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Speaker 1: Wake that ass up in the morning. Breakfast Club Morning.

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Speaker 1: Everybody is DJ Envy Angela, Ye, Charlotte mean the guy.

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Speaker 1: We are to Breakfast Club. We got some special guest

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Speaker 1: joining us today. We got who we got. We got

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Speaker 1: a hit maker and Tink, big Tink, not the little one.

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Speaker 1: What's happening, guys, what's up y'all? How's it going? Think

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Speaker 1: you don't look pregnant? Just want to throw that out

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Speaker 1: there right off the top of everybody was saying she

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Speaker 1: was pregnant on the line. Okay, well I didn't even

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Speaker 1: know that, because everybody's been thinking I've been pregnant for

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Speaker 1: a while, and I'm glad you stay at that. Some

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Speaker 1: days we're just a little bloated me. I know, I

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Speaker 1: said I was pregnant. Today we got to want to

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Speaker 1: stand with you. You know, when we first started the

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Speaker 1: Breakfast Club, I don't even know, twelve years ago and

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Speaker 1: Timberland played this, played you you as an artist. We

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Speaker 1: fell in love a long time, a long time, been

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Speaker 1: a long time fan of team super duper successful, and

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Speaker 1: you went through the ups and downs and lefts and

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Speaker 1: rights and round about it and now you're here now.

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Speaker 1: So for people that don't know who Tink? Explain too,

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Speaker 1: Who Tink is, how you got your first start and

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Speaker 1: to where you are now? Yeah Tink, y'all know me.

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Speaker 1: I've been making music for a long time. I'm from Chicago.

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Speaker 1: Since twenty twelve, I've been dropping mixtapes when it's diary. Um,

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Speaker 1: you know. I got signed with Simberland and twenty fifteen

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Speaker 1: we made some really dope music, but it didn't really

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Speaker 1: work out, you know, the way I wanted it to

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Speaker 1: work out. I just felt like the situation wasn't a

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Speaker 1: fit for me. I had a lot of people on

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Speaker 1: a label that were kind of like hovering over my situation,

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Speaker 1: so I felt like I wasn't as creative anymore, and

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Speaker 1: we had we had a lot of disagreements, that's all. Um.

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Speaker 1: That album was classical. Charlotta Magne hurt the album. It

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Speaker 1: didn't come out. It was Think Tink. So that was

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Speaker 1: in twenty fifteen, So you know, it's just the label situations.

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Speaker 1: A lot of people in the office were having you know,

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Speaker 1: silent beefs, and it trickled down on the artist. But

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Speaker 1: I became independent in eighteen easy was it easy to

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Speaker 1: do it all? I really had to like sighting up.

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Speaker 1: I had to go and get an attorney, switch attorneys,

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Speaker 1: you know, you got to talk to your accountants and

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Speaker 1: just switched the whole team up on the business side.

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Speaker 1: So that took some time. It took like years. Um,

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Speaker 1: So that's why I took a break. In twenty seventeen,

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Speaker 1: I backed off a music completely just to go get

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Speaker 1: my life right. And yeah, in eighteen, I was finally,

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Speaker 1: you know, released, So we had to do some negotiating

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Speaker 1: behind the scenes, but you know, Tim, he let me.

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Speaker 1: He let me go and do my thing, and yeah,

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Speaker 1: I became independent. I saw my distribution deal with Empires,

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Speaker 1: so I'm able to just really like release whatever I

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Speaker 1: want free again. And yeah, I've been making albums ever

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Speaker 1: since and it's really just been turning up. And you

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Speaker 1: got Gazzi and hit make it here with you today.

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Speaker 1: That's big. Listen, God's in the building too. I didn't

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Speaker 1: even see Ghazi fire. Do you think people always say

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Speaker 1: they Tim Tim might have oversold you, like comparing you

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Speaker 1: to the Leaders and the Lauren Hills. Do you think

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Speaker 1: that had a negative impact. I do. It was a

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Speaker 1: lot um and comparisons really, like I called a lot

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Speaker 1: of backlash, you know, I dropped the record billion and

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Speaker 1: it was a really dope song, but I felt like

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Speaker 1: with him kind of like comparing me to her and

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Speaker 1: you know, telling people I'm the next Aliyah. You can't

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Speaker 1: play with legends like that. And I had a lot

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Speaker 1: of work to do at the time, so it wasn't

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Speaker 1: really necessary. Um, and I remember we dropped the record

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Speaker 1: with Jay Z and Rick Ross Face. Actually y'all premiered. Yeah, yeah, yes,

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Speaker 1: y'all got him in big trouble. But yeah, it was

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Speaker 1: just a lot of things on business and that weren't tight,

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Speaker 1: and it kind of just affected everything. It's like a

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Speaker 1: snowball effect. What does that do to you creatively in

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Speaker 1: a space where you want to do your music and

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Speaker 1: you've been working on music for so long, but then

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Speaker 1: the business is a mess. It just holds up everything,

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Speaker 1: the process. Everything gets pushed back. Like I had albums

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Speaker 1: ready to go, you know, I had music in the can,

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Speaker 1: but the label couldn't promote my music because you know,

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Speaker 1: we had an album to release, So it was just

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Speaker 1: like everything got put on hold. So as an artist,

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Speaker 1: that's that's the worst thing. Like I can't drop and

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Speaker 1: I got heat, you know, I want to be in

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Speaker 1: the market too, and you got somebody making a schedule

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Speaker 1: for you. So yeah, it just makes you kind of

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Speaker 1: like kind of frustrated. And how does that affect you

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Speaker 1: as far as like wanting to sign somewhere else. Again,

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Speaker 1: I'm really careful with with all my deals now, like

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Speaker 1: I really had to get a new attorney. I'm looking

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Speaker 1: through my contracts now, I'm actually reading them worried for word.

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Speaker 1: I think when I was younger, I was like nineteen,

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Speaker 1: so I was just signing, you know what I'm saying,

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Speaker 1: like signing anything, and I wasn't checking things thoroughly. So

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Speaker 1: now I'm on top of it, on top of everything.

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Speaker 1: That's a great question because you go, I think it's

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Speaker 1: very selective because over the years I've hit think a

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Speaker 1: million times like yo, take this person won't talk to you,

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Speaker 1: this person won't talk you, this prison wanna talk to you.

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Speaker 1: And I was going through things, Charlotte, Man, I'm really like,

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Speaker 1: you know, I'm really personable, but like when you locked

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Speaker 1: into a situation, you can't really talk to anyone at

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Speaker 1: the time, like I was in deals, and I couldn't

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Speaker 1: really move at the time like how I wanted to.

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Speaker 1: So that's all that was. You know, with man, it's

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Speaker 1: everything to be honest, Like, honk, how'd you get together?

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Speaker 1: So I'm at Empire. I have been with Empire for

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Speaker 1: like some years, and he recently last year came to Empire. Yes, sir,

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Speaker 1: so we linked at the studio um working on music.

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Speaker 1: You know what I'm saying. It was real organic, like

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Speaker 1: I met him in San Francisco. Ye, so yeah, we

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Speaker 1: just met at the studio. We started working on records,

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Speaker 1: and I liked the process with him, like you make

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Speaker 1: it fun. It's not no pressure because it wasn't like

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Speaker 1: that off the rip. You know what I'm saying. Charlemagne

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Speaker 1: already to say that, you know what I'm saying. You know,

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Speaker 1: she's very very I was introduced to her, you know,

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Speaker 1: just because guys, he really believed in me. Like last

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Speaker 1: time I was here, I said, I actually got my

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Speaker 1: gig with Atlantic Records from speaking on you know, you know,

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Speaker 1: I was speaking things to existence and then I got

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Speaker 1: my my gig. And I was running into trials and

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Speaker 1: tribulations at Atlantic because I sold so many records for them,

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Speaker 1: multiple number one records. Kind of felt underappreciated, and guys,

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Speaker 1: he came and like scooped me up and it was

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Speaker 1: a big deal for me. And it was like, yeah,

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Speaker 1: because leaving Atlantic and doing all these huge records or

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Speaker 1: whatever to go in an empire, people would look at

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Speaker 1: it like maybe you're going to You're going to an independent, like, yeah,

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Speaker 1: it's gonna be rougher for you. But actually I got

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Speaker 1: in there a link with Tink. We did the last album.

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Speaker 1: Charlotte Magne actually opened up the last album. Appreciate for

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Speaker 1: doing that. And then you know I've done badest Chris

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Speaker 1: Brown Blue two Chains by your boy Peru. I was

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Speaker 1: able to orchestrate that record and have involved in that,

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Speaker 1: So we're rocking. I don't think people realize how talented

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Speaker 1: think is. Man. Oh no, she's the best. Thank you many, Yeah,

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Speaker 1: and I feel that too. But I felt like, man,

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Speaker 1: the more that I'm kind of like releasing more music

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Speaker 1: and I'm really able to push my product now, Like before,

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Speaker 1: when you signed to a label, you kind of like

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Speaker 1: you have to play the back road sometimes and the

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Speaker 1: bigger artists get you know, the big it looks. So

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Speaker 1: now my team, we're really putting it out there and

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Speaker 1: I think it's reaching a bigger audience. Now, did you

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Speaker 1: ever want to give up with everything that you were

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Speaker 1: going through. Yes, all the time. I took a break

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Speaker 1: and I was really like my moment while I was like,

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Speaker 1: I don't know if I really need to be doing this.

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Speaker 1: I'm not in the right space. It was messing with

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Speaker 1: me mentally, you know, like and I'm trying to take

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Speaker 1: care of things at home. You know, I'm still in Chicago,

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Speaker 1: So there's a lot I always you know, what did

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Speaker 1: you do during their moments? To be honest? Honestly, like

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Speaker 1: I was more so to myself. I kind of like

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Speaker 1: stayed in the house for a long time, and you know,

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Speaker 1: I started approaching my records again like how I would

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Speaker 1: do before I got signed. So that's like writing in

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Speaker 1: Chicago righting at home. I just went back to what

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Speaker 1: you know, my home grounds and kind of just had

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Speaker 1: to tighten up everything. But you've never stopped making money

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Speaker 1: off music though you do shows, man. Yeah, and that's

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Speaker 1: the that's the best thing. Like my fans they really

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Speaker 1: like hold me down from way back like day one fans,

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Speaker 1: So during that time period, they were still waiting and

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Speaker 1: ready to support. So what was your first impression of

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Speaker 1: tink with me? He thought I was stuck up or

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Speaker 1: you know what I'm saying or whatever, But I mean

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Speaker 1: I looked at it as a challenge, you know, because

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Speaker 1: her not her, She's so talented that she never really

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Speaker 1: collaborated with anyone in her whole process. She wouldn't let

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Speaker 1: nobody in the studio. And to bring it for a circle,

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Speaker 1: talking about Tim, Tim was actually in Miami with us.

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Speaker 1: I invited them to the studio while we were creating

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Speaker 1: this process and I spoke to think about it, and

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Speaker 1: he was around from the early stuff, and Tim was

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Speaker 1: telling us like, boy had nobody and she kicked me

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Speaker 1: out the studio. But just to see the evolution of

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Speaker 1: what she really does and like put her to open

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Speaker 1: herself up, because to me, my thought process is always

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Speaker 1: like if I got all these records at radio, we

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Speaker 1: gotta get you at radio, we gotta take it mainstream.

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Speaker 1: And I think her redemption was selling out the Chicago

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Speaker 1: Theater thirty five hundred seats by herself headline in that show,

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Speaker 1: having all Chicago female artists opened up for you know

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Speaker 1: what I'm saying, shout out the GCI saw to everybody there.

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Speaker 1: What did you think when you first got in the

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Speaker 1: studio with her? You were like, Okay, this is what,

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Speaker 1: like you said, you wanted to do more mainstream and

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Speaker 1: radio type of songs. What did you think about her

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Speaker 1: music prior to that? I thought it was dope. You know,

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Speaker 1: everybody knows the million record bottom bit, you know, and

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Speaker 1: then if you really dig deep into the rabbit hole.

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Speaker 1: I actually before the session, you know, like I like

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Speaker 1: to go do my little research or whatever, because me

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Speaker 1: and Tink, I'm probably seven eight years older than Tink,

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Speaker 1: so like she grew up in a different era in Chicago,

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Speaker 1: were both from the city. So I just went did

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Speaker 1: my research and I was just like, yo, where can

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Speaker 1: I take this? How can I put this on the

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Speaker 1: mainstream level to where everybody can see it and embrace it,

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Speaker 1: you know, because she has her cold fan base, But

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Speaker 1: now I just want everybody to appreciate in the game,

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Speaker 1: what makes you want to do another album because you

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Speaker 1: know you were leasing the album? What makes you want

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Speaker 1: to get back in the front and run around and

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Speaker 1: you got to pay for that jury? Na, I'm good,

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Speaker 1: but you back outside? Yeah, I'm back outside. But to me, honestly,

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Speaker 1: because because I can, it's not really like you know

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Speaker 1: what I'm saying, like a big deal like that to me, Like,

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Speaker 1: I love putting these records together. Actually, my record down

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Speaker 1: Bad features one of my songwriter buddies. That's that I

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Speaker 1: write all these records with or whatever on the record

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Speaker 1: and Fabulous and Jeremiah. It's top forty. It just came out,

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Speaker 1: you know what I'm saying. A week ago was number

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Speaker 1: more and most out of the urban radio. So I'm

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Speaker 1: just I'm just I'm just in a groove, you know

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Speaker 1: what I'm saying. Like when when it shots clicking, you're

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Speaker 1: gonna you're gonna keep shooting, you know what saying. I

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Speaker 1: think everybody in the room can relate to that. How

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Speaker 1: difficult is it for you when you have to make

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Speaker 1: a record but you also have ordists that you're producing for.

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Speaker 1: So record think might want that record, But do you

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Speaker 1: like dam I might want that record from myself? I

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Speaker 1: mean envy. I've been working on my producer album since

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Speaker 1: I was at Atlantic, So like bro, like, I'll just

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Speaker 1: give the record away, Like if you want it, I'm

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Speaker 1: gonna go make another one like here here here. So

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Speaker 1: my my music and my album has been reshaped several times.

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Speaker 1: You know what I'm saying. But do you guys clash

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Speaker 1: on in the studio when it comes to creativity, what

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Speaker 1: are like, what are some of the discussions you have?

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Speaker 1: Who has you know, do you trust him to make

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Speaker 1: the say, I think the most thing, like we finally

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Speaker 1: clash on. I like to overdo my ad libs. Like

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Speaker 1: I'm real soulful about the music. So sometimes you're telling me, like,

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Speaker 1: you know, just pull back a little bit. I'm like, nah,

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Speaker 1: the song need a little right there. But it's small things.

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Speaker 1: It's more so like the details about the music. It's

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Speaker 1: not really big clashes. Yeah, Like we ain't gonna lie.

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Speaker 1: We got great chemistry, Like I think it's actually the

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Speaker 1: only moments that we might have. And that's why our

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Speaker 1: chemistry is super dope together. Is that I go off

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Speaker 1: feeling you know what I'm saying, Like when it comes

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Speaker 1: to music and how it makes me feel. She's a

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Speaker 1: very cerebral thought process, think it through, you know what

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Speaker 1: I'm saying, Attention, attention to detail with everything you know,

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Speaker 1: and me it's like, oh, that felt right, that's the moment.

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Speaker 1: You know what I'm saying, Let's go with it, you know.

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Speaker 1: But she likes to go back and really fine tooth

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Speaker 1: comb things and which I learned a lot from her

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Speaker 1: in that process as well. And y'all got directed goofy.

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Speaker 1: It isn't goofy like fighting words in Chicago, Chico. Yeah,

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Speaker 1: you gotta hear the song I was saying, more so

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Speaker 1: like I'm crazy and love when I thought about it,

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Speaker 1: when I when I hear it back and now it

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Speaker 1: you know, people are reacting to it. I'm like, man,

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Speaker 1: goofy is a strong word, but I guess I'm staying

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Speaker 1: like y'all, I'm being. Sometimes we crazy and love. We

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Speaker 1: make decisions that we normally wouldn't when we really love somebody.

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Speaker 1: So yeah, sometimes it can can come up like we

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Speaker 1: being goofy. Is it hard for you to find love

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Speaker 1: Tink because you are Tink? Yeah, it's a real thing.

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Speaker 1: Like it's so hard beating people that understand this, I

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Speaker 1: guess lifestyle or and just me as a person, I'm

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Speaker 1: so I'm an intellectual, you know me. I'm a thinker,

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Speaker 1: very mature. So yeah, this generation it's a little weird.

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Speaker 1: It's like, you know, people don't really be on my

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Speaker 1: same way. People inves like that. We don't see you

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Speaker 1: posting nobody or nothing. And that's the thing. I have

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Speaker 1: a hard time, like working around too many people because

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Speaker 1: then you have a lot of people like dropping their

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Speaker 1: opinions or in my case, I make music for women too,

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Speaker 1: so a lot of times just guys in the studio.

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Speaker 1: So I need to like clear the you know, just

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Speaker 1: clear the room so I can say what I want

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Speaker 1: to say without feeling any you know, pressure from nobody.

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Speaker 1: So that's all it is. I just like to be

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Speaker 1: comfortable so I can like get my you know, get

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Speaker 1: my vib off. So who's the guy that's gonna hear

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Speaker 1: this record and be like, Oh, she's talking about me.

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Speaker 1: I made her. I made her a goofy oh lord.

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Speaker 1: I hate to think of it like that. That's giving

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Speaker 1: people too much, but it's it's for all of us.

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Speaker 1: It could be for a lot of people, not like that,

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Speaker 1: but it could be for a lot of guys. Like

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Speaker 1: I speak for all the women, not just you know myself.

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Speaker 1: So because you say, I saw you say your main

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Speaker 1: goal was to keep it all away one hundred that's

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Speaker 1: why you shot in the video in Chicago, all of

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Speaker 1: that stuff. You know you're gonna tell me true, I'm

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Speaker 1: assuming this based on bro like that, you know something. Nah,

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Speaker 1: As far as goofy and it's what the funny thing is,

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Speaker 1: you know what I'm saying, Like, Uh, we actually had

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Speaker 1: the pleasure to work with Rico Love and collaborate on

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Speaker 1: this record, and we were playing to beat and we

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Speaker 1: was vibe into it and he came in and kind

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Speaker 1: of like said he wrote it got the goofy part,

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Speaker 1: and I was so that throughout there first, and she

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Speaker 1: just went in was okay, please say you that reference

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Speaker 1: track just in case we ever need the black Man Nigel. Oh, Now,

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Speaker 1: y'all got some some quotables in these streets for real.

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Speaker 1: I was gonna ask you to win. When Burg was out,

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Speaker 1: there was still was a five thousand dollar Birg, a

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Speaker 1: ten thousand dollar bird now to where you're at now.

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Speaker 1: So do those people still come to that knew you

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Speaker 1: back then and be like I need I need that

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Speaker 1: old bird price. But you're like that doesn't exist anymore.

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Speaker 1: I'm hit making that. No, I'm not even gonna lie

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Speaker 1: like right now, I haven't really been taking like too

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Speaker 1: many advances. And I have song deals with every company

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Speaker 1: that's in the business, so it like it's a slated fee.

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Speaker 1: And if I really like you when I rock with you,

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Speaker 1: I probably won't charge you because it's like when I'm

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Speaker 1: gonna tell you like um, like Buster Rhymes has a

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Speaker 1: new single that I just did with bea coming out.

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Speaker 1: I can't charge Buster what I'm saying, You'll pay me

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Speaker 1: sixty gram, pay me my rate like but and Buster

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Speaker 1: is a legend the same way y'all see me with

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Speaker 1: Terrace Squad chains, Like I can never charge Fat Joe.

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Speaker 1: You know what I'm saying, So Tink, I do chargish Tink.

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Speaker 1: You know what I'm saying. You know it's it's a vibe.

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Speaker 1: I it was early. It was early. Now we gotta

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Speaker 1: understand it. And we're partners and we like we so

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Speaker 1: locked in with everything we got going on. It's my partner, Like,

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Speaker 1: I ain't gonna lie like she involved with my career.

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Speaker 1: I'm involved with her career. We're making decisions together and

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Speaker 1: bossing up together. Tink. Do you write for other artists

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Speaker 1: who I do? At a point in time, like I

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Speaker 1: was writing Actually people don't know this, but I was

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Speaker 1: writing for Rihanna's camp. I knew that. Yeah, Charlemagne didn't

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Speaker 1: know that I was writing for Rihanna. And I haven't

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Speaker 1: really written lately because I've been so focused. But when

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Speaker 1: I take my breaks, and you know, there's bearers of

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Speaker 1: a time where I'm not dropping a lot of music.

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Speaker 1: I'm still working in you know, shopping records. Do you

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Speaker 1: ever get frustrated? Like I know I'm better than ninety

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Speaker 1: five percent of all of these people out here. The

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Speaker 1: dog crosses my mind, but it don't frustrate frustrate me.

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Speaker 1: It kind of like kind of turned me up a

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Speaker 1: little more. Like, man, when my time come or when

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Speaker 1: it's really that, it's like, it ain't gonna be no

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Speaker 1: stopping because if that's what y'all really love, is like

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Speaker 1: wait till a real one, you know what I'm saying,

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Speaker 1: can run the whole game. But I don't get frustrated

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Speaker 1: no more. I'm in a great space shot man, I'm

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Speaker 1: making I'm making a nice a nice bag now. So

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Speaker 1: that's what that's what it's really about. Like, I think

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Speaker 1: people get frustrated when they're not receiving, you know, receiving

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Speaker 1: a reward. I've been getting mind, So I'm happy for

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Speaker 1: everybody right now. I had an argument with an executive

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Speaker 1: more time because you know, it was seeing how dope

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Speaker 1: you are black and black and they literally said to me,

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Speaker 1: but I just don't think she'll pop because she dogs

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Speaker 1: getting what Yeah, I'm not gonna ever say the person's name. Well, no,

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Speaker 1: I'm not even surprised to hear that. That's the way

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Speaker 1: of this industry, y'all. It's it's really it's sad to

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Speaker 1: hear it. But at the same time, like whatever we

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Speaker 1: had that, we had that shit all the time. Um,

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Speaker 1: And to me, that's what makes me even more dope

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Speaker 1: because it's like, man, people really like me for my talent,

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Speaker 1: Like I don't have to do you know what I'm saying,

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Speaker 1: I don't have to be anybody else, or it's really

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Speaker 1: about my music, so like I can run a game

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Speaker 1: for as long as I want, Like no matter what,

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Speaker 1: I'm coming out the house looking like they're gonna love

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Speaker 1: at me for my music. I actually said, didn't know.

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Speaker 1: That's the reason she would because she represents for a

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Speaker 1: whole group of people that see all that melan and

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Speaker 1: they're like, oh, okay, but it's a new day now,

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Speaker 1: you know, Like people got to really come get around

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Speaker 1: me and see what's going on now. So she gets

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Speaker 1: busy in Chicago. So I'm in Chicago, but I'm also

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Speaker 1: in La a whole lot because I connection too between y'all,

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Speaker 1: just to know that, like, you guys have really had

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Speaker 1: a lot in comment, I got a lot in comment.

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Speaker 1: Tell the Truth executive hit Maker. You hear things like

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Speaker 1: that right about all the women. I've not not necessarily

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Speaker 1: about skin color whatever, but I've just seen people make

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Speaker 1: so many wrong decisions. And even with U, with my

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Speaker 1: departure from Atlantic Records, like this is what happened. Someone

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Speaker 1: La read off from me a label deal, and um,

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Speaker 1: I came back to Craig and I was just like, yeah,

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Speaker 1: like bro, like I know I work for y'all, but

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Speaker 1: this guy want to give me a label deal? Is

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Speaker 1: this big amount of money? You know, let me go

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Speaker 1: get my bag. You know, I'll still create the hits

387
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Speaker 1: and do whatever I need to do. And he was like, Nah,

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Speaker 1: you can't do that. You can't do that. And then

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Speaker 1: they offer me a deal. And I don't think that

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Speaker 1: they gave me the deal because they wanted they believed

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Speaker 1: in me to get the deal. They just gave me

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Speaker 1: the deal to keep me in that system and keep

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Speaker 1: me locked in or whatever and just passify me in

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Speaker 1: a situation. And I wanted to grow and elevate and

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Speaker 1: work with up and coming artists and work with different

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Speaker 1: people signed people, work with artists like ten. Because I

397
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Speaker 1: was thinking la read it offered me like, man, like

398
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Speaker 1: you could just work with whatever artists in its label

399
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Speaker 1: and if it works out, we'll put them under your banner.

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Speaker 1: You know what I'm saying. Similar to game in fifty

401
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Speaker 1: cent or something like that. How he has all these

402
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Speaker 1: different acts that were signed. So I was really trying

403
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Speaker 1: to elevate. But I think that the game, man is

404
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Speaker 1: gonna be the game. Look at me, I'm young Burg,

405
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Speaker 1: I'm Iceberg, I'm hit maker. I got a documentary, I

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Speaker 1: got all types of stuff coming soon. So if you

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Speaker 1: stay in it long enough, man, you're gonna see a

408
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Speaker 1: lot man wrapping it all you miss it? Hell no, like,

409
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Speaker 1: come on, like that shit is so like it's a

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Speaker 1: dangerous job. It's more dangerous than ever right now. And

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Speaker 1: then not only that, it's a self serving like probably

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Speaker 1: like an ego thing stroke ego. Why I would want

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Speaker 1: to do that right now or rap Like I honestly

414
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Speaker 1: want to be behind the people that's really doing it

415
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Speaker 1: and killing it because I've experienced it, and I think

416
00:19:18,160 --> 00:19:21,560
Speaker 1: that's not enough executives that have actually been artists before

417
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Speaker 1: and been on the other side to really know and

418
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Speaker 1: appreciate the artists and know where the artist is coming

419
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Speaker 1: from and actually being a trench is making a record

420
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Speaker 1: with him already did like and there's no bullshit. They

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Speaker 1: got one. And then niggas is the funniest niggas ever.

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Speaker 1: Like Yo, when y'all have a breakfast club. But RAYJ

423
00:19:39,000 --> 00:19:41,280
Speaker 1: and all them boy, y'all gonna it's gonna be. It's

424
00:19:41,280 --> 00:19:43,600
Speaker 1: going down in history. It's gonna be like Earth Goddy

425
00:19:43,720 --> 00:19:48,720
Speaker 1: drink Champs like it's gonna be. It's is a marketing genius.

426
00:19:49,720 --> 00:19:52,359
Speaker 1: There's nothing dumb about ray J. Anybody who thinks that

427
00:19:52,440 --> 00:19:54,760
Speaker 1: it's a goddamn who Raj know it's exactly what he's

428
00:19:54,760 --> 00:19:56,760
Speaker 1: doing at all times. And I cannot wait to see

429
00:19:56,760 --> 00:20:00,399
Speaker 1: how he rolls out RSVP exactly. Now, what about a

430
00:20:00,600 --> 00:20:02,480
Speaker 1: one Bentley said, you don't make your own beats and

431
00:20:02,520 --> 00:20:05,359
Speaker 1: you rely on other producers like og Parkins Smash David.

432
00:20:05,359 --> 00:20:09,480
Speaker 1: How you respond to that. I don't, I don't make this.

433
00:20:10,520 --> 00:20:12,680
Speaker 1: I'm a curate of everything. You know what I'm saying,

434
00:20:12,720 --> 00:20:14,760
Speaker 1: Like I come up with the ideas. I'm the person

435
00:20:14,800 --> 00:20:16,560
Speaker 1: that says, you know what, he's like, I want to,

436
00:20:16,600 --> 00:20:18,719
Speaker 1: but yeah, I want to. I want to sample this,

437
00:20:18,760 --> 00:20:20,879
Speaker 1: and I have a guy that replays everything for me,

438
00:20:20,920 --> 00:20:23,359
Speaker 1: and it's similar to cater or I want to do

439
00:20:23,400 --> 00:20:25,000
Speaker 1: this and I want to do that, and I get

440
00:20:25,040 --> 00:20:26,640
Speaker 1: with the right people and I put the right people

441
00:20:26,680 --> 00:20:28,800
Speaker 1: in the room. I'll write the record with the people,

442
00:20:29,160 --> 00:20:31,119
Speaker 1: as you can see on my Instagram or whatever. But

443
00:20:31,160 --> 00:20:33,760
Speaker 1: I don't program beats. I'm not. I'm too av eight

444
00:20:33,800 --> 00:20:35,080
Speaker 1: and like I want to, I want to do too

445
00:20:35,200 --> 00:20:37,480
Speaker 1: much to really sit down and like program beats. Have

446
00:20:37,560 --> 00:20:40,760
Speaker 1: I program beats before? Absolutely? On songs that have came

447
00:20:40,760 --> 00:20:43,600
Speaker 1: out before. They have plaques to him. Absolutely, But when

448
00:20:43,640 --> 00:20:46,800
Speaker 1: you're working with this heavy valume or whatever, like no

449
00:20:46,840 --> 00:20:48,840
Speaker 1: one man could sit there and lie like, oh, I

450
00:20:48,880 --> 00:20:52,200
Speaker 1: did everything myself. So even if a person that programs beats,

451
00:20:52,320 --> 00:20:55,280
Speaker 1: he didn't do everything. Timberland had danger and Scott Storch

452
00:20:55,359 --> 00:20:57,679
Speaker 1: and everything. So I think that that's the dirt day

453
00:20:57,720 --> 00:20:59,840
Speaker 1: thrown you when you get real successful and then it's like,

454
00:21:00,080 --> 00:21:01,480
Speaker 1: well you don't do this and do that and shout

455
00:21:01,480 --> 00:21:04,800
Speaker 1: out to a one man hold on, you don't make

456
00:21:04,800 --> 00:21:06,480
Speaker 1: no beats at all, or you do make beats, You

457
00:21:06,480 --> 00:21:08,840
Speaker 1: just don't make all of you. No, what I do is,

458
00:21:08,960 --> 00:21:11,960
Speaker 1: I'm the producer behind the whole session. I'm the person

459
00:21:12,000 --> 00:21:14,320
Speaker 1: that brings in everything. You know what I'm saying. I'm

460
00:21:14,359 --> 00:21:16,840
Speaker 1: the like I'm the orchestrator. I'm the Quincy Jones and

461
00:21:16,920 --> 00:21:18,600
Speaker 1: this shit. You know what I'm saying. So I know

462
00:21:18,680 --> 00:21:20,359
Speaker 1: the right people to work with. I know the right

463
00:21:20,400 --> 00:21:22,600
Speaker 1: people to pull in. I know what drum loop I

464
00:21:22,640 --> 00:21:24,359
Speaker 1: want to use. I want to know what top line

465
00:21:24,359 --> 00:21:26,280
Speaker 1: I want to use, What music did I want to

466
00:21:26,280 --> 00:21:31,080
Speaker 1: put behind this? I actually facilite. They don't sit there themselves.

467
00:21:31,080 --> 00:21:34,360
Speaker 1: And like they've always said that about Diddy. Yeah, Kalid,

468
00:21:35,440 --> 00:21:38,960
Speaker 1: you hear that about dred sometime since that's a great company. Shit,

469
00:21:40,359 --> 00:21:45,280
Speaker 1: I didn't put you in that company. Now, other people

470
00:21:47,119 --> 00:21:48,960
Speaker 1: you think I think that's important, Think about ol the

471
00:21:49,000 --> 00:21:51,000
Speaker 1: producers that were there. If it wasn't for Diddy, they

472
00:21:51,040 --> 00:21:54,040
Speaker 1: wouldn't have connected. Did he take this sample? Put this

473
00:21:54,200 --> 00:21:56,600
Speaker 1: the harmony? Did? But that's all that that he doesn't.

474
00:21:56,920 --> 00:21:58,520
Speaker 1: And I was talking to Fat Joe and he was like,

475
00:21:58,560 --> 00:22:00,120
Speaker 1: when it comes to that, you're a genius. You know

476
00:22:00,119 --> 00:22:02,159
Speaker 1: how to pull the beat where the hook should go.

477
00:22:02,160 --> 00:22:03,959
Speaker 1: With a drop should go. He was like, people think

478
00:22:04,000 --> 00:22:05,639
Speaker 1: it's an easy job. But he was like, it's like

479
00:22:05,760 --> 00:22:09,120
Speaker 1: the weather. It's a talented producers too, Like you say,

480
00:22:09,240 --> 00:22:11,000
Speaker 1: this person is really dope. I'm gonna put them on,

481
00:22:11,080 --> 00:22:12,840
Speaker 1: put them in position, and get them a check and

482
00:22:12,880 --> 00:22:15,400
Speaker 1: then they could blow up too. Here's a quick example,

483
00:22:15,680 --> 00:22:17,119
Speaker 1: because I want to give it back to Tink, like

484
00:22:17,160 --> 00:22:20,320
Speaker 1: forgive me a boogie, look back at it. The song

485
00:22:20,480 --> 00:22:23,000
Speaker 1: was six minutes long when they had it. I was

486
00:22:23,040 --> 00:22:25,160
Speaker 1: at a and R at the company and also a producer.

487
00:22:25,200 --> 00:22:27,399
Speaker 1: They gave me a song. I went to Hawaii with boogie.

488
00:22:27,400 --> 00:22:29,240
Speaker 1: He gave me all the foules. I shortened the song,

489
00:22:29,280 --> 00:22:31,119
Speaker 1: added to snap and turned them to a three minute

490
00:22:31,119 --> 00:22:33,639
Speaker 1: and thirty second record and rearranged the whole song. And

491
00:22:33,720 --> 00:22:35,879
Speaker 1: that's the song that y'all got from a six minute record.

492
00:22:35,920 --> 00:22:38,600
Speaker 1: So if that ain't producing, I don't know what producing is.

493
00:22:38,640 --> 00:22:40,840
Speaker 1: Do you care, Tink? If he doesn't do his own beats,

494
00:22:40,840 --> 00:22:45,200
Speaker 1: it don't matter. I don't care. Well, you guys brought

495
00:22:45,240 --> 00:22:47,600
Speaker 1: up the song cater, So let's talk about that song.

496
00:22:47,680 --> 00:22:50,679
Speaker 1: Whose idea was that to do? I remember, first of all,

497
00:22:50,680 --> 00:22:52,800
Speaker 1: I love that song, and I love the idea of catering,

498
00:22:53,320 --> 00:22:56,160
Speaker 1: you know, to somebody and give it being vulnerable enough

499
00:22:56,160 --> 00:22:59,040
Speaker 1: and trusting somebody enough, because it does take vulnerability and

500
00:22:59,040 --> 00:23:01,200
Speaker 1: trust to feel like I went to cater to you.

501
00:23:01,400 --> 00:23:03,600
Speaker 1: So whose idea was it? How did that all come about?

502
00:23:03,600 --> 00:23:07,119
Speaker 1: With sampling cater And yeah, caterer was my idea. He

503
00:23:07,240 --> 00:23:09,040
Speaker 1: asked me, like, you know, what's the list of songs

504
00:23:09,040 --> 00:23:11,320
Speaker 1: that you want to you know, I guess sample or

505
00:23:11,560 --> 00:23:14,040
Speaker 1: reference on your album. Kada was the first one on

506
00:23:14,040 --> 00:23:16,840
Speaker 1: the list, and he actually brought the beat in the

507
00:23:16,880 --> 00:23:19,240
Speaker 1: next day. So when you mentioned like do you really care,

508
00:23:19,840 --> 00:23:22,120
Speaker 1: it's really he really does. He plays a big part

509
00:23:22,160 --> 00:23:24,159
Speaker 1: and like making these records because he'll go out and

510
00:23:24,280 --> 00:23:27,120
Speaker 1: put a beat together in twenty four hours. Next day,

511
00:23:27,160 --> 00:23:29,560
Speaker 1: I went in the studio, I laid down the verses.

512
00:23:29,920 --> 00:23:32,320
Speaker 1: I wrote that one myself, so it kind of just failed,

513
00:23:32,560 --> 00:23:35,360
Speaker 1: you know, I wrote it really quickly. But yeah, that's

514
00:23:35,359 --> 00:23:38,480
Speaker 1: how the record came about. Next day after I wrote it,

515
00:23:38,560 --> 00:23:40,919
Speaker 1: he goes back in and as he and the drums

516
00:23:40,920 --> 00:23:45,480
Speaker 1: and whistles, we call two chains. Um, yeah, two chains.

517
00:23:45,480 --> 00:23:47,840
Speaker 1: He heard it. He loved it. It was real organic.

518
00:23:47,880 --> 00:23:50,000
Speaker 1: Who do you do to spoil your man? What I

519
00:23:50,080 --> 00:23:52,440
Speaker 1: do to spoil him. I like to buy gifts. I

520
00:23:52,560 --> 00:23:57,919
Speaker 1: like to take trips um at well, it's not that

521
00:23:58,000 --> 00:24:01,160
Speaker 1: I'm paying, but I will ACCOMPLI come and like set

522
00:24:01,160 --> 00:24:05,880
Speaker 1: things up and you know it's it's equal love. Now,

523
00:24:05,880 --> 00:24:08,240
Speaker 1: when we talked, I don't know what the secret that was.

524
00:24:08,280 --> 00:24:22,920
Speaker 1: Here yourtified first, that's your first. Yeah, she was so,

525
00:24:24,119 --> 00:24:26,920
Speaker 1: she was like, no, this is big, y'all know, I'm

526
00:24:26,960 --> 00:24:31,280
Speaker 1: just a calm, chill girl. Thank you. I ain't no

527
00:24:31,520 --> 00:24:33,199
Speaker 1: man gonna pay for no trips. Once they see that

528
00:24:33,200 --> 00:24:45,120
Speaker 1: gold plaque, she's gonna cry in the car. Man about crying. Now,

529
00:24:45,119 --> 00:24:47,040
Speaker 1: how do you know what a man is worthy to

530
00:24:47,119 --> 00:24:51,199
Speaker 1: be catered to? You know when he's worthy when he

531
00:24:51,240 --> 00:24:54,399
Speaker 1: actually shows you that he cares and he puts in

532
00:24:54,560 --> 00:24:58,720
Speaker 1: effort and it's not just I'll talk um. It takes time, No,

533
00:24:58,840 --> 00:25:01,280
Speaker 1: it's nothing. You know, I'm not saying I'm catering the

534
00:25:01,320 --> 00:25:04,720
Speaker 1: first week, the first month. But you know, after a while,

535
00:25:04,760 --> 00:25:07,080
Speaker 1: you gotta get to know somebody because, like I say,

536
00:25:07,160 --> 00:25:09,439
Speaker 1: the honeymoon stage is real. So it takes time, and

537
00:25:09,480 --> 00:25:12,440
Speaker 1: you really gotta be around someone a lot to feel

538
00:25:12,480 --> 00:25:15,239
Speaker 1: them out and know what's genuine and what's you know,

539
00:25:15,359 --> 00:25:17,480
Speaker 1: just to get to you. You know what I'm saying,

540
00:25:17,520 --> 00:25:19,680
Speaker 1: Like you'll cook for him and stuff like that. I'll

541
00:25:19,680 --> 00:25:22,040
Speaker 1: cook a lot of times though I'm really not even

542
00:25:22,080 --> 00:25:26,080
Speaker 1: like at home with like enough to make a meal.

543
00:25:26,400 --> 00:25:29,280
Speaker 1: What's your what's your goal to you? I love to

544
00:25:29,400 --> 00:25:31,600
Speaker 1: make like I do this steak and I put it

545
00:25:31,640 --> 00:25:34,359
Speaker 1: in the oven and I add the potatoes. Listen, No,

546
00:25:34,480 --> 00:25:38,520
Speaker 1: it's good. So it cooks like a roast and you

547
00:25:38,560 --> 00:25:40,280
Speaker 1: add the potatoes and then you want to put a

548
00:25:40,359 --> 00:25:43,480
Speaker 1: vegetable on the side of sparagus. Um, I might do

549
00:25:43,840 --> 00:25:47,600
Speaker 1: you know, we need a video? I would know. It's

550
00:25:47,640 --> 00:25:50,439
Speaker 1: so good. It's similar to like a roast, so it's

551
00:25:50,480 --> 00:25:53,119
Speaker 1: really tender and it just you know, it kind of

552
00:25:53,160 --> 00:25:56,440
Speaker 1: like just falls apart some of the to a roast. Yeah,

553
00:25:56,480 --> 00:25:58,720
Speaker 1: now one of these times my favorite list of wanting

554
00:25:58,720 --> 00:26:01,600
Speaker 1: to see them, but mind the boy is mine? Yeah

555
00:26:01,640 --> 00:26:04,560
Speaker 1: that song? Yeah, I stamped with that song. Well we

556
00:26:04,640 --> 00:26:08,199
Speaker 1: put it together. It's speech that money log um. But

557
00:26:08,320 --> 00:26:11,040
Speaker 1: that record was it became a little issue, if we're

558
00:26:11,040 --> 00:26:14,720
Speaker 1: being honest, that was one of the harder records to clear. Really, yes,

559
00:26:15,680 --> 00:26:19,399
Speaker 1: I was sweating, Um, I guess on Brandy's side shout

560
00:26:19,400 --> 00:26:22,239
Speaker 1: out to Brandy, But it was like a process. We

561
00:26:22,280 --> 00:26:24,600
Speaker 1: had to have a few conversations and she had to

562
00:26:24,600 --> 00:26:27,439
Speaker 1: hear the record first, she had to hear read. Um.

563
00:26:27,520 --> 00:26:29,840
Speaker 1: But yeah, it was just it was just like, you know,

564
00:26:30,960 --> 00:26:32,960
Speaker 1: she wanted to really make sure that it was in

565
00:26:33,040 --> 00:26:35,760
Speaker 1: good hand. Yeah, and and to say to piggyback off

566
00:26:35,760 --> 00:26:38,160
Speaker 1: of that, Um, I've worked. You know, I've been close

567
00:26:38,200 --> 00:26:40,240
Speaker 1: to ray J for my whole career. I've been close

568
00:26:40,280 --> 00:26:42,760
Speaker 1: to Brandy my whole career, and um, you know, she's

569
00:26:42,880 --> 00:26:46,760
Speaker 1: very particular about people remixing, flipping or sampling her records.

570
00:26:46,760 --> 00:26:48,800
Speaker 1: Like I brought it to the studio before and I

571
00:26:48,920 --> 00:26:50,879
Speaker 1: was like playing records that I flipped at hers. This

572
00:26:50,920 --> 00:26:52,560
Speaker 1: is a few years back, and she was like, no,

573
00:26:52,680 --> 00:26:54,800
Speaker 1: let me sing you my own records. So like, she's

574
00:26:54,920 --> 00:26:57,680
Speaker 1: very particular about that. But what I can say is that,

575
00:26:57,720 --> 00:26:59,439
Speaker 1: you know, um, at the end of the day, it

576
00:26:59,520 --> 00:27:01,760
Speaker 1: made the jack and we really appreciate her, you know

577
00:27:01,760 --> 00:27:03,320
Speaker 1: what I'm saying, Because y'all get the head, tink and

578
00:27:03,400 --> 00:27:06,400
Speaker 1: money long do something for real, for real. I can't

579
00:27:06,400 --> 00:27:09,440
Speaker 1: see you're fighting over no man, Tink. I can't see

580
00:27:09,440 --> 00:27:12,000
Speaker 1: it either. I'm really not even like the types of

581
00:27:12,119 --> 00:27:15,320
Speaker 1: argue with nobody about no Man. I know, goofy. Y'all've

582
00:27:15,359 --> 00:27:17,760
Speaker 1: never seen me argue about no man. Well, I haven't

583
00:27:17,760 --> 00:27:19,679
Speaker 1: seen me argue in general, but you have got a

584
00:27:19,680 --> 00:27:22,639
Speaker 1: goofy though. Yeah, I'll admit that I can get crazy

585
00:27:22,680 --> 00:27:25,480
Speaker 1: about him and make a make a crazy decision. But

586
00:27:25,560 --> 00:27:29,480
Speaker 1: I think arguing with another woman what I nobody backwards?

587
00:27:29,480 --> 00:27:32,960
Speaker 1: It's like the guys more of the issue than that woman.

588
00:27:33,160 --> 00:27:34,920
Speaker 1: You never got a side, you know that guy? You

589
00:27:35,200 --> 00:27:37,359
Speaker 1: know I messed with him too. Yeah, I've had a

590
00:27:37,400 --> 00:27:41,520
Speaker 1: few dms. You can't respond, That's my thing. Like, if

591
00:27:41,520 --> 00:27:44,000
Speaker 1: you respond, you're gonna give them they're gonna have confirmation.

592
00:27:44,320 --> 00:27:46,560
Speaker 1: So I don't say nothing like I say, I bring

593
00:27:46,600 --> 00:27:50,200
Speaker 1: it to the guy. You know what I'm saying somebody

594
00:27:50,200 --> 00:27:56,040
Speaker 1: else to Oh my god, I feel bad? What's this?

595
00:27:56,200 --> 00:27:59,040
Speaker 1: What would you say? Well, I don't know what you're

596
00:27:59,040 --> 00:28:03,479
Speaker 1: talking about, even know what you're talking about? Right, that's right,

597
00:28:03,560 --> 00:28:08,239
Speaker 1: don't practice bad after Now, what's the most you ever

598
00:28:08,280 --> 00:28:11,800
Speaker 1: spent on him? Man, he's very into this for some reason.

599
00:28:12,359 --> 00:28:19,080
Speaker 1: I think the most maybe twenty twenty five. That's about jewelry. Um,

600
00:28:19,119 --> 00:28:22,480
Speaker 1: I liked to buy designer nice pieces, nice coats, jackets,

601
00:28:23,600 --> 00:28:25,560
Speaker 1: you take it back when things don't go right. I

602
00:28:25,640 --> 00:28:31,159
Speaker 1: want to bad like that. I want so you think

603
00:28:31,200 --> 00:28:33,000
Speaker 1: about it in your head like I should never I

604
00:28:33,000 --> 00:28:35,560
Speaker 1: should never spend that. How does a guy kick it

605
00:28:35,560 --> 00:28:36,880
Speaker 1: to you? How do they meet you? Because you say

606
00:28:36,880 --> 00:28:38,239
Speaker 1: you don't go out this bud, so how do they

607
00:28:38,320 --> 00:28:41,840
Speaker 1: kick it to you? It happens on rare occasions. That's

608
00:28:41,840 --> 00:28:44,360
Speaker 1: the thing. I'm not an internet girl. Like, you have

609
00:28:44,400 --> 00:28:48,400
Speaker 1: to really see me outside, maybe you know, in passing

610
00:28:48,680 --> 00:28:52,320
Speaker 1: at an event. I don't know it's studio or you know,

611
00:28:52,320 --> 00:28:53,760
Speaker 1: you kind of That's why I said, you gotta really

612
00:28:53,800 --> 00:28:55,800
Speaker 1: be involved in this lifestyle to kind of meet me

613
00:28:55,840 --> 00:28:58,040
Speaker 1: because all I do is music. I don't have time

614
00:28:58,080 --> 00:29:02,960
Speaker 1: to really go to the clubs and every weekend. So yeah,

615
00:29:02,960 --> 00:29:06,280
Speaker 1: it has to be like in passing, were occasion? Now

616
00:29:06,280 --> 00:29:07,760
Speaker 1: one of the songs did you say you wanted to flip?

617
00:29:07,800 --> 00:29:09,240
Speaker 1: I want to hear some other ones that you put

618
00:29:09,280 --> 00:29:12,520
Speaker 1: on that list. What do we put on the last

619
00:29:13,000 --> 00:29:14,920
Speaker 1: I wouldn't say too much of it, but what made it?

620
00:29:14,920 --> 00:29:18,360
Speaker 1: What songs so people know I know it's Kader made it.

621
00:29:18,400 --> 00:29:21,160
Speaker 1: That was the first one. Of course, The Boy's Mind

622
00:29:21,200 --> 00:29:24,760
Speaker 1: was one also had a few records, Um did I

623
00:29:24,800 --> 00:29:27,120
Speaker 1: have like some TLC joints on there? Got a lot

624
00:29:27,120 --> 00:29:30,040
Speaker 1: of girl groups album I'm always trying. That's kind of

625
00:29:30,080 --> 00:29:33,960
Speaker 1: like knocking the boots. It's a little knocking the bolls.

626
00:29:33,960 --> 00:29:36,320
Speaker 1: I think I put Computer Love on there. I'm a

627
00:29:36,320 --> 00:29:39,840
Speaker 1: big fan of like old school nineties and TeV Wonder vibes.

628
00:29:40,360 --> 00:29:42,280
Speaker 1: It's a little vibes on that. Yeah, it's like but

629
00:29:42,280 --> 00:29:45,040
Speaker 1: it's a sixteen It's sixteen tracks, So it's crazy with

630
00:29:45,200 --> 00:29:47,480
Speaker 1: this album, feel little talk coming. What does success look like?

631
00:29:47,520 --> 00:29:53,240
Speaker 1: Football feel? That's a great question to me. Success. To me,

632
00:29:53,400 --> 00:29:57,440
Speaker 1: success is what we're doing, like growing my audience, you

633
00:29:57,480 --> 00:29:59,400
Speaker 1: know what I mean. It's not even about like an

634
00:29:59,440 --> 00:30:02,960
Speaker 1: amount or a bag. It's more so like reaching further

635
00:30:03,000 --> 00:30:06,080
Speaker 1: than Chicago and what I've been doing. So I feel

636
00:30:06,120 --> 00:30:08,480
Speaker 1: successful with the first album here at the moment we

637
00:30:08,600 --> 00:30:10,240
Speaker 1: came with that one, I had no idea that it

638
00:30:10,240 --> 00:30:12,320
Speaker 1: would be like, you know, number one on Apple and

639
00:30:12,960 --> 00:30:14,880
Speaker 1: you know, we had some great moments within that record

640
00:30:15,480 --> 00:30:17,800
Speaker 1: and it really lasted, you know what I'm saying. They

641
00:30:17,800 --> 00:30:20,160
Speaker 1: really took to it. So with this one, I just

642
00:30:20,160 --> 00:30:22,640
Speaker 1: want to keep progressing, like I want to make sure

643
00:30:22,640 --> 00:30:24,840
Speaker 1: that I'm growing my audience and not just standing in

644
00:30:24,920 --> 00:30:29,959
Speaker 1: one one lane about you. For me, honestly, it's just

645
00:30:30,440 --> 00:30:32,520
Speaker 1: doing whatever I can and make sure that she received

646
00:30:32,520 --> 00:30:35,200
Speaker 1: every flower she deserves, you know, and whatever it means

647
00:30:35,320 --> 00:30:38,200
Speaker 1: carrying the bags, you know what I'm saying, producing a

648
00:30:38,280 --> 00:30:40,160
Speaker 1: song right in there, sitting on the phone for two

649
00:30:40,200 --> 00:30:42,600
Speaker 1: hours while we talk about things game playing and sitting

650
00:30:42,600 --> 00:30:45,280
Speaker 1: with guys, he flying across country, anything, being at the

651
00:30:45,280 --> 00:30:47,400
Speaker 1: breakfast club. I just want to make sure that she

652
00:30:47,440 --> 00:30:50,120
Speaker 1: gets the proper look that she needs because she's a

653
00:30:50,280 --> 00:30:52,680
Speaker 1: She's a gem to the music business, as is just

654
00:30:52,720 --> 00:30:55,560
Speaker 1: in general in life for real. And I will say too.

655
00:30:55,680 --> 00:30:58,200
Speaker 1: He's also helped me. You know, I've never really had

656
00:30:58,240 --> 00:31:01,240
Speaker 1: a big, big radio record. Ketter is doing well. It's

657
00:31:01,240 --> 00:31:04,200
Speaker 1: really it's about twenty top twenty. So that's that's success

658
00:31:04,200 --> 00:31:07,000
Speaker 1: for me. You know, that's different. That's something different outside

659
00:31:07,000 --> 00:31:09,360
Speaker 1: of what I've been on because I'm not crazy too

660
00:31:09,360 --> 00:31:11,800
Speaker 1: crazy about like, man, I need to have a radio record.

661
00:31:12,160 --> 00:31:14,320
Speaker 1: But when he came around, he was like, you know, embody,

662
00:31:14,360 --> 00:31:18,080
Speaker 1: embrace radio and how I'm you know, pushing come and

663
00:31:18,160 --> 00:31:24,000
Speaker 1: see everybody. I'm so grateful for that, Like top twenty

664
00:31:24,080 --> 00:31:27,000
Speaker 1: that's that's rare for me too. So and we your

665
00:31:27,080 --> 00:31:31,920
Speaker 1: first go platform congratulate. That's heavy independently, y'all. This is

666
00:31:31,920 --> 00:31:33,640
Speaker 1: a big deal. It's speaking of doing stuff like this.

667
00:31:33,640 --> 00:31:35,720
Speaker 1: You know you always let your guard down in your music.

668
00:31:35,720 --> 00:31:37,360
Speaker 1: Are you letting your guard down more when you sit

669
00:31:37,400 --> 00:31:40,920
Speaker 1: down and have these conversations? Yeah, exactly. And that's why

670
00:31:40,960 --> 00:31:42,920
Speaker 1: I say, like having somebody like Himmaker, he'll be in

671
00:31:43,000 --> 00:31:45,080
Speaker 1: my air, like, you know, certain things you want to do,

672
00:31:45,160 --> 00:31:48,200
Speaker 1: and it's okay to open up and talk to the

673
00:31:48,280 --> 00:31:51,160
Speaker 1: executives and talk to the you know, is it the

674
00:31:51,160 --> 00:31:54,320
Speaker 1: prs and yeah, things like that. I think it's important

675
00:31:54,320 --> 00:31:56,280
Speaker 1: I come from that cloud from being an artist. I

676
00:31:56,280 --> 00:31:57,720
Speaker 1: think that a lot of people get caught in the

677
00:31:57,800 --> 00:32:00,560
Speaker 1: streaming error right now where artists up and come in

678
00:32:00,680 --> 00:32:02,240
Speaker 1: or just new to the game, but will be like, well,

679
00:32:02,280 --> 00:32:03,920
Speaker 1: I'm streaming, so I don't give a fuck. I don't

680
00:32:03,920 --> 00:32:05,960
Speaker 1: need to talk to nobody like this. I'm putting money

681
00:32:06,000 --> 00:32:09,120
Speaker 1: in my pocket. But I'm a prime example that relationships

682
00:32:09,120 --> 00:32:10,960
Speaker 1: in this business last forever. So you want to make

683
00:32:10,960 --> 00:32:13,520
Speaker 1: sure you reach out and get very like personable with

684
00:32:13,560 --> 00:32:15,960
Speaker 1: people because you never know what they might be able

685
00:32:16,000 --> 00:32:17,400
Speaker 1: to do for you or what you might be able

686
00:32:17,400 --> 00:32:19,360
Speaker 1: to do for them. It's a very relationship based, you

687
00:32:19,360 --> 00:32:22,000
Speaker 1: know what I'm saying business, And I'm super super proud

688
00:32:22,000 --> 00:32:23,680
Speaker 1: of her man because she you know, from where we

689
00:32:23,720 --> 00:32:25,840
Speaker 1: started to where we're at right now, it's just truly

690
00:32:25,840 --> 00:32:27,240
Speaker 1: a blessing. And now we're about to take the shit

691
00:32:27,280 --> 00:32:29,160
Speaker 1: even all the way to the top four man hit Nick,

692
00:32:29,200 --> 00:32:30,960
Speaker 1: I'm glad you're staying in the next to think like this, man,

693
00:32:31,080 --> 00:32:33,080
Speaker 1: Ron of applaud you because think the ship. She's been

694
00:32:33,160 --> 00:32:35,840
Speaker 1: the ship and the best is yet to come for her.

695
00:32:36,040 --> 00:32:42,880
Speaker 1: And he's glad to trust me. Since you're brought up

696
00:32:43,280 --> 00:32:46,240
Speaker 1: relationships and things like that, there's what about sisterhood when

697
00:32:46,240 --> 00:32:49,400
Speaker 1: it comes to the music, what women would you feel like? Okay,

698
00:32:49,520 --> 00:32:51,400
Speaker 1: these are people that I know I could call on.

699
00:32:51,560 --> 00:32:53,160
Speaker 1: This is who I would love to do a tour

700
00:32:53,280 --> 00:32:56,440
Speaker 1: with or collaborate more with. You know, I want to

701
00:32:56,440 --> 00:32:58,680
Speaker 1: go on tour or even do a record with Summer Walker.

702
00:32:59,600 --> 00:33:02,360
Speaker 1: At times, people really have been like trying so hard

703
00:33:02,400 --> 00:33:05,000
Speaker 1: to like they put me in they put all of

704
00:33:05,080 --> 00:33:07,480
Speaker 1: us against each other so much, or they just compare us.

705
00:33:07,960 --> 00:33:09,800
Speaker 1: So I think that would be really dope. I like,

706
00:33:09,880 --> 00:33:13,400
Speaker 1: what she does, and I love her music. Um, there's

707
00:33:13,480 --> 00:33:15,640
Speaker 1: plenty artists in the game, especially R and B. We

708
00:33:15,720 --> 00:33:20,800
Speaker 1: got like Ari Lennox. She's very special. Her voice is crazy. Scissor,

709
00:33:21,880 --> 00:33:23,880
Speaker 1: you know what I mean, says that we always like commenting.

710
00:33:24,000 --> 00:33:26,080
Speaker 1: Little things like that go a long way. Sometimes just

711
00:33:26,120 --> 00:33:28,320
Speaker 1: showing that support, like I see you girl, you look good,

712
00:33:28,360 --> 00:33:31,280
Speaker 1: and you know, the subtle things make a big difference

713
00:33:31,280 --> 00:33:33,320
Speaker 1: in this game. They all back you up. Siss I've

714
00:33:33,280 --> 00:33:38,480
Speaker 1: seen Scissor Kardi JT from the City Girl Kardi. Yeah,

715
00:33:38,520 --> 00:33:40,360
Speaker 1: that was that was very big. I think maybe a

716
00:33:40,440 --> 00:33:42,840
Speaker 1: year ago CHRDI just made a statement like yo, it's

717
00:33:42,920 --> 00:33:45,600
Speaker 1: time and you know, we gotta stop just stop playing

718
00:33:45,640 --> 00:33:47,120
Speaker 1: with her. She really putting it in work. It was

719
00:33:47,200 --> 00:33:49,760
Speaker 1: something to that degree. So that's big, you know what

720
00:33:49,800 --> 00:33:52,880
Speaker 1: I'm saying. Like women were sold like competitive and it's

721
00:33:52,880 --> 00:33:54,719
Speaker 1: so easy for y'all guys to link up and make

722
00:33:54,840 --> 00:33:58,600
Speaker 1: make things happen. But yeah, I'm all for the women uniting.

723
00:33:58,920 --> 00:34:01,080
Speaker 1: You know, I would love it going or with all

724
00:34:01,080 --> 00:34:03,200
Speaker 1: those girls. All right, let's get into the single. What

725
00:34:03,280 --> 00:34:05,880
Speaker 1: y'all want to hear? Yeah, yeah, let's let's let's take

726
00:34:05,960 --> 00:34:07,760
Speaker 1: ye top twenty. You know what I'm saying, let's keep

727
00:34:07,800 --> 00:34:09,840
Speaker 1: ka going and then goofy coming right after this. You

728
00:34:09,840 --> 00:34:13,839
Speaker 1: know what's appreciate you for real? Well, let's do it.

729
00:34:13,840 --> 00:34:17,760
Speaker 1: It's hit maker when when talking fellow talk, Yeah, August

730
00:34:17,800 --> 00:34:21,840
Speaker 1: nineteen August, next Friday, is anything you want to manifest

731
00:34:21,880 --> 00:34:25,799
Speaker 1: to lie about and throw out there? Now? Man, I'm lie.

732
00:34:26,760 --> 00:34:28,080
Speaker 1: He said he had to deal. That's how he got

733
00:34:28,080 --> 00:34:34,160
Speaker 1: the manifestation. Umok, probably was a negotiation. No, I didn't lie.

734
00:34:34,440 --> 00:34:37,759
Speaker 1: I was talking to people and then it happened that way. Uh,

735
00:34:38,080 --> 00:34:40,960
Speaker 1: I just want to manifest. Tink is triple platinum, right

736
00:34:41,280 --> 00:34:49,960
Speaker 1: platinum tin platform guys, he running back and congratulation. All right,

737
00:34:50,040 --> 00:34:52,120
Speaker 1: it's hit maker. It's Tink is to breakfast love the

738
00:34:52,160 --> 00:34:52,319
Speaker 1: Boy