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Speaker 1: Gangs, the chronic Goals. This is not your average shows.

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Speaker 1: You're now tuned into the.

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Speaker 2: Rail Welcome to the gainst the Chronicles podcast, the production

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Speaker 2: of iHeart Radio and Black Effect podcast Network. Make sure

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Speaker 2: you download the iHeart app and subscribe to Against the

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Speaker 2: Chronicles For my Apple users, hit the Purple Michael your

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Speaker 2: front screen. Subscribed to Against the Chronicles, leave a five

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Speaker 2: star rating and comment oak share what's the deal man?

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Speaker 1: And ship cracking? Shame or shit? You know what I'm

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Speaker 1: gonna do.

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Speaker 2: Yeah, you know you don't never plug your own stuff,

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Speaker 2: but man, I'm gonna talk about it just for.

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Speaker 1: A little bit. Not the teams too much, man, but

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Speaker 1: I can't wait for this album drop. Bro. Yeah, they're

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Speaker 1: getting a lot of positive feedback whatever you want to shay,

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Speaker 1: you know, shire and they ain't really been you know,

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Speaker 1: with what's going on in hip hop, I tend to

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Speaker 1: question should a nigga still be grabbing the microphone or whatever?

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Speaker 1: Not because the aide shit. You know, I know how

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Speaker 1: some people trying to discriminate against the age of I'll

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Speaker 1: call us pioneer artists. You know, some people discriminate a

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Speaker 1: gift that but you know it is what it is,

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Speaker 1: so I've been contemplating, you know, even if it's worth

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Speaker 1: even giving it a go around. So that's why I've

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Speaker 1: been focused on, you know, doing other shit, do the podcast,

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Speaker 1: trying to you know, look into getting some maybe trying

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Speaker 1: to get a dispensary started or so we're looking for investors,

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Speaker 1: you know, if y'all want to get out, so I

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Speaker 1: will be there tripping off the music shit. And what's

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Speaker 1: been going on, Like I'll say, in the state of hippop,

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Speaker 1: you know, the last ten years has been a little

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Speaker 1: uncomfortable as far as grabbing the mic is concerned. You know,

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Speaker 1: you don't know what fans want today. And I know

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Speaker 1: that there's a younger generation, you know that's at the

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Speaker 1: forefront of trying to establish what we call hippop. But

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Speaker 1: I don't know if it's you know, with'restanding as long

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Speaker 1: as a ice cube or you know whatever. You know,

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Speaker 1: I don't know if I don't know if Nigga's gonna

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Speaker 1: be listening to some of these what they call mumble

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Speaker 1: rap artists, you know, fifteen years now, so probably not.

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Speaker 2: You definitely got music that stood, they stood the test

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Speaker 2: of time, right. I hear a lot of people still

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Speaker 2: banging the albums? Man, where would you bring this?

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Speaker 1: Like?

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Speaker 2: Do you ever rank your albums like months? Except like

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Speaker 2: what's your favorite MS? Yeah, I'll right my shit. I've

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Speaker 2: I tried to put out whenever I put out. Some

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Speaker 2: of my hope is quality. Like I said, doing music

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Speaker 2: twenty five years ago, we were all a certain criteria

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Speaker 2: as people would call us gangst the rappers, whatever, and

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Speaker 2: then you see the change or whatever that music has

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Speaker 2: taken from me putting out the music to drive by,

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Speaker 2: as opposed to artists that put their music out today,

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Speaker 2: a lot of auto tuning, a lot of people say

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Speaker 2: mumbo rap stuff.

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Speaker 1: And I don't know if those artists feel what we feel.

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Speaker 1: You know, when people call us too old, or people

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Speaker 1: used to label us gangst the rappers, you give me

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Speaker 1: now they're labeled mumbo rappers. You feel me? Yeah, I

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Speaker 1: don't know how sustainable that is. You feel me? My

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Speaker 1: era people like to hear stories, stories of realness or

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Speaker 1: situations or you know, that's whe had the Eights, we had,

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Speaker 1: the slick ricks, we had the you know, we have

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Speaker 1: the two pots, we had the biggies. Niggas told stories.

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Speaker 1: You know, some niggas rap, you know, just did hip

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Speaker 1: hop in the hole, but you had a lot of

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Speaker 1: storytellers that came from our era. Oh yeah, for sure.

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Speaker 2: Like you mentioned the I was telling you the other day, Man,

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Speaker 2: when you start talking about storytellers, I definitely gotta put

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Speaker 2: you up there man, at the top of that you know,

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Speaker 2: at the top of that list. Man probably eagerly top

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Speaker 2: five as far as storytellers, right, cats telling stories and raps.

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Speaker 2: I know you ain't gonna never rank yourself. That's where

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Speaker 2: I got you. That's my personal opinion, right. I think

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Speaker 2: Glasses Malone is really good at telling stories too, of them.

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Speaker 2: He just dropped this record called Band from Vlad TV

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Speaker 2: where he tells a story and it's a real life

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Speaker 2: story about him and bad Blad called him wanted to

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Speaker 2: borrow a gun? Glasses told him no, and you know,

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Speaker 2: it led to a whole bunch of other stuff. But

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Speaker 2: the story was really detailed. And I really appreciate a

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Speaker 2: rapper when they put their time in the telling a

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Speaker 2: really detailed story, right, And I wonder why more rappers

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Speaker 2: don't go into actually writing scripts and stuff like that.

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Speaker 2: I know, men, you got a little manuscript we've put

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Speaker 2: together hopefully go along with this album, and I really

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Speaker 2: hope we can get that to the world because this

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Speaker 2: is a good story. You know, I think most rappers,

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Speaker 2: at least from I would like to say our era,

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Speaker 2: and it's a few cats today.

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Speaker 1: They get busied.

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Speaker 2: It's nice with the stories, but you don't hear it

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Speaker 2: as much, you know, right, you just don't hear it

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Speaker 2: as much. Cats is putting out records that's like a

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Speaker 2: minute in thirty seconds. Man, it's like the records getting

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Speaker 2: faster and faster.

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Speaker 1: Yeah, that's true.

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Speaker 2: Shorter and shorter, rather shorter than shorter rather, you know,

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Speaker 2: I've seen Cats put out records.

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Speaker 1: Man, it's a minute and thirty second as mom. Yeah

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Speaker 1: that that. A lot of that came about too, the

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Speaker 1: quick one minute and fifty raps songs and ship you

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Speaker 1: look or or or the double rebeat bursts. You know,

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Speaker 1: a lot of that came into our into this era,

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Speaker 1: of this new era. Would you say that, because if

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Speaker 1: you've noticed lately, we've seen a lot of resurgence of

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Speaker 1: iconic artists or or pioneer artists, especially on the East Coast.

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Speaker 1: Not to say not here either, but you see Ray

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Speaker 1: Kwan drop something, you see now as drop ship, you

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Speaker 1: see mob Deep just dropped Vicious, Slick Rick drop, Public

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Speaker 1: Enemy dropped some ship yahm Premo is working on the

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Speaker 1: record with Now there's a few I know that Mass Appeal,

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Speaker 1: you know, was putting out like seven iconic artists, you know,

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Speaker 1: Snoop Drop, Snoop Drop, the Rector, Dazz drop the record,

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Speaker 1: Cube Drop the Rector. So basically you've just been sitting

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Speaker 1: back listening to what's been what's been hitting the airwaves lately.

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Speaker 1: You see the clips drop the record also don't want

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Speaker 1: to forget about them. Yeah, Clips album was nice. I

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Speaker 1: like Clips album. I'm I'm heavy on the Mob Deep

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Speaker 1: record right now. I try to give everybody a listening

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Speaker 1: just to because when you plan on going to the

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Speaker 1: studio and you trying to make music, you want to

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Speaker 1: hear a little something from everybody so you can at

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Speaker 1: least be diverse with your ship. And so you know

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Speaker 1: with lixtlan's all lacking with having a little no I

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Speaker 1: guess a little fire under you. I start going back

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Speaker 1: into the studio just recording I don't know particular because

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Speaker 1: I was like, shit, I'm probably gonna just be done

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Speaker 1: with this rap shit, and so started going back to

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Speaker 1: the studio. Ended up doing maybe three songs three turn

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Speaker 1: in the nine nine turn into eighteen. So I think

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Speaker 1: we're up to about forty songs right now.

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Speaker 2: That's crazy, And that's crazy when you say, oh, lots

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Speaker 2: a person forty songs that are.

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Speaker 1: Shit, they all keepers. Now is just I'm finally gonna

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Speaker 1: pull the motherfucking anchor up, so to speak, and set sail.

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Speaker 1: I think we've recorded enough guest appearances. We got plenty.

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Speaker 1: Production wise, we got plenty. It's a diverse record, some

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Speaker 1: shit that you know we were doing, and shit we got.

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Speaker 1: We got classic copters, most wanted shit. We got a

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Speaker 1: street valuable shit for niggas who still love the street shit.

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Speaker 1: We got maturity growth music for motherfuckers who say, okay,

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Speaker 1: you've been music to drive by it and we come

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Speaker 1: strapping and death threatening, and so what's the growth in music?

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Speaker 1: Everything can be about drive by miss days. He's a

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Speaker 1: selling on the corner as shit. So you gotta mix

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Speaker 1: in a little bit through some shit in there. Maybe

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Speaker 1: that motherfuckers can kick back in the club and Bob too,

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Speaker 1: but not necessarily some club shit, but just on some

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Speaker 1: some feel good ship. And that's where we try to

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Speaker 1: take it. So the records. B I'm not pretty good.

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Speaker 2: You think this is really the last one? I listen

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Speaker 2: what you say, you think this is really the last one.

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Speaker 2: I'm just you know, it is what it is. Man

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Speaker 2: Like I said, unless something change.

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Speaker 1: And we are we are, you know, we find a

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Speaker 1: way around all this dumb stream and ship and niggas

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Speaker 1: can really collect money. And you know, if if, if

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Speaker 1: we can get to the point of whether it's dealing

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Speaker 1: with a major or or dealing with independency, whichever way

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Speaker 1: we want to go, we just want to make sure

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Speaker 1: the ship is promoted good. You feel me.

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Speaker 2: That's the biggest that's the biggest thing. Sure something's promoted properly.

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Speaker 2: Because I'm just seeing a lot of records just drop

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Speaker 2: out of nowhere. And I heard I heard one of

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Speaker 2: these major artists say something like, man, stop setting up records,

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Speaker 2: just put your record out. And I was thinking, that's

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Speaker 2: easy for you to say you want a major label.

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Speaker 1: Yeah, it's easy for you. Need to shut up. You

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Speaker 1: need to let people know at least that your project

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Speaker 1: is coming out. Hopefully they'll reach enough people. Damn money,

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Speaker 1: Carl out, sorry going off.

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Speaker 2: It don't sound too bad, make it sound authentic, Make

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Speaker 2: it sound like woe conference.

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Speaker 1: Somewhere hopefully you know what I'm saying, people, People just

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Speaker 1: can accept for what it is. You know what I'm saying.

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Speaker 1: It's been a lot of bullshit going around. Last said

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Speaker 1: a lot of fans said a lot a lot of fans.

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Speaker 1: You know, don't get to access your shit because as

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Speaker 1: an independent motherfucker, you know whatever, it takes dollars and cents.

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Speaker 1: You know what I'm saying, whether you independent or on

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Speaker 1: a major, it cost to promote your shit. You feel me.

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Speaker 1: People think because you got a couple of followers on

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Speaker 1: Instagram and Facebook and and X and whatever, that that's

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Speaker 1: enough to sustain. Whether it's not. People look at your people,

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Speaker 1: look at your page and go, damn, you got two hundred,

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Speaker 1: three hundred thousand followers. It should be easy for you

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Speaker 1: to you know, but how many of those followers are

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Speaker 1: real motherfuckers? You give me three thousand motherfuckers? Shit, Sometimes

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Speaker 1: you might only get a hundred people to come in

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Speaker 1: and look at it.

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Speaker 2: Do you see it all the time like we've seen

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Speaker 2: it with the podcast stuff, because I think we've done

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Speaker 2: live events with no problem when we pulled like one

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Speaker 2: hundred some people in there, a couple hundred people with that, right,

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Speaker 2: have all these massive followers, they can't get twenty people

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Speaker 2: to come to the place. You see a recording artist

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Speaker 2: who they have these big, huge followings online, but they

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Speaker 2: do a showing ten people. Sure, right, So my thing is.

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Speaker 1: And I'm not necessarily because I've been there, done that,

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Speaker 1: dealing with the majors and shit. At this point, you know,

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Speaker 1: it's the music speaks for it self aspect. You know,

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Speaker 1: I'm to the point of where it's like my very

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Speaker 1: first time getting on the record. I don't know what

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Speaker 1: you expect. All I know is I'm gonna try to

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Speaker 1: do some good shit and hopefully motherfucker's like what's being done.

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Speaker 1: I'm not predicting shit. You get me. Record sell ten copies,

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Speaker 1: of sell ten coppies, record sell a million, is sell

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Speaker 1: a million. That's all in what you can do for

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Speaker 1: yourself as an independent artist and an independent motherfucker. You know,

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Speaker 1: I think is there the chances that it could be

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Speaker 1: a major able project? Of course, if the music is there,

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Speaker 1: the quality is there, the verses are there, the stories

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Speaker 1: are there, the club is there, the radio is there.

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Speaker 1: It's just sometimes niggas might want to go a different route,

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Speaker 1: you know what I'm saying, to save themselves from the

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Speaker 1: agony of defeat. You feel me.

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Speaker 2: I definitely think that this record, man, this album is worthy.

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Speaker 2: And I haven't even heard everything, right. I would like

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Speaker 2: to see more MC eight albums as the fandom, but

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Speaker 2: that would have to be something that's like a personal decision,

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Speaker 2: because I feel you in the music industry. This industry

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Speaker 2: has changed the whole bunch. So I remember when the

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Speaker 2: physical thing was in. I had the physical distribution like

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Speaker 2: mashed down to a science. For the point where I

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Speaker 2: was helping the Dog Pound release they stuff over in Europe,

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Speaker 2: I was helping out a whole bunch of major people

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Speaker 2: right get their albums out of the country. You know,

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Speaker 2: guys wanna major label, they may not necessarily be able

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Speaker 2: to release records when they want to write, and so

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Speaker 2: you know, if that's how you make your money, you

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Speaker 2: don't really want to wait two years in between the release.

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Speaker 2: So I would have cats coming to meet, like, hey,

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Speaker 2: I got this album, but I can't put it out.

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Speaker 1: Can you get this over in Europe? From you? It

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Speaker 1: was easy to slide stuff over in Europe, you know.

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Speaker 2: And I always had a thing to wear if it

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Speaker 2: was somebody that was really big, we wasn't gonna press

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Speaker 2: up no more than five thousand copies. If you was

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Speaker 2: gonna get those five thousand off, then if the coast

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Speaker 2: is clear, try to get another thousand off. You know,

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Speaker 2: you didn't want to dump fifteen twenty thousand records out

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Speaker 2: there and you get cracked by somebody, you know, right,

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Speaker 2: they're definitely gonna treat you like you see, they put

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Speaker 2: trauma in jail behind that stuff. And he was putting

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Speaker 2: out mixtapes people that he actually got from the label.

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Speaker 2: He actually got those mixtapes from the artists and was

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Speaker 2: actually doing them in conjunction with the label sometimes and

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Speaker 2: they can't that man in jail. Ain't that some crazy shit?

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Speaker 1: Yeah, it's a tricky business man. It's been since I

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Speaker 1: first got into it. So gotta be general money. And

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Speaker 1: if thing heals, they kind of the record business has

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Speaker 1: always been ran by kind of unscrupulous people, right, you know,

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Speaker 1: since the Mob days. Right, you know you're about a

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Speaker 1: lot of black companies start with loans the Mob, stuff

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Speaker 1: like that, Right, So I used to hear about everything

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Speaker 1: from cats taking albums with different barcodes and selling one

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Speaker 1: hundred thousand overseas real quick, you know, so they don't

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Speaker 1: have to count with the artists even now. And it's

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Speaker 1: kind of right in our face. You know.

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Speaker 2: Spotify is owned by all the labels that's owned by

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Speaker 2: like Warner Brothers, Universe that, so they all that to

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Speaker 2: whos together and say, okay, we can create the streaming

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Speaker 2: channel and go collect the subscription fee, and we go

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Speaker 2: pay the artists really pennies on the dollar. And if

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Speaker 2: you're independent artists and don't get so many streams, we

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Speaker 2: can take your money that you got on there and

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Speaker 2: just up back to the top five percent earnings or

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Speaker 2: whatever right there. So it's like a it's really no bro.

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Speaker 2: I think they need to look at some legislation or

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Speaker 2: something because this shit is out of control.

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Speaker 1: Bro. Yeah, it's like I said, I don't know how

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Speaker 1: Like I said, if they've been in co hoops with

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Speaker 1: shit for years and it's a good thing, and people say,

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Speaker 1: you know, press up your own music, put it on

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Speaker 1: their own website. Fuck Spotify and all them and the

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Speaker 1: streaming and whatever. But what if you press up a

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Speaker 1: thousand records and you can't even sello record? You ere

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Speaker 1: eventually gonna put your record on the streaming site because

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Speaker 1: now you're gonna need that check for three four hundred

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Speaker 1: dollars whenever he come in. So it's like a gift

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Speaker 1: in the course with the stream and shit, I heard

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Speaker 1: my nigga, I heard my nigga Dazha, you know, because

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Speaker 1: daz was like, Nigga, I'm not fucking with them. All

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Speaker 1: shit is getting pressed up. Order your CDs off my website,

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Speaker 1: and then the record was on the streaming sites. But

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Speaker 1: he made it clear that like, oh, I use the

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Speaker 1: motherfuckers for promotion. You almost have to.

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Speaker 2: It's too much traffic coming through on Spotify and Apple

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Speaker 2: Music not to really put your stuff on there.

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Speaker 1: So I use them as motion because motherfucker could not

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Speaker 1: know that I got this new REDU. You know, everybody

293
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Speaker 1: don't be on Instagram all day or Facebook or whatever.

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Speaker 1: And if your shit ain't playing on the radio and

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Speaker 1: it's not all you know that top Max, then it's

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Speaker 1: a chance you put it on the streaming site. The

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Speaker 1: motherfucker listening to that category of music. One of your

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Speaker 1: new songs might run across the page Somarama for going,

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Speaker 1: oh this just the new so and so so. Like

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Speaker 1: I said, it's again fill the curse because that is true.

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Speaker 1: You can use them as promotion because once you put

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Speaker 1: it on stream, you go, once you digitalize it, it's

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Speaker 1: gonna go to every stream in sight. So you know,

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Speaker 1: you're on Pandora, you're on Spotify, your title, you on

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Speaker 1: Google Music, Yahoo Music, whatever it is. If it's in

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Speaker 1: that criteria of what you fit, if it's in the

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Speaker 1: criteria of an eight A Cube, Snoop Dog, dub C,

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Speaker 1: Spice one, it's gonna run across that page one day.

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Speaker 1: And you could even put in somebody's independent shit, and

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Speaker 1: a shit don't come out, then the next shit don't

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Speaker 1: come up, and then who knows, maybe five songs down

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Speaker 1: the road, you're independent gonna come up because it's in

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Speaker 1: that category.

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Speaker 2: Well, you know one thing I did see. I actually

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Speaker 2: went back and revisited that scatter log because I said,

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Speaker 2: you know what, I haven't really heard none of his

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Speaker 2: albums all the way through. I was listening to him

318
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Speaker 2: and supported all of them, right, but I've never just

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Speaker 2: sat back and just vibed out and listen to a

320
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Speaker 2: whole work.

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Speaker 1: And I kind of changed my mind.

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Speaker 2: I think Temper Butterfly was one of his best albums, right,

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Speaker 2: I like that, and Good Kid Mad saying Temper Butterfly

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Speaker 2: was hard.

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Speaker 1: Yeah it was. It was real dope.

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Speaker 2: But going back and listen to Good Kid Mad City,

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Speaker 2: I would say that's probably his best overall album, probably

328
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Speaker 2: because he was new and that energy. Right, And I

329
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Speaker 2: noticed that as soon as the song you on You

330
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Speaker 2: on the Mad City, You on the title track, Right

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Speaker 2: as soon as that song went off, one of your

332
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Speaker 2: records came on.

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Speaker 1: I think, yeah, follow that. Yeah, they'd say, yeah, they

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00:20:48,520 --> 00:20:53,280
Speaker 1: follow that trend. So right up, you know what I'm saying,

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Speaker 1: They followed that trend. So that's what I'm saying. If

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Speaker 1: if and I get the I can get that you're

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Speaker 1: presenting the case of fuck those streaming sites because yeah,

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Speaker 1: of course, like you said, we get pennies on the

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Speaker 1: doll instead of getting what we deserve. And especially after

340
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Speaker 1: especially if they playing songs that are over thirty years old,

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Speaker 1: you get me, that's my shit, without a doubt. Are

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Speaker 1: you cutting to deal with them? They don't own that

343
00:21:25,720 --> 00:21:30,400
Speaker 1: motherfucking shit no more. Those are my songs, So y'all

344
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Speaker 1: need to be hollering at me while you got my

345
00:21:33,040 --> 00:21:35,560
Speaker 1: shit up there on your streamer sites, because you deal

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Speaker 1: with Sony.

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Speaker 2: Still those records are over thirty years old. So now

348
00:21:42,240 --> 00:21:45,840
Speaker 2: so you know, are you looking at gon to go

349
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Speaker 2: snatch all that back?

350
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Speaker 1: Yeah? I want own my shit unless they want to

351
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Speaker 1: cut a deal for all my hood took me under

352
00:21:52,640 --> 00:21:56,200
Speaker 1: and growing up in their heads and straight up medicines

353
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Speaker 1: and all for the moneies and we come straps and

354
00:22:00,320 --> 00:22:03,440
Speaker 1: bid miss days he's and straight checking of them.

355
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Speaker 2: And all things I want to do. You know, we

356
00:22:06,880 --> 00:22:08,240
Speaker 2: talked about I ain't gonna lit them.

357
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Speaker 1: And then and then I'm a nigga who wrote all

358
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Speaker 1: my lyrics. I didn't and produce half of the projects.

359
00:22:14,880 --> 00:22:19,240
Speaker 1: Because when we started Half House Productions, I started producing

360
00:22:19,280 --> 00:22:22,480
Speaker 1: some of the ship. I would have my nigga come

361
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Speaker 1: over play keys for me, put drug tracks to them,

362
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Speaker 1: and then I would send them to Slip. So we

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Speaker 1: formed Half House Productions. Half House Productions produced straight up minutes,

364
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Speaker 1: we produced, we come strapped the album, and I think

365
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Speaker 1: Death Threat Ship I probably produced majority of the songs all.

366
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Speaker 1: I produced half songs on Death Threats and then I

367
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Speaker 1: brought any other producers and then me and Slip got

368
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Speaker 1: back together on Last Man Standing and did a few tracks.

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Speaker 2: I think every artists still learn how to produce, and

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Speaker 2: I just come from that era. I think, come from

371
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Speaker 2: the era we come from. It wasn't a whole bunch

372
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Speaker 2: of producers necessarily around, so you you had the local

373
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Speaker 2: neighborhood DJ who was like running the records back for

374
00:23:08,080 --> 00:23:10,159
Speaker 2: you and stuff like that, and they would wind up

375
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Speaker 2: getting the drum machine. So I actually started producing out

376
00:23:13,880 --> 00:23:16,399
Speaker 2: of necessity because it wasn't nobody else around. So I

377
00:23:16,440 --> 00:23:19,200
Speaker 2: had my mama went and bought me a little realistic keyboard.

378
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Speaker 2: You remember the keyboards they used to sell in the

379
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Speaker 2: Wilson at the radio shack. Oh yeah, they had a

380
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Speaker 2: little keyboard that had like a two or three stay

381
00:23:27,680 --> 00:23:30,200
Speaker 2: at these little past the sample like two seconds, right.

382
00:23:31,280 --> 00:23:33,480
Speaker 2: I actually made some cracking beats on their dog. I

383
00:23:33,520 --> 00:23:35,400
Speaker 2: had a little four track in my room. I'll play

384
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Speaker 2: the drum track, and you had to play over that

385
00:23:37,560 --> 00:23:40,240
Speaker 2: because it wasn't no sequence. It wasn't no sequence right

386
00:23:40,320 --> 00:23:43,119
Speaker 2: like it is now right, So I would have to

387
00:23:43,119 --> 00:23:46,479
Speaker 2: play the baseline through a whole two minute record, through

388
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Speaker 2: the whole drum line.

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Speaker 1: Right.

390
00:23:48,080 --> 00:23:50,280
Speaker 2: Sometimes the part mess up you had to punch in

391
00:23:50,320 --> 00:23:52,159
Speaker 2: and you feel what I'm saying, You messed up on something,

392
00:23:52,600 --> 00:23:55,280
Speaker 2: So it was like, really really, but I wouldn't trade

393
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Speaker 2: them times for lenning in the world because they actually

394
00:23:57,560 --> 00:24:02,440
Speaker 2: helped me out now because I don't have no classic training,

395
00:24:03,119 --> 00:24:06,600
Speaker 2: not pretty much replay anything. It is almost to a point,

396
00:24:06,720 --> 00:24:10,159
Speaker 2: but I know when to go get the Tate boys

397
00:24:10,280 --> 00:24:12,560
Speaker 2: where I call, Like I got a homeboy. Man, shout

398
00:24:12,600 --> 00:24:17,280
Speaker 2: out to my homeboy, Steve bo and Atlanta. He's Steve Kids.

399
00:24:17,720 --> 00:24:20,480
Speaker 2: If I need something real intricate, I'd call him and say, man,

400
00:24:20,520 --> 00:24:21,840
Speaker 2: you know what, I ain't got time to be sitting

401
00:24:21,880 --> 00:24:23,840
Speaker 2: up here for two hours messing with this. I can

402
00:24:23,840 --> 00:24:25,560
Speaker 2: call him and he can knock this out real quick,

403
00:24:27,280 --> 00:24:29,880
Speaker 2: and I just tell him what I want. But I'm

404
00:24:29,920 --> 00:24:32,480
Speaker 2: definitely like I was telling Cocaine the other day, Cocaine

405
00:24:32,520 --> 00:24:35,720
Speaker 2: has his own streaming site. Right, you got to go

406
00:24:35,760 --> 00:24:38,639
Speaker 2: to his website, man, download all his records. And I

407
00:24:38,720 --> 00:24:42,480
Speaker 2: was telling him, I said, Coco, I understand the stance

408
00:24:42,560 --> 00:24:44,879
Speaker 2: that you're taking against the machine, right, I get it right,

409
00:24:44,920 --> 00:24:46,640
Speaker 2: because he's made a lot of money off his site.

410
00:24:47,240 --> 00:24:48,959
Speaker 2: He's made a lot of money. But I told him,

411
00:24:49,000 --> 00:24:51,879
Speaker 2: I said, you would make that much more if you

412
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Speaker 2: had your stuff on the streaming sites as well.

413
00:24:55,160 --> 00:25:00,359
Speaker 1: Yeah, at this point, you got him. Uh, you gotta

414
00:25:00,400 --> 00:25:06,720
Speaker 1: manipulate everything, so out in your website, they can buy CDs,

415
00:25:07,040 --> 00:25:09,600
Speaker 1: they can listen to shit on your website, and then

416
00:25:09,720 --> 00:25:13,800
Speaker 1: fuck it, my shit come up on Spotify, Pandora, title,

417
00:25:14,200 --> 00:25:18,560
Speaker 1: Apple Music, It come up everywhere, so that you just

418
00:25:18,600 --> 00:25:22,199
Speaker 1: got to play the game, because until the you can

419
00:25:22,320 --> 00:25:24,720
Speaker 1: try to stop the machine. But then, like I said,

420
00:25:25,280 --> 00:25:28,800
Speaker 1: it's too it's too powerful, you just get rolled over.

421
00:25:28,960 --> 00:25:33,080
Speaker 1: Or so you might as well cheaking of. Well, if

422
00:25:33,080 --> 00:25:35,359
Speaker 1: a motherfucker didn't believe in you, ain't give you this

423
00:25:35,520 --> 00:25:37,919
Speaker 1: and give you that and give you this, why the

424
00:25:37,960 --> 00:25:40,800
Speaker 1: fuck they sign you? You get me A lot of

425
00:25:40,800 --> 00:25:43,439
Speaker 1: that shit be right offs from motherfuckers. You give me,

426
00:25:43,720 --> 00:25:45,840
Speaker 1: we gotta make a certain quota. We gotta do a

427
00:25:45,880 --> 00:25:48,679
Speaker 1: certain thing, so you know, it's select the police. We

428
00:25:48,720 --> 00:25:50,840
Speaker 1: got to write a certain amount of tickets. We gotta

429
00:25:50,880 --> 00:25:54,720
Speaker 1: sign some acts. You give me now don't necessarily mean

430
00:25:54,760 --> 00:25:56,800
Speaker 1: that those acts are gonna blow up and be the

431
00:25:56,880 --> 00:26:00,720
Speaker 1: next Mega superstar, but we need to some and as

432
00:26:01,320 --> 00:26:01,800
Speaker 1: you get me.

433
00:26:02,320 --> 00:26:07,280
Speaker 2: Yeah, with those record labels, bro, they make so much money.

434
00:26:07,880 --> 00:26:11,520
Speaker 2: I'm talking about so much money that they can afford

435
00:26:11,600 --> 00:26:14,920
Speaker 2: the trick off a couple of million dollars every year artists.

436
00:26:14,920 --> 00:26:17,560
Speaker 2: Because for every artist that you're here, that's a major artist,

437
00:26:18,040 --> 00:26:20,840
Speaker 2: you got ten or fifteen dudes signed to a label

438
00:26:20,880 --> 00:26:22,600
Speaker 2: that you ain't never heard of. It's just kind of

439
00:26:22,640 --> 00:26:25,440
Speaker 2: they're just sitting. And that's why I'm careful with going

440
00:26:25,520 --> 00:26:27,640
Speaker 2: to go sign people. You know, everybody think they want

441
00:26:27,640 --> 00:26:29,840
Speaker 2: a major deal until they get stuck in one. I

442
00:26:30,000 --> 00:26:32,320
Speaker 2: just have to explain that to my artists. You know,

443
00:26:32,359 --> 00:26:35,320
Speaker 2: we got artists now, right. And I had to explain

444
00:26:35,400 --> 00:26:37,399
Speaker 2: that to him because we got a little situation on

445
00:26:37,440 --> 00:26:40,560
Speaker 2: the table and he was kind of upset because I

446
00:26:40,560 --> 00:26:42,280
Speaker 2: told him, I said, well, we may not take it.

447
00:26:42,359 --> 00:26:45,639
Speaker 2: We may do this in the third before we go

448
00:26:45,720 --> 00:26:48,480
Speaker 2: that route. Because if I get you over there now,

449
00:26:48,720 --> 00:26:50,840
Speaker 2: you gonna be You're going to be over there for

450
00:26:50,960 --> 00:26:53,040
Speaker 2: good three to five years. And that don't mean you

451
00:26:53,119 --> 00:26:56,160
Speaker 2: gonna necessarily release a record, and you know five years

452
00:26:56,200 --> 00:26:57,639
Speaker 2: to be the end of your career. You get you

453
00:26:57,720 --> 00:27:00,000
Speaker 2: get an artist to twenty five, man, you look up

454
00:27:00,280 --> 00:27:03,520
Speaker 2: twenty five, you know, twenty eight, thirty years old. It

455
00:27:03,520 --> 00:27:05,240
Speaker 2: ain't put out a record. It's kind of like this.

456
00:27:05,480 --> 00:27:07,560
Speaker 2: I ain't gonna say it's over, but it's a lot

457
00:27:07,560 --> 00:27:08,760
Speaker 2: of time, it's been wasted.

458
00:27:10,480 --> 00:27:12,920
Speaker 1: Yeah, well you could have put out a project like

459
00:27:12,960 --> 00:27:15,000
Speaker 1: I look at the homies like rock Marciano.

460
00:27:15,119 --> 00:27:18,560
Speaker 2: Man, he's making a lot of money selling his own

461
00:27:19,200 --> 00:27:21,440
Speaker 2: He got his own ecosystem going. He's selling his own

462
00:27:21,520 --> 00:27:24,479
Speaker 2: music on it online. But he's on all the streaming

463
00:27:24,520 --> 00:27:26,480
Speaker 2: sites as will, and he tours a lot. He's stay

464
00:27:26,560 --> 00:27:27,520
Speaker 2: going over to Europe.

465
00:27:28,960 --> 00:27:32,520
Speaker 1: Oh yeah, you you have to be able to do

466
00:27:32,600 --> 00:27:35,280
Speaker 1: all kinds of shit if you want to sustain yourself

467
00:27:35,320 --> 00:27:38,600
Speaker 1: in this hip hop business, especially if you're not getting

468
00:27:38,600 --> 00:27:44,560
Speaker 1: the accolades and the recognition that some people get. Oh,

469
00:27:45,680 --> 00:27:47,760
Speaker 1: you have to just you have to. You have to

470
00:27:47,800 --> 00:27:50,800
Speaker 1: put in the groundwork and if that comes to being,

471
00:27:51,040 --> 00:27:53,600
Speaker 1: you know, you got to be the executive. You got

472
00:27:53,600 --> 00:27:57,080
Speaker 1: to be the producer. You gotta be the raffer. You

473
00:27:57,200 --> 00:28:01,240
Speaker 1: gotta be the motherfucker who put together the record, album covers,

474
00:28:01,600 --> 00:28:06,200
Speaker 1: the design. You gotta go on tour, you gotta sell merchandise,

475
00:28:06,640 --> 00:28:10,159
Speaker 1: you gotta do promotions. You gotta, you know, get on

476
00:28:10,240 --> 00:28:14,440
Speaker 1: a couple of other niggas records that might be still sustainable.

477
00:28:14,880 --> 00:28:19,639
Speaker 1: And you know, there's generating some noise. It's like a

478
00:28:19,680 --> 00:28:23,119
Speaker 1: motherfucking ferris wheel. You gotta keep going, to keep going

479
00:28:23,240 --> 00:28:26,680
Speaker 1: until the day you can't go no more. And that's

480
00:28:26,680 --> 00:28:30,320
Speaker 1: what any hustle, right, because that's what this is. You know,

481
00:28:30,400 --> 00:28:34,800
Speaker 1: it's a hustle at this point. Those who are gifted

482
00:28:35,080 --> 00:28:38,920
Speaker 1: to still generate and make good music, you know, bless them.

483
00:28:39,080 --> 00:28:42,720
Speaker 1: But it's a hustle for motherfuckers. It's just like podcasting

484
00:28:42,840 --> 00:28:50,880
Speaker 1: that it's a hustle for motherfuckers. You know. Me, some

485
00:28:50,960 --> 00:28:54,680
Speaker 1: sh it ain't about journalism and trying to tell news

486
00:28:54,760 --> 00:28:59,719
Speaker 1: and people's stories and and you know, informing the public

487
00:28:59,760 --> 00:29:03,200
Speaker 1: of real shit. Sometimes this shit is shit, you know,

488
00:29:03,480 --> 00:29:06,440
Speaker 1: Niggas is like shit. Nigga, it's a hustle, nigger, Let

489
00:29:06,520 --> 00:29:08,800
Speaker 1: me get in and see if somebody that throw me

490
00:29:08,920 --> 00:29:12,960
Speaker 1: some dollars and some sponsorship. That's real, man. As quick

491
00:29:13,000 --> 00:29:15,960
Speaker 1: as they come, a lot of them quick as they leave,

492
00:29:16,480 --> 00:29:19,840
Speaker 1: because you know, they think it's the new hustle. I'm

493
00:29:19,840 --> 00:29:22,640
Speaker 1: gonna go around here, cop me a sack. I'm gonna

494
00:29:22,680 --> 00:29:25,560
Speaker 1: hit the block. And nigga, you're thinking you're gonna be

495
00:29:25,600 --> 00:29:29,200
Speaker 1: Tony Manchala in a month. You look up in a month, nigga,

496
00:29:29,240 --> 00:29:32,040
Speaker 1: you still on the same corner, Like what did you think?

497
00:29:32,680 --> 00:29:36,880
Speaker 1: Shit ain't easy, nigga. This shit takes determination of years

498
00:29:36,920 --> 00:29:41,200
Speaker 1: and hooking up with motherfuckers and dealing right and not

499
00:29:41,400 --> 00:29:44,920
Speaker 1: motherfucking calls in no rips and burning bridges and shit.

500
00:29:46,160 --> 00:29:50,280
Speaker 1: This shit ain't no nigga. Like like motherfucking flower dope.

501
00:29:50,800 --> 00:29:53,320
Speaker 1: You get me, go, get you some flour from the dough,

502
00:29:53,720 --> 00:29:56,280
Speaker 1: cook it up, put it in the oven, become bread

503
00:29:56,360 --> 00:29:59,120
Speaker 1: in an hour or some shit. No, nigga, that shit

504
00:29:59,200 --> 00:30:02,040
Speaker 1: don't work like. This is a real This is real.

505
00:30:02,360 --> 00:30:05,320
Speaker 1: This is real entrepreneurship, and that takes a lot with

506
00:30:05,440 --> 00:30:07,480
Speaker 1: your hustle, you feel, take a lot.

507
00:30:07,920 --> 00:30:10,880
Speaker 2: One of the things I was thinking about, man, I

508
00:30:10,920 --> 00:30:11,760
Speaker 2: think you could tour?

509
00:30:13,160 --> 00:30:13,520
Speaker 1: Would you?

510
00:30:13,760 --> 00:30:15,920
Speaker 2: Would you ever look at doing an extended tour, like

511
00:30:16,000 --> 00:30:18,920
Speaker 2: really going through like certain regions. I'm not talking about

512
00:30:18,920 --> 00:30:20,800
Speaker 2: doing fifty days in the room. I'm talking about maybe

513
00:30:20,840 --> 00:30:23,480
Speaker 2: doing ten in the West, maybe ten in the South,

514
00:30:23,600 --> 00:30:25,040
Speaker 2: maybe ten on the East coast.

515
00:30:26,560 --> 00:30:30,280
Speaker 1: Man. At this point, you know, shit, if I'm back

516
00:30:30,280 --> 00:30:32,400
Speaker 1: to where it is, what it is, you gotta do

517
00:30:32,440 --> 00:30:36,120
Speaker 1: what you gotta do. You know, I'm I'm a little

518
00:30:36,160 --> 00:30:40,400
Speaker 1: older and mature, but shit, the energy and the spryingness

519
00:30:40,480 --> 00:30:43,240
Speaker 1: is still there because I know what it takes to

520
00:30:43,360 --> 00:30:47,520
Speaker 1: get out there and conjure up the hustle and the fans,

521
00:30:47,960 --> 00:30:51,160
Speaker 1: and you gotta you know, you just like motherfucker running

522
00:30:51,200 --> 00:30:55,480
Speaker 1: for president, You gotta hit those motherfucking promo stops. You

523
00:30:55,560 --> 00:30:59,400
Speaker 1: got a motherfucking kiss the babies and hand shake the

524
00:30:59,520 --> 00:31:03,800
Speaker 1: men and slap the women on the ass and you

525
00:31:03,880 --> 00:31:06,960
Speaker 1: feel me and keep them moving to the next town.

526
00:31:07,600 --> 00:31:12,480
Speaker 1: That's how you generate fans and new fans and and

527
00:31:12,480 --> 00:31:15,440
Speaker 1: and on top of that, having good product you give me.

528
00:31:15,880 --> 00:31:19,440
Speaker 1: If you got your motherfucker's gonna buy your product, ship, man,

529
00:31:19,480 --> 00:31:24,200
Speaker 1: we gotta say you more said. I can turn around

530
00:31:24,240 --> 00:31:26,560
Speaker 1: and create a mop the mock. You can mop your

531
00:31:26,680 --> 00:31:29,720
Speaker 1: kitchen with. It's a thousand mops out there, right, But

532
00:31:29,880 --> 00:31:32,920
Speaker 1: if I create one that motherfucker's like and they want,

533
00:31:33,280 --> 00:31:35,640
Speaker 1: and they see a nigga pushing that shit and pebbling

534
00:31:35,720 --> 00:31:38,560
Speaker 1: it and making them believe, nigga, this is the best

535
00:31:38,680 --> 00:31:41,200
Speaker 1: mop you're gonna have. I don't give a fuck about

536
00:31:41,280 --> 00:31:43,800
Speaker 1: the other ship that's on the market right now. This

537
00:31:44,040 --> 00:31:48,160
Speaker 1: motherfucker on tell you market your ship, and you promoted

538
00:31:48,280 --> 00:31:50,920
Speaker 1: people gonna go, yeah, let me get that, let me

539
00:31:51,040 --> 00:31:54,760
Speaker 1: get that. So that's in your hustle. It's the way

540
00:31:54,840 --> 00:31:58,320
Speaker 1: you hustle. You present your motherfucking product and how you

541
00:31:58,480 --> 00:32:04,320
Speaker 1: get it to the consumers. Shit, And if it's sometimes,

542
00:32:05,080 --> 00:32:07,880
Speaker 1: if it's good product, it's gonna go word of mouth.

543
00:32:08,280 --> 00:32:10,800
Speaker 1: If these motherfuckers don't get it, and then when they

544
00:32:10,960 --> 00:32:13,640
Speaker 1: neighbors and friends come over and they see it or

545
00:32:13,680 --> 00:32:16,160
Speaker 1: hear it and listen to it, our nigga, this motherfucker

546
00:32:16,280 --> 00:32:18,560
Speaker 1: is cracking right here. Y'all. Ain't got one of these

547
00:32:18,680 --> 00:32:21,480
Speaker 1: in y'all house, nigga, Next thing you know, they gonna

548
00:32:21,520 --> 00:32:24,480
Speaker 1: go buy one. And then if somebody over they crib

549
00:32:24,640 --> 00:32:28,360
Speaker 1: go see it, they gonna buy one. That's how you

550
00:32:28,480 --> 00:32:30,080
Speaker 1: start generating word of mouth.

551
00:32:30,360 --> 00:32:33,840
Speaker 2: But they gotta be some good chick, you know, worshit

552
00:32:34,280 --> 00:32:37,280
Speaker 2: because word mouthful. Fuck you there too. You give me

553
00:32:37,960 --> 00:32:40,560
Speaker 2: you mentioned something that's real. Kick you said product. Right

554
00:32:41,640 --> 00:32:43,680
Speaker 2: when I go out and I see rappers on the road,

555
00:32:43,840 --> 00:32:45,840
Speaker 2: right and I'll be looking at how much money they

556
00:32:45,960 --> 00:32:48,760
Speaker 2: leave on the table by not having T shirts they're

557
00:32:48,800 --> 00:32:50,240
Speaker 2: with them, by not having.

558
00:32:50,680 --> 00:32:51,640
Speaker 1: See these and stuff.

559
00:32:51,680 --> 00:32:53,400
Speaker 2: So because you figure if you go on the road

560
00:32:53,440 --> 00:32:56,440
Speaker 2: and you go do twenty shows, right like, if you're

561
00:32:56,480 --> 00:32:58,040
Speaker 2: to have see these over in Europe with you.

562
00:32:58,160 --> 00:32:59,520
Speaker 1: How many days did you do when you was over

563
00:32:59,520 --> 00:33:03,640
Speaker 1: in Europe? And shit, I did about two weeks over there,

564
00:33:04,160 --> 00:33:06,880
Speaker 1: maybe two and a half weeks, yeah, almost three weeks,

565
00:33:07,480 --> 00:33:11,520
Speaker 1: so you had about fifteen days then? Yeah, did you

566
00:33:11,640 --> 00:33:13,960
Speaker 1: think you could have sold the lead two hundred the

567
00:33:14,000 --> 00:33:17,840
Speaker 1: CDs at every show? The shit, I was selling a

568
00:33:17,960 --> 00:33:21,680
Speaker 1: hundred T shirts at every show. That's what I'm saying.

569
00:33:21,720 --> 00:33:24,560
Speaker 2: Imagine if you would have had some CDs out there, right,

570
00:33:25,280 --> 00:33:27,080
Speaker 2: and you could have sold two hundred every show, get

571
00:33:27,120 --> 00:33:29,880
Speaker 2: a magazine if you sold two thousand CDs and at

572
00:33:29,920 --> 00:33:32,680
Speaker 2: the show, the price goes up, price definitely goes up.

573
00:33:32,800 --> 00:33:32,960
Speaker 1: Right.

574
00:33:33,960 --> 00:33:35,680
Speaker 2: The price at the show is like the price for

575
00:33:35,800 --> 00:33:38,000
Speaker 2: a senior on the website that might be effected at

576
00:33:38,040 --> 00:33:39,840
Speaker 2: the Show's a c no, right, because you get to

577
00:33:39,920 --> 00:33:40,280
Speaker 2: sign it.

578
00:33:40,600 --> 00:33:42,560
Speaker 1: You there with the secretary, they might take a picture

579
00:33:42,560 --> 00:33:45,560
Speaker 1: and your we it right. So it's the experience right now,

580
00:33:45,680 --> 00:33:47,880
Speaker 1: just a maxine that we weren't being greedy, be sold

581
00:33:48,240 --> 00:33:51,520
Speaker 1: all them CDs seventy five dollars off the road, two

582
00:33:51,600 --> 00:33:53,520
Speaker 1: hundred the night. Oh you know how much Briggs you

583
00:33:53,600 --> 00:33:54,160
Speaker 1: coming along with?

584
00:33:55,120 --> 00:33:58,840
Speaker 2: Exactly at that point, it don't even matter what you're

585
00:33:58,840 --> 00:34:00,600
Speaker 2: getting paid on the show is right, because you're only

586
00:34:00,640 --> 00:34:02,920
Speaker 2: getting your The thing about touring, it's the people who

587
00:34:03,000 --> 00:34:05,200
Speaker 2: understand you only picking up the second half of your money.

588
00:34:05,520 --> 00:34:08,319
Speaker 2: The first half of that money was spent months earlier. Right,

589
00:34:10,080 --> 00:34:12,120
Speaker 2: you really went out there to pick up your second half.

590
00:34:12,560 --> 00:34:15,400
Speaker 2: You can mess around and make more money selling your CDs.

591
00:34:15,680 --> 00:34:18,200
Speaker 2: Then you get it to actual show, CD and T shirts.

592
00:34:19,160 --> 00:34:23,279
Speaker 2: You and you put a package together. And you put

593
00:34:23,320 --> 00:34:25,719
Speaker 2: a package together, right, you tell them, Okay, y'all got

594
00:34:25,760 --> 00:34:28,399
Speaker 2: the CD for you, and I got a T shirt

595
00:34:28,480 --> 00:34:30,719
Speaker 2: for you. You mess around, sell that shit for one

596
00:34:30,800 --> 00:34:32,880
Speaker 2: hundred dollars. Dog, you coming home with some recks.

597
00:34:33,239 --> 00:34:33,719
Speaker 1: Let me do that.

598
00:34:34,000 --> 00:34:39,799
Speaker 2: Do the math on that two hundred times fifteen. Man,

599
00:34:42,080 --> 00:34:48,879
Speaker 2: that's three thousand CDs time. Man, you're talking about damn

600
00:34:48,880 --> 00:34:50,640
Speaker 2: near a quarter million dollars. You can come home with

601
00:34:50,719 --> 00:34:51,439
Speaker 2: a lot of money.

602
00:34:51,520 --> 00:34:51,680
Speaker 1: Dog.

603
00:34:51,760 --> 00:34:54,600
Speaker 2: We gotta, we gotta, really, we gotta revisit the way

604
00:34:54,680 --> 00:34:57,160
Speaker 2: we do business because it's about having a tangible product,

605
00:34:57,239 --> 00:35:00,239
Speaker 2: right right, we need to have a table lot there,

606
00:35:00,320 --> 00:35:02,160
Speaker 2: bro like thing, Y don't care if it's me out there,

607
00:35:02,160 --> 00:35:03,440
Speaker 2: I'll go work all them shows.

608
00:35:04,160 --> 00:35:06,040
Speaker 1: We get us a table right there. Eight, So people

609
00:35:06,120 --> 00:35:08,160
Speaker 1: out there. Hey man, this is what it costs.

610
00:35:08,280 --> 00:35:11,520
Speaker 2: Right, we get this right, you get an you get

611
00:35:11,560 --> 00:35:13,560
Speaker 2: a city by itself, it's gonna be seventy five. But

612
00:35:13,680 --> 00:35:16,080
Speaker 2: you buy a city and a T shirt. We a

613
00:35:16,280 --> 00:35:18,879
Speaker 2: boon one hundred and twenty, you feel what I'm saying,

614
00:35:19,200 --> 00:35:21,640
Speaker 2: or one hundred dollars. We just trying to get them off.

615
00:35:21,680 --> 00:35:23,759
Speaker 2: We're trying to leave everything there. We're trying to get off.

616
00:35:24,040 --> 00:35:25,960
Speaker 2: We got a if, we got a thousand CDs, were

617
00:35:25,960 --> 00:35:29,240
Speaker 2: trying to sell all thousand left right right, I'm getting

618
00:35:29,320 --> 00:35:31,640
Speaker 2: so much money. That's one thing I tell about that

619
00:35:31,960 --> 00:35:33,279
Speaker 2: when I wanted you're paying with him?

620
00:35:34,520 --> 00:35:35,120
Speaker 1: I saw that.

621
00:35:35,320 --> 00:35:38,520
Speaker 2: Man, oh lod, I have a box of City yeah

622
00:35:38,600 --> 00:35:41,400
Speaker 2: five from the CDs and sell them off, get them

623
00:35:41,440 --> 00:35:43,759
Speaker 2: all off fifty dollars a pop.

624
00:35:48,040 --> 00:35:51,000
Speaker 1: Yeah, you said, like shit, that's what we was doing. Shpit,

625
00:35:51,560 --> 00:35:58,239
Speaker 1: we are. We're more fucking having table and shit. We

626
00:35:58,440 --> 00:36:03,200
Speaker 1: have like three four different varieties of T shirts, sometimes

627
00:36:03,280 --> 00:36:08,359
Speaker 1: from the hats, some motherfucker CDs and after I get

628
00:36:08,440 --> 00:36:12,239
Speaker 1: off stage, motherfucker give me about twenty minutes, let me

629
00:36:12,360 --> 00:36:16,240
Speaker 1: go back to the back. You know, dry off nigga

630
00:36:16,320 --> 00:36:21,719
Speaker 1: be specting dry off chain shirts and put on something

631
00:36:21,880 --> 00:36:25,400
Speaker 1: comfortable and there, Shit, nigga, we go out to the

632
00:36:25,520 --> 00:36:27,560
Speaker 1: table and we start serving.

633
00:36:28,520 --> 00:36:30,360
Speaker 2: You know, we canna have two things. We gotta have

634
00:36:30,480 --> 00:36:32,920
Speaker 2: the table to serve it, and we gotta set the

635
00:36:32,960 --> 00:36:35,439
Speaker 2: meet and greets up right. And so I'm letting y'all

636
00:36:35,520 --> 00:36:38,040
Speaker 2: know this year ain't going back out on the road,

637
00:36:38,120 --> 00:36:39,840
Speaker 2: and we're gonna be hav a meet and greet setup.

638
00:36:39,880 --> 00:36:41,400
Speaker 2: So if you want to come meet the homie and

639
00:36:41,480 --> 00:36:43,600
Speaker 2: get your special, you gonna be able to get a

640
00:36:43,680 --> 00:36:45,480
Speaker 2: CD with that. On the meet and greet, it's gonna

641
00:36:45,480 --> 00:36:47,480
Speaker 2: include a city at T shirt and you get to

642
00:36:47,520 --> 00:36:49,160
Speaker 2: come back and you know, kick it with only a

643
00:36:49,200 --> 00:36:50,719
Speaker 2: little bit, you might be able to come back.

644
00:36:50,760 --> 00:36:52,560
Speaker 1: You know what I'm saying, Chop it up a little

645
00:36:52,560 --> 00:36:53,280
Speaker 1: bit for rappers.

646
00:36:53,320 --> 00:36:54,640
Speaker 2: You know, we don't want to hear y'all going back

647
00:36:54,719 --> 00:36:56,880
Speaker 2: kicking the freestyles and stuff in againt the time for

648
00:36:56,920 --> 00:36:57,200
Speaker 2: all that.

649
00:36:57,360 --> 00:37:00,160
Speaker 1: But you know we for sure got to doc. I'm

650
00:37:00,160 --> 00:37:02,080
Speaker 1: gonna tell you I saw it take nine to take

651
00:37:02,200 --> 00:37:06,360
Speaker 1: nine get busy with his tourist. Bro. Now, all you

652
00:37:06,440 --> 00:37:10,200
Speaker 1: gotta do is, like you said, if you're gonna go

653
00:37:10,400 --> 00:37:12,920
Speaker 1: back out there, you just need to be able to

654
00:37:13,040 --> 00:37:16,560
Speaker 1: get on and significant, and even if you're doing spots

655
00:37:16,640 --> 00:37:22,680
Speaker 1: by yourself, just make sure they significant. Make sure the

656
00:37:22,800 --> 00:37:26,160
Speaker 1: fans know you promoted good enough so that fans who

657
00:37:27,040 --> 00:37:30,400
Speaker 1: are fans want to come out and at least support.

658
00:37:31,480 --> 00:37:35,040
Speaker 1: Like you said, you know, sometimes you'll go to a

659
00:37:35,120 --> 00:37:39,720
Speaker 1: spot man and let's you know, ship it's twenty people.

660
00:37:40,120 --> 00:37:44,600
Speaker 1: You get me, and that's just that's that's just the

661
00:37:45,520 --> 00:37:47,759
Speaker 1: that's just the nature of the beast man with this

662
00:37:48,040 --> 00:37:51,000
Speaker 1: music business. Like I said, the nigga have a million

663
00:37:51,120 --> 00:37:55,600
Speaker 1: followers online and put a show together and it'd be

664
00:37:56,680 --> 00:38:00,320
Speaker 1: a hundred people there. Yeah, everybody ain't got money go

665
00:38:00,400 --> 00:38:02,640
Speaker 1: to shows, bro, That's just how That's what I'd say.

666
00:38:03,160 --> 00:38:05,560
Speaker 1: It's hard to get people to come up the house. Last,

667
00:38:05,640 --> 00:38:09,680
Speaker 1: it depends on who your your favorite artist is, because

668
00:38:09,760 --> 00:38:13,120
Speaker 1: you know, there's there's the mega there's the mega dudes

669
00:38:13,320 --> 00:38:16,880
Speaker 1: who can fill up stadiums and ship you feel me

670
00:38:17,640 --> 00:38:21,960
Speaker 1: and there, and then there's the local motherfucking independent motherfucker

671
00:38:22,040 --> 00:38:26,000
Speaker 1: who can just fill up the local club. You give me,

672
00:38:26,120 --> 00:38:28,600
Speaker 1: so you gotta think what you can get you.

673
00:38:28,840 --> 00:38:32,120
Speaker 2: Definitely there's more love overseas, for sure. I think overseas

674
00:38:32,200 --> 00:38:33,720
Speaker 2: catch appreciated it a lot more.

675
00:38:37,480 --> 00:38:41,920
Speaker 1: I've all, I've been overseas four or five times, Japan,

676
00:38:43,160 --> 00:38:51,279
Speaker 1: all over Europe. You definitely get a different appreciation for

677
00:38:52,600 --> 00:38:59,719
Speaker 1: the work you have put forth, not just saying that

678
00:39:00,080 --> 00:39:06,480
Speaker 1: fans at home aren't as generous and on as overwhelmed

679
00:39:06,960 --> 00:39:09,840
Speaker 1: with with your with your career in the presence of

680
00:39:10,200 --> 00:39:13,960
Speaker 1: doing the stage show, whatever. But you know, when you

681
00:39:14,120 --> 00:39:17,160
Speaker 1: come from I guess when you come from a place

682
00:39:17,239 --> 00:39:26,880
Speaker 1: where hip hop is respected in a different way, I

683
00:39:27,000 --> 00:39:30,080
Speaker 1: guess you know you see the results of that. When

684
00:39:30,160 --> 00:39:34,680
Speaker 1: you go overseas and you do shows. Most of them

685
00:39:34,719 --> 00:39:41,759
Speaker 1: are always sold out. People are really into and they don't.

686
00:39:42,160 --> 00:39:49,440
Speaker 1: It don't matter what form of hip hop you represent,

687
00:39:50,200 --> 00:39:54,200
Speaker 1: gangst the wrap back back, just the lyricist or whatever.

688
00:39:56,040 --> 00:40:02,360
Speaker 1: It's never a situation of it's less or or a

689
00:40:02,480 --> 00:40:08,200
Speaker 1: few because of your content. Shit. You know, I spit

690
00:40:08,320 --> 00:40:12,200
Speaker 1: the real shit, and it'd be a thousand motherfuckers in

691
00:40:12,320 --> 00:40:15,480
Speaker 1: there on the real shit. You get me. I tend

692
00:40:15,520 --> 00:40:21,440
Speaker 1: to go to overseas and do large clubs, maybe a

693
00:40:21,640 --> 00:40:26,279
Speaker 1: motherfucking festival every now and there, but for the most part,

694
00:40:26,719 --> 00:40:33,040
Speaker 1: clubs one thousand people, fifteen hundred people, sometimes five hundred people,

695
00:40:33,400 --> 00:40:38,200
Speaker 1: sometimes twenty five hundred people, whatever spot it is, it's

696
00:40:38,280 --> 00:40:46,000
Speaker 1: always wall to wallpack, shoulder to shoulder. Motherfuckers's got on

697
00:40:46,200 --> 00:40:49,880
Speaker 1: content hats and MC eight shirts and you know, and

698
00:40:50,600 --> 00:40:56,080
Speaker 1: whatever song I perform, it always it always seemed to

699
00:40:56,280 --> 00:41:03,480
Speaker 1: receive a greater applause. Then sometimes you might do a

700
00:41:03,600 --> 00:41:07,120
Speaker 1: show in the States. You get me. Yeah, I think

701
00:41:07,160 --> 00:41:09,560
Speaker 1: you gonna remember when them eight they don't see you

702
00:41:11,719 --> 00:41:15,480
Speaker 1: and I don't. That's nothing wrong with it. Nigga might

703
00:41:15,560 --> 00:41:17,640
Speaker 1: just want to come back, kick back and just watch

704
00:41:17,719 --> 00:41:19,959
Speaker 1: the ship all up. Yeah, you know, all right ship?

705
00:41:20,080 --> 00:41:22,680
Speaker 1: That shit was cool. Oh yeah, yeah, yeah, yeah eight

706
00:41:22,800 --> 00:41:26,160
Speaker 1: That shit was cracking. That was you know, you don't

707
00:41:26,320 --> 00:41:29,759
Speaker 1: you know, because you know how niggas is still. You

708
00:41:29,920 --> 00:41:32,440
Speaker 1: know how we are. It's his brothers. You know how

709
00:41:32,520 --> 00:41:36,480
Speaker 1: that go down, beggas. See, especially if you were bigger

710
00:41:36,600 --> 00:41:40,239
Speaker 1: from that era, in that walk of life, you might

711
00:41:40,440 --> 00:41:44,520
Speaker 1: not use dudes to applaud and chill for anohing Nick,

712
00:41:44,960 --> 00:41:47,760
Speaker 1: You get me. When the last time you've been in Japan?

713
00:41:49,960 --> 00:41:53,960
Speaker 1: I think I went to Japan, and I want to

714
00:41:54,000 --> 00:41:57,200
Speaker 1: say twenty eighteen, Yeah, we.

715
00:41:57,320 --> 00:42:00,400
Speaker 2: Gotta go again, because I'm gonna tell you, man, seeing

716
00:42:00,440 --> 00:42:03,120
Speaker 2: them dudes out there, they dressed up like crips. They

717
00:42:03,239 --> 00:42:06,560
Speaker 2: dressed up like bloods. They all riders out there. They

718
00:42:06,719 --> 00:42:08,480
Speaker 2: really going, they really going all in.

719
00:42:09,360 --> 00:42:12,279
Speaker 1: I think the time all went over, took one of

720
00:42:12,360 --> 00:42:15,719
Speaker 1: the homies with me and we went over there for

721
00:42:15,800 --> 00:42:20,959
Speaker 1: about two two three weeks. Man, every almost every town

722
00:42:21,080 --> 00:42:25,520
Speaker 1: we went to. I'm talking about classic ol niggas in

723
00:42:25,640 --> 00:42:33,080
Speaker 1: fifty seven, niggas in six ones, everything, sixty three, six

724
00:42:33,239 --> 00:42:36,000
Speaker 1: six and anything you can imagine that a nigga was

725
00:42:36,040 --> 00:42:38,719
Speaker 1: wronging around with in the head or or and down.

726
00:42:38,960 --> 00:42:42,640
Speaker 1: Ritshaw real all that. Now, are you going, Chris Shaw?

727
00:42:42,680 --> 00:42:44,920
Speaker 2: And it's nineteen eighty nine outside, cause I'm gonna tell you,

728
00:42:45,840 --> 00:42:47,839
Speaker 2: rest in peace to Homie deal Dog. Half of them

729
00:42:47,880 --> 00:42:50,440
Speaker 2: dudes probably bought their cars from Deal because he was

730
00:42:50,480 --> 00:42:51,080
Speaker 2: selling old.

731
00:42:51,120 --> 00:42:53,799
Speaker 1: He was selling. He was whipping the cars out left

732
00:42:53,840 --> 00:42:59,280
Speaker 1: and right. Yeah, they was selling for massive, massive bread.

733
00:42:59,440 --> 00:43:02,520
Speaker 1: You know what, I'm test the thousand on one of

734
00:43:02,560 --> 00:43:03,200
Speaker 1: the motherfucker.

735
00:43:03,239 --> 00:43:05,399
Speaker 2: That's all I'm gonna tell you. Some of them dudes

736
00:43:05,440 --> 00:43:07,600
Speaker 2: come over and drop seventy five, some of them drop

737
00:43:07,640 --> 00:43:10,719
Speaker 2: a hundred. And you gotta remember that's not including them

738
00:43:10,760 --> 00:43:12,680
Speaker 2: having the shit back over there and pay for all

739
00:43:12,719 --> 00:43:14,839
Speaker 2: of the other stuff right there. So if you're paying

740
00:43:14,880 --> 00:43:16,480
Speaker 2: a hundred, you might mess around and be out of

741
00:43:16,560 --> 00:43:18,600
Speaker 2: pocket one hundred and forty when it's all said and done,

742
00:43:18,640 --> 00:43:20,799
Speaker 2: by the time you pay the fees and you don't

743
00:43:20,880 --> 00:43:23,040
Speaker 2: kick this person down on that person down. You don't

744
00:43:23,080 --> 00:43:26,399
Speaker 2: pay some serious money. And they got their stuff imaculate. Man,

745
00:43:26,520 --> 00:43:28,680
Speaker 2: So they want to experience that whole culture like so

746
00:43:28,719 --> 00:43:31,160
Speaker 2: they want to dress up like you. And what's the

747
00:43:31,239 --> 00:43:33,680
Speaker 2: craziest thing I've seen. You will see somebody out there

748
00:43:33,800 --> 00:43:36,000
Speaker 2: wrapping the stuff word for word, but they don't speak

749
00:43:36,000 --> 00:43:36,600
Speaker 2: of lick angels.

750
00:43:37,880 --> 00:43:40,239
Speaker 1: Oh yeah, that's how that's how it beat. When you

751
00:43:40,360 --> 00:43:46,440
Speaker 1: go over seas. Some places in Europe I go, we

752
00:43:46,560 --> 00:43:50,800
Speaker 1: always have an interpreter with us because so when I

753
00:43:50,920 --> 00:43:57,320
Speaker 1: take my road manager and go on the road over seas, jeez,

754
00:43:58,120 --> 00:44:03,680
Speaker 1: he's actually German, so he he was born over there.

755
00:44:04,200 --> 00:44:08,040
Speaker 1: You know, he knows how to speak the language. And

756
00:44:08,120 --> 00:44:11,719
Speaker 1: every day. Shano, my nigga told yeah, I've been over

757
00:44:11,800 --> 00:44:16,279
Speaker 1: to Europe about three four times with Toby and it's

758
00:44:16,280 --> 00:44:19,520
Speaker 1: always a good experience. You know what I'm saying. Over

759
00:44:19,600 --> 00:44:23,560
Speaker 1: in Europe. He was gonna say Germany. Yeah, probably German.

760
00:44:23,640 --> 00:44:27,000
Speaker 1: But I've been all over I've been the it elite Germany,

761
00:44:27,239 --> 00:44:32,120
Speaker 1: I've been the Sweden, Denmark, I've been, I've been. I've

762
00:44:32,160 --> 00:44:36,160
Speaker 1: been all over in Europe and I can say, oh,

763
00:44:36,360 --> 00:44:42,120
Speaker 1: no matter where it is, I've always had a good acceptance.

764
00:44:42,880 --> 00:44:46,320
Speaker 1: And you know, Coppts most wanted MC eight half a

765
00:44:46,480 --> 00:44:50,520
Speaker 1: large following in Europe, and so I appreciate that that

766
00:44:50,680 --> 00:44:54,759
Speaker 1: my music was able to get over to them. Being

767
00:44:55,360 --> 00:44:58,800
Speaker 1: on a major label like Soavie at one time, and

768
00:45:00,520 --> 00:45:04,280
Speaker 1: you're able to your music gets a lot of places

769
00:45:05,080 --> 00:45:08,320
Speaker 1: dealing with the majors, so definitely get a good spread.

770
00:45:09,000 --> 00:45:12,320
Speaker 1: So I think that's why, you know, being able to

771
00:45:12,560 --> 00:45:17,040
Speaker 1: finally go to places like Japan and then Europe and

772
00:45:17,520 --> 00:45:25,080
Speaker 1: people have people were buying my records for the last three,

773
00:45:25,239 --> 00:45:28,240
Speaker 1: four or five years and so we actually were able

774
00:45:28,320 --> 00:45:31,560
Speaker 1: to jump on our first tour and go to Europe

775
00:45:32,600 --> 00:45:36,560
Speaker 1: around Music to Drive by time. So I think that

776
00:45:36,760 --> 00:45:40,960
Speaker 1: was big and it just continued and carried over. Oh

777
00:45:41,040 --> 00:45:43,160
Speaker 1: so so you so you went out there when actual

778
00:45:43,280 --> 00:45:46,640
Speaker 1: movie it came up with music, when Music to Pride,

779
00:45:47,080 --> 00:45:51,480
Speaker 1: you went to Europe. I went to Europe right before

780
00:45:51,560 --> 00:45:58,799
Speaker 1: I did Letus. I'm think in ninety two. I went

781
00:45:58,880 --> 00:46:05,279
Speaker 1: to Europe for the first, and that was with That's

782
00:46:05,360 --> 00:46:08,960
Speaker 1: when Ren had his chis My Black Ass project out?

783
00:46:09,120 --> 00:46:12,040
Speaker 1: Remember that? Yeah, I remember that, but only Bob can't

784
00:46:12,040 --> 00:46:15,080
Speaker 1: produce that? Sw dj Bobcat what was that around ninety

785
00:46:15,160 --> 00:46:19,880
Speaker 1: two ninety three, So yeah, I think we had straight

786
00:46:20,040 --> 00:46:22,960
Speaker 1: checking them out. I had did Growing Up in the

787
00:46:23,080 --> 00:46:29,239
Speaker 1: Hood for Boys in the Hood movie and we were

788
00:46:29,320 --> 00:46:32,480
Speaker 1: getting ready to dry music to drag By and I

789
00:46:32,640 --> 00:46:35,360
Speaker 1: did my first tour in Europe. It was supposed to

790
00:46:35,400 --> 00:46:39,120
Speaker 1: be with Red, but Ren didn't make it, so we

791
00:46:39,280 --> 00:46:41,080
Speaker 1: did the whole tour by ourselves.

792
00:46:41,160 --> 00:46:45,000
Speaker 2: Prompted us most water man, that's crazy that Ren don't

793
00:46:45,080 --> 00:46:47,640
Speaker 2: like doing shows. Let me ask you, you know one

794
00:46:47,719 --> 00:46:50,759
Speaker 2: thing about it? Who throw that album cover?

795
00:46:50,920 --> 00:46:54,040
Speaker 1: Man? That's probably one of the most iconic album covers

796
00:46:54,120 --> 00:47:03,960
Speaker 1: ever nsic to drive By? I just started the concept,

797
00:47:04,320 --> 00:47:10,520
Speaker 1: you know, because around that time that era gang Bang

798
00:47:10,640 --> 00:47:17,160
Speaker 1: into Me was very active and strong around the early

799
00:47:17,320 --> 00:47:24,000
Speaker 1: night late eighties, early nineties, and I was heavy into

800
00:47:24,120 --> 00:47:28,800
Speaker 1: the shit. So niggas was doing draft byes, right, we

801
00:47:28,960 --> 00:47:32,879
Speaker 1: get a little right on there, No niggas who's doing

802
00:47:33,080 --> 00:47:36,359
Speaker 1: drive bys? I mean that was a fact down give

803
00:47:36,440 --> 00:47:43,400
Speaker 1: fuck where you were niggas, who's doing drive by? So

804
00:47:45,520 --> 00:47:51,080
Speaker 1: I just put the concept on wonder what niggas is

805
00:47:51,360 --> 00:47:55,879
Speaker 1: listening to when they do put the drive by? Are

806
00:47:55,920 --> 00:48:02,840
Speaker 1: they listening to music? Or so that was me. I

807
00:48:03,040 --> 00:48:08,480
Speaker 1: was thinking, like, hmm, that might be a good concept,

808
00:48:09,600 --> 00:48:16,799
Speaker 1: music to drive by, but then it's it's a it's

809
00:48:16,840 --> 00:48:20,640
Speaker 1: a it's a. It's one of those double meanings, right,

810
00:48:21,520 --> 00:48:29,000
Speaker 1: m h because it's music to drive by, right mm hmmm,

811
00:48:29,360 --> 00:48:32,719
Speaker 1: in the sense of nigga, we're finna go do a

812
00:48:32,840 --> 00:48:38,080
Speaker 1: drive by and this where we bumped. But then it's

813
00:48:38,239 --> 00:48:45,160
Speaker 1: music to drive by, right, It's music that was hard

814
00:48:45,200 --> 00:48:48,439
Speaker 1: to do. So that was my thinking when I came

815
00:48:48,600 --> 00:48:52,960
Speaker 1: up with music to drive by. It's music to drive by,

816
00:48:53,560 --> 00:48:57,680
Speaker 1: but then it's also music to drive by. That's due,

817
00:48:57,800 --> 00:49:00,840
Speaker 1: that's real due, because you know what you had, you

818
00:49:01,040 --> 00:49:04,040
Speaker 1: had twelve gage in the back of the concept of

819
00:49:04,640 --> 00:49:12,120
Speaker 1: the artwork was just listening to the type right, music

820
00:49:12,200 --> 00:49:17,920
Speaker 1: to drive by. So shout out my man Peter Donkas

821
00:49:18,160 --> 00:49:21,879
Speaker 1: was a photographer in Hollywood, and I think he came

822
00:49:22,040 --> 00:49:25,800
Speaker 1: up with that pancept just listening to music, just hearing

823
00:49:25,960 --> 00:49:31,400
Speaker 1: that music to drive by and then knowing halfas most wanted,

824
00:49:31,680 --> 00:49:33,560
Speaker 1: you know, because we had dealt with Peter on a

825
00:49:33,600 --> 00:49:37,760
Speaker 1: lot of photo shoots. So just the fact that, Okay,

826
00:49:37,920 --> 00:49:42,200
Speaker 1: these niggas are real gang bangers, they're doing records whatever.

827
00:49:42,760 --> 00:49:45,040
Speaker 1: And then the title of the record is music to

828
00:49:45,200 --> 00:49:49,439
Speaker 1: drive By, so let's get a rag top six four

829
00:49:50,120 --> 00:49:53,000
Speaker 1: And I said, yeah, he came up with the idea

830
00:49:53,080 --> 00:49:59,080
Speaker 1: of shooting it overhead, you know, and then that's that.

831
00:49:59,320 --> 00:50:04,040
Speaker 1: That's that. That my shit, because now we're gonna set

832
00:50:04,160 --> 00:50:08,520
Speaker 1: the album cover in the back seat, like that's what

833
00:50:08,719 --> 00:50:11,719
Speaker 1: y'all listening to. And see the record wasn't even out yet,

834
00:50:11,800 --> 00:50:14,440
Speaker 1: so how could you do that? Right? I can? I

835
00:50:14,520 --> 00:50:17,800
Speaker 1: can put a record back there when we don't. So

836
00:50:18,400 --> 00:50:24,880
Speaker 1: he put a record. He took an album and covered

837
00:50:24,920 --> 00:50:29,799
Speaker 1: it with white paper. Who had it in the back seat,

838
00:50:30,280 --> 00:50:33,279
Speaker 1: so that way when he got the photo he could

839
00:50:33,400 --> 00:50:37,480
Speaker 1: keep and he imposed it onto that blank white cover,

840
00:50:37,920 --> 00:50:41,480
Speaker 1: so it looks like music to drive By. But also

841
00:50:41,600 --> 00:50:43,920
Speaker 1: we got the record in the back seat, so you

842
00:50:44,040 --> 00:50:47,200
Speaker 1: get it. It's music to drive By because we got record.

843
00:50:48,760 --> 00:50:52,320
Speaker 2: So yeah, every little detail he got Homie with the forty,

844
00:50:52,840 --> 00:50:55,200
Speaker 2: is that shield, that's that's Mike T.

845
00:50:56,080 --> 00:50:58,120
Speaker 1: That's Mike T. So Mikey T got the forty in

846
00:50:58,200 --> 00:51:00,840
Speaker 1: his hand. You want to stand will man, it was like,

847
00:51:00,960 --> 00:51:03,759
Speaker 1: y'all really going to go do some niggas in ye. Yeah,

848
00:51:04,239 --> 00:51:06,959
Speaker 1: that was the concept. He's going to pull the drive

849
00:51:07,120 --> 00:51:10,000
Speaker 1: by and I always say, yeah, this is crazy.

850
00:51:11,360 --> 00:51:13,799
Speaker 2: This and King T's album covered When was that act

851
00:51:13,840 --> 00:51:16,120
Speaker 2: of food were walking down the street with the khaki

852
00:51:16,200 --> 00:51:19,640
Speaker 2: suit and the games gae gauge.

853
00:51:19,760 --> 00:51:24,080
Speaker 1: Yeah, that was like I was. That was you know

854
00:51:24,440 --> 00:51:30,680
Speaker 1: before uh record companies started getting spoop with the idea

855
00:51:31,040 --> 00:51:35,560
Speaker 1: that these are actual niggas in the streets and so

856
00:51:35,960 --> 00:51:39,520
Speaker 1: that's you started getting all the banning and k K

857
00:51:40,239 --> 00:51:46,080
Speaker 1: can't put can't put pistols on covers no more, can't

858
00:51:46,160 --> 00:51:51,200
Speaker 1: put pistols in videos anymore because they wouldn't play your ship.

859
00:51:53,480 --> 00:51:58,680
Speaker 1: This definitely, man was at a time. This definitely was

860
00:51:58,800 --> 00:52:02,320
Speaker 1: one of them times. Man with that was at the

861
00:52:02,440 --> 00:52:05,719
Speaker 1: time when it was fresh and they didn't know what

862
00:52:05,840 --> 00:52:09,239
Speaker 1: they were dealing with. You get me. Of course, the

863
00:52:09,480 --> 00:52:13,920
Speaker 1: music was firing off, you know what I'm saying. So

864
00:52:14,160 --> 00:52:17,640
Speaker 1: as an executive, you want a piece of that part.

865
00:52:18,760 --> 00:52:24,440
Speaker 1: But you dealing with niggas who come and friendship after hoods,

866
00:52:24,920 --> 00:52:28,560
Speaker 1: So in one sense you might have to deal with

867
00:52:28,760 --> 00:52:33,720
Speaker 1: those attitudes one day and I think that's what started

868
00:52:33,880 --> 00:52:37,720
Speaker 1: happening when they started having to deal with niggas bringing

869
00:52:37,800 --> 00:52:41,000
Speaker 1: the homies with them to meetings, having to deal with

870
00:52:41,200 --> 00:52:45,239
Speaker 1: niggas who were upset about not having certain things were

871
00:52:45,320 --> 00:52:49,800
Speaker 1: walking in your offices. Now you got thud niggas on

872
00:52:49,920 --> 00:52:54,560
Speaker 1: your floors and thrill. Niggas are stealing shit and taking

873
00:52:54,760 --> 00:52:59,000
Speaker 1: CDs and tapes and walking out with a thousand dollars

874
00:52:59,080 --> 00:53:02,960
Speaker 1: worth of music. And you know, and the niggas get

875
00:53:03,000 --> 00:53:06,400
Speaker 1: the bus and windows and breaking plaques on the walls

876
00:53:06,560 --> 00:53:10,000
Speaker 1: because niggas is upset and they got the homies widdle

877
00:53:10,040 --> 00:53:15,080
Speaker 1: and next thing you know, the nigga gets shot or confrontations.

878
00:53:15,200 --> 00:53:18,600
Speaker 1: They started hearing about niggas having fights at shows and

879
00:53:18,719 --> 00:53:23,880
Speaker 1: a video ship, so they got scared. So oh no, no,

880
00:53:24,200 --> 00:53:27,560
Speaker 1: no more guns on record album because then you started

881
00:53:27,560 --> 00:53:31,680
Speaker 1: getting people protested. And you know that's when motherfuckers. You know,

882
00:53:32,200 --> 00:53:34,840
Speaker 1: all these niggas is duds and they call them girls

883
00:53:34,920 --> 00:53:39,520
Speaker 1: bitches and all its up over. Yeah, that was that

884
00:53:39,760 --> 00:53:43,760
Speaker 1: time when when we were proun to pull for being

885
00:53:44,640 --> 00:53:48,160
Speaker 1: you know, reality mother, because it was real, like none

886
00:53:48,200 --> 00:53:50,120
Speaker 1: of this ship is make believe and I don't even

887
00:53:50,160 --> 00:53:52,440
Speaker 1: give a fuck if you was a make believe nigga.

888
00:53:53,280 --> 00:53:55,600
Speaker 1: You was in that era where this ship was real.

889
00:53:55,680 --> 00:54:03,720
Speaker 1: It was by you. You know what? Hey they thought,

890
00:54:04,719 --> 00:54:07,200
Speaker 1: you know, I guess they thought, giving niggas a check,

891
00:54:08,000 --> 00:54:12,359
Speaker 1: what's gonna change outcome? But no, you ain't do nothing

892
00:54:12,440 --> 00:54:15,120
Speaker 1: but help me buy a fanacy car, moved to a

893
00:54:15,239 --> 00:54:19,440
Speaker 1: fancy place. I'm still I'm still the stained street nigga.

894
00:54:19,560 --> 00:54:22,919
Speaker 1: Then get bigger guns. I'm still gonna be carrying game,

895
00:54:23,120 --> 00:54:27,239
Speaker 1: smoking weed, nigga on the block. You don't. I'm just

896
00:54:27,280 --> 00:54:29,120
Speaker 1: gonna be pulling up on the block in a in

897
00:54:29,200 --> 00:54:31,880
Speaker 1: a big Mercedes. I might have to get on the

898
00:54:31,920 --> 00:54:34,279
Speaker 1: freeway to go home, but I'm still going back to

899
00:54:34,400 --> 00:54:38,840
Speaker 1: the neighborhood. You get me, So don't. And when they start,

900
00:54:38,960 --> 00:54:41,799
Speaker 1: they started seeing that shit was running them up. They

901
00:54:41,880 --> 00:54:44,840
Speaker 1: started getting scary. And we don't even know the type

902
00:54:44,880 --> 00:54:47,839
Speaker 1: of music out. I remember, man, I remember you used

903
00:54:47,880 --> 00:54:49,520
Speaker 1: to be able to walk up in the record company.

904
00:54:49,560 --> 00:54:50,920
Speaker 1: I remember you used to be able to walk in

905
00:54:51,080 --> 00:54:53,000
Speaker 1: take the elevator up to where he was going to go.

906
00:54:54,200 --> 00:54:57,320
Speaker 1: After that era, adult, you gotta go show your I

907
00:54:57,560 --> 00:54:59,040
Speaker 1: D downstairs. You just can't.

908
00:54:59,080 --> 00:55:00,720
Speaker 2: You just not gonna build a walk up the niggas

909
00:55:00,760 --> 00:55:03,560
Speaker 2: them days. He used to be really artists, running up

910
00:55:03,600 --> 00:55:05,239
Speaker 2: in these labels, tearing shit up.

911
00:55:05,960 --> 00:55:06,680
Speaker 1: Oh, definitely.

912
00:55:08,000 --> 00:55:10,720
Speaker 2: Priority used to get Rent up here man, maybe twice

913
00:55:10,760 --> 00:55:12,840
Speaker 2: a month. That's when they put the homie. Wooer was

914
00:55:12,880 --> 00:55:16,440
Speaker 2: the homie man. Woo was the homie man. He has

915
00:55:16,600 --> 00:55:17,520
Speaker 2: the way rest peace.

916
00:55:17,520 --> 00:55:20,040
Speaker 1: I hate. I can't remember his name, but they had

917
00:55:20,120 --> 00:55:22,040
Speaker 1: him up there kind of to keep niggas at bait.

918
00:55:22,200 --> 00:55:24,280
Speaker 1: You feel what I'm saying. They had the other homie,

919
00:55:24,320 --> 00:55:27,400
Speaker 1: bigger Bea. He was kind of blocking, you know, they

920
00:55:28,160 --> 00:55:31,160
Speaker 1: keep niggas outside. I remember Record Company wanted to give me.

921
00:55:31,200 --> 00:55:33,600
Speaker 2: A job man, and I was telling them, if y'are

922
00:55:33,680 --> 00:55:35,680
Speaker 2: trying to just give me a job to be security,

923
00:55:35,719 --> 00:55:37,759
Speaker 2: but just giving me an an R title, just to

924
00:55:37,840 --> 00:55:40,000
Speaker 2: be just to keep niggas from up and getting their money,

925
00:55:40,320 --> 00:55:42,080
Speaker 2: y'all got the wrong one. If somebody went up in there,

926
00:55:42,080 --> 00:55:44,680
Speaker 2: I'm gonna let the homies go do what they gotta do. Now,

927
00:55:44,760 --> 00:55:45,400
Speaker 2: they walked out.

928
00:55:45,480 --> 00:55:48,359
Speaker 1: Hire you to be the bosper so that they could

929
00:55:48,480 --> 00:55:51,719
Speaker 1: send all the niggas with problems to you, so you

930
00:55:51,920 --> 00:55:54,560
Speaker 1: could have to deal with that. They was gonna keep

931
00:55:54,600 --> 00:55:58,600
Speaker 1: everything else on this side. And when those motherfucking niggas.

932
00:55:58,680 --> 00:56:01,600
Speaker 1: Come up here. Oh there's the A and R, the

933
00:56:01,719 --> 00:56:04,560
Speaker 1: big black guy right there, Go deal with there, Go

934
00:56:04,800 --> 00:56:07,320
Speaker 1: bust up some shit in his office and see you

935
00:56:07,480 --> 00:56:09,880
Speaker 1: get me. So yeah, that's why they wanted to hire you.

936
00:56:10,000 --> 00:56:12,359
Speaker 1: So basically, that's how they want to run the game.

937
00:56:12,760 --> 00:56:15,360
Speaker 1: We're gonna send all the rowdy nigga street here and

938
00:56:15,480 --> 00:56:19,040
Speaker 1: see how they got it because we already know he's

939
00:56:19,160 --> 00:56:22,880
Speaker 1: not gonna act so and it's specific.

940
00:56:23,160 --> 00:56:27,400
Speaker 2: It's like that today because most black executives or record

941
00:56:27,440 --> 00:56:29,640
Speaker 2: companies have no power. Now you do have a few

942
00:56:29,719 --> 00:56:32,239
Speaker 2: people that do have power, and they do their thing right,

943
00:56:32,760 --> 00:56:34,920
Speaker 2: But for the most part, those dudes are there that

944
00:56:35,400 --> 00:56:38,320
Speaker 2: buffers in between the artists and the label.

945
00:56:38,440 --> 00:56:41,040
Speaker 1: The people actually got power because they're not playing no game.

946
00:56:41,120 --> 00:56:44,480
Speaker 1: You know. They go see those cats, they go see

947
00:56:44,520 --> 00:56:47,040
Speaker 1: those guys when they got a problem, right, Oh we

948
00:56:47,160 --> 00:56:49,000
Speaker 1: go sing you to go see this person over here,

949
00:56:49,320 --> 00:56:51,759
Speaker 1: and that's what they do. Man. It's crazy, man.

950
00:56:51,840 --> 00:56:54,600
Speaker 2: And after death Row, I think it got even more

951
00:56:54,680 --> 00:56:56,439
Speaker 2: tighter because it was tight before.

952
00:56:56,520 --> 00:56:59,440
Speaker 1: But once shug In them got activated, man, it was

953
00:56:59,520 --> 00:57:04,279
Speaker 1: a wreck. Yeah they yeah, but it was around that

954
00:57:04,520 --> 00:57:09,360
Speaker 1: era when niggas were feeling fun. You know, Royal g

955
00:57:09,560 --> 00:57:13,520
Speaker 1: payments weren't right, niggas was getting fucked over and missus

956
00:57:13,600 --> 00:57:17,080
Speaker 1: by labels. So it was around the era when niggas

957
00:57:17,280 --> 00:57:20,240
Speaker 1: was like unfed up. And so now this is what's

958
00:57:20,320 --> 00:57:24,720
Speaker 1: gonna happen. So what you say, you ever run up

959
00:57:24,880 --> 00:57:29,280
Speaker 1: son I mean I didn't have to. Sony never had

960
00:57:29,320 --> 00:57:32,760
Speaker 1: a problem with paying. They maybe pay you late, you

961
00:57:32,960 --> 00:57:35,520
Speaker 1: give me you know, they may be pay you ninety

962
00:57:35,680 --> 00:57:38,400
Speaker 1: days after they should pay you, but they never had

963
00:57:38,440 --> 00:57:40,960
Speaker 1: a problem. You know, people are still up there that

964
00:57:41,120 --> 00:57:44,920
Speaker 1: was there when you were there, right, I'm sure I'm

965
00:57:47,400 --> 00:57:48,960
Speaker 1: up there. I would have been trying to keeping my

966
00:57:49,160 --> 00:57:52,360
Speaker 1: job for all these years that ship. Well, you know,

967
00:57:52,720 --> 00:57:56,440
Speaker 1: I was just up there maybe two three weeks ago.

968
00:57:56,360 --> 00:57:58,760
Speaker 2: Right, And one of the guys made the come and

969
00:57:58,840 --> 00:58:01,360
Speaker 2: one of the guys came down from Sony side because

970
00:58:02,120 --> 00:58:04,440
Speaker 2: I was playing a record. He wanted this dude to hear, right,

971
00:58:04,560 --> 00:58:09,000
Speaker 2: you know, that dude said, Man, that guy built by

972
00:58:09,080 --> 00:58:12,240
Speaker 2: the halls in these buildings. You know it's really nice.

973
00:58:12,560 --> 00:58:15,000
Speaker 2: You know, that's that's crazy. That dude said.

974
00:58:18,680 --> 00:58:23,400
Speaker 1: I did my part at Sony and and like I said,

975
00:58:23,440 --> 00:58:27,439
Speaker 1: I still deal with them today. On payments and shit.

976
00:58:28,920 --> 00:58:35,120
Speaker 1: So I didn't walk out of Sawny on a burnt

977
00:58:35,240 --> 00:58:41,520
Speaker 1: bridge aspect. I never disrespected anyone up at the label.

978
00:58:42,640 --> 00:58:47,960
Speaker 1: I tried to keep it cordial, you know if I

979
00:58:48,240 --> 00:58:51,000
Speaker 1: I That's why I said, I never had any issues

980
00:58:52,640 --> 00:58:58,320
Speaker 1: maybe just with Hell. Shit for more than it should

981
00:58:58,320 --> 00:59:02,600
Speaker 1: have been with Hell. Like I said, I just re

982
00:59:02,840 --> 00:59:05,960
Speaker 1: I just got recontacted back with Sony maybe about a

983
00:59:06,080 --> 00:59:10,960
Speaker 1: year ago old payments that they hadn't sent over a

984
00:59:11,760 --> 00:59:18,720
Speaker 1: of teen years. So that that was a blessing. That's

985
00:59:18,760 --> 00:59:24,440
Speaker 1: a beautiful thing. You know, we still have a cool relationship.

986
00:59:26,320 --> 00:59:28,200
Speaker 1: Like I said, I never walked out of there and

987
00:59:28,600 --> 00:59:35,720
Speaker 1: had to bust up anybody offices or whatever. Sony pretty much.

988
00:59:35,960 --> 00:59:40,880
Speaker 1: You know, if they want to fuck something, they will pay.

989
00:59:42,760 --> 00:59:51,720
Speaker 1: Now on the back end, will you be promoted accurately?

990
00:59:53,160 --> 00:59:57,080
Speaker 1: Who knows? Sony may be different today than they were

991
00:59:58,800 --> 00:59:59,720
Speaker 1: thirty years ago.

992
01:00:00,600 --> 01:00:03,200
Speaker 2: To give a conversation, to give a context, right, I

993
01:00:03,280 --> 01:00:06,000
Speaker 2: won't say where it was at, right, but I was

994
01:00:06,080 --> 01:00:08,520
Speaker 2: with one of the homies one time, and he's an executive.

995
01:00:08,640 --> 01:00:11,680
Speaker 2: He was in the office and he pretty much was

996
01:00:11,760 --> 01:00:14,560
Speaker 2: going bad. And the radio guy because he said many

997
01:00:15,280 --> 01:00:18,440
Speaker 2: why is he he was showing them the Billboard charts, right,

998
01:00:19,040 --> 01:00:22,160
Speaker 2: he was showing you, showing them like number five, number ten,

999
01:00:22,400 --> 01:00:25,880
Speaker 2: number twelve, number fifteen, but they don't have no radio play.

1000
01:00:26,160 --> 01:00:28,440
Speaker 2: He said, why are you not out doing your job?

1001
01:00:28,560 --> 01:00:30,560
Speaker 2: Like what are you doing? Like these guys are selling

1002
01:00:30,640 --> 01:00:33,000
Speaker 2: a lot of records. Just imagine how much more they

1003
01:00:33,040 --> 01:00:35,240
Speaker 2: would sell if you were supporting them radio wives. So

1004
01:00:35,360 --> 01:00:37,280
Speaker 2: I think it's still the same thing. I think black

1005
01:00:37,400 --> 01:00:40,360
Speaker 2: music period, man, And I think the thing that messed

1006
01:00:40,360 --> 01:00:44,560
Speaker 2: a lot of that up is with rhythmic music. It's

1007
01:00:44,600 --> 01:00:47,280
Speaker 2: a little less payo. It's still some payo, a little involved,

1008
01:00:47,320 --> 01:00:48,520
Speaker 2: but it's a little less right.

1009
01:00:48,960 --> 01:00:50,680
Speaker 1: You can have a real record that can grow a

1010
01:00:50,800 --> 01:00:54,600
Speaker 1: game with rhythmic but urban, bro, it's all about the money.

1011
01:00:54,680 --> 01:00:56,320
Speaker 1: You got to walk in with cash if you want

1012
01:00:56,400 --> 01:01:00,800
Speaker 1: that record play. Definitely, it's cash money, man. But shoot

1013
01:01:00,840 --> 01:01:05,320
Speaker 1: on that note, man, we out of here. Before we

1014
01:01:05,440 --> 01:01:07,640
Speaker 1: get out of here, man, Yeah, let's shot out girl.

1015
01:01:08,120 --> 01:01:11,520
Speaker 1: You know, rest in peace to DiAngelo. Oh for sure,

1016
01:01:11,960 --> 01:01:17,439
Speaker 1: I almost forgot Relo. You know, one of our one

1017
01:01:17,520 --> 01:01:23,320
Speaker 1: of our, the better of our R and B patrons

1018
01:01:24,360 --> 01:01:29,480
Speaker 1: always put off good music. You are. It's sad for

1019
01:01:30,400 --> 01:01:33,440
Speaker 1: you know. He had three kids. One of the kids

1020
01:01:33,640 --> 01:01:36,800
Speaker 1: was by him and Angie Stone. So you know that

1021
01:01:37,040 --> 01:01:39,520
Speaker 1: would be a fucked up situation to have both of

1022
01:01:39,560 --> 01:01:45,520
Speaker 1: your parents pass. She died or accident, and then he

1023
01:01:45,720 --> 01:01:49,240
Speaker 1: died from I believe pancreatic cancer. They've got to cancer.

1024
01:01:49,320 --> 01:01:50,600
Speaker 1: You know what. That's what I want to do.

1025
01:01:50,720 --> 01:01:54,560
Speaker 2: I want to put a message out, brothers, make sure

1026
01:01:54,640 --> 01:01:55,920
Speaker 2: you go get your checkups.

1027
01:01:56,000 --> 01:01:56,160
Speaker 1: Man.

1028
01:01:56,240 --> 01:01:58,920
Speaker 2: You know that that impacts us. Stuff like that impacts

1029
01:01:59,000 --> 01:02:01,120
Speaker 2: us as black people look to more than other people.

1030
01:02:02,080 --> 01:02:04,840
Speaker 2: Oh definitely, because it's that everything else.

1031
01:02:04,920 --> 01:02:07,520
Speaker 1: Man. Make sure you're taking up a lot of you

1032
01:02:07,640 --> 01:02:12,720
Speaker 1: hip hop niggas too. That's that's enough. He's saying. Niggas

1033
01:02:12,800 --> 01:02:16,160
Speaker 1: got fancy made bax cars and all kind of shit

1034
01:02:17,520 --> 01:02:22,560
Speaker 1: that top trunk too. You giving me no health insurance.

1035
01:02:24,400 --> 01:02:30,120
Speaker 1: Health insurance ain't cheap, man, but it's more affordable. Because

1036
01:02:30,120 --> 01:02:33,000
Speaker 1: I could say as a young artist coming up during

1037
01:02:33,080 --> 01:02:37,680
Speaker 1: my twenties and nineteen's and the twenties, and I didn't

1038
01:02:37,920 --> 01:02:41,600
Speaker 1: I didn't stress health care at all. You get me.

1039
01:02:43,080 --> 01:02:45,560
Speaker 1: I'm one of those niggas who gets sick and I'm

1040
01:02:45,680 --> 01:02:49,919
Speaker 1: relying on a grandma home remedy. Not that that didn't work,

1041
01:02:50,360 --> 01:02:56,880
Speaker 1: but to have health care and have insurance would be valuable.

1042
01:02:58,040 --> 01:03:01,000
Speaker 1: So you know, a lot of you, you're a artists

1043
01:03:01,000 --> 01:03:03,240
Speaker 1: who out there and getting your ones and twos or

1044
01:03:03,320 --> 01:03:07,040
Speaker 1: your moneys or whatever you're doing, make sure before you

1045
01:03:07,160 --> 01:03:11,360
Speaker 1: go by that motherfucking and a thousand dollar chain you

1046
01:03:11,480 --> 01:03:15,000
Speaker 1: got that motherfucking diod insurance because you gonna you could

1047
01:03:15,040 --> 01:03:18,480
Speaker 1: get either one. You ever know, cause niggas be doing

1048
01:03:18,560 --> 01:03:21,120
Speaker 1: all kinds of shit. You get me. Niggas do a

1049
01:03:21,160 --> 01:03:24,520
Speaker 1: lot of shit them smoke weed, you feel me? Oh yeah?

1050
01:03:24,800 --> 01:03:27,960
Speaker 2: Let me ask you, bro, what age was it that

1051
01:03:28,120 --> 01:03:32,320
Speaker 2: you started getting me? Like the record companies actually off reassurances?

1052
01:03:32,640 --> 01:03:34,240
Speaker 2: Can you get if you signed to a label, can

1053
01:03:34,240 --> 01:03:35,280
Speaker 2: you get insurance to them?

1054
01:03:35,600 --> 01:03:38,800
Speaker 1: Always thought about that. I've always thought that since you

1055
01:03:39,040 --> 01:03:42,600
Speaker 1: worked for them in a sense, but what or they

1056
01:03:42,680 --> 01:03:45,560
Speaker 1: might consider you a private contractor.

1057
01:03:45,120 --> 01:03:47,120
Speaker 2: You get me so but s You know though, even

1058
01:03:47,160 --> 01:03:49,960
Speaker 2: if you were like a private contractor you're paying them

1059
01:03:50,000 --> 01:03:52,280
Speaker 2: a little bit every month for it, it would seem

1060
01:03:52,400 --> 01:03:54,520
Speaker 2: like you would want your artists and the best of health.

1061
01:03:55,080 --> 01:03:58,520
Speaker 1: But check this shout if I ever walked that line again,

1062
01:03:59,600 --> 01:04:01,880
Speaker 1: or I would definitely say I want that in my

1063
01:04:02,080 --> 01:04:06,240
Speaker 1: contract that whatever you whatever, you getting how you able

1064
01:04:06,320 --> 01:04:09,960
Speaker 1: to get health insurance through Sony or whoever label or

1065
01:04:10,040 --> 01:04:13,920
Speaker 1: whatever it is. How the regular worker who coming up

1066
01:04:13,960 --> 01:04:17,240
Speaker 1: in here and swiping their key card to come to

1067
01:04:17,360 --> 01:04:19,800
Speaker 1: work every day they get health insurance.

1068
01:04:19,920 --> 01:04:23,920
Speaker 2: Right, I need some of that include that in my

1069
01:04:24,120 --> 01:04:28,360
Speaker 2: deal one hundred percent. Because I think I heard something.

1070
01:04:28,440 --> 01:04:30,480
Speaker 2: I think product you had it in his is because

1071
01:04:30,480 --> 01:04:33,800
Speaker 2: you know the homie head of bloopis so he was

1072
01:04:34,080 --> 01:04:35,800
Speaker 2: sick a lot, right, so I think he had that

1073
01:04:35,880 --> 01:04:38,520
Speaker 2: in his contract, like his later contracts.

1074
01:04:40,480 --> 01:04:43,600
Speaker 1: That definitely would be a smart move, Like, Okay, I'm

1075
01:04:43,680 --> 01:04:46,120
Speaker 1: going to sign this contract and I'm gonna do what

1076
01:04:46,400 --> 01:04:50,680
Speaker 1: three four albums for As an artist, I'd be like, okay,

1077
01:04:50,840 --> 01:04:55,400
Speaker 1: can we discuss health insurance because I know, yeah, you're

1078
01:04:55,640 --> 01:04:59,440
Speaker 1: people if giving up health insurance to the execs or

1079
01:04:59,520 --> 01:05:03,120
Speaker 1: to the their employees, right, they're getting help, they're getting

1080
01:05:03,160 --> 01:05:06,840
Speaker 1: it taken out of their checks every month. So I

1081
01:05:06,960 --> 01:05:09,760
Speaker 1: need some of what they get. Let's let's include that.

1082
01:05:10,320 --> 01:05:12,200
Speaker 1: That would be smart As an artist.

1083
01:05:13,640 --> 01:05:15,920
Speaker 2: Rapids got families, right, you have you a whole you

1084
01:05:16,360 --> 01:05:18,800
Speaker 2: go start a job, and you got insurance. You can

1085
01:05:18,880 --> 01:05:21,920
Speaker 2: sign your wife up for you your kids, right, I

1086
01:05:21,960 --> 01:05:22,320
Speaker 2: would have.

1087
01:05:22,440 --> 01:05:26,320
Speaker 1: A thing for you, especially if you're coming from the

1088
01:05:26,360 --> 01:05:29,840
Speaker 1: lower coming from poverty and it's hard, you know, to

1089
01:05:29,960 --> 01:05:32,720
Speaker 1: get that good insurance and you have to get a

1090
01:05:32,800 --> 01:05:35,160
Speaker 1: fucked up h M MO or some shit like that,

1091
01:05:35,640 --> 01:05:38,440
Speaker 1: and having to wait three to three weeks to to

1092
01:05:38,640 --> 01:05:42,160
Speaker 1: a month to be seen by somebody. That that would

1093
01:05:42,240 --> 01:05:45,240
Speaker 1: be great for your family and your kids, especially, like

1094
01:05:45,360 --> 01:05:48,120
Speaker 1: I said, a lot of us come from that walk

1095
01:05:48,160 --> 01:05:51,000
Speaker 1: of life. Well, we don't have those we don't have

1096
01:05:51,160 --> 01:05:55,480
Speaker 1: those privileges, So why not include that. Oh yeah, give

1097
01:05:55,520 --> 01:05:57,840
Speaker 1: me that healthy assurance that I can shine up and

1098
01:05:57,920 --> 01:06:02,520
Speaker 1: put my kids on and bucket if it's where.

1099
01:06:02,520 --> 01:06:04,920
Speaker 2: If you're gonna be signed of this label, because man,

1100
01:06:05,040 --> 01:06:07,680
Speaker 2: these labels on average, they want you there for five albums.

1101
01:06:07,760 --> 01:06:09,720
Speaker 2: So if I'm gonna be here for sign I need

1102
01:06:09,880 --> 01:06:11,920
Speaker 2: this the term of my contract as long as I'm here,

1103
01:06:11,920 --> 01:06:12,320
Speaker 2: I need this.

1104
01:06:12,320 --> 01:06:13,080
Speaker 1: To be active. Man.

1105
01:06:13,480 --> 01:06:16,360
Speaker 2: I made five years guaranteed, So no matter what you

1106
01:06:16,440 --> 01:06:18,040
Speaker 2: do to me, you gotta let me keep this cup

1107
01:06:18,160 --> 01:06:21,120
Speaker 2: this yeah, five years while.

1108
01:06:21,600 --> 01:06:25,120
Speaker 1: You're gonna you're gonna negotiate for it, you know, because

1109
01:06:25,400 --> 01:06:28,640
Speaker 1: I don't know how many I don't know how many

1110
01:06:28,760 --> 01:06:33,680
Speaker 1: motherfuckers will be smart enough to negotiate for that as

1111
01:06:33,760 --> 01:06:40,919
Speaker 1: far as cash in their deal. Okay, five years at

1112
01:06:41,760 --> 01:06:44,640
Speaker 1: three four hundred a month, that's gonna cost me. Walk,

1113
01:06:44,680 --> 01:06:47,400
Speaker 1: you walk, put that in my pantry. I need that

1114
01:06:47,560 --> 01:06:50,120
Speaker 1: in cash so I can go pay for help insurance

1115
01:06:50,160 --> 01:06:53,880
Speaker 1: for the next five years. So regardless of if I

1116
01:06:53,960 --> 01:06:57,760
Speaker 1: don't put out another record, I've still got to look

1117
01:06:57,840 --> 01:07:02,640
Speaker 1: to catch in my track that I can go pay

1118
01:07:02,800 --> 01:07:05,040
Speaker 1: for help your surance for me and my family for

1119
01:07:05,120 --> 01:07:07,600
Speaker 1: the next five year. Geg because it can't be just

1120
01:07:07,680 --> 01:07:09,440
Speaker 1: for you. You gotta have because you gotta look at that.

1121
01:07:09,600 --> 01:07:12,440
Speaker 2: That's your job, man, and the thing needs when you're

1122
01:07:12,440 --> 01:07:15,480
Speaker 2: a rapper, you putting yourself at risk all the time.

1123
01:07:15,600 --> 01:07:18,480
Speaker 2: You have to go travel places. You gotta be somewhere

1124
01:07:18,520 --> 01:07:20,600
Speaker 2: you don't know, and you're putting yourself on the public eye,

1125
01:07:20,680 --> 01:07:24,120
Speaker 2: and you gotta go. You gotta go to Chicago, to Cleveland,

1126
01:07:24,160 --> 01:07:26,120
Speaker 2: to Detroit and do all this other stuff.

1127
01:07:26,200 --> 01:07:26,320
Speaker 1: Man.

1128
01:07:26,400 --> 01:07:29,040
Speaker 2: Hell yeah, for sure, that's a good game for your

1129
01:07:29,120 --> 01:07:31,600
Speaker 2: artists out there. On that note, we gonna really time

1130
01:07:32,200 --> 01:07:35,200
Speaker 2: Jim Well. That concludes another episode of the Gainst the

1131
01:07:35,280 --> 01:07:38,000
Speaker 2: Chronicles podcast. Be sure to download the iHeart app and

1132
01:07:38,040 --> 01:07:41,280
Speaker 2: subscribe to the Gangst the Chronicles podcast for Apple users.

1133
01:07:41,320 --> 01:07:43,000
Speaker 2: Find a purple micae on the front of your screen,

1134
01:07:43,080 --> 01:07:46,000
Speaker 2: subscribe to the show, leave a comment and rating. Executive

1135
01:07:46,000 --> 01:07:49,040
Speaker 2: producers for The gangst The Chronicles podcast Norman Steel, Aaron

1136
01:07:49,160 --> 01:07:52,360
Speaker 2: M c a Tyler. Our visual media director is Brian Watt,

1137
01:07:52,360 --> 01:07:55,280
Speaker 2: and audio editors tell It Hayes. The Gangster Chronicles is

1138
01:07:55,320 --> 01:07:58,880
Speaker 2: a production of iHeartMedia Network and The Black Effect Podcast Network.

1139
01:07:59,160 --> 01:08:02,400
Speaker 2: For more podcast from iHeartRadio, visit the iHeart Radio app

1140
01:08:02,480 --> 01:08:04,880
Speaker 2: Apple Podcasts wherever you're listening to your podcasts