34,080
Speaker 2: I'm gonna add that to my repertoire, right, and I'm

721
00:31:34,360 --> 00:31:36,960
Speaker 2: I'm gonna learn how to do what they do and

722
00:31:37,000 --> 00:31:39,520
Speaker 2: take it to the next level. Nowadays, like I think

723
00:31:39,800 --> 00:31:44,200
Speaker 2: artists are looking at each other around and saying, yo,

724
00:31:44,480 --> 00:31:46,000
Speaker 2: I got something hotter than that, or I need to

725
00:31:46,000 --> 00:31:47,920
Speaker 2: get a feature like instead of really going back and

726
00:31:47,960 --> 00:31:50,600
Speaker 2: being like, yo, I want to know why this person

727
00:31:50,720 --> 00:31:54,320
Speaker 2: sold sixty million, Like why would Thriller sell sixty million albums?

728
00:31:54,320 --> 00:31:56,200
Speaker 2: There's a reason it was great.

729
00:31:56,360 --> 00:31:58,880
Speaker 6: Yeah, the quality there's one hundred now right.

730
00:32:00,480 --> 00:32:02,560
Speaker 2: Forty? You know that that's crazy you think about it,

731
00:32:02,600 --> 00:32:04,720
Speaker 2: like like when we was talking about it, it was at

732
00:32:04,760 --> 00:32:07,640
Speaker 2: sixty and that was like fifteen years ago. Now I

733
00:32:07,680 --> 00:32:10,800
Speaker 2: was at one hundred. But the reason why is because

734
00:32:10,840 --> 00:32:15,760
Speaker 2: you had these geniuses, right, not just Quincy and Mike,

735
00:32:16,280 --> 00:32:20,360
Speaker 2: Bruce Swedeen on the mixing, the best musicians in the world.

736
00:32:20,840 --> 00:32:23,480
Speaker 2: Like they cared. It wasn't about let me just give

737
00:32:23,680 --> 00:32:25,600
Speaker 2: my homie to play guitar on this part right here,

738
00:32:25,880 --> 00:32:27,680
Speaker 2: now I need David Williams to play. I need the

739
00:32:27,720 --> 00:32:30,640
Speaker 2: best like you gotta be. He gotta be close to

740
00:32:30,640 --> 00:32:33,760
Speaker 2: Prince to play on this song. And that's what we missing.

741
00:32:33,880 --> 00:32:36,960
Speaker 4: Who are you studying, mister keith Man? You know what

742
00:32:37,000 --> 00:32:37,480
Speaker 4: I'm saying?

743
00:32:37,600 --> 00:32:37,959
Speaker 2: Now?

744
00:32:38,400 --> 00:32:38,960
Speaker 6: You know what I'm saying.

745
00:32:39,000 --> 00:32:42,560
Speaker 8: After looking up with Rodney, it's kind of like where

746
00:32:42,560 --> 00:32:46,280
Speaker 8: I really started my study journey, you know what I'm saying. So, like,

747
00:32:46,280 --> 00:32:47,640
Speaker 8: I just I just texted him the other day. I

748
00:32:47,680 --> 00:32:52,120
Speaker 8: was like, hey, man, what are the best Michael Jackson documentaries?

749
00:32:53,320 --> 00:32:54,560
Speaker 8: You know what I'm saying? He was like, the one

750
00:32:54,600 --> 00:32:54,920
Speaker 8: I'm in.

751
00:32:55,120 --> 00:32:55,840
Speaker 2: But you know what I'm saying.

752
00:32:56,440 --> 00:32:57,920
Speaker 8: Of course, you know what I'm saying. I've been you

753
00:32:57,920 --> 00:32:59,160
Speaker 8: know what I'm saying. I've been I've been looking at

754
00:32:59,240 --> 00:33:03,640
Speaker 8: the Beatles. I've been looking at Michael Jackson recently a

755
00:33:03,640 --> 00:33:05,200
Speaker 8: lot of because of what you know I'm saying. He

756
00:33:05,240 --> 00:33:09,920
Speaker 8: talks about with his like his competitive spirit and like

757
00:33:10,200 --> 00:33:11,400
Speaker 8: his drive to just.

758
00:33:13,480 --> 00:33:14,920
Speaker 2: Be great, you know.

759
00:33:15,400 --> 00:33:17,880
Speaker 8: And so yeah, I mean that's what That's kind of

760
00:33:17,880 --> 00:33:18,840
Speaker 8: where I've been recently.

761
00:33:21,080 --> 00:33:22,160
Speaker 4: Yeah, where are you from?

762
00:33:22,360 --> 00:33:23,200
Speaker 8: Ill from San Diego?

763
00:33:24,000 --> 00:33:27,480
Speaker 4: Yeah, California. Are labels still investing in artists development?

764
00:33:27,480 --> 00:33:29,720
Speaker 5: The way they used to is that like the responsibility

765
00:33:29,720 --> 00:33:31,880
Speaker 5: of people like you now or the other producer are

766
00:33:31,920 --> 00:33:32,600
Speaker 5: like the.

767
00:33:32,600 --> 00:33:36,360
Speaker 2: Manager labels gonna do that. Like I don't even know

768
00:33:36,360 --> 00:33:38,480
Speaker 2: the last time I really had a real A and

769
00:33:38,600 --> 00:33:42,240
Speaker 2: R conversation with like a real like you know, back

770
00:33:42,280 --> 00:33:44,800
Speaker 2: in the day, the an rs get involved and really

771
00:33:44,840 --> 00:33:47,480
Speaker 2: helped shape what it's gonna look like nowadays, just just.

772
00:33:47,600 --> 00:33:50,800
Speaker 1: Like digital research, the chasing numbers.

773
00:33:50,840 --> 00:33:53,520
Speaker 2: Now, yeah, it's the numbers. And and by the way,

774
00:33:53,720 --> 00:33:55,880
Speaker 2: we can't blame the an rs. So let's let's put

775
00:33:56,040 --> 00:33:59,000
Speaker 2: this out here. No, you can't, because everything starts with

776
00:33:59,080 --> 00:34:01,120
Speaker 2: the top down. You're gonna from the top. So it's

777
00:34:01,160 --> 00:34:03,640
Speaker 2: whatever the mandate of the top is telling you. The

778
00:34:03,680 --> 00:34:07,479
Speaker 2: mandate is, we don't need seventeen creative A and rs anymore.

779
00:34:07,600 --> 00:34:10,000
Speaker 2: I remember when I worked at death Cham with under

780
00:34:10,080 --> 00:34:13,399
Speaker 2: j in La, there was seventeen an rs in a room,

781
00:34:13,920 --> 00:34:18,879
Speaker 2: right creatives. Then that the top says, Now, the top says,

782
00:34:18,920 --> 00:34:22,000
Speaker 2: we don't need seventeen in room. We need we need

783
00:34:22,040 --> 00:34:23,560
Speaker 2: ten digital researchers.

784
00:34:24,040 --> 00:34:26,200
Speaker 1: But then you look at a label like TDE, who

785
00:34:26,280 --> 00:34:27,200
Speaker 1: was basically an.

786
00:34:27,120 --> 00:34:30,160
Speaker 2: A and R that's independent. What is the digital research

787
00:34:30,200 --> 00:34:33,920
Speaker 2: that's the difference. It's searching numbers, that's the difference. That's independent, right,

788
00:34:33,960 --> 00:34:36,920
Speaker 2: the independent labels all day long. We gonna do that

789
00:34:36,960 --> 00:34:40,120
Speaker 2: for him for our artists, right, But those major labels,

790
00:34:41,480 --> 00:34:44,200
Speaker 2: that's why they do deals with the TV right because

791
00:34:44,200 --> 00:34:46,279
Speaker 2: they're doing it like, Yo, you guys do that? Well,

792
00:34:46,480 --> 00:34:48,040
Speaker 2: can you guys do that? We just cut all The

793
00:34:48,040 --> 00:34:50,960
Speaker 2: thing we really care about is those numbers. But market

794
00:34:51,000 --> 00:34:53,880
Speaker 2: share is the key to these, to the major labels.

795
00:34:54,120 --> 00:34:56,160
Speaker 3: But then you look at what Timberland did. Do you

796
00:34:56,200 --> 00:34:58,960
Speaker 3: agree with Timberland did said he's signing his first AI artists,

797
00:34:58,960 --> 00:35:01,000
Speaker 3: which is a fake artists making a beat. Do you

798
00:35:01,000 --> 00:35:03,960
Speaker 3: agree with that? Because that takes away from the creative process,

799
00:35:04,000 --> 00:35:06,520
Speaker 3: That takes away from what he's doing him.

800
00:35:06,600 --> 00:35:10,600
Speaker 2: You don't think Timberland has to be creative to do that? Yeah, absolutely,

801
00:35:10,640 --> 00:35:11,680
Speaker 2: one hundred has.

802
00:35:11,600 --> 00:35:12,560
Speaker 6: To be creative to do that.

803
00:35:13,239 --> 00:35:17,480
Speaker 2: Right, if I think we getting to the point where

804
00:35:18,239 --> 00:35:21,600
Speaker 2: the music industry is becoming funny, right, Remember Kanye did

805
00:35:21,600 --> 00:35:25,000
Speaker 2: a song he was talking about like poop poop whatever,

806
00:35:25,800 --> 00:35:29,680
Speaker 2: one of the best beats ever. What he was basically saying, well,

807
00:35:29,680 --> 00:35:32,680
Speaker 2: he's saying was like I can say anything, and y'all

808
00:35:32,680 --> 00:35:35,520
Speaker 2: foods is going to buy because y'all, this is where

809
00:35:35,520 --> 00:35:36,160
Speaker 2: we're at, right.

810
00:35:36,120 --> 00:35:38,720
Speaker 1: Top twenty record, by the way, too crazy.

811
00:35:38,440 --> 00:35:39,040
Speaker 2: There you go.

812
00:35:40,160 --> 00:35:41,080
Speaker 6: That's where we at though.

813
00:35:41,760 --> 00:35:43,640
Speaker 2: But I think, I think what Timblin is doing with

814
00:35:43,680 --> 00:35:46,160
Speaker 2: the AI thing is like he's figured out a tool.

815
00:35:46,200 --> 00:35:49,640
Speaker 2: It's a tool, right, he's figured out. I think people

816
00:35:49,680 --> 00:35:52,000
Speaker 2: are scared, that's scared to death of AI, like it's

817
00:35:52,000 --> 00:35:55,200
Speaker 2: going to replace human. Oh it's not, because you still

818
00:35:55,239 --> 00:35:57,200
Speaker 2: have to control it. You still have to be the

819
00:35:57,239 --> 00:36:00,000
Speaker 2: one to prompt do the prompts. It's still it's still

820
00:36:00,200 --> 00:36:01,960
Speaker 2: for I can't just it's not just waking up like

821
00:36:02,000 --> 00:36:05,600
Speaker 2: I'm new Charlotte. Man. It's not that. It's not that

822
00:36:05,719 --> 00:36:07,880
Speaker 2: you have to literally you have to be almost a

823
00:36:08,080 --> 00:36:10,960
Speaker 2: You have to be an incredible prompter to be able

824
00:36:11,000 --> 00:36:13,879
Speaker 2: to to make it do some of some incredible things.

825
00:36:13,920 --> 00:36:17,040
Speaker 3: Somebody would say, if you put all that effort into AI,

826
00:36:17,239 --> 00:36:19,680
Speaker 3: why not put it into an artist.

827
00:36:21,760 --> 00:36:27,520
Speaker 2: Artist sometimes talk back, Yan, damn, listen, listen.

828
00:36:28,200 --> 00:36:31,719
Speaker 5: But that I saw an artist say exactly what you

829
00:36:31,840 --> 00:36:32,160
Speaker 5: just said.

830
00:36:32,160 --> 00:36:34,680
Speaker 4: They said they don't want us talking back anymore.

831
00:36:34,719 --> 00:36:39,719
Speaker 2: Listen, listen, somebody listen. I talked to Timblin in death

832
00:36:39,760 --> 00:36:43,360
Speaker 2: about this. I can't wait to see what he does

833
00:36:43,400 --> 00:36:43,719
Speaker 2: with this.

834
00:36:43,880 --> 00:36:45,000
Speaker 1: Right is a genius.

835
00:36:45,000 --> 00:36:46,400
Speaker 2: He's a genius, So I can't wait see with that.

836
00:36:46,640 --> 00:36:49,160
Speaker 2: But I think a lot of times, like I think

837
00:36:49,280 --> 00:36:52,239
Speaker 2: he's at a place in his life where he's just like, yo,

838
00:36:52,360 --> 00:36:54,200
Speaker 2: I need to be just doing what I feel I

839
00:36:54,239 --> 00:36:55,880
Speaker 2: want to do. Differently, I don't know if I want to.

840
00:36:56,080 --> 00:36:57,600
Speaker 2: I don't know if I got the energy to be

841
00:36:57,640 --> 00:36:59,799
Speaker 2: dealing with some of the stuff that I've been dealing with,

842
00:37:00,680 --> 00:37:02,600
Speaker 2: you know, and the labels and all that. I just

843
00:37:02,640 --> 00:37:04,560
Speaker 2: you know, I'm gonna just do this, and I'm gonna

844
00:37:04,600 --> 00:37:07,000
Speaker 2: tell this thing exactly what I needed to do, and

845
00:37:07,080 --> 00:37:09,160
Speaker 2: whatever it does, it does. If it wins, it wins.

846
00:37:09,200 --> 00:37:10,200
Speaker 2: If it don't, it don't. He don't.

847
00:37:10,200 --> 00:37:11,359
Speaker 6: I don't think he's caring like that.

848
00:37:12,200 --> 00:37:14,759
Speaker 5: It's hard to make a hit regardless, right, And it's

849
00:37:14,760 --> 00:37:17,359
Speaker 5: gonna be even harder when people know it's coming from

850
00:37:17,440 --> 00:37:20,160
Speaker 5: AI because the consumer is already gonna put a field.

851
00:37:19,920 --> 00:37:21,240
Speaker 4: A force field up to reject.

852
00:37:21,600 --> 00:37:24,720
Speaker 5: They're not gonna even want to consume it properly because

853
00:37:24,760 --> 00:37:25,280
Speaker 5: it's AI.

854
00:37:25,480 --> 00:37:27,200
Speaker 4: They're not even gonna give it an honesty here.

855
00:37:27,239 --> 00:37:28,439
Speaker 1: I feel like you shouldn't have said nothing.

856
00:37:31,000 --> 00:37:35,680
Speaker 2: I'm one hundred percent agreement. Like sometimes the Bible says,

857
00:37:35,680 --> 00:37:37,160
Speaker 2: don't let your left hand know what your right hand

858
00:37:37,200 --> 00:37:37,520
Speaker 2: is doing.

859
00:37:38,280 --> 00:37:39,720
Speaker 6: Sometimes you just gotta go.

860
00:37:40,560 --> 00:37:41,759
Speaker 4: Let people hear it. Then they be like, oh, that

861
00:37:41,800 --> 00:37:43,840
Speaker 4: was dope. Then after the fact you're like, no.

862
00:37:44,719 --> 00:37:46,920
Speaker 5: Do you think timeless music can still break through in

863
00:37:46,960 --> 00:37:50,640
Speaker 5: this world that rewards the microwave success and the algorithm with.

864
00:37:51,719 --> 00:37:54,200
Speaker 2: I think when people really when you really put your

865
00:37:54,200 --> 00:37:58,040
Speaker 2: heart into something, there's still a thinking. I still believe

866
00:37:58,080 --> 00:38:02,320
Speaker 2: that there's people that really late and it's relatable content,

867
00:38:02,360 --> 00:38:06,400
Speaker 2: relatable subjects, relable things that we we go through a

868
00:38:06,480 --> 00:38:08,400
Speaker 2: daily basis, and when you put your heart into it,

869
00:38:08,440 --> 00:38:10,399
Speaker 2: I think there's people waiting for that. I just think

870
00:38:10,440 --> 00:38:13,080
Speaker 2: that we've been we've been part of the problem of

871
00:38:13,239 --> 00:38:17,840
Speaker 2: not giving it anymore. Right us producers, the labels that

872
00:38:17,960 --> 00:38:20,920
Speaker 2: you need, you need the independent labels to now stand

873
00:38:21,000 --> 00:38:21,920
Speaker 2: up to be able to give that.

874
00:38:22,320 --> 00:38:23,880
Speaker 5: So if a young producer came to you right now

875
00:38:23,920 --> 00:38:25,880
Speaker 5: and they was like, how do I create my own brand?

876
00:38:26,080 --> 00:38:29,040
Speaker 4: How do I create one Beyonce in this era? Is

877
00:38:29,080 --> 00:38:29,880
Speaker 4: there a blueprint for that?

878
00:38:33,160 --> 00:38:37,000
Speaker 2: Didn't like, didn't jay Z say like, if you've made

879
00:38:36,520 --> 00:38:41,160
Speaker 2: a made a whole, make another whole. Ain't no blueprint, right,

880
00:38:41,880 --> 00:38:44,319
Speaker 2: You just gotta work hard and put the effort. If

881
00:38:44,360 --> 00:38:46,359
Speaker 2: that's something that you really want to try to do.

882
00:38:47,040 --> 00:38:48,719
Speaker 2: I just think again, it goes back to you got

883
00:38:48,719 --> 00:38:53,040
Speaker 2: to study the craft right and and go hard.

884
00:38:52,840 --> 00:38:53,920
Speaker 6: And see what you can come up with.

885
00:38:54,000 --> 00:38:56,920
Speaker 2: And and be patient, because I think the thing is

886
00:38:56,960 --> 00:39:00,000
Speaker 2: everybody wants to quit the quick thing right now tomorrow.

887
00:39:00,160 --> 00:39:02,759
Speaker 2: We gotta be this tomorrow now, Like some stuff takes two, three,

888
00:39:02,880 --> 00:39:06,480
Speaker 2: four years. You gotta be patient. You know what?

889
00:39:06,800 --> 00:39:08,920
Speaker 7: Now we got Remember back in the day, you used

890
00:39:08,920 --> 00:39:10,960
Speaker 7: to be able to buy like albums and everything like that,

891
00:39:10,960 --> 00:39:13,640
Speaker 7: and now everything is new, Like with technology, we got streaming. Now,

892
00:39:13,719 --> 00:39:18,000
Speaker 7: how does that affect songwriting and like splits for songs,

893
00:39:18,440 --> 00:39:19,440
Speaker 7: producers and everything.

894
00:39:21,160 --> 00:39:24,440
Speaker 2: Terror On the songwriting side, there's two components, right. You

895
00:39:24,480 --> 00:39:27,759
Speaker 2: have the master side, which is great. Then you have

896
00:39:27,840 --> 00:39:32,840
Speaker 2: the publishing side. On the streaming side, it's terrible. It's listen,

897
00:39:33,760 --> 00:39:37,880
Speaker 2: I'm an advocate against what's going on. There's no reason

898
00:39:37,920 --> 00:39:40,560
Speaker 2: why if I got a record and it does a

899
00:39:40,600 --> 00:39:43,440
Speaker 2: billion streams and I have the publishing on it, I

900
00:39:43,480 --> 00:39:46,439
Speaker 2: should be able to buy a house from that. When

901
00:39:46,520 --> 00:39:50,080
Speaker 2: you think so a billion streams. I couldn't even probably

902
00:39:50,640 --> 00:39:56,200
Speaker 2: pay too much of an apartment billion off a billion

903
00:39:56,239 --> 00:40:01,960
Speaker 2: streams with publishing. That's facts. It's so lopsided. That's why

904
00:40:02,040 --> 00:40:04,719
Speaker 2: I believed. I still believe in radio. I tell him

905
00:40:04,719 --> 00:40:06,560
Speaker 2: a heart be like ya, he got a song at

906
00:40:06,600 --> 00:40:09,480
Speaker 2: like number twenty four of me in mainstream right now,

907
00:40:09,880 --> 00:40:13,799
Speaker 2: and I'm like, yo, bro, don't just run away from that,

908
00:40:13,920 --> 00:40:16,520
Speaker 2: Like that's that's You're gonna reap those benefits real soon.

909
00:40:16,560 --> 00:40:19,960
Speaker 2: We yeah, you like that. I didn't realize, like I've

910
00:40:19,960 --> 00:40:23,440
Speaker 2: seen people like literally myself make a living off a

911
00:40:23,560 --> 00:40:26,000
Speaker 2: radio role. I'm like, man, it's like the streaming world.

912
00:40:26,040 --> 00:40:26,960
Speaker 2: It's like night and day.

913
00:40:27,520 --> 00:40:30,680
Speaker 4: But somewhere along the line people don't. I don't know

914
00:40:30,680 --> 00:40:31,560
Speaker 4: where the disconnect is.

915
00:40:31,600 --> 00:40:35,560
Speaker 5: But radio royalties paid way more than screaming ever could ever.

916
00:40:35,719 --> 00:40:39,040
Speaker 5: I don't understand why you're not telling your artists make records.

917
00:40:38,760 --> 00:40:41,960
Speaker 2: For radio, I said, because I believe that it's still

918
00:40:41,960 --> 00:40:45,040
Speaker 2: a road to discovery. So no matter what, like, yo,

919
00:40:45,120 --> 00:40:47,719
Speaker 2: you make a high record. Yeah, of course, these young

920
00:40:47,840 --> 00:40:50,440
Speaker 2: this generation is going to Spotify and Apple Music and

921
00:40:50,480 --> 00:40:52,640
Speaker 2: seeing the streams and getting excited, right, and it's great,

922
00:40:52,880 --> 00:40:54,960
Speaker 2: But at the same time, you got miles and feed

923
00:40:55,600 --> 00:40:59,680
Speaker 2: you got you know, and so you don't just all

924
00:40:59,760 --> 00:41:02,080
Speaker 2: right doing this for radio? Come on, what else?

925
00:41:02,120 --> 00:41:04,120
Speaker 7: Do you feel like a songwriters like a money long

926
00:41:04,239 --> 00:41:06,440
Speaker 7: and a neo they keep songs for themself, you know

927
00:41:06,480 --> 00:41:08,480
Speaker 7: what I mean, because they're not making no money writing,

928
00:41:09,440 --> 00:41:10,840
Speaker 7: you know, for these new artists.

929
00:41:10,880 --> 00:41:11,440
Speaker 4: So that's right.

930
00:41:12,160 --> 00:41:13,360
Speaker 6: Yeah, definitely.

931
00:41:13,840 --> 00:41:18,040
Speaker 3: Did you feel disrespected when you heard just hilarious rendition

932
00:41:18,080 --> 00:41:23,080
Speaker 3: of the Boy's Mind?

933
00:41:18,960 --> 00:41:28,759
Speaker 2: No mind? I thought I thought it was hilarious, but

934
00:41:28,800 --> 00:41:31,640
Speaker 2: I thought it was hilarious. You mean a little more

935
00:41:31,680 --> 00:41:39,160
Speaker 2: all was said wrong? That's you straight next time?

936
00:41:39,960 --> 00:41:42,120
Speaker 1: What was it one record that you were surprised took

937
00:41:42,160 --> 00:41:43,000
Speaker 1: off the way that it was.

938
00:41:46,800 --> 00:41:48,680
Speaker 2: It might have been that one, the Boy's Mind, Yeah,

939
00:41:48,719 --> 00:41:50,759
Speaker 2: because we were going through this battle when we did.

940
00:41:50,800 --> 00:41:53,280
Speaker 2: When I was doing to Never Say Never project, You understand,

941
00:41:53,360 --> 00:41:56,239
Speaker 2: I was a kid bro, So there was there were

942
00:41:56,280 --> 00:41:58,239
Speaker 2: some people that didn't believe that I should do the

943
00:41:58,280 --> 00:42:02,520
Speaker 2: whole album. Executive produced the whole album. And I'm in

944
00:42:02,600 --> 00:42:05,080
Speaker 2: there and I'm like, and I'm I'm young, but I'm

945
00:42:05,120 --> 00:42:07,120
Speaker 2: super confident, like y'all are tripped and like this is fire,

946
00:42:07,160 --> 00:42:08,560
Speaker 2: and they was telling me this is crazy.

947
00:42:08,719 --> 00:42:10,280
Speaker 6: They were telling me at the end of the project.

948
00:42:10,320 --> 00:42:12,439
Speaker 2: They were like, so, yeah, we gotta go fly down

949
00:42:12,440 --> 00:42:14,960
Speaker 2: Atlanta to work with JD to get a single.

950
00:42:15,239 --> 00:42:15,719
Speaker 6: We gotta go.

951
00:42:15,760 --> 00:42:17,279
Speaker 2: Then we're gonna do wid cleft to get a single.

952
00:42:17,239 --> 00:42:19,400
Speaker 2: And I was like, in the studio you kind of

953
00:42:19,400 --> 00:42:22,239
Speaker 2: feel disrespected, especially when you've done like nine songs. So

954
00:42:22,239 --> 00:42:24,560
Speaker 2: you're trying to tell me we just did nine songs,

955
00:42:24,600 --> 00:42:26,480
Speaker 2: and you told me, I don't got the first single.

956
00:42:27,400 --> 00:42:29,560
Speaker 2: And this is my body of work that I'm putting

957
00:42:29,560 --> 00:42:30,840
Speaker 2: my any and I don't got the first single.

958
00:42:31,680 --> 00:42:32,839
Speaker 6: I swear on everything I level.

959
00:42:32,880 --> 00:42:36,359
Speaker 2: I packed my bags up and went home from LA

960
00:42:37,000 --> 00:42:39,239
Speaker 2: I went back to went back to Jersey, and I said,

961
00:42:39,280 --> 00:42:41,759
Speaker 2: y'all figure it out, damn. And then they called back

962
00:42:41,760 --> 00:42:44,120
Speaker 2: and was like, oh wait, wait, wait wait. I was like,

963
00:42:44,239 --> 00:42:46,560
Speaker 2: y'all a trip. We got singles left and right, just

964
00:42:46,560 --> 00:42:47,520
Speaker 2: put them things out.

965
00:42:47,680 --> 00:42:50,400
Speaker 4: What had you nine you recorded already? What was some

966
00:42:50,400 --> 00:42:51,520
Speaker 4: of the ones you recorded already?

967
00:42:52,360 --> 00:42:55,400
Speaker 2: Top of the World with Mace, Wow? The Boy's Mind,

968
00:42:55,600 --> 00:42:57,799
Speaker 2: which was early early on in the project. I mean

969
00:42:57,880 --> 00:42:59,480
Speaker 2: we had Angel in the Sky, we had dined, I

970
00:42:59,480 --> 00:43:00,960
Speaker 2: had this much everything.

971
00:43:01,000 --> 00:43:02,600
Speaker 1: How did the Boy's Mind? Was that your idea and

972
00:43:02,600 --> 00:43:03,239
Speaker 1: how did that come about?

973
00:43:03,280 --> 00:43:05,520
Speaker 6: How did the boy's mind's funny?

974
00:43:05,560 --> 00:43:08,000
Speaker 2: I was just again at my dad at my dad's house,

975
00:43:08,040 --> 00:43:10,880
Speaker 2: and I was like playing this harp sound and I

976
00:43:11,480 --> 00:43:16,160
Speaker 2: was like, again, it goes back to studying, right. Nobody

977
00:43:16,239 --> 00:43:18,640
Speaker 2: used a harp sound in urban music for but when

978
00:43:18,640 --> 00:43:21,440
Speaker 2: they used they used it one way. Chucky Thompson and

979
00:43:21,480 --> 00:43:23,960
Speaker 2: different producers like Dave Hall back in the day and

980
00:43:24,120 --> 00:43:28,360
Speaker 2: the Untouchables, they used a harp sound like it's called glitts,

981
00:43:28,400 --> 00:43:30,719
Speaker 2: like it would come down like a glist. I heard

982
00:43:30,760 --> 00:43:32,279
Speaker 2: and I liked the sound of it. I was like,

983
00:43:32,320 --> 00:43:34,799
Speaker 2: what if I made it like rhythmic? And I broke

984
00:43:34,840 --> 00:43:37,120
Speaker 2: it up, like broken into rhythm. So I just started

985
00:43:37,120 --> 00:43:39,320
Speaker 2: doing it, and my dad came down with a little tapercord.

986
00:43:39,360 --> 00:43:42,000
Speaker 2: Hes To always had a little taper cod like that's incredible.

987
00:43:42,040 --> 00:43:43,600
Speaker 2: You gotta you gotta lay that, and then I laid

988
00:43:43,600 --> 00:43:47,799
Speaker 2: it down. In Paris, Davis Brady's A and R he

989
00:43:47,800 --> 00:43:50,200
Speaker 2: heard and we did it on We recorded on Brandy

990
00:43:50,239 --> 00:43:51,960
Speaker 2: and he was like, Yo, what if we put Monica

991
00:43:51,960 --> 00:43:54,440
Speaker 2: on this? And you know at that time, Monica and

992
00:43:54,480 --> 00:43:57,160
Speaker 2: Brandy they kind of didn't like each other. It was

993
00:43:57,200 --> 00:44:00,399
Speaker 2: definitely it was definitely a few between the two and

994
00:44:00,600 --> 00:44:03,480
Speaker 2: I was like, Oh, that's never gonna happen. Knowing Brandy

995
00:44:03,480 --> 00:44:05,239
Speaker 2: and knowing how that's never gonna happen, it's like, nah,

996
00:44:05,239 --> 00:44:07,120
Speaker 2: I think it could happen, like if I get you

997
00:44:07,120 --> 00:44:10,440
Speaker 2: on the phone with Dallas Austin and I was like

998
00:44:10,480 --> 00:44:12,800
Speaker 2: all right, And then next thing you know, it started

999
00:44:12,840 --> 00:44:16,399
Speaker 2: to shape. And even when it came out. Here's the thing,

1000
00:44:17,239 --> 00:44:19,520
Speaker 2: I wasn't surprised that it was going to do well.

1001
00:44:19,560 --> 00:44:20,960
Speaker 2: I didn't know it was going to stay number one

1002
00:44:21,000 --> 00:44:23,719
Speaker 2: for that long. It's like thirteen fourteen weeks number one,

1003
00:44:24,400 --> 00:44:27,520
Speaker 2: Like we did sixteen million albums sold on that project.

1004
00:44:28,400 --> 00:44:32,279
Speaker 2: So like those type of things for my first my

1005
00:44:32,320 --> 00:44:34,600
Speaker 2: second album was that gena talking about my second album

1006
00:44:34,600 --> 00:44:36,320
Speaker 2: that I produced executive producer.

1007
00:44:36,360 --> 00:44:37,680
Speaker 6: To do those numbers was kind of crazy.

1008
00:44:37,719 --> 00:44:40,040
Speaker 5: You know, it's crazy back then, right like nowadays, people

1009
00:44:40,400 --> 00:44:43,040
Speaker 5: manufactured the drama, didn't try to do the music with

1010
00:44:43,160 --> 00:44:43,680
Speaker 5: that record.

1011
00:44:43,800 --> 00:44:45,000
Speaker 4: It was the song the.

1012
00:44:45,000 --> 00:44:47,640
Speaker 5: Music, and then people started speculating about the drama after

1013
00:44:47,640 --> 00:44:49,640
Speaker 5: the fact, like they're really a boy that they arguing over.

1014
00:44:49,680 --> 00:44:51,520
Speaker 5: We know that they got beat with each other, so

1015
00:44:51,600 --> 00:44:52,800
Speaker 5: that's and plus the video.

1016
00:44:52,920 --> 00:44:55,200
Speaker 2: I mean, you think about them doing a tour, right,

1017
00:44:55,200 --> 00:44:58,480
Speaker 2: they're about to do a tour together, talking about like this,

1018
00:44:58,880 --> 00:45:00,000
Speaker 2: why did they do a tour again?

1019
00:45:00,080 --> 00:45:01,319
Speaker 6: Other fifteen years ago?

1020
00:45:01,400 --> 00:45:01,600
Speaker 1: Right?

1021
00:45:02,360 --> 00:45:02,919
Speaker 2: You know what I mean?

1022
00:45:03,040 --> 00:45:05,080
Speaker 6: Like, but you know it's time off everything.

1023
00:45:05,160 --> 00:45:07,879
Speaker 2: I get it, But like dag like man, imagine them

1024
00:45:07,920 --> 00:45:09,520
Speaker 2: doing the tour together fifteen that would.

1025
00:45:09,320 --> 00:45:12,640
Speaker 7: Have been crazy, but it's gonna be crazy though they

1026
00:45:12,680 --> 00:45:13,360
Speaker 7: didn't get along.

1027
00:45:14,080 --> 00:45:16,000
Speaker 4: What made you and brandy chemistry work so well?

1028
00:45:16,480 --> 00:45:22,160
Speaker 2: I think I think my my musicality, So what I

1029
00:45:22,239 --> 00:45:24,880
Speaker 2: what I did with Brandy, I would make Brandy match

1030
00:45:25,160 --> 00:45:27,560
Speaker 2: whatever I played. I don't know if that makes sense,

1031
00:45:27,640 --> 00:45:30,920
Speaker 2: right if I played, if I played a sound, I

1032
00:45:30,960 --> 00:45:33,000
Speaker 2: wanted her to become the sound and I'm playing, so

1033
00:45:33,040 --> 00:45:34,719
Speaker 2: I would tell her. I would be like, you're the

1034
00:45:34,760 --> 00:45:36,719
Speaker 2: strings now, like I'm gonna play the strings, but I

1035
00:45:36,760 --> 00:45:39,440
Speaker 2: need you to be the string. And she did it

1036
00:45:39,480 --> 00:45:42,319
Speaker 2: incredibly well. Like no, I feel like when she cut

1037
00:45:42,400 --> 00:45:45,279
Speaker 2: her vocals, like she's the warmth that come off her

1038
00:45:45,640 --> 00:45:48,440
Speaker 2: is just different. Her tone, her tone bar none is

1039
00:45:48,480 --> 00:45:51,440
Speaker 2: probably the best tone we've probably ever heard in the

1040
00:45:51,760 --> 00:45:54,359
Speaker 2: longest time. Right, I always say, like for me, it's

1041
00:45:55,000 --> 00:45:58,680
Speaker 2: it's Jasmine Sullivan and Brandy like those tongs, those warm

1042
00:45:58,719 --> 00:46:02,880
Speaker 2: tones and yeah, and its just and it's just like

1043
00:46:02,960 --> 00:46:05,719
Speaker 2: you know, I feel like you know, within the first

1044
00:46:06,040 --> 00:46:08,520
Speaker 2: hour of a session whether it's gonna go right or

1045
00:46:08,520 --> 00:46:11,360
Speaker 2: it's gonna go left. And when we got in it

1046
00:46:11,480 --> 00:46:13,560
Speaker 2: just you just knew. Like we did five songs in

1047
00:46:13,560 --> 00:46:15,680
Speaker 2: the first five days, the first five songs on the

1048
00:46:15,840 --> 00:46:16,400
Speaker 2: Never Seen.

1049
00:46:16,239 --> 00:46:17,720
Speaker 6: That we did in the first five days.

1050
00:46:17,840 --> 00:46:18,200
Speaker 2: Wow.

1051
00:46:18,480 --> 00:46:21,480
Speaker 7: Anybody you ever worked with in the studio, you've been

1052
00:46:21,480 --> 00:46:23,279
Speaker 7: in there for a hour and it didn't go right,

1053
00:46:23,320 --> 00:46:24,320
Speaker 7: and you was like, ah.

1054
00:46:24,640 --> 00:46:28,640
Speaker 6: That happens, looking for so.

1055
00:46:30,600 --> 00:46:33,960
Speaker 2: It happens. It does. It happens all the time, like

1056
00:46:34,000 --> 00:46:36,760
Speaker 2: you know, you know, like you go like, I'll finished

1057
00:46:36,760 --> 00:46:38,680
Speaker 2: the session, but I'd be like, man, I wish it

1058
00:46:38,719 --> 00:46:41,480
Speaker 2: could have went better, Like I know, like out the gate,

1059
00:46:41,520 --> 00:46:43,239
Speaker 2: like it was just cool. It was it was our

1060
00:46:43,440 --> 00:46:45,640
Speaker 2: it wasn't you know, it could have went better. And

1061
00:46:45,719 --> 00:46:47,759
Speaker 2: sometimes I'd be like, I would like to do a

1062
00:46:47,800 --> 00:46:51,160
Speaker 2: reup on that, you know, because a lot of it

1063
00:46:51,160 --> 00:46:54,359
Speaker 2: is psychology, like when you're working with people, you gotta

1064
00:46:54,440 --> 00:46:58,759
Speaker 2: kind of understand like and also timing. I imagine you

1065
00:46:58,880 --> 00:47:00,640
Speaker 2: working with somebody but that the best.

1066
00:47:00,480 --> 00:47:02,319
Speaker 1: Day to work with them.

1067
00:47:02,640 --> 00:47:04,319
Speaker 2: You got them that day and back in the day

1068
00:47:04,440 --> 00:47:07,200
Speaker 2: was really tough for us, right because sometimes like when

1069
00:47:07,200 --> 00:47:09,040
Speaker 2: I did say my name, for example, say my name

1070
00:47:09,080 --> 00:47:12,280
Speaker 2: with Dusty Child, I only had them for a day. Wow.

1071
00:47:12,960 --> 00:47:14,520
Speaker 2: So it was like one of those things where you

1072
00:47:14,560 --> 00:47:16,480
Speaker 2: got you know, you got Dusky Child for a day,

1073
00:47:16,520 --> 00:47:18,440
Speaker 2: or you got Kirk Franklin for a day. Like I'm like,

1074
00:47:18,560 --> 00:47:20,319
Speaker 2: all right, I gotta go and I gotta show up

1075
00:47:20,320 --> 00:47:22,680
Speaker 2: and show out and one day, right and you don't

1076
00:47:22,719 --> 00:47:23,560
Speaker 2: know what you're gonna get.

1077
00:47:24,080 --> 00:47:25,759
Speaker 5: Yeah, Well, they have an artist you worked with who

1078
00:47:25,760 --> 00:47:28,240
Speaker 5: completely surprised you in the booth, like somebody whose talent

1079
00:47:28,360 --> 00:47:30,319
Speaker 5: is hit different when they got on the mic.

1080
00:47:31,960 --> 00:47:36,680
Speaker 2: I think, I think, I think scissors underestimated. Like like

1081
00:47:36,840 --> 00:47:41,279
Speaker 2: I think sometimes like artists will vocalize based on what's hot,

1082
00:47:41,320 --> 00:47:45,040
Speaker 2: on what's going on, when there's so much more there.

1083
00:47:45,560 --> 00:47:49,319
Speaker 2: They're just not giving it because they don't have to, right,

1084
00:47:49,400 --> 00:47:52,120
Speaker 2: I think there's a lot more there, Like a lot

1085
00:47:52,120 --> 00:47:53,839
Speaker 2: of a lot of times when I work with says,

1086
00:47:53,880 --> 00:47:55,920
Speaker 2: A lot of times I actually would get some brandy

1087
00:47:55,920 --> 00:47:56,600
Speaker 2: out of it.

1088
00:47:56,719 --> 00:47:57,360
Speaker 6: I'd be like, m.

1089
00:47:59,080 --> 00:48:00,640
Speaker 2: Look like some of the some of the stuff she done,

1090
00:48:00,680 --> 00:48:04,120
Speaker 2: like something brand he mighta would have done. But then

1091
00:48:04,400 --> 00:48:07,200
Speaker 2: there's just certain little things, just little nuances that I'm like, oh,

1092
00:48:07,239 --> 00:48:09,920
Speaker 2: that's something, But I don't know that she fully even

1093
00:48:10,120 --> 00:48:15,200
Speaker 2: yet knows that she can even go somewhere else. I

1094
00:48:15,239 --> 00:48:15,680
Speaker 2: feel like.

1095
00:48:15,600 --> 00:48:18,960
Speaker 5: It's one of those people that the more she does

1096
00:48:19,040 --> 00:48:23,360
Speaker 5: the work personally, like they improve her mental and emotional

1097
00:48:23,400 --> 00:48:23,919
Speaker 5: well being.

1098
00:48:24,040 --> 00:48:26,560
Speaker 4: It's going to translate to the music.

1099
00:48:27,040 --> 00:48:29,640
Speaker 2: And the question is like, well, for me, this is

1100
00:48:29,680 --> 00:48:32,200
Speaker 2: what I believe. I just believe that don't happen unless

1101
00:48:32,200 --> 00:48:35,440
Speaker 2: you find God. M hmm. I believe there's no there

1102
00:48:35,440 --> 00:48:39,600
Speaker 2: ain't I don't. I believe there is. It's real simple

1103
00:48:40,160 --> 00:48:42,480
Speaker 2: unless and I'm not saying she don't know God or

1104
00:48:42,520 --> 00:48:45,320
Speaker 2: had an experience with God, so don't get that part twisted.

1105
00:48:45,920 --> 00:48:49,000
Speaker 2: But I believe like in order for us to mentally

1106
00:48:49,080 --> 00:48:53,719
Speaker 2: be at our best state is when we know God right,

1107
00:48:53,800 --> 00:48:57,520
Speaker 2: because the Bible says that he's not the author of confusion.

1108
00:48:58,160 --> 00:49:02,799
Speaker 2: So and you gotta have a sober mind, right, Your

1109
00:49:02,840 --> 00:49:04,919
Speaker 2: mind got to be on point, and that only comes

1110
00:49:04,920 --> 00:49:08,400
Speaker 2: from an understand a real understanding, a real relationship. I

1111
00:49:08,400 --> 00:49:11,799
Speaker 2: think people have twisted the narrative too much of religious

1112
00:49:11,960 --> 00:49:13,759
Speaker 2: So that's religious. Well, I ain't got nothing to do

1113
00:49:13,760 --> 00:49:18,120
Speaker 2: with nothing. It's relationship, Like, what's your relationship? Like, I

1114
00:49:18,160 --> 00:49:21,520
Speaker 2: have a great relationship with my four kids, right, I

1115
00:49:21,560 --> 00:49:24,359
Speaker 2: got two boys, two girls. I have a great relationship.

1116
00:49:26,160 --> 00:49:31,359
Speaker 2: I'm their father. I have a father, a heavenly father.

1117
00:49:31,560 --> 00:49:35,239
Speaker 2: I have a great relationship with It ain't religious. It's

1118
00:49:35,320 --> 00:49:37,920
Speaker 2: just like I know how to talk to him and

1119
00:49:37,960 --> 00:49:40,920
Speaker 2: I hear him speak to me as simple as that.

1120
00:49:41,520 --> 00:49:44,200
Speaker 2: So I feel like when you when you have that relationship,

1121
00:49:44,239 --> 00:49:47,840
Speaker 2: it creates clear path for the things that you create

1122
00:49:47,880 --> 00:49:49,200
Speaker 2: and the things that you want to do.

1123
00:49:49,960 --> 00:49:52,719
Speaker 1: One time, I feel like maybe it's just me. Do

1124
00:49:52,760 --> 00:49:54,719
Speaker 1: you feel like you were oversaturated at one point?

1125
00:49:55,200 --> 00:50:00,960
Speaker 3: Like it was just so much you were doing stopped.

1126
00:50:01,040 --> 00:50:01,960
Speaker 1: It just felt like it stopped.

1127
00:50:02,040 --> 00:50:04,600
Speaker 2: Yeah, what happened. The stop was when I stopped. So

1128
00:50:04,600 --> 00:50:06,960
Speaker 2: what happened, I can tell you when it happened. It

1129
00:50:07,040 --> 00:50:10,200
Speaker 2: was after Michael too, like I needed a break. Before Michael,

1130
00:50:10,200 --> 00:50:12,440
Speaker 2: I was just talking about this like there was it

1131
00:50:12,560 --> 00:50:15,080
Speaker 2: was a moment where like the phone is ringing and

1132
00:50:15,120 --> 00:50:21,040
Speaker 2: everybody's calling you and you've made it, but you're trying

1133
00:50:21,080 --> 00:50:25,640
Speaker 2: to please everybody. The industry is like knocking at the door.

1134
00:50:25,640 --> 00:50:27,839
Speaker 2: We got this for we got there wedn't do this remax, No, no,

1135
00:50:27,800 --> 00:50:29,839
Speaker 2: can you be it? And you're just like me. I'm

1136
00:50:29,840 --> 00:50:32,960
Speaker 2: so creative. I could do nine ten tracks in a day.

1137
00:50:33,560 --> 00:50:36,960
Speaker 2: It's easy for me. So it became like, oh I could, yeah,

1138
00:50:37,040 --> 00:50:38,320
Speaker 2: put me in the studio song, so I got that.

1139
00:50:38,400 --> 00:50:38,719
Speaker 6: I got that.

1140
00:50:38,840 --> 00:50:41,120
Speaker 2: So three hundred and sixty five days out the year

1141
00:50:41,440 --> 00:50:42,400
Speaker 2: and I'm in a lab.

1142
00:50:43,360 --> 00:50:43,560
Speaker 6: Right.

1143
00:50:43,960 --> 00:50:47,640
Speaker 2: My catalog is thick, like people don't even understand, Like

1144
00:50:47,640 --> 00:50:50,400
Speaker 2: we talk about songs that come out, but nobody understands

1145
00:50:50,440 --> 00:50:54,239
Speaker 2: the songs that no one's ever heard, the unrelease gems

1146
00:50:54,640 --> 00:50:57,359
Speaker 2: right on the ground versus yeah, peoplen't understand like all

1147
00:50:57,360 --> 00:50:59,279
Speaker 2: of that right, And then it comes to point where

1148
00:50:59,280 --> 00:51:04,600
Speaker 2: it's like like what he just said, Like mentally, you

1149
00:51:04,680 --> 00:51:08,879
Speaker 2: start feeling like you have nothing less and that's when

1150
00:51:08,920 --> 00:51:12,480
Speaker 2: you have to figure out, Okay, what am I going

1151
00:51:12,560 --> 00:51:20,080
Speaker 2: to do? And there's this knock and it's not me knocking,

1152
00:51:20,440 --> 00:51:24,319
Speaker 2: it's God knocking. Like you're giving too much attention to

1153
00:51:24,440 --> 00:51:27,960
Speaker 2: everybody else. You put too much into this industry and

1154
00:51:28,000 --> 00:51:31,360
Speaker 2: not into me. And God showed me. God showed me

1155
00:51:31,360 --> 00:51:36,320
Speaker 2: at an early age that man will always let you down,

1156
00:51:37,360 --> 00:51:39,600
Speaker 2: but he never leaves us. He never for said, He's

1157
00:51:39,640 --> 00:51:44,719
Speaker 2: always knocking, even when we go astray, even when I

1158
00:51:44,719 --> 00:51:46,719
Speaker 2: always try to put things in knowledge of my kids,

1159
00:51:46,760 --> 00:51:48,799
Speaker 2: even when I tell my kids don't go over there,

1160
00:51:48,800 --> 00:51:51,839
Speaker 2: but they still do it right, It doesn't mean I'm

1161
00:51:51,840 --> 00:51:55,759
Speaker 2: not chasing them. I'm still going to get them. That's

1162
00:51:55,760 --> 00:51:58,640
Speaker 2: how he is with us, Like, yeah, I see you

1163
00:51:58,680 --> 00:52:00,600
Speaker 2: over there, you're doing that, But I got something bigger

1164
00:52:00,640 --> 00:52:02,839
Speaker 2: for you. You burnt yourself out because you don't want

1165
00:52:02,840 --> 00:52:04,399
Speaker 2: to You didn't want to listen to I can show

1166
00:52:04,440 --> 00:52:09,600
Speaker 2: you how to do things with balance. Mhm, knock on

1167
00:52:09,640 --> 00:52:11,560
Speaker 2: the door, come and get me. And then I have

1168
00:52:11,600 --> 00:52:15,240
Speaker 2: to submit to it. And then when I submit to it,

1169
00:52:15,400 --> 00:52:18,120
Speaker 2: I see my life change in a whole different way.

1170
00:52:18,200 --> 00:52:22,440
Speaker 2: And now now my creative, my creativity is on a

1171
00:52:22,480 --> 00:52:26,240
Speaker 2: different level. It's beyond music. Music is just a little

1172
00:52:26,280 --> 00:52:28,719
Speaker 2: small that was just a little small piece of everything,

1173
00:52:29,520 --> 00:52:32,640
Speaker 2: But it showed me something way greater through my through

1174
00:52:32,640 --> 00:52:33,120
Speaker 2: my family.

1175
00:52:33,440 --> 00:52:36,840
Speaker 5: Did the depths of Michael Jackson and Whitney Houston debt

1176
00:52:37,320 --> 00:52:38,040
Speaker 5: bring you close.

1177
00:52:37,880 --> 00:52:38,600
Speaker 4: To to God as well?

1178
00:52:39,719 --> 00:52:42,520
Speaker 2: Yeah? I was really technically I was kind of really

1179
00:52:42,520 --> 00:52:46,080
Speaker 2: more hurt when being passed. I remember being I remember

1180
00:52:46,160 --> 00:52:49,040
Speaker 2: being in La when that happened and I and I

1181
00:52:49,120 --> 00:52:51,080
Speaker 2: was like, I gotta go home, man, like this this

1182
00:52:51,239 --> 00:52:56,040
Speaker 2: is just too much. Yeah, Like this industry I think

1183
00:52:56,280 --> 00:53:00,319
Speaker 2: creates that sometime, the pressure of the industry, the press, Like.

1184
00:53:01,840 --> 00:53:03,880
Speaker 6: Yo, us people.

1185
00:53:04,600 --> 00:53:07,440
Speaker 2: The biggest problem that we have in this music in

1186
00:53:07,440 --> 00:53:11,400
Speaker 2: the street is one of the toughest sins. It's called vanity.

1187
00:53:13,680 --> 00:53:16,400
Speaker 2: I remember one time, right, I'm a big guy. I

1188
00:53:16,440 --> 00:53:19,279
Speaker 2: remember one time I was like getting myself together, right,

1189
00:53:19,320 --> 00:53:21,200
Speaker 2: and I'm working hard too. I think it's like two

1190
00:53:21,239 --> 00:53:23,640
Speaker 2: thousand and sixty. I mean, I'm running the mountains, I'm doing everything.

1191
00:53:23,680 --> 00:53:25,960
Speaker 2: I'm dropping me and I read my I'm on FaceTime.

1192
00:53:26,000 --> 00:53:27,440
Speaker 2: I hit Mike Tyson one time, was one of my

1193
00:53:27,520 --> 00:53:30,600
Speaker 2: best friends, and I said, yeah, like, yo, he seen me.

1194
00:53:30,960 --> 00:53:34,359
Speaker 2: He like, but don't get it twisted. Brother, So he said,

1195
00:53:34,400 --> 00:53:36,080
Speaker 2: don't get it twisted. But I said, what he's like,

1196
00:53:36,440 --> 00:53:39,880
Speaker 2: vanity will kill you. He told me that. The thing

1197
00:53:39,960 --> 00:53:42,879
Speaker 2: hit me so hard because I was like, Yo, that's

1198
00:53:42,880 --> 00:53:46,279
Speaker 2: what our industry's built on. Everybody that does what they do,

1199
00:53:46,440 --> 00:53:50,040
Speaker 2: or all these pictures on the wall, they smiling a

1200
00:53:50,040 --> 00:53:52,160
Speaker 2: lot of these pictures, but where they go home, they crying.

1201
00:53:54,600 --> 00:53:56,799
Speaker 2: They going home, they lonely, they go home, they looking

1202
00:53:56,840 --> 00:54:00,200
Speaker 2: at the wall, and like, listen, they stressed out because

1203
00:54:00,239 --> 00:54:02,640
Speaker 2: they had to put the thing on, the mask. They

1204
00:54:02,640 --> 00:54:06,000
Speaker 2: had to put it on, you know. And that's why

1205
00:54:06,160 --> 00:54:09,840
Speaker 2: we at least I tell people, listen, let's stop playing

1206
00:54:09,880 --> 00:54:12,680
Speaker 2: around with this now, like we've been here long enough.

1207
00:54:12,719 --> 00:54:14,560
Speaker 2: And I say that to y'all. Y'all been here long enough.

1208
00:54:14,640 --> 00:54:16,120
Speaker 2: Y'all know what it is to get up early in

1209
00:54:16,160 --> 00:54:18,600
Speaker 2: the morning, come to work, do what you gotta do.

1210
00:54:18,680 --> 00:54:20,320
Speaker 2: Da da da dah. Right, can't tell me that it

1211
00:54:21,040 --> 00:54:23,359
Speaker 2: ain't no pressure in it. That is just easy. I'm

1212
00:54:23,400 --> 00:54:25,680
Speaker 2: just gonna wake up and do my thing. No, So

1213
00:54:25,800 --> 00:54:28,600
Speaker 2: I tell people like, yo, what's your relationship like with God?

1214
00:54:29,040 --> 00:54:33,279
Speaker 2: Not no religious stuff, what's your relationship like? Because if

1215
00:54:33,320 --> 00:54:35,799
Speaker 2: you're not tapped in, tapped in, you're not living your

1216
00:54:35,800 --> 00:54:38,000
Speaker 2: best You can lie put the smile on it back,

1217
00:54:38,120 --> 00:54:39,000
Speaker 2: live on my best life.

1218
00:54:39,040 --> 00:54:39,440
Speaker 6: No, you're not.

1219
00:54:40,200 --> 00:54:42,680
Speaker 2: If you're not really tapped in. If you don't know

1220
00:54:42,719 --> 00:54:46,880
Speaker 2: what's to come to tomorrow, tomorrow proverb says this. It says,

1221
00:54:47,280 --> 00:54:49,879
Speaker 2: don't boast about what you got today because you don't

1222
00:54:49,920 --> 00:54:54,440
Speaker 2: know what's to come tomorrow. That's the vanity part, you know.

1223
00:54:54,520 --> 00:54:57,360
Speaker 2: I'm killing it right now? How many times we heard that?

1224
00:54:57,400 --> 00:54:59,960
Speaker 2: And the next day by where they go, where's the song?

1225
00:55:00,640 --> 00:55:05,319
Speaker 2: What happened? Puffing our chest out? God don't want that.

1226
00:55:05,840 --> 00:55:10,200
Speaker 2: He wants us actually to be humble, right, y'all got

1227
00:55:10,520 --> 00:55:11,279
Speaker 2: the pride month?

1228
00:55:11,320 --> 00:55:11,960
Speaker 6: Thing happened right?

1229
00:55:12,000 --> 00:55:13,799
Speaker 2: Well? Really, if you want to get technical, to Bible

1230
00:55:13,840 --> 00:55:15,120
Speaker 2: said pride country for the fall.

1231
00:55:17,160 --> 00:55:17,840
Speaker 6: So we poke it.

1232
00:55:17,880 --> 00:55:20,720
Speaker 2: If we puffed out with pride too much, we bound

1233
00:55:20,719 --> 00:55:21,080
Speaker 2: a fall.

1234
00:55:22,480 --> 00:55:24,759
Speaker 6: And how many times you've seen somebody puff their chest out?

1235
00:55:24,800 --> 00:55:25,600
Speaker 2: And then what happens?

1236
00:55:26,200 --> 00:55:27,160
Speaker 6: Y'all seeing it right now?

1237
00:55:27,239 --> 00:55:29,960
Speaker 4: Real time, literally real time.

1238
00:55:30,480 --> 00:55:34,239
Speaker 2: So you know, I think there's rules. There's rules that

1239
00:55:34,360 --> 00:55:36,960
Speaker 2: God wanted to established as a father to his children.

1240
00:55:38,080 --> 00:55:40,239
Speaker 2: That's what I believe, just the same way you would

1241
00:55:40,320 --> 00:55:43,560
Speaker 2: to your children. And those rules we sometimes look at

1242
00:55:43,640 --> 00:55:45,600
Speaker 2: like I ain't doing that. It's too You've got too

1243
00:55:45,640 --> 00:55:49,040
Speaker 2: many laws? You got? Why is it so many rules?

1244
00:55:49,200 --> 00:55:50,800
Speaker 2: Because you know how he was going to act.

1245
00:55:51,200 --> 00:55:52,640
Speaker 4: Have you ever thought that, you know, I want to

1246
00:55:52,680 --> 00:55:54,280
Speaker 4: change my name to the light child?

1247
00:55:54,320 --> 00:56:00,120
Speaker 2: Maybe no, you wrestle with that. Not light child, I

1248
00:56:00,239 --> 00:56:02,480
Speaker 2: like child, not like child. It's not dark not like child.

1249
00:56:02,520 --> 00:56:04,920
Speaker 2: But you know what, because I never I never call

1250
00:56:05,000 --> 00:56:08,719
Speaker 2: myself dark child based on dark like that that wasn't

1251
00:56:08,760 --> 00:56:11,200
Speaker 2: the intentions right, it was some people thought it was

1252
00:56:11,200 --> 00:56:13,480
Speaker 2: because I was dark skinned. Me, I knew it where

1253
00:56:13,520 --> 00:56:15,160
Speaker 2: it came from. Came from the chords that I used

1254
00:56:15,160 --> 00:56:17,440
Speaker 2: to play as a kid, these minor chords. But it's

1255
00:56:17,440 --> 00:56:19,960
Speaker 2: funny sometimes sometimes I sit and I wrestled, and I'm like, yo,

1256
00:56:20,680 --> 00:56:23,000
Speaker 2: like is that through people where they see that in

1257
00:56:23,320 --> 00:56:25,799
Speaker 2: the wrong light, in the wrong way, you know, And

1258
00:56:25,840 --> 00:56:28,200
Speaker 2: I do. I wrestle with that sometimes with.

1259
00:56:28,120 --> 00:56:30,279
Speaker 4: An artist if you don't see God in.

1260
00:56:30,320 --> 00:56:36,920
Speaker 2: Them right now, it's different for me. Yeah, there was

1261
00:56:36,960 --> 00:56:39,960
Speaker 2: a time where like I would have been stroudled in

1262
00:56:40,040 --> 00:56:43,520
Speaker 2: that fence over and over again because I didn't look

1263
00:56:43,560 --> 00:56:45,239
Speaker 2: at I didn't look at it for what it was.

1264
00:56:46,080 --> 00:56:50,439
Speaker 2: And I think over the last two years, there's been

1265
00:56:50,480 --> 00:56:54,920
Speaker 2: a new birth that happened. Like I get it now.

1266
00:56:55,480 --> 00:56:59,440
Speaker 2: I get it now. When Jesus told Niko demons, he

1267
00:56:59,480 --> 00:57:02,319
Speaker 2: said you got to be born again, I get it now,

1268
00:57:03,480 --> 00:57:05,520
Speaker 2: like and even Nicodine was like, what born again? What

1269
00:57:05,560 --> 00:57:07,520
Speaker 2: you mean by that? What you mean like I thought

1270
00:57:07,640 --> 00:57:09,480
Speaker 2: the wound born that got had that happen? No, like

1271
00:57:09,880 --> 00:57:13,239
Speaker 2: born again in your spirit, like you have to be

1272
00:57:13,280 --> 00:57:16,000
Speaker 2: born again. And so there's a lot of times people

1273
00:57:16,040 --> 00:57:17,800
Speaker 2: will call me all the time, Yo, I want you.

1274
00:57:17,840 --> 00:57:19,880
Speaker 2: I just I can show you. I just got a

1275
00:57:19,920 --> 00:57:21,800
Speaker 2: call again in the studio, what are the artist? And

1276
00:57:21,880 --> 00:57:24,960
Speaker 2: I was like, I can't do that. I can't do it.

1277
00:57:25,040 --> 00:57:28,000
Speaker 6: Why, it's just, it's not why.

1278
00:57:28,040 --> 00:57:31,320
Speaker 2: I now. What I can do and what I will

1279
00:57:31,320 --> 00:57:33,680
Speaker 2: continue to do is speak what I believe is true.

1280
00:57:34,720 --> 00:57:35,600
Speaker 2: So I had an.

1281
00:57:35,600 --> 00:57:36,320
Speaker 6: Artist one time.

1282
00:57:36,440 --> 00:57:39,200
Speaker 2: I had someone call me recently about an artist coming

1283
00:57:39,240 --> 00:57:44,840
Speaker 2: to my studio and I said, or when they leave,

1284
00:57:44,960 --> 00:57:46,400
Speaker 2: I mean when I if I do a record with them,

1285
00:57:46,400 --> 00:57:47,880
Speaker 2: it might not be the record they expect to do.

1286
00:57:49,200 --> 00:57:51,760
Speaker 2: They're like what. I was like, yeah, I guess real

1287
00:57:51,800 --> 00:57:54,600
Speaker 2: over here and I said, They said, well, how real

1288
00:57:54,680 --> 00:57:56,400
Speaker 2: is I said, well, every two weeks we do a

1289
00:57:56,400 --> 00:57:58,920
Speaker 2: thing called Worship Alive at my studio where we have

1290
00:57:59,000 --> 00:58:03,440
Speaker 2: kind of church in the studio and you experienced it.

1291
00:58:03,560 --> 00:58:05,560
Speaker 2: They're like, you do that. I'm like, yeah, I guess

1292
00:58:05,680 --> 00:58:07,919
Speaker 2: really real, Like I want to. I want to see

1293
00:58:07,960 --> 00:58:12,560
Speaker 2: people changed, and you can't see people change unless you change.

1294
00:58:12,960 --> 00:58:16,400
Speaker 2: And I'm a work in progress. I'm a work in progress.

1295
00:58:17,000 --> 00:58:18,760
Speaker 2: We all all right, we all work in progress. We

1296
00:58:18,800 --> 00:58:22,680
Speaker 2: send daily so you know, so, but I do. I

1297
00:58:22,680 --> 00:58:25,200
Speaker 2: believe that there's I believe that there's hope for people.

1298
00:58:25,240 --> 00:58:26,760
Speaker 2: I believe I want to see I want to see

1299
00:58:26,760 --> 00:58:30,040
Speaker 2: people's relationships form with their father, with their creator.

1300
00:58:30,520 --> 00:58:33,959
Speaker 5: So are you a I guess a faithful artist because

1301
00:58:33,960 --> 00:58:36,160
Speaker 5: I know the Aliens Alive is a faith label.

1302
00:58:36,280 --> 00:58:36,520
Speaker 4: Yeah.

1303
00:58:36,560 --> 00:58:38,800
Speaker 8: So I'm a Christian artist. I mean I was raising

1304
00:58:38,880 --> 00:58:40,480
Speaker 8: the church. You know what I'm saying. My my my

1305
00:58:40,560 --> 00:58:44,960
Speaker 8: father is he's a pastor now, but you know that's

1306
00:58:45,040 --> 00:58:47,080
Speaker 8: kind of new, but he's he's always been in some

1307
00:58:47,160 --> 00:58:48,200
Speaker 8: kind of leadership.

1308
00:58:47,800 --> 00:58:48,200
Speaker 6: In the church.

1309
00:58:48,480 --> 00:58:51,080
Speaker 8: But even like you know, for me, like I only

1310
00:58:51,240 --> 00:58:53,720
Speaker 8: I got I got no hobbies. I do music, and

1311
00:58:53,840 --> 00:58:55,320
Speaker 8: I'm like, I'm a Bible nerd.

1312
00:58:55,440 --> 00:58:56,680
Speaker 2: That's it. I don't.

1313
00:58:56,800 --> 00:58:59,520
Speaker 8: I don't I don't do sports. I don't do I

1314
00:58:59,560 --> 00:59:01,360
Speaker 8: don't dovideo games like that's it, you.

1315
00:59:01,360 --> 00:59:01,880
Speaker 2: Know what I'm saying.

1316
00:59:01,920 --> 00:59:05,080
Speaker 8: So, yeah, proudly, proudly artist.

1317
00:59:06,160 --> 00:59:07,840
Speaker 3: What did you see in John that said I want

1318
00:59:07,840 --> 00:59:10,680
Speaker 3: to work with him?

1319
00:59:11,120 --> 00:59:12,640
Speaker 6: I think he wanted to kill himself.

1320
00:59:15,040 --> 00:59:18,640
Speaker 2: And when you get to a vulnerable state in your music,

1321
00:59:19,520 --> 00:59:22,560
Speaker 2: sometimes people it goes over people's heads. And when I

1322
00:59:22,600 --> 00:59:25,280
Speaker 2: heard some of the things that he was saying. I

1323
00:59:25,320 --> 00:59:28,720
Speaker 2: was like, WHOA, Like he's special like this this, this

1324
00:59:28,800 --> 00:59:33,320
Speaker 2: dude right here is special. Special. He just needs the

1325
00:59:33,440 --> 00:59:38,080
Speaker 2: right team with him, and and he keeps getting better.

1326
00:59:38,120 --> 00:59:40,960
Speaker 2: He's not just a he's not just a rapper, singer,

1327
00:59:41,080 --> 00:59:44,280
Speaker 2: like musician, does all his music, producers everything, oh nine,

1328
00:59:44,280 --> 00:59:48,000
Speaker 2: Like he's a beast. But but I knew I heard

1329
00:59:48,000 --> 00:59:50,600
Speaker 2: his heart in his music and I heard something that

1330
00:59:50,640 --> 00:59:54,160
Speaker 2: could that was that could penetrate the youth differently, because

1331
00:59:54,200 --> 00:59:56,200
Speaker 2: I believe people go through things and they just don't

1332
00:59:56,240 --> 00:59:59,080
Speaker 2: talk about it. And here's my question, right, I got

1333
00:59:59,080 --> 01:00:02,680
Speaker 2: a question, right, why is it so quick? Like when

1334
01:00:02,680 --> 01:00:05,160
Speaker 2: you think when we think about radio, why is it

1335
01:00:05,200 --> 01:00:08,080
Speaker 2: so quick that we are so quick to play music

1336
01:00:09,000 --> 01:00:12,920
Speaker 2: from people who play their experiences or what they go through,

1337
01:00:13,000 --> 01:00:17,240
Speaker 2: what their lifestyle is. But when someone on the face side,

1338
01:00:17,400 --> 01:00:21,400
Speaker 2: it's hard to play that. Why is that? What's what's

1339
01:00:21,920 --> 01:00:26,760
Speaker 2: what's the factor of it? Right? So because because people

1340
01:00:26,880 --> 01:00:29,320
Speaker 2: used to say, oh, yeah, well that's cheesy, that's what

1341
01:00:29,320 --> 01:00:32,280
Speaker 2: they Oh, that's corny, right, And I was like, well,

1342
01:00:32,320 --> 01:00:34,320
Speaker 2: then I'm gonna be the difference maker in that, and

1343
01:00:34,400 --> 01:00:37,480
Speaker 2: I'm gonna find some artists that ain't corny that y'all

1344
01:00:37,520 --> 01:00:39,800
Speaker 2: can bob your hads to still listen to still groove

1345
01:00:39,840 --> 01:00:41,520
Speaker 2: to Da Da da dah. But they got a message

1346
01:00:41,560 --> 01:00:43,720
Speaker 2: with it, right. So then when I when I came across,

1347
01:00:43,760 --> 01:00:46,040
Speaker 2: I was like, he's one of the ones. He's keeping.

1348
01:00:46,080 --> 01:00:48,400
Speaker 2: He's telling you his story, telling you what he's going through.

1349
01:00:48,720 --> 01:00:51,640
Speaker 2: He's telling you that he was literally about to do

1350
01:00:51,760 --> 01:00:54,360
Speaker 2: in his life. And where the change came. It didn't.

1351
01:00:54,480 --> 01:00:57,520
Speaker 2: It didn't come from just sitting down and getting some

1352
01:00:57,560 --> 01:01:00,040
Speaker 2: help from talking to somebody. It came from him. But

1353
01:01:00,160 --> 01:01:03,880
Speaker 2: he's to say, a Bible nerd, digging deep into his word, right,

1354
01:01:04,640 --> 01:01:07,520
Speaker 2: and so and if that becomes an ultimate change, how

1355
01:01:07,560 --> 01:01:08,560
Speaker 2: can that help someone else?

1356
01:01:08,920 --> 01:01:09,120
Speaker 6: I mean?

1357
01:01:09,120 --> 01:01:11,080
Speaker 5: But honestly, that's what we kind of grew up on.

1358
01:01:11,240 --> 01:01:12,880
Speaker 5: Like when you think about like the artists we grew

1359
01:01:12,960 --> 01:01:14,480
Speaker 5: up on, like they were doing that. Like it may

1360
01:01:14,480 --> 01:01:17,040
Speaker 5: have been in a street form or whatever you want

1361
01:01:17,040 --> 01:01:18,520
Speaker 5: to call it, but if you actually listening to the music,

1362
01:01:18,520 --> 01:01:19,959
Speaker 5: there's a lot of socially redeeming value.

1363
01:01:19,960 --> 01:01:21,919
Speaker 2: And they but why don't they play it? Why don't

1364
01:01:21,960 --> 01:01:25,240
Speaker 2: they play the ones? So? Is it because they because

1365
01:01:25,240 --> 01:01:28,520
Speaker 2: they edified Christ? Is that the reason why? And we

1366
01:01:29,000 --> 01:01:32,800
Speaker 2: are we so lost. Are we so lost that when

1367
01:01:32,840 --> 01:01:39,640
Speaker 2: someone's their their reality is what his reality may be,

1368
01:01:39,880 --> 01:01:43,360
Speaker 2: what he feels Jesus did for him right and redeeming

1369
01:01:43,360 --> 01:01:46,440
Speaker 2: his life. If that's really, if that's his reality and

1370
01:01:46,480 --> 01:01:48,720
Speaker 2: he's speaking on it, why can't we play that well?

1371
01:01:48,800 --> 01:01:51,880
Speaker 5: I think that if if DJs and program directors, if

1372
01:01:51,880 --> 01:01:55,040
Speaker 5: they actually had their hearts open and not their pockets

1373
01:01:55,120 --> 01:01:57,600
Speaker 5: and not dealing with industry politics, they probably would accept

1374
01:01:57,600 --> 01:01:59,480
Speaker 5: more of that because there's plenty of it, Like you

1375
01:01:59,480 --> 01:02:01,600
Speaker 5: know you have rahaps to, you know you have the

1376
01:02:01,760 --> 01:02:04,080
Speaker 5: Kendricks last missed the morale and the Big Step was

1377
01:02:04,080 --> 01:02:05,640
Speaker 5: like that was incredible, but.

1378
01:02:06,680 --> 01:02:08,680
Speaker 3: You got Little Baby and Kirk Franklin, you got Glow

1379
01:02:09,080 --> 01:02:11,520
Speaker 3: and really new record Franklin. And it was good seeing

1380
01:02:11,520 --> 01:02:13,800
Speaker 3: it at the BT Awards where the gospel category had

1381
01:02:13,880 --> 01:02:14,600
Speaker 3: rappers doing God.

1382
01:02:14,680 --> 01:02:16,840
Speaker 4: But to his point, radio is playing style.

1383
01:02:16,640 --> 01:02:21,560
Speaker 2: Man, no, no, no no, But know what I mean

1384
01:02:21,600 --> 01:02:23,920
Speaker 2: by stopping, it's like I don't like that. Let me

1385
01:02:23,960 --> 01:02:26,600
Speaker 2: tell you what part like that because you can't go

1386
01:02:26,640 --> 01:02:28,919
Speaker 2: and do ninety percent of something and then say, Okay,

1387
01:02:28,920 --> 01:02:30,840
Speaker 2: I'm gonna do ten percent of this and then I'm

1388
01:02:30,840 --> 01:02:33,440
Speaker 2: gonna go win the awards with the ten percent that

1389
01:02:33,520 --> 01:02:36,280
Speaker 2: I do when you got dudes doing it every single day,

1390
01:02:36,320 --> 01:02:38,440
Speaker 2: and it's that why it's that lifestyle.

1391
01:02:38,520 --> 01:02:40,320
Speaker 5: I don't disagree with that, But to your point where

1392
01:02:40,360 --> 01:02:42,640
Speaker 5: all works in progress, and what if that's God's way

1393
01:02:42,680 --> 01:02:45,800
Speaker 5: of saying, look, you're doing all of this, you don't

1394
01:02:45,800 --> 01:02:47,800
Speaker 5: get no rewards for it, but you did this record

1395
01:02:47,840 --> 01:02:48,720
Speaker 5: and you got rewarded for it.

1396
01:02:48,720 --> 01:02:51,919
Speaker 4: What if that makes that person in that direction.

1397
01:02:53,360 --> 01:02:56,120
Speaker 2: I ain't concerned about no rewards. You think he you

1398
01:02:56,320 --> 01:02:58,680
Speaker 2: really think God is concerned about it. You think he's

1399
01:02:58,720 --> 01:03:01,080
Speaker 2: concerned about a songwriter this whole thing for me? You

1400
01:03:01,200 --> 01:03:05,880
Speaker 2: really think that? Be honest? Why do you think that?

1401
01:03:05,960 --> 01:03:08,919
Speaker 5: Because I think that it's your testimony, right, You've told

1402
01:03:08,960 --> 01:03:10,880
Speaker 5: us how you've opened up to God, and you know

1403
01:03:10,920 --> 01:03:13,520
Speaker 5: you've given your life to God and you're continuing to

1404
01:03:13,520 --> 01:03:14,360
Speaker 5: be rewarded for it.

1405
01:03:14,400 --> 01:03:16,840
Speaker 4: And I think that will make people be like, damn,

1406
01:03:16,840 --> 01:03:17,760
Speaker 4: I want to do what he's doing.

1407
01:03:17,800 --> 01:03:19,960
Speaker 5: It's not just about beats, it's about the work he's

1408
01:03:20,000 --> 01:03:21,080
Speaker 5: done on himselves spiritually.

1409
01:03:21,320 --> 01:03:23,960
Speaker 2: I'm glad you think that. I don't think that, And

1410
01:03:24,000 --> 01:03:28,000
Speaker 2: I'll tell you why. This is what I believe. When

1411
01:03:28,040 --> 01:03:33,040
Speaker 2: you play a basketball game, right, a team that's playing basketball.

1412
01:03:35,320 --> 01:03:37,480
Speaker 2: There's no reason to play on a team. Let's say,

1413
01:03:37,520 --> 01:03:39,840
Speaker 2: in any NBA team, there's no really reason to play

1414
01:03:39,920 --> 01:03:44,800
Speaker 2: unless the goal is to get to the finals. We've

1415
01:03:44,800 --> 01:03:48,960
Speaker 2: put too much on our finals being here on earth.

1416
01:03:50,480 --> 01:03:53,080
Speaker 2: If our finals was really predicated in what it really

1417
01:03:53,200 --> 01:03:59,840
Speaker 2: is on eternal, we would play the game different. I personally,

1418
01:04:00,000 --> 01:04:04,000
Speaker 2: I don't think that God is really concerned about the reward.

1419
01:04:04,400 --> 01:04:07,880
Speaker 2: I think he's concerned about the ultimate reward in Heaven

1420
01:04:08,560 --> 01:04:12,640
Speaker 2: that he wants to give his children. In the Book

1421
01:04:12,680 --> 01:04:16,280
Speaker 2: of James's Talking, it talks about enduring.

1422
01:04:17,000 --> 01:04:17,160
Speaker 6: Right.

1423
01:04:17,200 --> 01:04:20,320
Speaker 2: We're all in this race, right, trying to make it,

1424
01:04:20,880 --> 01:04:23,240
Speaker 2: trying to live our lives and do whatever. But this

1425
01:04:23,280 --> 01:04:26,160
Speaker 2: is not the ultimate ending like some people just think

1426
01:04:26,200 --> 01:04:29,480
Speaker 2: it ends and it's over. No, there's an eternal real

1427
01:04:30,520 --> 01:04:31,480
Speaker 2: He promises it.

1428
01:04:32,440 --> 01:04:33,280
Speaker 6: So you show me.

1429
01:04:34,000 --> 01:04:36,520
Speaker 2: We're in his word where he says that he states

1430
01:04:36,560 --> 01:04:41,439
Speaker 2: things that didn't happen. What do you mean you show

1431
01:04:41,520 --> 01:04:45,680
Speaker 2: me in the Bible where things that were talked about

1432
01:04:46,080 --> 01:04:49,760
Speaker 2: right that didn't happen, it happened. Like if they said

1433
01:04:49,760 --> 01:04:52,760
Speaker 2: it was going to be a storm, this factually happened.

1434
01:04:52,800 --> 01:04:56,200
Speaker 2: I want to actually had there was people that don't

1435
01:04:56,480 --> 01:04:59,040
Speaker 2: that literally if you told me, if you talked about

1436
01:04:59,080 --> 01:05:01,280
Speaker 2: certain things right now, I witnessed it and then I

1437
01:05:01,280 --> 01:05:02,680
Speaker 2: can go back and write about it, like, yes, you

1438
01:05:02,680 --> 01:05:04,200
Speaker 2: know what I mean said, that's what happened. Like people

1439
01:05:04,200 --> 01:05:06,520
Speaker 2: are like John was sitting, But that's.

1440
01:05:06,360 --> 01:05:09,600
Speaker 5: Like your dreams. Like God showed you Michael Jackson. You

1441
01:05:09,640 --> 01:05:12,040
Speaker 5: went to go work with Michael Jackson, and you were

1442
01:05:12,120 --> 01:05:12,960
Speaker 5: rewarded for that.

1443
01:05:14,480 --> 01:05:16,040
Speaker 6: See you got the reward wrong.

1444
01:05:16,680 --> 01:05:18,760
Speaker 4: No, you got a reward of a relationship with Michael.

1445
01:05:18,880 --> 01:05:22,240
Speaker 2: My reward, okay, my reward was when Michael called me

1446
01:05:22,280 --> 01:05:23,800
Speaker 2: to pray for him. In two thousand and three, I'm

1447
01:05:23,840 --> 01:05:27,760
Speaker 2: in a studio with Chris Tucker and my father. We

1448
01:05:27,800 --> 01:05:30,440
Speaker 2: at the studio. Michael was going through that trial and

1449
01:05:30,480 --> 01:05:33,920
Speaker 2: he said where yesman, he said, can you can I come?

1450
01:05:33,960 --> 01:05:38,120
Speaker 2: I just need prayer. That's the reward, all the accolades,

1451
01:05:38,160 --> 01:05:40,280
Speaker 2: it just comes and all that. That's what the world seeds.

1452
01:05:40,640 --> 01:05:43,040
Speaker 2: But now that I'm older and look back, I'm like, though,

1453
01:05:43,080 --> 01:05:46,840
Speaker 2: the ultimate reward and I'm blessed to have all these stories, right,

1454
01:05:47,080 --> 01:05:51,000
Speaker 2: But the ultimate reward was the time that we prayed together.

1455
01:05:51,280 --> 01:05:54,400
Speaker 2: The ultimate reward is when I go to his funeral

1456
01:05:55,800 --> 01:06:02,760
Speaker 2: and Signdra Crouch and Seth Riggs. His vocal quote says, yeah, yeah, Mi,

1457
01:06:03,000 --> 01:06:06,240
Speaker 2: Michael received Christ two weeks ago. He had us prayed

1458
01:06:06,240 --> 01:06:08,240
Speaker 2: and he did the sentence. That's the reward. That's what

1459
01:06:08,240 --> 01:06:10,600
Speaker 2: I'm trying to get everybody under secure.

1460
01:06:12,400 --> 01:06:15,000
Speaker 5: But how do we know that God didn't connect you

1461
01:06:15,080 --> 01:06:16,320
Speaker 5: and Michael for that reason?

1462
01:06:16,360 --> 01:06:16,880
Speaker 6: He might have.

1463
01:06:16,960 --> 01:06:18,280
Speaker 4: That's what I'm saying right now.

1464
01:06:18,640 --> 01:06:21,080
Speaker 5: God has expanded your territory so much that you are

1465
01:06:21,160 --> 01:06:24,280
Speaker 5: Rodney dark child Jerkins. Your testimony hits different, my brother,

1466
01:06:24,440 --> 01:06:26,520
Speaker 5: when you on the microphone telling people that they need

1467
01:06:26,560 --> 01:06:28,520
Speaker 5: to find God, and these are the reasons why their

1468
01:06:28,560 --> 01:06:31,320
Speaker 5: ears are open a little bit more facts.

1469
01:06:31,000 --> 01:06:32,800
Speaker 1: But their ears are open because of the work that

1470
01:06:32,840 --> 01:06:35,040
Speaker 1: you did with everybody else. That's why you always say

1471
01:06:35,160 --> 01:06:37,680
Speaker 1: when we're talking about putting the medicine in the candy,

1472
01:06:38,720 --> 01:06:39,160
Speaker 1: but let me.

1473
01:06:39,080 --> 01:06:41,880
Speaker 4: Do about God. By the way, I love the bates

1474
01:06:41,880 --> 01:06:42,320
Speaker 4: about God.

1475
01:06:44,360 --> 01:06:47,240
Speaker 2: You know we can hang if you loved it. That

1476
01:06:47,280 --> 01:06:49,320
Speaker 2: means you're being called, but go ahead. Did you say

1477
01:06:49,360 --> 01:06:53,320
Speaker 2: your catalog? Yeah, several Christ several times recently.

1478
01:06:56,600 --> 01:07:01,960
Speaker 3: It's the reason I ask is recently they said that

1479
01:07:02,000 --> 01:07:04,040
Speaker 3: you sold your catalog And why you know you talk

1480
01:07:04,080 --> 01:07:06,840
Speaker 3: about owning yourself some stuff several times?

1481
01:07:06,840 --> 01:07:11,000
Speaker 2: Seven times? Why several times? Because I know things that

1482
01:07:11,040 --> 01:07:14,000
Speaker 2: they don't teach, y'all. I know things that know that

1483
01:07:14,040 --> 01:07:16,720
Speaker 2: most people don't know. I know that there's a thirty

1484
01:07:16,720 --> 01:07:20,000
Speaker 2: five year copyright law which after thirty five years, what's

1485
01:07:20,000 --> 01:07:25,640
Speaker 2: mine comes back to me. I know that in any business,

1486
01:07:25,680 --> 01:07:29,680
Speaker 2: you're a businessman. In any business, you build an asset, right,

1487
01:07:29,720 --> 01:07:32,240
Speaker 2: And when you build an asset, when you get a

1488
01:07:32,320 --> 01:07:36,240
Speaker 2: multiple that you're satisfied with, you make that move and

1489
01:07:36,280 --> 01:07:38,280
Speaker 2: you take that and you invest in other things.

1490
01:07:39,400 --> 01:07:39,680
Speaker 6: Right.

1491
01:07:40,240 --> 01:07:43,680
Speaker 2: So where they've been getting people at for years, it's

1492
01:07:43,720 --> 01:07:46,400
Speaker 2: telling people wait un till they're old and decrepit, until

1493
01:07:46,400 --> 01:07:51,560
Speaker 2: they sell the catalog. That's the wrong narrative, right. They've

1494
01:07:51,560 --> 01:07:55,560
Speaker 2: done that to every I know. A friend of mine

1495
01:07:55,600 --> 01:08:00,600
Speaker 2: has sold his catalog several times, and how he every

1496
01:08:00,640 --> 01:08:04,280
Speaker 2: time you get a three year MPs, which means good numbers,

1497
01:08:04,320 --> 01:08:07,840
Speaker 2: three years of good numbers, there's people that want to

1498
01:08:07,840 --> 01:08:11,680
Speaker 2: buy that. Right, So let me ask you a question.

1499
01:08:13,120 --> 01:08:18,200
Speaker 2: If it takes me eighty years, Let's say I'm making

1500
01:08:18,200 --> 01:08:21,040
Speaker 2: a million dollars a year and I'm twenty years old.

1501
01:08:21,080 --> 01:08:24,280
Speaker 2: I'm making a million dollars a year, and you give

1502
01:08:24,320 --> 01:08:27,960
Speaker 2: me and you give me eighty million dollars at twenty

1503
01:08:28,000 --> 01:08:31,800
Speaker 2: years old. I would have been one hundred years old

1504
01:08:31,880 --> 01:08:36,160
Speaker 2: to get that eighty million. Dam give me the eighty now.

1505
01:08:37,360 --> 01:08:39,559
Speaker 2: I know what to do with that, I know what

1506
01:08:39,560 --> 01:08:44,479
Speaker 2: to invest in. Give me that now. So I tell

1507
01:08:44,520 --> 01:08:47,320
Speaker 2: people what the real is and what they should know

1508
01:08:47,400 --> 01:08:49,320
Speaker 2: and they should all like. And one thing that people

1509
01:08:49,320 --> 01:08:51,800
Speaker 2: don't really talk about is copyright law. A lot of

1510
01:08:51,840 --> 01:08:55,360
Speaker 2: people don't understand that there is a US copyright law

1511
01:08:55,400 --> 01:08:57,400
Speaker 2: and every thirty five years you have to do the

1512
01:08:57,439 --> 01:08:59,840
Speaker 2: work and put the things in motion, but you get

1513
01:08:59,840 --> 01:09:03,559
Speaker 2: your copyrights back. Now, all my artists that are signing

1514
01:09:03,640 --> 01:09:09,280
Speaker 2: my label, they own their masters. You feel, I'm saying

1515
01:09:09,320 --> 01:09:11,720
Speaker 2: because and I want him to do the same. I

1516
01:09:11,760 --> 01:09:14,160
Speaker 2: want I want to be able to tell him when

1517
01:09:14,200 --> 01:09:15,559
Speaker 2: it's time, Yo, it's time.

1518
01:09:15,439 --> 01:09:16,280
Speaker 6: For you to let that go.

1519
01:09:17,920 --> 01:09:20,439
Speaker 2: Well, why because you got a family and you got

1520
01:09:20,439 --> 01:09:22,479
Speaker 2: things that you want to do. And trust me, I've

1521
01:09:22,520 --> 01:09:26,240
Speaker 2: done this over and over again. And what people don't

1522
01:09:26,280 --> 01:09:29,240
Speaker 2: realize is that a lot of times the press releases

1523
01:09:29,479 --> 01:09:32,479
Speaker 2: confused people right because they'll say, oh so and so

1524
01:09:32,520 --> 01:09:35,360
Speaker 2: sell Timulin Solar's catalog so and so justin beables. So

1525
01:09:36,200 --> 01:09:40,599
Speaker 2: people ain't selling their whole catalogs. Bro like people people

1526
01:09:40,680 --> 01:09:45,599
Speaker 2: not selling with everything. Sometimes you sell increments little things

1527
01:09:45,600 --> 01:09:48,200
Speaker 2: here and there, right and you and you and you

1528
01:09:48,280 --> 01:09:50,679
Speaker 2: play the numbers game. You see what those multiples gonna

1529
01:09:50,680 --> 01:09:52,400
Speaker 2: look like. And if you, if you do the timing

1530
01:09:52,479 --> 01:09:55,600
Speaker 2: of everything, you say that, Okay, well I'm gonna be

1531
01:09:55,880 --> 01:09:59,679
Speaker 2: ninety hundred years old, I might be gone. I could

1532
01:09:59,720 --> 01:10:03,360
Speaker 2: do that. Put that into my children. Now that's how,

1533
01:10:03,520 --> 01:10:03,880
Speaker 2: that's how.

1534
01:10:04,080 --> 01:10:06,400
Speaker 4: That's how did you give your ten percent to the church?

1535
01:10:09,479 --> 01:10:10,040
Speaker 1: Radley gotta go?

1536
01:10:10,120 --> 01:10:13,360
Speaker 6: Yeah, yes, I don't even that's the whole debate.

1537
01:10:13,520 --> 01:10:16,200
Speaker 5: By the way, Now, I don't feel like I got need

1538
01:10:16,200 --> 01:10:17,559
Speaker 5: no money.

1539
01:10:17,840 --> 01:10:18,479
Speaker 6: That's the whole thing.

1540
01:10:19,280 --> 01:10:20,840
Speaker 1: Can we leave on the prayer? You got any last questions?

1541
01:10:20,880 --> 01:10:21,639
Speaker 4: Can we leave on the prayer?

1542
01:10:21,840 --> 01:10:23,639
Speaker 6: If we might gonna pray, gonna be let him pray?

1543
01:10:24,040 --> 01:10:27,640
Speaker 2: Wait, hold on.

1544
01:10:29,760 --> 01:10:31,320
Speaker 6: By the way, by the way, No, but listen, real

1545
01:10:31,400 --> 01:10:32,080
Speaker 6: real quick though.

1546
01:10:32,600 --> 01:10:35,160
Speaker 2: My man John Key June twenty seven, got this project

1547
01:10:35,160 --> 01:10:36,160
Speaker 2: coming out, and I'm.

1548
01:10:36,080 --> 01:10:37,759
Speaker 6: Super excited about his project.

1549
01:10:37,880 --> 01:10:39,840
Speaker 1: He's gonna get a song on too this morning to

1550
01:10:39,880 --> 01:10:41,360
Speaker 1: a lot of you know miles a minute.

1551
01:10:41,520 --> 01:10:45,439
Speaker 2: Yeah, they got a whound album. DJ Head.

1552
01:10:45,479 --> 01:10:47,200
Speaker 5: He put me on the Miles a while ago. Now,

1553
01:10:47,600 --> 01:10:49,160
Speaker 5: like he ain't even the funny thing. He didn't even

1554
01:10:49,160 --> 01:10:51,080
Speaker 5: tell me that Miles was a faith based artist. Yeah,

1555
01:10:51,080 --> 01:10:52,120
Speaker 5: he just said, you're listening to this.

1556
01:10:52,360 --> 01:10:52,559
Speaker 2: Yeah.

1557
01:10:52,600 --> 01:10:56,160
Speaker 8: He is a big advocate of just saying putting in

1558
01:10:56,160 --> 01:10:58,559
Speaker 8: the frontcause you know, people gotta uh, there's a stigma

1559
01:10:58,640 --> 01:11:01,640
Speaker 8: about Christian artists and that they're a certain way, that

1560
01:11:01,720 --> 01:11:03,400
Speaker 8: they they got to sound a certain way. And so

1561
01:11:03,520 --> 01:11:06,719
Speaker 8: like when when you hear people that sound like Miles

1562
01:11:06,840 --> 01:11:08,920
Speaker 8: or sound like me, or sound like Indie Tribe or

1563
01:11:08,960 --> 01:11:11,679
Speaker 8: no Big Deal whatever, you know what I'm saying, Like, uh,

1564
01:11:12,080 --> 01:11:14,280
Speaker 8: they're like, oh wait, hold up, this is Christian and

1565
01:11:14,360 --> 01:11:18,320
Speaker 8: it's like everything you're like, dag, I didn't know it

1566
01:11:18,360 --> 01:11:20,640
Speaker 8: was like that, because the thing is, it's like, you

1567
01:11:20,680 --> 01:11:22,760
Speaker 8: know what I'm saying, those of us who do it

1568
01:11:22,800 --> 01:11:28,360
Speaker 8: well are not on a mission to make a genre

1569
01:11:28,439 --> 01:11:33,480
Speaker 8: of Christian music. We're just making music and we're Christians,

1570
01:11:33,600 --> 01:11:36,559
Speaker 8: so we're not gonna rap or sing about stuff that's

1571
01:11:36,640 --> 01:11:38,280
Speaker 8: not our life, you know what I'm saying. So like,

1572
01:11:38,320 --> 01:11:40,880
Speaker 8: but that's also why, like you know what he said,

1573
01:11:40,920 --> 01:11:45,639
Speaker 8: Like in my music, I'm always I'm gonna tell you, like, yeah,

1574
01:11:45,680 --> 01:11:47,760
Speaker 8: I was struggling with you know, the thoughts to take

1575
01:11:47,800 --> 01:11:49,479
Speaker 8: my life since I was eleven years old. I'm gonna

1576
01:11:49,479 --> 01:11:52,400
Speaker 8: talk about that, and it's not gonna be the happy

1577
01:11:53,479 --> 01:11:54,520
Speaker 8: rainbows and sunshine.

1578
01:11:54,560 --> 01:11:54,720
Speaker 7: Yo.

1579
01:11:54,960 --> 01:11:55,479
Speaker 2: You know what I'm saying.

1580
01:11:55,479 --> 01:11:58,679
Speaker 8: When you get life with Jesus, everything is just good

1581
01:11:58,880 --> 01:12:01,120
Speaker 8: and it's like, na, like, let's talk about real life

1582
01:12:01,160 --> 01:12:04,479
Speaker 8: because people live real life and you know they don't

1583
01:12:04,520 --> 01:12:07,840
Speaker 8: they don't understand what what uh what Life with Jesus

1584
01:12:07,880 --> 01:12:09,240
Speaker 8: is like you know what I'm saying. So it's like

1585
01:12:09,840 --> 01:12:12,000
Speaker 8: we fall in love, you know what I'm saying, We

1586
01:12:12,040 --> 01:12:14,720
Speaker 8: get angry. We I'm saying like there's a there's all

1587
01:12:14,800 --> 01:12:16,760
Speaker 8: kinds of stuff that goes on, and it's like, you

1588
01:12:16,800 --> 01:12:19,120
Speaker 8: know what I'm saying, if you making music that's Christian

1589
01:12:19,160 --> 01:12:24,080
Speaker 8: music and it's only uh worship, and it's like, well,

1590
01:12:24,240 --> 01:12:25,800
Speaker 8: if I'm you know what I'm saying, If if I

1591
01:12:25,840 --> 01:12:27,360
Speaker 8: want to listen to love songs, then I got to

1592
01:12:27,400 --> 01:12:31,439
Speaker 8: go listen to the wildness that's out there right now.

1593
01:12:31,640 --> 01:12:35,439
Speaker 8: I'm saying debauchery or whatever, because ain't no love songs

1594
01:12:35,880 --> 01:12:38,920
Speaker 8: that like can still be about what I'm saying a

1595
01:12:38,960 --> 01:12:41,360
Speaker 8: person loving another person, but from a point of view

1596
01:12:41,479 --> 01:12:45,400
Speaker 8: someone who who understands that these things are echoes of God,

1597
01:12:45,640 --> 01:12:47,960
Speaker 8: you know. And so yeah, you know what I'm saying,

1598
01:12:48,000 --> 01:12:50,599
Speaker 8: that's me. But yeah, me and Miles just just did something.

1599
01:12:50,680 --> 01:12:52,439
Speaker 8: And then uh yeah.

1600
01:12:52,360 --> 01:12:55,760
Speaker 5: Okay, you got your own festival Holy Smoke.

1601
01:12:55,880 --> 01:12:59,200
Speaker 8: Yeah, we got a festival Holy Smoke. That's August fourteenth

1602
01:12:59,240 --> 01:13:03,040
Speaker 8: through sixteenth in Nashville, Tennessee. Me and my brothers an

1603
01:13:03,040 --> 01:13:06,559
Speaker 8: indie tribe. No big deal of the Iceberg Troy Deshaun,

1604
01:13:06,600 --> 01:13:07,400
Speaker 8: Mikelvie with a.

1605
01:13:09,000 --> 01:13:13,280
Speaker 2: Yeah on me. You have to experience it because then

1606
01:13:13,439 --> 01:13:15,679
Speaker 2: it would make you understand what it's all about. For real.

1607
01:13:15,760 --> 01:13:17,479
Speaker 6: If y'all want to come.

1608
01:13:17,880 --> 01:13:21,880
Speaker 7: That's Christian I will pay for y'all to Christian Weed

1609
01:13:22,680 --> 01:13:23,120
Speaker 7: like that.

1610
01:13:25,040 --> 01:13:28,519
Speaker 8: You come to us. We did a year where like

1611
01:13:28,720 --> 01:13:31,559
Speaker 8: you know, because it's it's fully operated, it's fully artists

1612
01:13:31,600 --> 01:13:34,080
Speaker 8: owned and operated, right, So it's us who do it,

1613
01:13:34,479 --> 01:13:37,320
Speaker 8: and I'm in charge of the creative direction for it.

1614
01:13:37,360 --> 01:13:39,000
Speaker 8: And this year or not this year. A couple of

1615
01:13:39,040 --> 01:13:41,560
Speaker 8: years ago we did like a whole like green like

1616
01:13:41,680 --> 01:13:42,840
Speaker 8: kind of thing, you know what I'm saying. Like that

1617
01:13:42,960 --> 01:13:45,000
Speaker 8: was like the colors for it. So I was like,

1618
01:13:45,840 --> 01:13:47,040
Speaker 8: what I thought y'all was Christian?

1619
01:13:47,520 --> 01:13:49,639
Speaker 4: This is is a weed fest.

1620
01:13:49,680 --> 01:13:50,840
Speaker 8: I was like, what is a weed fast?

1621
01:13:50,880 --> 01:13:51,280
Speaker 2: Why does it?

1622
01:13:51,640 --> 01:13:52,479
Speaker 1: What does that even mean?

1623
01:13:52,520 --> 01:13:52,960
Speaker 2: I don't know.

1624
01:13:53,280 --> 01:13:55,600
Speaker 8: No, it's not no, but you're saying a lot of

1625
01:13:55,600 --> 01:13:57,320
Speaker 8: people of us suggested that to us, We're gonna go

1626
01:13:57,320 --> 01:13:57,640
Speaker 8: ahead and.

1627
01:13:57,680 --> 01:13:58,040
Speaker 2: Not do it.

1628
01:14:05,920 --> 01:14:07,360
Speaker 4: Let's play a recommend what you want to hear.

1629
01:14:08,920 --> 01:14:09,200
Speaker 2: From me?

1630
01:14:10,080 --> 01:14:12,559
Speaker 8: Oh, man, I don't know what that's out?

1631
01:14:13,240 --> 01:14:14,240
Speaker 4: Whatever you want to.

1632
01:14:16,120 --> 01:14:19,160
Speaker 2: Put the records on the char Okay, we do Club

1633
01:14:19,439 --> 01:14:21,720
Speaker 2: It's a song with him and Mobs minute from the

1634
01:14:21,720 --> 01:14:23,760
Speaker 2: West Indies project called Club do It.

1635
01:14:23,960 --> 01:14:25,320
Speaker 1: We'll get into it now, but now we got closed

1636
01:14:25,320 --> 01:14:25,800
Speaker 1: out with a prayer.

1637
01:14:25,840 --> 01:14:29,400
Speaker 8: Brothers man, Hey, what's up God?

1638
01:14:29,439 --> 01:14:29,960
Speaker 4: And I'm playing.

1639
01:14:30,160 --> 01:14:30,360
Speaker 1: Father.

1640
01:14:30,479 --> 01:14:32,519
Speaker 8: We thank you for this time, just uh you know,

1641
01:14:32,600 --> 01:14:34,719
Speaker 8: being able to sit down and talk talk about things

1642
01:14:34,720 --> 01:14:38,160
Speaker 8: that uh you know, concern you, because it all concerns you, Father,

1643
01:14:38,240 --> 01:14:39,600
Speaker 8: So we just thank you for that. We thank you

1644
01:14:39,640 --> 01:14:41,960
Speaker 8: for uh you know open hearts. Just asked that you

1645
01:14:41,960 --> 01:14:44,960
Speaker 8: would uh plant any seeds that that you you know,

1646
01:14:45,080 --> 01:14:48,439
Speaker 8: wanted to plant during this conversation, and that yeah, you

1647
01:14:48,439 --> 01:14:50,439
Speaker 8: would just be present with us the rest of the

1648
01:14:50,479 --> 01:14:51,600
Speaker 8: day of Jesus.

1649
01:14:51,479 --> 01:14:56,360
Speaker 4: Man Rodney Jerks the legend. Congratulations again, Songwriters Hall of.

1650
01:14:56,320 --> 01:14:59,680
Speaker 3: Fame, John Keith Rodney Jerkins. It's the Breakfast Club good

1651
01:14:59,680 --> 01:14:59,960
Speaker 3: morning

1652
01:15:00,240 --> 01:15:03,080
Speaker 1: Wake that airs up early in the morning at Breakfast

1653
01:15:03,160 --> 01:15:03,439
Speaker 1: Club