Speaker 1: All right, all right, all right man. You know, before
Speaker 1: we get started tonight, we've had a couple of losses.
Speaker 1: H you want to start off, you want to start.
Speaker 2: Us off, bro, Not really, man, I don't even want
Speaker 2: to go to it right now. I can't remember.
Speaker 1: Yeah, I'm anna give a big shout out, man to
Speaker 1: the homeboy go Mac man from a bud of law.
Speaker 1: He passed away today. I want to give condolences to
Speaker 1: the homie man. We're gonna miss you, man. And you
Speaker 1: know a other homie man out little et do that
Speaker 1: when he's ready.
Speaker 2: Man.
Speaker 1: But we can't take life for granted, y'all. This life
Speaker 1: is too short for bullshit and everything else.
Speaker 3: Man.
Speaker 1: We only here for a second, So let's fin in
Speaker 1: that second. Let's thin that second being righteous, you know.
Speaker 1: For shall glad to have you back, dog, glad to
Speaker 1: have you back this week? Man, you know not, I
Speaker 1: wish it wouldn't have been under those circumstances. You know.
Speaker 2: Yeah, shit happens, man, and it be just like sudden.
Speaker 2: You know, you can accept some type of shit. You know,
Speaker 2: we all men, and we're supposed to be staying strong
Speaker 2: and be built. But man, it's just it's just some
Speaker 2: shit that happens man, that you can't even it just
Speaker 2: it just knocks you down. It should should just be unexpected.
Speaker 2: I guess that would be the real killer about it.
Speaker 2: It'd be different when you know people and they going
Speaker 2: through some stages, you know what I'm saying. I mean,
Speaker 2: you know death is coming to us all. But you
Speaker 2: know when it's somebody that you just like that, like
Speaker 2: it's impossible, man, Like how did how It's impossible?
Speaker 1: And then.
Speaker 2: Coming up like how we came up? Man, You always
Speaker 2: expected to be on some oh somebody shot my nigga,
Speaker 2: or somebody did this, or my nigga went to prison
Speaker 2: for a hundred years or some shit. When it's on
Speaker 2: some like when it's on some like medical shit that
Speaker 2: you can't understand, that shit like it fuck with you
Speaker 2: because that's the shit that take you suddenly.
Speaker 1: You know.
Speaker 2: You know, if a nigga out there on the block
Speaker 2: banging and serving or whatever, somebody might come by and
Speaker 2: try to hit you. That's the chances we used to take.
Speaker 2: You get me. But seeing you go through all of
Speaker 2: that and you make it to a certain age and
Speaker 2: you know, grandkids and you're chilling and whatever, and next
Speaker 2: thing you know, bam. You know what I'm saying. You
Speaker 2: get that phone call and now you rush into somebody's bedside.
Speaker 2: You feel me that shit is crazy? Yeah it is, man,
Speaker 2: You know it is.
Speaker 1: Man. We can't take it for granted. Man, it's like
Speaker 1: in the blink of eye, like literally, you know, in
Speaker 1: the blink of an eye.
Speaker 2: Man.
Speaker 1: You know, one second you hear, the next you gone.
Speaker 4: Man.
Speaker 1: You know, we talk a lot about music, man, I
Speaker 1: mean you we've had discussions on the show before about
Speaker 1: the music industry just being really cutthroat. Today, man, we
Speaker 1: got like sort of a detective. I'd like to call
Speaker 1: him a forensics expert, right, you know, the homie gool Man.
Speaker 1: Who's happening? Man?
Speaker 5: Hey, first off, my conngolences, see you loved ones.
Speaker 2: Good luck. Yeah, I appreciate that.
Speaker 1: So gone Goo. Let me ask you, man, your name
Speaker 1: is really unique, man, gon Goo? What is that?
Speaker 5: My grandfather named me? He was headed the household.
Speaker 2: Man.
Speaker 6: You know, I don't know it's African or something. I mean,
Speaker 6: my grandfather's in like fifth grade, but I never really
Speaker 6: got it his it, but you know it stands out.
Speaker 6: It's unique.
Speaker 2: You know it.
Speaker 6: You know it's you know, I guess it obviously it
Speaker 6: stands out, you know what I'm saying. I mean, it works,
Speaker 6: It works for me, It works for me.
Speaker 1: Yeah, I bet if your grandfather names you probably means
Speaker 1: something real powerful.
Speaker 6: Yeah, it supposed if it's supposed to be like an
Speaker 6: African witch doctor or something.
Speaker 5: I mean, that's the story I was told.
Speaker 6: I was there was a whole story to it, but
Speaker 6: you know I forgot about I forgot, I forgot.
Speaker 1: Well, you know, I'd like to call Ghanghu a forensics expert.
Speaker 1: He like a detective. He liked those cats on the
Speaker 1: first forty eight to come in when the bread is
Speaker 1: messed up and not right, He's gonna come in and
Speaker 1: find it and the ain't no how in it front of.
Speaker 2: Him, right.
Speaker 6: I do forensics on the royalty side, So I consider
Speaker 6: myself a forensics royalty specialist.
Speaker 1: Now that means you don't benish from everybody's business then,
Speaker 1: because you know, hip hop is one of those arts
Speaker 1: man where everybody got a horror story. Everybody don't been robbed.
Speaker 5: Yeah, man, I mean I seen it all, man, definitely
Speaker 5: seeing it all.
Speaker 6: And it's going to continue, and you know, I mean
Speaker 6: it can happen purposely or even by mistake. You know,
Speaker 6: sometimes the system is just messed up too, you know
Speaker 6: what I'm saying. That's paying out you know, bad software,
Speaker 6: you know what I'm saying, Just you know, and it
Speaker 6: just spits out and you got to catch it.
Speaker 1: Yeah, So how did you get into this business man?
Speaker 1: Because this thing is outworking to publish a business. But
Speaker 1: your side is kind of different.
Speaker 2: I mean, I grew up with some cats.
Speaker 5: I used to be around the sugar Hill family.
Speaker 6: The father, you know, was trying to teach me titbits
Speaker 6: on the Royal East side that I would consider that.
Speaker 6: He was pretty much an expert on the publishing and
Speaker 6: master side of the business and stuff.
Speaker 2: And you know.
Speaker 6: When you come out of high school and a lot
Speaker 6: of people were just knocking on his door, coming by
Speaker 6: the wall, basically coming by his studio, trying to learn
Speaker 6: the music business. You know, he had a door open
Speaker 6: for a lot of people. He was teaching a lot
Speaker 6: of people. You know what I'm saying. My family knew
Speaker 6: his family, so I had an open door policy to
Speaker 6: deal with him. And you know, he was able to
Speaker 6: you know, I was able to learn a couple of
Speaker 6: things from him, even though you know, I was learning
Speaker 6: stuff on my own and stuff. But he was able
Speaker 6: to you know, put you know, add some add some
Speaker 6: season into what I what I already knew, and then
Speaker 6: you know, I was able to go out there on
Speaker 6: my own and try to like, you know, just find
Speaker 6: you know, my own resolve on on issues. But it
Speaker 6: took a lot of ringing ring experience. You know what
Speaker 6: I'm saying. It's like you can't jump into the fight,
Speaker 6: you know, against these experts. You're gonna get beat up,
Speaker 6: you know, all around the ring, you know what I'm saying.
Speaker 6: So it took a lot of court cases, reading a
Speaker 6: lot of contracts, seeing a lot of pain, you know
Speaker 6: what I'm saying, experiencing the pain, you know, gaining a
Speaker 6: lot of emotion, gaining a lot of motion from from
Speaker 6: from your clients, and stuff like that that would motivate you.
Speaker 6: Reading a lot of books. You know, it took a
Speaker 6: little bit of everything to get where I'm at. You
Speaker 6: know what I'm saying, Good lawyers, better lawyers. You know,
Speaker 6: it's it was just that it was just a bunch
Speaker 6: of ingredients. You know what I'm saying. That that that
Speaker 6: that that I ate, you know what I'm saying that
Speaker 6: I ingested.
Speaker 5: I ingested a lot of ingredients. You know what I'm saying.
Speaker 1: Yeah, yeah, I am.
Speaker 5: Now you know what I'm saying.
Speaker 1: What's the you know, I'm gonna jump right into it, man.
Speaker 1: What's the most scamba's case that you've seen? Man? Of
Speaker 1: just somebody taking advantage of somebody.
Speaker 6: I mean I got a couple, man, I mean I've
Speaker 6: got I've got numerous cases.
Speaker 1: I mean, well, you know, we got all. I want
Speaker 1: to hear about them, man, because I think it's important. Yeah,
Speaker 1: I don't realize how to protect themselves.
Speaker 5: All right. I had a client one time.
Speaker 6: Back in twenty ten or something like that, twenty eleven,
Speaker 6: This lady Venus Dotson. She had a tax bill for
Speaker 6: six figures, you know what I'm saying, and make along
Speaker 6: su a short. You know, she was like, I never
Speaker 6: why would I have a six figure tax bill? You
Speaker 6: know what I'm saying, Like, I've never even made no
Speaker 6: money in the industry like that.
Speaker 2: You know what I'm saying.
Speaker 6: Basically, say, okay, so say, for example, somebody took MC
Speaker 6: eight's name and was taken well, basically, somebody was taking
Speaker 6: MC eights checks and cashing MC eights checks under his
Speaker 6: government name. So say if mcs would be in my
Speaker 6: ass cap or something like that, he was getting writer
Speaker 6: checks under his government name. Somebody was cashing their checks
Speaker 6: and getting the checks cashed under under their government name.
Speaker 6: But they but you'd have to pay the tax bill
Speaker 6: because under the government name the checks were for you.
Speaker 6: They just got me directed to somebody else's mailbox so
Speaker 6: they could cash them, you know what I'm saying. So
Speaker 6: that's happened often. I know a few clients that that's
Speaker 6: happened to. I mean, obviously the big pun case was
Speaker 6: was was messed up. I mean, uh, you know, I
Speaker 6: think people know by now. You know I met the
Speaker 6: Punk family and the homeless shelter. You know, she was
Speaker 6: receiving fake royalty statements for fourteen years. You know, I
Speaker 6: had to take people, you know what I'm saying. You know,
Speaker 6: I had to take Joe to court over that and
Speaker 6: his publisher to prove that the royalty statements that they
Speaker 6: that she was receiving was fake.
Speaker 5: For fourteen years, from.
Speaker 6: About twenty fifteen or somewhere around there, she was receiving
Speaker 6: fake royalty statements to keep her unrecouped while while they
Speaker 6: were really cashing the checks.
Speaker 1: Wow. So he was sending her fake statements, like statements
Speaker 1: he'd made up of his own that weren't there.
Speaker 6: Well, he was telling this publisher to make fake royalty
Speaker 6: statements so they whack up the money.
Speaker 1: Okay. Wow, So you would rather see your man because
Speaker 1: you know, he talks about poem with very high regard.
Speaker 1: And it's kind of crazy that she would like allow
Speaker 1: your homeboy's family to stay in a home with Selter
Speaker 1: and we had money for him.
Speaker 5: I mean, it was a game, agreed. I think he
Speaker 5: created somebody.
Speaker 6: He created somebody so spectacular that he just felt that
Speaker 6: like that artist was his, no matter what, that not
Speaker 6: even from inheritancy, Like that's not yours, that's my you
Speaker 6: know what I'm saying. I mean that just that just
Speaker 6: seems like that was the mentality, you know what I'm saying.
Speaker 6: He didn't care that. Like just imagine she's like, hey, Joe,
Speaker 6: you know what's up with the money. There's no money? Okay,
Speaker 6: Hey Joe, I need to pay rent. You know, I
Speaker 6: got Pun's crib. I'm about to lose her. Ah, there's
Speaker 6: no money. Hey Joe, I'm living at my friend's house
Speaker 6: with the kids.
Speaker 2: Hey, no money. No money.
Speaker 6: Hey, Joe, I'm living in a homeless shelter, like anything
Speaker 6: with the money. There's no money, you know what I'm saying.
Speaker 6: So he actually sort of transition of all of that happened,
Speaker 6: and he still he still was sending her fake groalthy statements.
Speaker 1: So he didn't care because you got to you got
Speaker 1: a two million dollars, right.
Speaker 6: I mean, I found two point three in the in
Speaker 6: the I paid an orderor we.
Speaker 5: Found two point three million dollars missing during discovery.
Speaker 6: And it wasn't even all the discovery, you know, they
Speaker 6: were they were missing pages in the discovery, you know,
Speaker 6: and stuff like that, you know what I'm saying.
Speaker 5: I mean, we could took the trial and found more
Speaker 5: money and stuff.
Speaker 6: Like that for sure, but you know, we had, you know,
Speaker 6: there was a choice to you know, basically went to mediation,
Speaker 6: you know what I'm saying, and we got the catalog
Speaker 6: back from him and h Basically the publisher was getting
Speaker 6: twenty five percent due to the fact that he brought
Speaker 6: into the copyright due to advance, and then the other
Speaker 6: seventy five percent was thirty seven and a half thirty
Speaker 6: seven and a half half of Joe and half for
Speaker 6: the pun of state, and we were able to get
Speaker 6: you know, Joe's portion back because he got all the
Speaker 6: blame in court, you know what I'm saying, because you know,
Speaker 6: he didn't pass over the money when he got it.
Speaker 1: M you know what, And this ain't no, this ain't
Speaker 1: me man. Oh you're trying to smear Joe man because.
Speaker 2: Not at all.
Speaker 1: He's not the only one. Is just reality. It's just
Speaker 1: the truth, man. Truth. Sometimes it's bad.
Speaker 2: You know.
Speaker 1: You would think, though, because he talks about that man
Speaker 1: with very high regards, you would think, ain't no way
Speaker 1: he gonn allow his man's wife and his baby's to starve.
Speaker 1: You feel what I'm.
Speaker 6: Saying, Uh, you know, I mean he had the options,
Speaker 6: and he took advantage of whatever option he had to
Speaker 6: go left or right, you know what I'm saying. And
Speaker 6: you know, I'm just glad that I was able to
Speaker 6: prove that the Royalty students were fake because maybe even
Speaker 6: to this day, they probably be sending a fake royalty stavements.
Speaker 2: Yeah, yeah, yeah.
Speaker 1: You know it seemed like, man, during the early days
Speaker 1: of hip hop, it was a lot of that going on,
Speaker 1: and I think that was just because that was the
Speaker 1: status quo. Kind of you know, you sign somebody, you
Speaker 1: take the publish in. They don't really get no money
Speaker 1: outside of what they give in the road, and that's it.
Speaker 1: They kind of you know, going to oblivion or whatever.
Speaker 2: Right, It's happened to the best of them.
Speaker 5: I've seen.
Speaker 6: I've seen run DMC in corporate Steve plot Nikki profile
Speaker 6: records because Steve plott Nicky was sending one d fake
Speaker 6: royalty statements.
Speaker 1: Uh, you know what I'm saying. One of the biggest
Speaker 1: groups in the world.
Speaker 6: I mean yeah, but I mean but they also got
Speaker 6: a lot of licensees like Christmas Holliday Records and all
Speaker 6: that type stuff.
Speaker 1: You know what I mean.
Speaker 2: That God was able to man, Yeah, that God was
Speaker 2: able to Yeah.
Speaker 5: And they even they even lost the court case.
Speaker 6: You know what I'm saying, because you know, they had
Speaker 6: lack of knowledge and lack of technique to how to
Speaker 6: fight a veteran like that.
Speaker 5: You know what I'm saying. I mean, this guy's experienced.
Speaker 6: In my opinion, it just seems like he don't like
Speaker 6: paying black people, you know what I'm saying.
Speaker 5: That's just my opinion, and.
Speaker 6: I mean that's from my experience because I took him
Speaker 6: to court before too, and stuff like that. And I
Speaker 6: mean everybody I noticed black is getting manipulated from him
Speaker 6: somehow somewhere. You know, there's a whole complaint border on
Speaker 6: him basically from artists that call me. You know what
Speaker 6: I'm saying. And uh, I mean Rob Base was signed
Speaker 6: over there. I think DJ Quick signed to Profile Records
Speaker 6: camp Low. Yeah, but I don't know it's never spoke
Speaker 6: to him about it. But I'm just saying, but he's
Speaker 6: one of those guys that in his contracts he didn't
Speaker 6: give out publishing. He was just giving up royalty. You
Speaker 6: didn't you didn't have publishing. You just you was just
Speaker 6: getting you.
Speaker 2: Know, publishing like that. You know what a lot of
Speaker 2: like we wasn't get. Yeah, I didn't get publishing even
Speaker 2: though it was there. I know shit about it.
Speaker 6: Yeah, I mean done, Hey, bo, I would just sign
Speaker 6: the same contract they did, just because I know what
Speaker 6: I know now back then, being so and so aged,
Speaker 6: I would have seen I would have signed the same contract,
Speaker 6: you know what I'm saying.
Speaker 5: So I'm no genius at eighteen twenty years old.
Speaker 2: You know what I'm saying.
Speaker 1: You know what the thing is though, kind of going ay,
Speaker 1: nobody can give you your publishing. That is your right.
Speaker 1: The moment you go in thatial intellectual probably the moment
Speaker 1: you go in and write over the beat or whatever.
Speaker 1: It's supposed to be a marriage between the producer and
Speaker 1: the artist the writer. You know, you've got the you
Speaker 1: know y'all, y'all both joining the orders of that copy
Speaker 1: right right? Can't nobody give me the publishing? Somebody was
Speaker 1: writing all your reps for you.
Speaker 6: I'm just saying, Bob, but we're eighteen twenty years old,
Speaker 6: We don't you know, we're thinking at forty something.
Speaker 5: Fifty years old. Now, you know what I'm saying.
Speaker 6: Fifty something years old, eighteen nineteen twenty years old, you know,
Speaker 6: signing the Bad Boy or something like that or whatever
Speaker 6: label to where they get a piece of publishing and
Speaker 6: stuff like that. I mean, I mean, number one, you're
Speaker 6: you're pretty intrigued by the advance. You know what I'm saying.
Speaker 6: At eighteen nineteen years old, you see the advance. You
Speaker 6: know what I'm saying, that's one thing.
Speaker 2: Let's go.
Speaker 6: You know what I'm saying, he's gonna they're gonnaet a
Speaker 6: little piece of the publishing. You don't even know what
Speaker 6: that pretty much means eighteen nineteen years old. You know
Speaker 6: what I'm saying.
Speaker 2: You don't, but yeah, and you just you just run
Speaker 2: you just running with it.
Speaker 6: I mean, I hate a lot of people argue about
Speaker 6: puff now at forty years old, forty something years old
Speaker 6: because because they're all the naw they realized what the
Speaker 6: value of the publishing is now they now they understand that,
Speaker 6: oh I lost a piece of my real estate, you know.
Speaker 6: But but just think that even happened a biggie. The
Speaker 6: guy had a piece of biggie too. I mean, it
Speaker 6: doesn't matter how big you are, you know what I'm saying.
Speaker 2: It happens to the best of them. You know what
Speaker 2: I'm saying.
Speaker 6: You could beat Michael Jordan of the rap game at
Speaker 6: the end of the day. But when you're eighteen nineteen,
Speaker 6: you signed, you signed this contract. You know what I'm saying.
Speaker 6: It just it just it just is what it is,
Speaker 6: you know what I'm saying. I mean, it's better that
Speaker 6: than getting the royalty at the same time. I mean,
Speaker 6: you know, at least it transcended from the royalty stage
Speaker 6: to where you get your own publishing entity.
Speaker 5: You know what I'm saying.
Speaker 2: Right, how prevalent.
Speaker 1: Was that, like with what's one of the older labels, man,
Speaker 1: one of the one of the premier labels, what was
Speaker 1: the label came and signed.
Speaker 5: To, Yeah, Coach Killing.
Speaker 2: I meant, I got Coach Chilling clients and stuff like that.
Speaker 2: You know what I'm saying.
Speaker 6: We got terminations and got them the entity back and
Speaker 6: stuff like that.
Speaker 5: It was, like I said, that was that was pretty
Speaker 5: much a template of the eighties.
Speaker 2: You know what I'm saying.
Speaker 6: That was just an eighties But once again, eighteen nineteen
Speaker 6: years old Chantey was Chantey was fifteen sixteen when she signed.
Speaker 2: You know what I'm saying, I mean, who what?
Speaker 1: Hey? Man?
Speaker 2: You know what I'm saying, what do you what do
Speaker 2: you know with that? Sixteen years old?
Speaker 6: Hey, I'm supposed to oh, my publishing, my copyrights supposed
Speaker 6: to be like this and like this, Like idan, I
Speaker 6: can't hurt out the room.
Speaker 2: You know what I'm saying.
Speaker 1: Wow, you know that.
Speaker 5: Look back then, you wouldn't even have a deal. I
Speaker 5: get you out the room.
Speaker 2: You know what I'm saying. Yeah, we'll call you, yeah exactly.
Speaker 1: You know what I'm saying, Yeah, we hit you later
Speaker 1: on because you know too much. You talk. Youre about
Speaker 1: to call some problems.
Speaker 6: Yeah, but I'm just saying, man, I'm just glad that
Speaker 6: you know, these people graduated, you know what I'm saying,
Speaker 6: to be the people who they were in the business.
Speaker 6: You know, a lot of these people are soundtracks are
Speaker 6: my childhood and teenage years, high school years and stuff
Speaker 6: like that. You know what I'm saying. When you're that age,
Speaker 6: you don't really know the stories like that. You know
Speaker 6: what I'm saying, like, oh, this person is not getting
Speaker 6: paid like that and stuff like that.
Speaker 5: You're more like seventeen eighteen. Look at them like a superhero,
Speaker 5: you know what I'm saying.
Speaker 1: You know, And like we talked about earlier off the year,
Speaker 1: it's not always just some big evil executive somewhere that's
Speaker 1: just certain stuff. Sometimes it's a case of people not
Speaker 1: understanding business as well. You know, like you said, you
Speaker 1: get in advance and you spend money, people spend money
Speaker 1: on putting your record out and certain things, and you
Speaker 1: you know, you may sign a piece of your publishing
Speaker 1: or I think it kind of is a great area
Speaker 1: as when you just do it, when you just do
Speaker 1: somebody wrong for lack of knowledge and you don't explain
Speaker 1: to him, Hey, we're doing this deal I'm going to
Speaker 1: give I'm gonna put your record out, but it's changed.
Speaker 1: You're going to give me twenty percent of your publishing.
Speaker 1: That means this, You give somebody a choice. You feel
Speaker 1: what I'm saying.
Speaker 2: I feel you.
Speaker 6: But I just think in this business, this game is
Speaker 6: for keeps. You know what I'm saying. That's the mentality
Speaker 6: is for keeps. I mean, just think well, I mean,
Speaker 6: just think in the sixties, Roulette, Morris Levy, you know,
Speaker 6: guys like that throughout the era. The tradition just gets
Speaker 6: passed on. You know what I'm saying. You know, it's
Speaker 6: just like yo, like yo, here's the handbook. You know
Speaker 6: what I'm saying now, mind you Okay. I was going
Speaker 6: through a situation with Puffy one time, right back in
Speaker 6: like twenty twenty one. He called my house, Well, he
Speaker 6: called myself up when I was hanging, you know, doing
Speaker 6: what in my living room and stuff like that, and
Speaker 6: he was just like basically like yo, man, like you
Speaker 6: see me discrepancies.
Speaker 5: Don't call my lawyer, don't call my publisher.
Speaker 2: Just call me.
Speaker 5: This is my cell member, Just call me.
Speaker 2: You know what I'm saying, I'm.
Speaker 6: Looking at it like oh shit, like this is the
Speaker 6: big homie because I used to be a bad boyal time.
Speaker 2: Like I'm like, okay, I'm gonna call you, like I'll
Speaker 2: call you like you know what I'm saying.
Speaker 6: He had me like half hypnotized, like okay, like I'll
Speaker 6: just call you about it, you know what I'm saying.
Speaker 2: And my client, my client was pissed.
Speaker 6: My client was like, yo, man, like I know he's
Speaker 6: playing me and all this stuff, my money, this and that.
Speaker 5: So Puff called him up right, And when.
Speaker 2: I spoke to my client, I was like, Yo, so
Speaker 2: what y'all talk about? He said, Yo?
Speaker 3: You know?
Speaker 6: Puff said to me. I was like, what do you
Speaker 6: say to you? He said, hey, man, I'm just doing
Speaker 6: what the white man taught me.
Speaker 1: See this nothing, you know what, man? I can understand
Speaker 1: young cats doing something together and don't nobody know what's
Speaker 1: going on, But you can't take bad habits. Dog, if
Speaker 1: your father used to beat your mama, that don't mean
Speaker 1: you beat your wife when you get married. You feel
Speaker 1: what I'm saying, You know that don't mean you keep
Speaker 1: some you know, bad habits going on. Example off, I
Speaker 1: don't think that's an excuse.
Speaker 2: Man.
Speaker 1: I've always thought that publishing is an artist's legacy. Bro,
Speaker 1: that's mailbox money. Because hip hop is not like rock
Speaker 1: and roll. Hip hop has a problem with ageism very much.
Speaker 1: So it's not like rock and roll to where you're
Speaker 1: going to continue to be able to put our records
Speaker 1: on a major label at the high left and get
Speaker 1: big advances. No, eventually you're going to be putting records
Speaker 1: out on your own. If you're putting them out at all,
Speaker 1: you'll probably still going to go on tour. But that's
Speaker 1: supposed to be like your mailbox money. So when you
Speaker 1: get older, man, you got that, you know that publishing coming.
Speaker 1: We got guys that have really big records. Man, it's
Speaker 1: not getting the publishing.
Speaker 6: I mean, I see a lot of times puswa. I
Speaker 6: just had a case today. Like I told you, I
Speaker 6: would through six boxes of contracts today. I flew him
Speaker 6: from DC to go to Maryland. My client drove from
Speaker 6: Virginia to Maryland to meet up with meet it with
Speaker 6: me and my lawyer at the lawyer's office. We were
Speaker 6: in the conference room going through contracts, right, and you
Speaker 6: know it's in a state. They inherited it. They inherited.
Speaker 6: They inherited this estate of works and stuff like that.
Speaker 6: And when the grandfather died, who did all this work?
Speaker 6: When the grandfather died, his granddaughter inherited. So when the
Speaker 6: grandfather died, the manager turned around. The Jewish guy manager
Speaker 6: turned around and claimed him as all his and he
Speaker 6: was selling was he was selling off the publishing, like, yeah,
Speaker 6: give me a hundred thousand for these three songs, and
Speaker 6: you know this and that, so I could live in
Speaker 6: Beverly Hills and all this other stuff, you know what
Speaker 6: I'm saying. So you don't know where angle is coming from,
Speaker 6: you know what I'm saying. And a lot of times
Speaker 6: when you inherit stuff like you're not going to know.
Speaker 6: Like you know, if eight passed away and I talked
Speaker 6: to one of his relatives and I say, hey, like,
Speaker 6: well eight oed me money, and they're not going to
Speaker 6: know as much as he did because he was hands
Speaker 6: over with the business. You know what I'm saying. The
Speaker 6: state can be manipulated. This guy was manipulating. He was controlling.
Speaker 6: This guy died in nineteen eighty. He was controlling everything
Speaker 6: from nineteen eighty to like nineteen ninety six. So what
Speaker 6: was No, this is a guy named Lincoln Chase. He
Speaker 6: sampled a lot jay Z, Mariah Carry Heartbreaker and stuff
Speaker 6: like that. You know, he got a lot of works
Speaker 6: and stuff like that that gets sampled and stuff like that.
Speaker 6: But all I'm saying is that, you know, it's not
Speaker 6: just hip hop that I do and stuff like that.
Speaker 6: This was like I do jazz. You know, I got
Speaker 6: a whole bunch of clients and stuff like that. But
Speaker 6: I'm just saying, like, you know, what I'm saying is that, well.
Speaker 2: Shit, when you're doing work like that, so you got
Speaker 2: to be able to and you got to be able
Speaker 2: to broaden your horizons when you fucking with different type
Speaker 2: of people, when you can prove that you can do
Speaker 2: that type of different shit.
Speaker 6: Yeah, yeah, absolutely, I agree, you know what I'm saying.
Speaker 6: So yeah, yeah, you know what I'm saying. My work
Speaker 6: is diverse. So all I'm saying is that, you know,
Speaker 6: there's so many different ways to try to stuff.
Speaker 5: You know what I'm saying, there's a lot of forgeries
Speaker 5: in the business.
Speaker 2: You know what I'm saying.
Speaker 6: I think I might have said before, like his his
Speaker 6: one trick that goes down, but by veterans, you know,
Speaker 6: what I'm saying, I can are you asking it?
Speaker 2: Being my eight I'm being a mind. Nigga stole my publisher. Okay, hey,
Speaker 2: well okay, so okay, so you can do this. I
Speaker 2: basically my first ever contract, I think I was seventeen eighteen.
Speaker 2: I signed a contract with Big Beat Productions.
Speaker 6: Oh Big, Big Atlantic, Big Beat, big Beat something, Big
Speaker 6: Beat Atlantic.
Speaker 2: Okay, Big Beat Atlantic was Craig Kauman. This was a
Speaker 2: nigga name, unknown out of Detroit. He had an independent
Speaker 2: record label called Techno Hop. That's where I got my
Speaker 2: first shot at. Oh wow, And so when I signed
Speaker 2: a deal with him, because he basically had a deal
Speaker 2: on the table with Capital orpheus and so signed to him,
Speaker 2: but I never signed a publishing deal. What he did
Speaker 2: was he took a publishing contract and stapled it to
Speaker 2: the back of my recording contract, and she was able
Speaker 2: to take my publishing on the first two records. This
Speaker 2: was like ninety that might be be resolved these days. Okay, people,
Speaker 2: but you and then people look at it as people
Speaker 2: look at it from his side, probably like nigga, you
Speaker 2: had to pay your dues, so look at that as
Speaker 2: paying your dues, right, where would you be if if
Speaker 2: a nigga would have never put you out? What would
Speaker 2: you be if a nigga never decided to, you know,
Speaker 2: drop a record.
Speaker 1: On you or whatever?
Speaker 2: This ISMW yeah really yeah c m W. On my
Speaker 2: first two projects, I didn't I didn't start probably getting
Speaker 2: published until the group was just you. I wrote everything,
Speaker 2: oh o, oh okay wrote I wrote all the lyrics. Nobody, nobody.
Speaker 2: One nigga did the beats, and one nigga did the
Speaker 2: raps and that was me. I wrote all the araps
Speaker 2: for the group.
Speaker 5: Oh man, So I told you behind the scenes.
Speaker 2: Right, So yeah, the niggas the nigga staple the publishing
Speaker 2: contract to the back of the little record, and that's
Speaker 2: how he was able to go to uh, the public,
Speaker 2: That's how he was able to go get a publishing deal.
Speaker 2: He went and got a publishing deal with the motherfucker.
Speaker 2: And uh, he only gave me. He only gave me
Speaker 2: some chump change. I think it was for like a
Speaker 2: hundred grand. The nigga, the nigga gave me some shit.
Speaker 2: I could blow my nose with me. And he kept
Speaker 2: around that and he got about it. He got about
Speaker 2: it was probably about one hundred thousand dollars publishing deal
Speaker 2: and he got yeah, and they gave me about five
Speaker 2: grand and he kept the rest. Right, how old are
Speaker 2: you then? Oh shit, I was about eighteen nineteen years old.
Speaker 1: Yeah.
Speaker 5: See that's what I'm saying. We don't know no better.
Speaker 5: You know what I'm saying.
Speaker 1: I got.
Speaker 2: I just wanted to rap man. I ain't know about publishing,
Speaker 2: and he was getting show money. No, I wasn't even
Speaker 2: getting show money yet. I was just glad that I
Speaker 2: had a record out. Okay, I hadn't even begun to
Speaker 2: start touring. I really didn't start touring till my second album.
Speaker 2: I didn't second album, W was so Lo CMW. Okay,
Speaker 2: first album, it's a copy thing. I didn't do no
Speaker 2: touring off of that. We sold a about close to
Speaker 2: two three hundred, about two hundred and something thousand records
Speaker 2: on this accomfent thing, and that was through Orpheus Capital,
Speaker 2: and then they folded and so we ended up getting
Speaker 2: picked up by Sony because Orpheus got picked up on
Speaker 2: the deal with Sony, and so Orpheus had a deal
Speaker 2: with Big Bet, which was who I was signed to. Okay,
Speaker 2: but again i'm writing out, I'm writing everything that, all
Speaker 2: the raps on all those CMW and m C eight
Speaker 2: solo projects, I wrote all the raps. Nobody Ghoest wrote
Speaker 2: none of that. I what made you go? What made
Speaker 2: you go? Solo?
Speaker 6: After this, after the second album.
Speaker 2: The label my Nigga Chill kept going to jail and
Speaker 2: they didn't want to keep pushing the cmb W line
Speaker 2: when there was no CMW. It was just me and
Speaker 2: the DJ. Chill was going in and out of jail
Speaker 2: all the time, so it was just me. I was
Speaker 2: doing all the songs, I was writing all of them,
Speaker 2: I was doing all the videos by myself. I was
Speaker 2: doing but I'm still going by confidence most warning mm hmm.
Speaker 2: They felt probably it was better to just break off
Speaker 2: and just deal with me as a solo artist's reliability
Speaker 2: less of a lie what you say.
Speaker 1: Still, I see a plus for branding that pick because
Speaker 1: it was very not confusing. But I used to think
Speaker 1: confience most wanted was just another name for you exactly.
Speaker 1: There was never nobody else rapping it. He was always
Speaker 1: only one rapping.
Speaker 2: I was always I said, when you heard like you
Speaker 2: really did hear Chill on songs because he was going
Speaker 2: up in the window right, he was on the first version,
Speaker 2: and then we did a remix and he wasn't on there.
Speaker 2: We did the original version. I wrote the verse, I
Speaker 2: wrote the lyrics, we cut the song. Ah, you know,
Speaker 2: we were still we were still Street Niggas. Then O
Speaker 2: Niggas was getting in trouble. Still. Chill went to jail
Speaker 2: that night after we left the studio, so when it
Speaker 2: was time to go do the radio version, he wasn't around.
Speaker 2: So I had to do it by myself because we
Speaker 2: had just cut the original song for the soundtrack, and
Speaker 2: then it blew up so good that they wanted to
Speaker 2: push it on the radio. So I had to go
Speaker 2: back in and do a radio version. And then Who
Speaker 2: and then Sony, who I was signed to, They was like, well, shit,
Speaker 2: we want our piece. So they turned around and put
Speaker 2: out a Naxi single with a whole remix, a whole
Speaker 2: different beat to growing Up in the Hood. Oh, it
Speaker 2: was like three different versions of growing Up in the Hood.
Speaker 2: It's we got we got three different versions. We got
Speaker 2: the original with me and Chill, then there's radio version
Speaker 2: with just me, and then there's the more bounds remix
Speaker 2: with just me.
Speaker 1: Oh but.
Speaker 2: I never I never decided to go solo like that
Speaker 2: was pushed by the label. They was like, man, why
Speaker 2: push Contence most wanted? When Contence most wanted this year?
Speaker 5: That was a dope name too, though you know what
Speaker 5: I'm saying.
Speaker 2: Definitely, but they probably figured, and you know, this was
Speaker 2: around the time where Image and James was everything. We
Speaker 2: was already scaring niggas because we was young niggas black
Speaker 2: with Jerry curls and khaki suits and ship like that.
Speaker 2: They probably figured we would catch less. We would catch
Speaker 2: less bullshit. If we go from Contence most Wanted to
Speaker 2: MC eight, you give me M eight Contens most wanted,
Speaker 2: even though he's Conten's most wanted. When you hear that
Speaker 2: name push first, it's more relaxing than presenting Compton's most
Speaker 2: wanted on somebody. You feel me.
Speaker 5: That that's aggressive.
Speaker 2: It's easier to go to radio with Hey, here's this
Speaker 2: m C eight single. Then here's this Compton's most wanted single.
Speaker 2: You get me? Yeah, I guess so, and go ahead.
Speaker 1: Still, you wouldn't lucked up with them one of no
Speaker 1: contract wizard.
Speaker 2: Who with Sony?
Speaker 1: Yeah?
Speaker 2: Yeah. After I did Conscience most warn it, they restructured
Speaker 2: the deal to just an m C eight solo deal.
Speaker 6: Hey question, would you recall, like you know, you being
Speaker 6: in an aggressive group like that, would you recall if
Speaker 6: they had life insurance in your contract?
Speaker 2: I have no idea. I'm pretty sure I had one
Speaker 2: of the old school contracts. Nigga was a yeah I got.
Speaker 6: That ship, yeah, yeah, yeah, yeah.
Speaker 2: And then like the representation back then would like, you know,
Speaker 2: it was just shady, you know what I'm saying.
Speaker 5: Everybody he signed here.
Speaker 2: I unfortunately, you know, came across a motherfucker who was
Speaker 2: you know, he was out. He was out for the
Speaker 2: money himself. You mean, Nigga didn't teach me anything as
Speaker 2: an older motherfucker who was a lawyer, who was a
Speaker 2: motherfucking you know, who had been through the who had
Speaker 2: been through the business. He used to work for Stax
Speaker 2: Records back in the days. So you would think that
Speaker 2: a motherfucker was school you on the eels of the
Speaker 2: record business and publishing. And recall that Nigga to give
Speaker 2: a fuck. All he wanted was every time a check
Speaker 2: came in, where's my piece, where's my piece? And then,
Speaker 2: like you said, in the long run, he was still
Speaker 2: in my publishing because he had an attorney client trust account,
Speaker 2: so my b and my checks, my sony royalty checks
Speaker 2: would go to him. And because he had a client
Speaker 2: trust account, he could just deposit the motherfucker into his
Speaker 2: bank account, right and bingo, Like Nigga I hadn't seen
Speaker 2: a royalty check or from I just started receiving being
Speaker 2: my checks. And then Nigga I hadn't seen a royalty
Speaker 2: check from Sony and who knows when, same type of
Speaker 2: Angie Stone ship. Nigga, I ain't seen a check in
Speaker 2: a billion years. And then one day the motherfuckers called
Speaker 2: me and was like, hey, eight, we've been looking for you.
Speaker 2: So I don't know, they're trying to cover their own
Speaker 2: ass or whatever it is.
Speaker 1: Yeah, I think they're trying to cover their ass because
Speaker 1: they really when the motherfuckers start calling them about that
Speaker 1: other ship.
Speaker 6: You know, yeah, I've taken being by the court before,
Speaker 6: over over forged signatures and checks being cash from you know,
Speaker 6: by by other parties and stuff like that.
Speaker 2: It's you know, yeah, behind the Wheelson times, you know,
Speaker 2: on the court on some other ship m hm, and
Speaker 2: motherfuckers say you made like about sixty last year, you know,
Speaker 2: and in royalties or whatever, I'm like, no, I didn't, nigga.
Speaker 2: I ain't seen a motherfucking to nigga. Bitch broke our paperwork,
Speaker 2: like here's a check, here's a check, here's a check.
Speaker 2: Now I'm looking at a nigga like where them chicksat?
Speaker 2: Because they never came to me. Nigga was it was
Speaker 2: cashing the motherfuckers. Nigga was cashing them. He was feeling
Speaker 2: like they wouldn't. He would never get caught, you get me,
Speaker 2: He would never get caught. And that's what happened, and
Speaker 2: that's how we fell out. Right. I haven't heard from
Speaker 2: the nigga since that was. That was decades ago. You're
Speaker 2: getting you know, so you know what I mean, he's
Speaker 2: still alive. I doubt it it is still alive. I
Speaker 2: talked to his son, Yeah, but I doubted he was.
Speaker 2: He was sickly back then, getting sickly. Like I said,
Speaker 2: he was older, he was sick, the wheelchair all that
Speaker 2: type of ship. So I wouldn't know if he passed
Speaker 2: or not. But I'm pretty sure.
Speaker 5: Yeah, he's not functioning, you know either.
Speaker 2: Way, So what sony did? They just stopped sending the
Speaker 2: checks out. I guess they started, you know, they got
Speaker 2: to the point where they wanted verification of who they
Speaker 2: was the money to. And when you can't send a
Speaker 2: nigga a copy of your motherfucking driver's license, and you
Speaker 2: can't send a nigga no notarized copy and signature of
Speaker 2: this and that, they just stopped paying the checks and
Speaker 2: then they contact me twenty years later.
Speaker 1: Right, it's crazy, man. It should be time for you
Speaker 1: to get those masks back. No, you should be getting
Speaker 1: those catalog back. The catalog back.
Speaker 2: Yeah, my first CMW works. You know what I'm saying.
Speaker 2: All of that is pre like ninety two, ninety three,
Speaker 2: So you know you can call now.
Speaker 6: On the master and straight Back Music to try all
Speaker 6: in early projects. Man, Sony's gonna want to They're not
Speaker 6: gonna want to give you the Masterpact.
Speaker 2: They're gonna want to renegotiate and give you a high
Speaker 2: I've been getting emails from them about all we want
Speaker 2: to repress the Straight Trekking album.
Speaker 1: All we want to. You know.
Speaker 2: They they using their little side companies, Legacy Department, Legacy
Speaker 2: there you go. Yeah, that's that's who contacted me, the
Speaker 2: Legacy Department. So like they got a dude who calls me,
Speaker 2: and who tells me when I'm getting checks and all
Speaker 2: of that, like like, yeah, they they try, and that's
Speaker 2: what I said they was gonna do. They don't want
Speaker 2: to get a ship up. No, I'm going through that
Speaker 2: with Sony right now. It's still their channels, you go.
Speaker 2: You get what I'm saying. It's still going through their channels,
Speaker 2: which means that whatever they collecting is still going to
Speaker 2: their bank account. They still collecting interest in all that.
Speaker 6: All these labels, all these labels are in a fight
Speaker 6: for market share, and they really don't want to give
Speaker 6: nothing up. They want to keep market share, you know
Speaker 6: what I'm saying. They want to keep all these records
Speaker 6: they want to keep. It's a market share war between
Speaker 6: these companies, you know what I'm saying.
Speaker 1: And the thing with Legacy is too good. Legacys are profitable.
Speaker 1: They've already been marketed already. And you did you Yeah,
Speaker 1: can you have mentioned how much money you would make
Speaker 1: if you started getting all your old album straight checking
Speaker 1: them and you you press them up yourself, selling them
Speaker 1: on the website. You can sell music to drive by
Speaker 1: a fire four hundred dollars, bro, if you want to.
Speaker 2: You probably well, the thing is is that?
Speaker 6: I mean, yeah, you could that that would be one
Speaker 6: option or the second options that you get your master's
Speaker 6: back and then you just get them to you just
Speaker 6: do it. You just do a license and deal with
Speaker 6: them like a ninety ten like yeah, just keep it
Speaker 6: in the loop. But I get ninety percent now you
Speaker 6: know what I'm saying, or something like that. You know,
Speaker 6: you got the python going, you know what.
Speaker 2: I will not the music?
Speaker 6: Yeah, yeah, let's do a ninety ten now, you know
Speaker 6: what I'm saying instead of me getting uh, you know,
Speaker 6: I got I got ten points in the artist woryalty
Speaker 6: deal right right, Like, screw.
Speaker 1: That, man.
Speaker 2: You know what I'm saying, Hey, hey man, yeah, pretty
Speaker 2: much you're pretty much a commodity. Yeah what I say
Speaker 2: for the birds man, Hey hey, I got Sony guys
Speaker 2: like you that I found millions for in the audit.
Speaker 2: You know what I'm saying.
Speaker 6: You know what I'm saying, just do just due to
Speaker 6: the fact that you signed a pre digital contract, all
Speaker 6: that DSP, all that streaming ship, they owe you fifty
Speaker 6: percent through the licensing exactly. So if you're getting ten
Speaker 6: points right now, you're actually being paid underpaid five times
Speaker 6: under than just will be getting five times more to
Speaker 6: money through streaming YouTube spot right now.
Speaker 2: We ain't had no deal for digital, Yeah exactly, We'll
Speaker 2: just CVS and the fucking Alps. You do it right now,
Speaker 2: one door. We didn't have no type of deal for
Speaker 2: the albums. You do?
Speaker 5: How many albums you do through the Sony system?
Speaker 2: Oh? Ship at least at least twenty million?
Speaker 1: No?
Speaker 2: No, how many? How many?
Speaker 5: How many albums did you do?
Speaker 1: Oh?
Speaker 2: I did like Ship one, two, three, I did like
Speaker 2: I did, like six albums for song I did like
Speaker 2: albums for Sony.
Speaker 5: I need to I need to call you after this, man, Yeah.
Speaker 1: What the thing it was? Do you remember a few
Speaker 1: years ago I told you I had a dude that
Speaker 1: was gonna help you out with your get your stuff.
Speaker 1: This hit right here.
Speaker 2: I did that straight checking you did.
Speaker 6: To two c mws, and you did like four You
Speaker 6: did like four solo thre you did like four solo life.
Speaker 2: Yeah, yeah, I did. Uh. I I did one CMW
Speaker 2: because the first CMW album was on Orpheus Capital that
Speaker 2: was on Capitol Records.
Speaker 6: Okay, sons Universal owns that then now yeah, Capital says Universal.
Speaker 2: So but I did straight checking them. I did music
Speaker 2: to drive By, We Come Strapped, Uh, death Threats and
Speaker 2: last Man Stand. I did five albums with something Yeah, you.
Speaker 5: Need to holler at them.
Speaker 2: And none of those and none of those was for
Speaker 2: streaming in digital, Yeah, exactly digital contract.
Speaker 6: Yeah, you need to holler at you all of a sudden,
Speaker 6: you're gonna You're gonna pop up with seven figures on
Speaker 6: the order for sure, I can guarantee.
Speaker 5: I got a client. I got a client that did
Speaker 5: two albums with Sony.
Speaker 6: He's been dead twenty something years and we found like
Speaker 6: almost three million on.
Speaker 2: Him pre digital. I liked that word.
Speaker 1: I like that word still. Yeah, I told you get
Speaker 1: all that dog, Yes, indeed they got. They ain't no
Speaker 1: telling what they out there and don't collect it now Google.
Speaker 1: You always hear rumors and stuff. I heard that biz
Speaker 1: mark he is. You would think that, you don't, you
Speaker 1: would think biz Marky wouldn't hurt a fly dog. I
Speaker 1: heard biz was the most scanless dude in the world
Speaker 1: when it came to published. Yeah.
Speaker 6: Man, sometimes sometimes you don't you don't want to meet
Speaker 6: your heroes, you know what I'm saying.
Speaker 5: I mean, I mean.
Speaker 6: Yeah, I mean, I've gotten you know, co partners and
Speaker 6: other people like that, that he didn't abide by contractually.
Speaker 6: You know, he didn't give them their divvy. You know
Speaker 6: what I'm saying. And it's to catch me if you
Speaker 6: can type thing now, you know what I'm saying. I mean,
Speaker 6: it's it's it's quite unfortunate. I don't I don't really
Speaker 6: think the wife understands what the catalog that she's holding.
Speaker 6: There's there's there's there's money owed and stuff like that.
Speaker 6: You know, just matter as if you know, she might
Speaker 6: be feel like that she's a victim now because so
Speaker 6: many people trying to higher at her about the money
Speaker 6: and stuff like that. But you know, she just you know,
Speaker 6: I think, you know, she got to come to an
Speaker 6: understanding that he just didn't abide by his agreements.
Speaker 5: You know what I'm saying.
Speaker 6: He was supposed to give one client, I know, like
Speaker 6: you know, I think they had a production company together,
Speaker 6: like a seventy thirty or sixty forty or something like that,
Speaker 6: and you know, he never got he never got royalty one,
Speaker 6: he never got a cent from one record, never got
Speaker 6: acknowledged for one record ever done.
Speaker 2: You know what I'm saying.
Speaker 6: Through the Bismarck catalog, you know what I'm saying, and
Speaker 6: you don't remember a lot of sample related stuff.
Speaker 5: Bismarck's probably the most.
Speaker 6: I would take a guess and say he's probably he
Speaker 6: probably made the most money for CoA Chilling as an artist,
Speaker 6: you know what I'm saying, just due to the fact
Speaker 6: that he was sampled. He was probably sampled a little
Speaker 6: bit more than some other guys, you know, like Mario
Speaker 6: turned Mario hit just a Friend R and B record.
Speaker 6: You know what I'm saying things like that. You know,
Speaker 6: a lot of revenue was made through Bismarck. You know
Speaker 6: I'm saying. I can't guarantee that he was the biggest,
Speaker 6: uh royalty wise there, but there.
Speaker 5: Was a lot of money being made, you know.
Speaker 6: He had He also had other artists under there, Granddaddy,
Speaker 6: I you, Diamond Shell, I think Kiri had his his
Speaker 6: his first album through there, maybe a couple of other people.
Speaker 2: You know what I'm saying.
Speaker 1: He put Granddaddy you.
Speaker 2: Owned, Yeah, that was his that was his artist, Yeah,
Speaker 2: and that you was signed to. He came through Epic
Speaker 2: Street when I was over there.
Speaker 5: Yes, yes, the second album, Yeah, the second album. He
Speaker 5: came to Epics.
Speaker 2: So he came to epic.
Speaker 5: Yep, yep, exactly, good memory, yep, exactly yep.
Speaker 1: Granddaddy you was hard man.
Speaker 6: I mean he died trying to chase the royalty. I
Speaker 6: was trying to help him. Then all of a sudden,
Speaker 6: I already passed away. You know what I'm saying. Now,
Speaker 6: you know Warner owns the master end of Coach Chilling.
Speaker 3: Uh.
Speaker 6: Fly Tie sold the publishing portion because he was a
Speaker 6: loud to because everybody he controlled the copy right, because
Speaker 6: no one had a publish an entity. He sold that
Speaker 6: to Charles Kopperman, a company called CAC Music. Charles copper
Speaker 6: he got for it. I have no idea why I
Speaker 6: suppose to. Charles Copperman told me that he felt like
Speaker 6: he highly benefited from the fly Tie deal.
Speaker 2: You know what I'm saying.
Speaker 6: But he died when I was talking to him. We
Speaker 6: were negotiating, trying to get Granddaddy you his money. All
Speaker 6: of a sudden, he all of a sudden, he passed away,
Speaker 6: you know what I'm saying. So we're fighting to try
Speaker 6: to get the publisher. And now for the artist, where's tired?
Speaker 6: I have no idea. I think somebody's one of my
Speaker 6: clients yesterday said they sew him at a party last year.
Speaker 6: I would assume he's in somewhere around New York.
Speaker 1: Them dudes made a lot of money.
Speaker 6: Yeah, but you know that money cut It might have
Speaker 6: came in one. I think he sold that catalog in
Speaker 6: the late nineties or something. You know what I'm saying. Yeah,
Speaker 6: you know what you was over there, Molly Ma, Molly Mars.
Speaker 6: You know, Molly Ma was the co chilling producer pretty much.
Speaker 1: Yes, And he's pretty sure he's not getting what he's
Speaker 1: supposed to get though, because he built they whole. For
Speaker 1: a while, he was just the man out there.
Speaker 5: Molly Ma was the He might have been the only
Speaker 5: producer over there, right right right.
Speaker 6: Eight for a while, right, I mean, I don't remember
Speaker 6: anybody else for a while, the whole.
Speaker 2: Car over there. Indeed, Okay, he was one of them.
Speaker 2: You come through cold chilling, your beat is getting done
Speaker 2: by Marley Ma. That was all of them. Shante uh
Speaker 2: is cool g motherfucker. Craig G came and came, yeah, yeah, try.
Speaker 2: They all went through Marley.
Speaker 5: Yeah, Molly's house and hits he hits the studio of State,
Speaker 5: New York.
Speaker 1: Let me ask you this, bro.
Speaker 5: Then he came out with goes to the Underground off
Speaker 5: off co chilling, you know.
Speaker 1: Right right right, when you have guys like that. Man, See,
Speaker 1: his most lucrative years were back then. It's not like
Speaker 1: he's producing a lot of hip hop records right now.
Speaker 1: So I think it's very important.
Speaker 6: Catalog is crazy, though, bro onemost catalogue is crazy.
Speaker 1: Oh yeah, for sure. Yeah, that's the joints man. And
Speaker 1: think about it now, Think about how many people don't
Speaker 1: went back to him.
Speaker 6: I don't know if he got points. I don't know
Speaker 6: if gave him points for publishing wise. A lot of
Speaker 6: people seeing this stuff. Man, nah's this person, that person,
Speaker 6: this person, that person. So he got extended catalog, you
Speaker 6: know what I mean? He might have another eighty records
Speaker 6: just from sample lated records derivatives.
Speaker 1: Mm, exactly. You think about it like this, Hey, he
Speaker 1: was the man?
Speaker 2: Oh definitely.
Speaker 6: I guess when you would you, Hey, would you consider
Speaker 6: him like the East Coast j at one point?
Speaker 1: Oh? Hell yeah, I would say so.
Speaker 2: Around that time, Yeah, he he He touched a lot
Speaker 2: of motherfuckers and ship like you said, a lot of
Speaker 2: niggas then spunked off from this. Mama said, knock you
Speaker 2: out killers like killers like shit, yeah, yeah.
Speaker 1: He was the man. He really, he really was the
Speaker 1: sound of New York kind of for a long time.
Speaker 1: It was like and they was bumping out everywhere.
Speaker 5: I don't I don't know anybody bigger at that time.
Speaker 6: I mean there was competitors Herbie Lovebug and guys like that,
Speaker 6: but they weren't. They were ma you know what I'm saying.
Speaker 6: I mean, God bless you, but mar marm was getting
Speaker 6: all the work.
Speaker 1: Herbie love Bug was just more or less known for
Speaker 1: everybody kind of had their own producers back then. Everybody
Speaker 1: kind of had their own look like.
Speaker 2: Oh yeah, you were to your people's ship. You go
Speaker 2: outside the box, you know, Once a nigga turned you
Speaker 2: on to a producer, that was it. You rolled with
Speaker 2: that producer and ship. You didn't you didn't try to
Speaker 2: go like we wasn't big on that, you know, back
Speaker 2: in the days, like oh he doing beats and he
Speaker 2: doing beats and he doing beats. No, we considered that
Speaker 2: like within the crew, you get me, I'm the rapper,
Speaker 2: he the DJ, he the beat maker, he the motherfucking muscle,
Speaker 2: and then that's how we roll. And so projects we
Speaker 2: don't go like, oh you heard that new Cube album
Speaker 2: or the new NWA or blah blah blah, and go, oh,
Speaker 2: we need to go get it. Dra was hard, but
Speaker 2: we didn't go, yeah, we need to go get a
Speaker 2: beat from Dre. Oh, so you weren't thinking nothing like that.
Speaker 2: We didn't. We didn't go we Pool was hard, but
Speaker 2: we didn't go, we need to go get a beat
Speaker 2: from Pool. Get slip handles, slip handles the production so
Speaker 2: there's no there's no offens of butts, you know, slipped
Speaker 2: into anything. A motherfucking need to be done, so we
Speaker 2: don't need to go get this. The slipped to do
Speaker 2: just as good. And so that's how it was settled.
Speaker 2: We didn't run around trying to because we wanted to
Speaker 2: keep our sound, you get me. And back then we
Speaker 2: were very we're very high on not fucking with the formula.
Speaker 2: You get me, like, you know, fuck with the formula.
Speaker 2: Slip drums, that's what he does, Like we're not gonna
Speaker 2: turn you know. We wasn't big back then on having
Speaker 2: our album sounding all over the play.
Speaker 3: What did y'all What did y'all use back then? Like
Speaker 3: an SP twelve or NPC, an SPN once the MPs came.
Speaker 3: He used the MP. The Slip was an SP twelve
Speaker 3: hundred Master, and he was one of those motherfuckers who
Speaker 3: would dig in the crates. You get I'm gonna fine shit,
Speaker 3: I'm not gonna automatically go to what the supposedly sound is.
Speaker 2: You get me. Body was using the Funkadelics and the
Speaker 2: motherfucking Funky Worms and the Party George Clinton's and the
Speaker 2: Fat Backs and everybody was using that ship. We wanted
Speaker 2: to be different, Like, I don't want to wrap on
Speaker 2: what everybody rapping on. It's so cliche. He typed bullshit.
Speaker 2: So Slip Slip came up with our own sound. Mm hmm.
Speaker 1: You got to think about to Slip was really digging
Speaker 1: them crazies. Y'all had samples. Y'all was the first one
Speaker 1: to come up with certain samples. Then I would here
Speaker 1: a few years later other cats, you know, flipping them samples.
Speaker 1: Y'all sit what you say?
Speaker 6: So Slip was even doing the production when you and solo, Yeah, oh.
Speaker 2: Okay, mm hmm. When I went solo. Uh, we used
Speaker 2: to split production. We had formed the production team Halfhounds
Speaker 2: Productions and we used Splip Productions. Slip used to do
Speaker 2: half for the record, and I used to do the
Speaker 2: other half or after while. I didn't play keys, but
Speaker 2: I had I was producing. I had to. I had
Speaker 2: all the equipment in my studio, and I would bring
Speaker 2: in the dude to play bass lines and play with whatever,
Speaker 2: and then after he would lay that and I would
Speaker 2: two track it or whatever. I turned around and come
Speaker 2: up with the drum track. That's how I did. That's
Speaker 2: how I did my music. And if I wanted some
Speaker 2: of that extra difficult ship, I let slip do it.
Speaker 2: Slip out of cutting chop and slip take a motherfucking
Speaker 2: voice and make a whole beat out of the motherfucker ship.
Speaker 2: He made a motherfucking beat out of a commercial we
Speaker 2: heard on TV.
Speaker 1: Nigga.
Speaker 2: We were sitting uploaded one night, and that's how he
Speaker 2: came up with straight checking them.
Speaker 1: Is that right?
Speaker 2: Nigga went doom, doom, doom. Hey, don't say what commercial that.
Speaker 3: S? I?
Speaker 2: He said, what commercial it is? Yet I'm just saying,
Speaker 2: but yeah, Nigga dropped the motherfucker up like Nigga what
Speaker 2: like like a motherfucker sushi chef. Nigga shop up bigger.
Speaker 2: I came back a couple of hours later, nigga, he
Speaker 2: was banging that ship boom boom bom boom boom. I'm
Speaker 2: like this nigga crazy is but he was just he
Speaker 2: was creative. You didn't get get a lot of niggas
Speaker 2: like that. Like I said, nigga, a lot of niggas
Speaker 2: was simple with they beat making. Slip was a creative
Speaker 2: motherfucker you feel you know what?
Speaker 1: Bro Yeah, either because he probably could have had some
Speaker 1: hill of a placements back things, y'all was big dude.
Speaker 2: We we did our thing. Like I said, we just
Speaker 2: was one of those. It was one of those groups
Speaker 2: who just fell in between the cracks on certain ship.
Speaker 2: It niggas didn't know what to do with us. You
Speaker 2: give me.
Speaker 3: To do.
Speaker 5: You guys did six projects, you know what I'm saying.
Speaker 2: I mean, well they you know back like that well
Speaker 2: back yeah, you know, back then that was the era
Speaker 2: if you sold enough records, you get another you get
Speaker 2: another record. And so we was having seven album record
Speaker 2: deals and indeed you had to just be But see,
Speaker 2: my thing was I sold records for Sony. You get me.
Speaker 2: My records would go four fifty three eighty era, that
Speaker 2: era that was significant for yeah, for for my type
Speaker 2: of ship, because we don't even fuck with this type
Speaker 2: of ship. And look what's happening. We're selling fucking half
Speaker 2: a million records.
Speaker 1: No marketing money.
Speaker 2: They wasn't doing ship for me. They wasn't doing a
Speaker 2: goddamn thing for me. Just off the strength of of
Speaker 2: of ship, like your MTV raps and and Source magazine.
Speaker 2: That's where they knew where to go because they knew
Speaker 2: at that time everybody was stumbling through the Source, everybody
Speaker 2: was watching the basement of rap City, and so they
Speaker 2: just put me on there. Let's have an interview on
Speaker 2: rap City, Let's put his face inside the Source magazine
Speaker 2: and being being that's how I saw records and just
Speaker 2: the work.
Speaker 6: Are you able to extend overseas a little bit from
Speaker 6: any of that?
Speaker 2: I just I just came back from overseas.
Speaker 1: Last week.
Speaker 2: Okay, I go overseas at least once every two years.
Speaker 2: You still you still do the CMW music too, That's
Speaker 2: all they want to hear. They're way in no new ship.
Speaker 5: You know what I'm saying. Besides the solo stuff, they
Speaker 5: still still you still do.
Speaker 2: Yeah, I do all CMW ship, I go on tour,
Speaker 2: I do everything from the CMW era that crosses over
Speaker 2: into the MC eight solo era. So but everybody still
Speaker 2: look at it as it's it's still one thing, like
Speaker 2: Most Wanted. You could say MC eight, but at the
Speaker 2: end of the day, they're all in one. You get me.
Speaker 2: You listen to Contor's Most Wanted records, you're not hearing
Speaker 2: two people. You only hear me. Even though we were
Speaker 2: contens Most Wanted that I kept that going until Sony
Speaker 2: decided we ain't gonna do that no more. But I
Speaker 2: never thought about going from Contor's Most Wanted to MC eight.
Speaker 2: If I'd had my way out of still, I'd still
Speaker 2: be going CMW to this day.
Speaker 1: Wow, you know what's funny, man, I remember you talked
Speaker 1: about the Source magazine. I remember, Man, I had the
Speaker 1: Source and I was reading the Source. You know, that
Speaker 1: was the Bible back then. And they had a big
Speaker 1: ad near man for music to drive by, and I
Speaker 1: went and bought that CD from Tower and Lakewood. Either
Speaker 1: Tower or we was the warehouse. You went to warehouse
Speaker 1: the warehouse because I went out it was across the
Speaker 1: street from the mall right there.
Speaker 2: Because it was on Yeah, we said it was on
Speaker 2: candle Wood once you got into.
Speaker 1: I was in the Barns and Noble reading the saurs
Speaker 1: right because Maria was shopping, my wife was shopping. We
Speaker 1: kids back then, right, and I looked. I said, this
Speaker 1: is hard because the album cover just really cut my eye. Right.
Speaker 1: I went from there and we was on the way
Speaker 1: back to the crib. I stopped at. I stopped at
Speaker 1: the warehouse, bought that in something else.
Speaker 2: Yeah, that's how we that's how we cover the sauce.
Speaker 2: I was on the I was on the cover of
Speaker 2: The Source twice. I had the solo cover and then
Speaker 2: I had to cover with me Spice and uh, scar Face.
Speaker 1: They said the ministers against the rip.
Speaker 2: That's uh. That's basically was my marketing.
Speaker 6: Four issue where you were you and and there's a
Speaker 6: ninety five.
Speaker 2: One, right I did. I did the ninety four edition
Speaker 2: right after I did Music to Drive By. That album
Speaker 2: was in ninety three, so I got on the cover
Speaker 2: with Face and Spice for that one. But yeah, that
Speaker 2: was the way they marketed me. They wasn't gonna they
Speaker 2: didn't They didn't go to radio. They didn't go to
Speaker 2: advertising on radio or you know, paying them up for
Speaker 2: her to play my song ten million times, they said,
Speaker 2: fuck that, We're just gonna keep it in publications, and
Speaker 2: that's how they marketed.
Speaker 5: I mean I was buying all the back then.
Speaker 2: I mean a lot of us was. I was buying
Speaker 2: that ship to see who was hot it was, who
Speaker 2: was on the mixtape, you know who, album was raided
Speaker 2: this or that? And then sometimes a lot of the times,
Speaker 2: I want to read the articles you get when they
Speaker 2: do those big layouts on the nigga. I want to
Speaker 2: I was interested. I want you came up from and
Speaker 2: what he went through and what and you know how
Speaker 2: he get to this point right now, because you had
Speaker 2: to be a nice artist to get one of them
Speaker 2: full paid spread. You get me. You got special back
Speaker 2: then exactly, or they could just take what you know what, man,
Speaker 2: anybody I want I want to believe that half the
Speaker 2: time that you know, they were putting niggas on because
Speaker 2: they were truly gifted and deserved it, and not the
Speaker 2: nigga just sent them a check for one hundred grand.
Speaker 2: You get me. Now, we already know some artists, you know,
Speaker 2: that's the way it went.
Speaker 1: Yeah, some people definitely was paying like the way, but
Speaker 1: for the most part, the source used to get it
Speaker 1: right when it came to that dog. So I don't
Speaker 1: I don't think they. I think they were so they
Speaker 1: were so in tune with the culture at the time. Man,
Speaker 1: that was like probably the best hip hop publication ever
Speaker 1: because they really made a break. If you saw somebody
Speaker 1: in there had three or four mics, if you saw
Speaker 1: a five mic, you want to go by that album
Speaker 1: because it was like it was official and they was
Speaker 1: on point with it. But I do think they had
Speaker 1: a lot of West Coast bias back then. I heard
Speaker 1: that was true. Sore and told me that, and he
Speaker 1: said that they was very biased against the West Coast
Speaker 1: back then.
Speaker 2: I'm sure they weren't East Coast publication, Like, you know,
Speaker 2: why would I why would I give any love to
Speaker 2: the West Coast. We're East Coast publication. You know, go
Speaker 2: start your own motherfucking magazine. But ye said, you give
Speaker 2: me fuck that we represent the East Coast. I never
Speaker 2: had no issue with the motherfuckers they always heard like
Speaker 2: when Benzeno, when when they we went to go fuck
Speaker 2: with them, you know, had the issue with them. They
Speaker 2: put me on the cover twice.
Speaker 1: I had Hey, you had love from New York, New York. Look,
Speaker 1: you probably got more love in New York. You get
Speaker 1: a lot of love out here, bro, But between the
Speaker 1: Midwest and the East Coast, dog, I think you probably
Speaker 1: got a popping more out there.
Speaker 2: And you do what did you do a song with
Speaker 2: Premiere a couple of years ago?
Speaker 1: Oh?
Speaker 2: Your Premiere's my butt, that's my peep. I heard it.
Speaker 2: I remember the track that you. I did a whole
Speaker 2: project with Premiere back in twenty seventeen. Okay, yeah, we
Speaker 2: did a project together. Even before the end.
Speaker 6: No song, I still listened to swear I swear my mother, Bro,
Speaker 6: that song, I'd be in the gym.
Speaker 2: Listen the ship that you do with Pebob Oh. Yeah,
Speaker 2: One Life to Live? Yeah, Bro, my son one of
Speaker 2: my favorite songs on that on that project, I did
Speaker 2: that song and my son wasn't even born, and he
Speaker 2: loved that song to death right now, one of his
Speaker 2: favorite songs. And it kind of fucked me up because
Speaker 2: you know, the youth they into they shit, man, You
Speaker 2: don't particularly think that, you know, Motherfucker's twenty one and
Speaker 2: under is gonna be banging MC eight, But now that record,
Speaker 2: but that was my shit. Shit, he loved that shit. Nigga,
Speaker 2: I was in the motherfucking uh. Where was I at?
Speaker 2: Where the fuck was I at? I can't even think
Speaker 2: where I was at. Now, I'm in the store somewhere. No,
Speaker 2: I'm in the gym. I'm in the gym, chopping it
Speaker 2: up with one of my boys, and I see his
Speaker 2: dad walking by with his two kids. They couldn't have
Speaker 2: been no more. They couldn't have been no more than
Speaker 2: fucking ten and twelve. You get me, nigga. The youngest
Speaker 2: one stopped turning around and said, MC eight is that
Speaker 2: you can I take a picture with you. I'm looking
Speaker 2: at myself, like, where this little kid know me from?
Speaker 1: You know?
Speaker 2: But the younger generation is starting to get a little
Speaker 2: open to you know.
Speaker 1: You hear me.
Speaker 2: Fuck, they heard me fuck with Kendrick. A lot of
Speaker 2: them play the Grand Theft Auto Game and recognize me
Speaker 2: from there. So that's where the youth is connecting because
Speaker 2: a lot of them still on that game and ship
Speaker 2: and a lot of them still bumps Kendrick's first project,
Speaker 2: You get Me.
Speaker 1: Yeah, And it's a lot of people to play. There's
Speaker 1: a lot of people to play that game, Like you say,
Speaker 1: it et a lot of them, man, You wiels m
Speaker 1: c eight. Man, I ain't gonna let you keep sitting
Speaker 1: there and sleep on yourself, you wiel m c eight.
Speaker 2: I just be mind. I just be trying to be mellow. Man,
Speaker 2: you feel me. I want to go here, man, I
Speaker 2: want to go to the grocery shot store and pick
Speaker 2: up my dog food without you know, niggas and paparazzi
Speaker 2: all outside. And I like that type of lifestyle though
Speaker 2: I don't. I don't mind it. I don't complain about it.
Speaker 2: You get me.
Speaker 1: And I was never the type to bother people when
Speaker 1: I saw them out in public, probably because I was
Speaker 1: always hanging out. You know, DJ Bob Cat is my
Speaker 1: god brother, right, so I was always with Bob, and
Speaker 1: I was used to being around you know, people, celebrities
Speaker 1: and stuff. So I never went and bothered people because
Speaker 1: I used to hate with me and Bob. Or be
Speaker 1: somewhere and people are come and try to solicit. You
Speaker 1: know what I'm saying. It's like you're trying to eat
Speaker 1: your food or whatever, and somebody's trying to give you
Speaker 1: a CD. You feel an a tape back then you
Speaker 1: know somebody's trying to give you a tape, give you
Speaker 1: their dem one stuff. Bro. People just don't want to
Speaker 1: be bothered. So I never was wanting to just run
Speaker 1: up on people in pupplic Hey, man, can I hear
Speaker 1: you autographic? Hey man, I bump? Now if I saw him,
Speaker 1: I might say, man, I like your shit or whatever
Speaker 1: like that. But I kept it moving, right, I kept
Speaker 1: it pushing. So gon goog, where can people? You just
Speaker 1: don't mess with anybody, or do you?
Speaker 3: Yeah?
Speaker 6: You know I listened to everybody that got a case.
Speaker 6: You know what I'm saying. I mean, if it makes sense,
Speaker 6: you know, we you know, we try to make it happen.
Speaker 1: Now, I'm gonna give you all the plug, the gun,
Speaker 1: the homye man, but don't be hitting them up. If
Speaker 1: you don't sold ten records to the Empire, and you're
Speaker 1: talking about empire, owe you some money. You know, you
Speaker 1: don't have time to fuck with nothing like that. This
Speaker 1: is for the major the majors out there that might
Speaker 1: have got robbed, might have got jerked. I'm pretty sure y'all.
Speaker 2: Got legacy, the legacy artists.
Speaker 1: DJ quick, how that how that gone go? Because I'm
Speaker 1: gonna tell you when you see a pulling up in
Speaker 1: the Rose Royce seven eight months.
Speaker 4: From good You know what I'm saying, Legacy artists, they
Speaker 4: you know, I relate to them.
Speaker 6: They kind of motivate me more than dealing with these
Speaker 6: young guys, you know what I'm saying.
Speaker 5: Like if I'm like, you.
Speaker 6: Know, like it's it's so, it's just it feels like
Speaker 6: it's like one of my peers or something.
Speaker 1: You know what I mean. I'm pretty sure. I'm almost
Speaker 1: positive dog that this man right here got a lot
Speaker 1: more money out there. I'm pretty sure DJ quickly he
Speaker 1: was on the more Scaler's record label in the world.
Speaker 5: I mean profile, like I said, I just don't.
Speaker 6: I mean, I got clients right now that haven't been
Speaker 6: you know, you're supposed at least get a quarterly of
Speaker 6: by annual royalty statement and things like that. You know,
Speaker 6: I got clients like, I haven't got it. I haven't
Speaker 6: got a statement in five six years or something like that.
Speaker 6: Then he might give you one statement and then he'll
Speaker 6: disappear again for another five years.
Speaker 1: You know what one told me he has never seen
Speaker 1: an album royalty. He said, I ain't never seen a
Speaker 1: royalty chick.
Speaker 2: What I said, I've never seen a royalty check until
Speaker 2: Nigga last year thirty years later until last year, until
Speaker 2: late was like nigga, where you've.
Speaker 1: Been Damn there forty years later.
Speaker 5: I mean, at least they're paying you forward, you know
Speaker 5: what I'm saying.
Speaker 6: But you know, I just believe that there's a guy
Speaker 6: like you that did that many projects.
Speaker 5: There's definitely more than that.
Speaker 2: Yeah, they still got some more, definitely.
Speaker 1: Maybe what's the name of your business?
Speaker 5: Copyright maintenance?
Speaker 1: Copyright man? That sound, what is copyright maintenance? They come
Speaker 1: in the rerec shop. So you stealing mass record labels
Speaker 1: out there? My man gongu is coming for you. He
Speaker 1: gonna come and lift the covers off your ass and
Speaker 1: expose everything, every everything going on.
Speaker 6: You know what, Michael Jacksons, Bro, you're about to sething
Speaker 6: about to happen to me the way you're picking me up.
Speaker 1: Well, you know what, man, The thing is this, It's
Speaker 1: always been real simple to me because I'm a businessman.
Speaker 1: You make you take whatever you spent back. Like, if
Speaker 1: you spend some money, you you you're supposed to recoup
Speaker 1: your money, right. But whatever situation you got with somebody,
Speaker 1: you give them, they bread, you take yours, so y'all
Speaker 1: can keep doing it. You don't rob nobody's stuff, browing
Speaker 1: just off on a pocket disc and let them just
Speaker 1: going to go to ublivty. I don't care because the
Speaker 1: thing is without the talent, you ain't shit.
Speaker 6: I hey, you man, I think they think it's a
Speaker 6: diamond dozen And I think they think that they can
Speaker 6: take your money and you're still gonna come and perform
Speaker 6: and try to do another album. You know what I'm saying.
Speaker 6: They just think they got it like that, you know
Speaker 6: what I'm saying. But I mean, I just think it's
Speaker 6: a new regime. You know what I'm saying. We're trying
Speaker 6: to change the game a little bit, you know what
Speaker 6: I'm saying. You know, I mean, I've seen people all
Speaker 6: my life, you know, get jerked, you know, from deals
Speaker 6: and stuff like that, from all ages.
Speaker 5: And it's gotta be somebody, you know what I'm saying.
Speaker 6: Somebody's somebody's gotta you know, I think there's just needs
Speaker 6: to be more of me, you know, people even greater.
Speaker 5: You know what I'm saying. You gotta have a little heart,
Speaker 5: you know what I'm saying.
Speaker 1: They get some guys out here. I got to shut
Speaker 1: off the hommie jazzy jazzy management. You know, Jazzy is
Speaker 1: pretty good at what he do. He recovers a lot
Speaker 1: of stuff.
Speaker 5: Okay, good for him.
Speaker 1: He goes out and recovers a lot of money for cats.
Speaker 1: So there's a few casts out here, but it's also
Speaker 1: a whole.
Speaker 2: But we need to vote Tron. We need to be
Speaker 2: a whole. You know what I'm saying.
Speaker 1: Why why you got good dudes like you and Jazzy?
Speaker 1: What makes it bad? Is this a whole bunch of
Speaker 1: Shade tree as motherfuckers too that go out there.
Speaker 6: And then steal you feel I'm saying, they're with a
Speaker 6: minority man.
Speaker 2: It's it's it's it's easy.
Speaker 6: It's easy to beat us up because you know, there's
Speaker 6: only two in the park and there's five hundred of them.
Speaker 6: You know what I'm saying, be running, you know what
Speaker 6: I'm saying. It's like, yeah, you know what I'm saying.
Speaker 6: It's like, you know, this is an easy look. Oh,
Speaker 6: they might've got him, but they didn't get all these
Speaker 6: other people, you know what I'm saying. So it's like
Speaker 6: I'm only picking little pieces, getting this guy, Getting this guy. Bro,
Speaker 6: there's another thousand, two five to ten twenty thousand artists
Speaker 6: out there that are going through the same thing. You
Speaker 6: know what I'm saying. It's like, Bro, how many people
Speaker 6: am I helping a year? You know what I'm saying,
Speaker 6: It's nothing compared to what's out there. Am I really
Speaker 6: making a dent? I don't know. You know what I'm saying.
Speaker 6: You know what I'm saying, less than one percent of
Speaker 6: the industry exactly.
Speaker 1: I'm a linked I'm gonna link you, says, Yeah, Gongoo,
Speaker 1: wish your Instagram.
Speaker 6: Bro, Hey, man, g O n g u Roach, g
Speaker 6: o n g gongo roach Instagram.
Speaker 2: Hit me in the d M. Let's chop it up
Speaker 2: and see what I can do for you.
Speaker 5: Man.
Speaker 1: Yeah, and you know, before we go home.
Speaker 6: Website, I got the website coming. It's already I already
Speaker 6: made it, but I just haven't really posted it. But
Speaker 6: that's copyright maintenance. Should be copyright maintenance dot com something
Speaker 6: like that. I mean, I'll put it in my tags
Speaker 6: sooner or later, probably within the next couple of days
Speaker 6: or so. But for right now, just reach me at
Speaker 6: gongoach at at in the DM and you can go
Speaker 6: watch my YouTube videos and YouTube you know what I'm saying.
Speaker 6: And I tell you you know, I'll tell you what
Speaker 6: my forte is and hopefully you're inspired by it to
Speaker 6: give me a call.
Speaker 1: Yeah for sure. And on that note right there, I
Speaker 1: want to tell everybody something, man, life short, don't spend
Speaker 1: it on bullshit.
Speaker 2: We got here, hey man, Thank you once again.
Speaker 5: It's one of my more favorite interviews.
Speaker 1: Man.
Speaker 6: You know, I get to talk to and talk about
Speaker 6: all this old stuff about this makes me feel like
Speaker 6: I was like seventeen eighteen.
Speaker 1: I'll be telling I'll be telling a man because sometimes
Speaker 1: I feel bad because we have somebody on the show
Speaker 1: and eight be on the road or something, something be happening,
Speaker 1: and then you could tell they don't want to stay like,
Speaker 1: you know you cool and stuff. They're like, man, damn,
Speaker 1: eight was here because I wanted to meet him. You
Speaker 1: know what I'm saying. I'm like, dog, don't worry, we
Speaker 1: gonna get you back on We interviewed one of the
Speaker 1: homies and I tell you, man, I promise you when
Speaker 1: they come back, we got.
Speaker 5: You, hey man. Anytime you need man here, man.
Speaker 1: I sure you. Thank you, Bro, I'm gonna get with
Speaker 1: you that actually we out here. They don't need to
Speaker 1: hear all this. Hold on for sure,