1 00:00:00,200 --> 00:00:02,000 Speaker 1: Yo, it's a rap right off podcast when name was 2 00:00:02,040 --> 00:00:05,560 Speaker 1: beat e Eliott's back in New York City. Were back 3 00:00:05,600 --> 00:00:07,520 Speaker 1: at it man hometown. Man, he got me, got me 4 00:00:07,560 --> 00:00:12,320 Speaker 1: on the Red Eye. Man, you're rocking the Wilies Many Champion. 5 00:00:12,600 --> 00:00:14,800 Speaker 1: Shout out the ghost Face Man that the plane black. 6 00:00:14,840 --> 00:00:16,639 Speaker 1: Though I didn't go too crazy. I didn't do the 7 00:00:16,680 --> 00:00:20,960 Speaker 1: cream getting Veno style, trying to freaking for the summer, 8 00:00:22,680 --> 00:00:26,440 Speaker 1: trying to podcasting summer, trying to rock the rapper podcast 9 00:00:26,480 --> 00:00:29,640 Speaker 1: and summer. Man, Yo, Man, coming off that last episode 10 00:00:29,640 --> 00:00:31,400 Speaker 1: with baby Face, that was a good time. They were 11 00:00:31,440 --> 00:00:32,839 Speaker 1: on a hot streak. Man. You know what I'm saying. 12 00:00:32,920 --> 00:00:35,040 Speaker 1: It feels like it. Man. Sometimes the numbers might have 13 00:00:35,080 --> 00:00:41,239 Speaker 1: reflect it, but ye would saying numbers numbers the love 14 00:00:41,280 --> 00:00:44,600 Speaker 1: for RB legends, Man, list did I do? That was 15 00:00:44,600 --> 00:00:46,760 Speaker 1: a really good conversation. Shout out to baby Face, Shout 16 00:00:46,760 --> 00:00:49,560 Speaker 1: to Rika, thanks for sitting with me and the Yellow Guy. 17 00:00:49,720 --> 00:00:51,960 Speaker 1: Hey man, young boys one point five, you know, looking 18 00:00:52,080 --> 00:00:55,120 Speaker 1: looking lovely out there. He gotta do some a demon party. Man, 19 00:00:56,000 --> 00:00:58,040 Speaker 1: he's out there. Man, you out here too, though, Man, 20 00:00:58,080 --> 00:01:00,760 Speaker 1: I saw that NAS interview with the ju Man me Man, 21 00:01:00,800 --> 00:01:03,240 Speaker 1: I had to keep a little secret. Fine secretive man 22 00:01:03,280 --> 00:01:07,720 Speaker 1: shout baby faces, never keeping a secret, No, man, shout 23 00:01:07,720 --> 00:01:10,120 Speaker 1: out Frasier over there. You know, Frasie needs to be 24 00:01:10,160 --> 00:01:13,120 Speaker 1: a complex VQ of course, the great Wolf. Well, so 25 00:01:13,840 --> 00:01:17,000 Speaker 1: you know, man, we we you know, full transparency. You know, 26 00:01:17,160 --> 00:01:18,880 Speaker 1: I haven't had always had the best placeship with Na 27 00:01:18,959 --> 00:01:21,280 Speaker 1: Strudis trying to repair that for a long time. As 28 00:01:21,319 --> 00:01:25,200 Speaker 1: you know, we've had We've offered him this platform many times, 29 00:01:25,240 --> 00:01:28,440 Speaker 1: he's flatly turned us down. And then with GQ, it 30 00:01:28,520 --> 00:01:32,240 Speaker 1: wanted somebody to document him playing a garden and Frasier 31 00:01:32,280 --> 00:01:33,960 Speaker 1: wanted me to do it. And Frasier didn't even know 32 00:01:34,040 --> 00:01:37,160 Speaker 1: I had certain, you know, tough history with Nas, so 33 00:01:37,440 --> 00:01:40,199 Speaker 1: they said I was gonna do it. Took a while 34 00:01:40,240 --> 00:01:42,520 Speaker 1: for him to say he agreed to it, but then 35 00:01:42,520 --> 00:01:44,480 Speaker 1: he agreed, so then you know, super cool man, we 36 00:01:44,560 --> 00:01:47,000 Speaker 1: finally chopped it up. I end up even backstage right 37 00:01:47,040 --> 00:01:50,000 Speaker 1: before he went on there a half hour, so um, 38 00:01:50,360 --> 00:01:52,480 Speaker 1: it was fun. Man. Anthony was excited that we finally 39 00:01:52,480 --> 00:01:54,919 Speaker 1: put the play together and he sat down. So hopefully 40 00:01:55,120 --> 00:01:57,080 Speaker 1: you know, it leads to us having to fighting chance 41 00:01:57,120 --> 00:01:59,040 Speaker 1: to get him, get him on our platform. Now, man, 42 00:01:59,320 --> 00:02:02,080 Speaker 1: we sort of bridge that gap. I like saying, you're 43 00:02:02,080 --> 00:02:06,400 Speaker 1: a very brave heart. Juggle man. That's such a partie. 44 00:02:06,440 --> 00:02:10,079 Speaker 1: Juggles out. I shook juggles head man, your juggles. But 45 00:02:10,240 --> 00:02:14,639 Speaker 1: I know who you are now. But shout out Anthony Sleet. 46 00:02:14,680 --> 00:02:17,359 Speaker 1: You know that's a guy man, g cold. This whole 47 00:02:17,360 --> 00:02:19,560 Speaker 1: team over there, man, good dudes and stuff and yo, 48 00:02:19,760 --> 00:02:22,000 Speaker 1: NAS man, that's the best Not show ever. So yeah, 49 00:02:22,320 --> 00:02:24,240 Speaker 1: I would agree. We talked about it last episode, but 50 00:02:24,360 --> 00:02:26,160 Speaker 1: I was thinking about it after we talked. I think 51 00:02:26,160 --> 00:02:28,160 Speaker 1: it is the best NAS concert that I haven't been to. 52 00:02:28,480 --> 00:02:30,560 Speaker 1: That's want one of those B sides. Man. Yeah nah, 53 00:02:30,639 --> 00:02:32,320 Speaker 1: he definitely was. He tore it down. But you know 54 00:02:32,320 --> 00:02:34,079 Speaker 1: what's what I told you, I had to. I hate 55 00:02:34,080 --> 00:02:36,400 Speaker 1: to admit it. He faked me out. Man. I left 56 00:02:36,440 --> 00:02:38,360 Speaker 1: early because usually he ends the show with one mic. 57 00:02:38,400 --> 00:02:40,200 Speaker 1: Because I went for the exit like that. We say 58 00:02:40,240 --> 00:02:42,680 Speaker 1: as a reporter, don't leave the show too early. He 59 00:02:42,800 --> 00:02:44,480 Speaker 1: did the one mic thing that she usually like towards 60 00:02:44,520 --> 00:02:45,480 Speaker 1: the end of the show. I was like, all right, 61 00:02:45,560 --> 00:02:48,120 Speaker 1: let me hit out. I saw you mad um three 62 00:02:48,200 --> 00:02:50,919 Speaker 1: sixty outside. Yeah I'm sixty. He's like, yeah, that's in 63 00:02:51,000 --> 00:02:54,440 Speaker 1: the man coming out soon, dude, And then he went on. 64 00:02:54,560 --> 00:02:57,120 Speaker 1: He kept he did the Hot Boys remix, you all me. 65 00:02:57,760 --> 00:02:59,880 Speaker 1: He got emotional speaking on his mom's at the end. 66 00:03:00,000 --> 00:03:01,799 Speaker 1: You know, thank God for it, for the people videotaping 67 00:03:01,880 --> 00:03:03,760 Speaker 1: shell Man, I have to settle this from Queenland and 68 00:03:03,800 --> 00:03:05,720 Speaker 1: so I connected it. But I would have stayed to 69 00:03:05,800 --> 00:03:08,320 Speaker 1: the end, I thought, hen because it was non stop energy. 70 00:03:08,360 --> 00:03:10,480 Speaker 1: Man like the guy what he tore it down. Man, 71 00:03:10,760 --> 00:03:13,480 Speaker 1: absolutely man give his heart and soul in that performance. Man, 72 00:03:13,480 --> 00:03:15,040 Speaker 1: I thought that was dope. It was fitting too. And 73 00:03:15,040 --> 00:03:17,240 Speaker 1: he also brought out hit Boy and I was thinking about, 74 00:03:17,240 --> 00:03:18,480 Speaker 1: you know, him and hit Boy on the hell of 75 00:03:18,480 --> 00:03:20,840 Speaker 1: a Hot streak, right crazy, And I thought about it afterwards. 76 00:03:20,840 --> 00:03:22,200 Speaker 1: I feel like this year is gonna be a year 77 00:03:22,200 --> 00:03:24,680 Speaker 1: of the collaboration. You think so. I think so because 78 00:03:24,720 --> 00:03:26,720 Speaker 1: of course, you know, hit Boy and Nazi did that 79 00:03:26,840 --> 00:03:29,280 Speaker 1: thing last year, but still it's still running into this year. 80 00:03:29,480 --> 00:03:32,160 Speaker 1: Then we got Larry June, the Alchemists coming, We got yeah, 81 00:03:32,160 --> 00:03:34,800 Speaker 1: I'm excited about the Larry June. We got a push 82 00:03:34,840 --> 00:03:37,480 Speaker 1: the t and DJ Drama coming soon. So I feel 83 00:03:37,480 --> 00:03:39,280 Speaker 1: about that one. He broke that one to the world, 84 00:03:39,320 --> 00:03:41,320 Speaker 1: you know what, you know what I mean currency Jermaine 85 00:03:41,360 --> 00:03:44,040 Speaker 1: Duprix he broke that to the world to listen. I 86 00:03:44,040 --> 00:03:45,920 Speaker 1: feel like that's what the twenty twenty three is gonna 87 00:03:45,960 --> 00:03:47,600 Speaker 1: be all about. Man, be dope, though, I think this 88 00:03:47,720 --> 00:03:49,520 Speaker 1: more collaborators needed, you know what I'm saying. Like, I 89 00:03:49,520 --> 00:03:51,680 Speaker 1: think it's just it's a cool thing like Drake and 90 00:03:51,680 --> 00:03:54,400 Speaker 1: Savage obviously to set the tone. Um, yeah, I could 91 00:03:54,440 --> 00:03:56,200 Speaker 1: see more of that happening. I think it's important. Man, 92 00:03:56,360 --> 00:03:57,800 Speaker 1: shout a hip boy. Man. Hip boy is on an 93 00:03:57,800 --> 00:03:59,960 Speaker 1: amazing run. Yep. I think he's back with Benny and 94 00:04:00,040 --> 00:04:02,680 Speaker 1: the studio now too. He's on that Don Tyllivan. He's 95 00:04:02,680 --> 00:04:04,640 Speaker 1: not every project that comes out. Man, that guy just 96 00:04:04,640 --> 00:04:06,880 Speaker 1: just like and he's so versatile with his production, like 97 00:04:06,960 --> 00:04:09,880 Speaker 1: you can't even pin it, like, yeah, a signature sound anymore. 98 00:04:09,920 --> 00:04:12,000 Speaker 1: So shout out hit man. You know he putting that work. 99 00:04:12,160 --> 00:04:13,840 Speaker 1: Speaking of hot streets, we got a guy who's on 100 00:04:13,840 --> 00:04:15,920 Speaker 1: the hell of a one right now. He could say 101 00:04:15,960 --> 00:04:17,960 Speaker 1: he's get the label. Got the hottest start the year, 102 00:04:18,040 --> 00:04:21,240 Speaker 1: Man ten weeks at number one weeks. Man ain't counted. 103 00:04:22,600 --> 00:04:24,760 Speaker 1: You know. The face of tv E is an R 104 00:04:24,839 --> 00:04:29,040 Speaker 1: and B singer named Scissory to the Spinners, the medical guy. 105 00:04:29,560 --> 00:04:31,159 Speaker 1: That's my first question to points, why have it to 106 00:04:31,160 --> 00:04:34,520 Speaker 1: the spinners? Man bars is heavy too, though, since the 107 00:04:34,600 --> 00:04:37,560 Speaker 1: paying game is is vicious. Maybe Face was talking about 108 00:04:37,560 --> 00:04:38,960 Speaker 1: how good she is as an artist to in the 109 00:04:39,040 --> 00:04:41,680 Speaker 1: last episode, So yeah, no, obviously, Yeah, she puts a 110 00:04:41,720 --> 00:04:43,839 Speaker 1: lot of crafts into a songwriting and like so you 111 00:04:43,839 --> 00:04:45,960 Speaker 1: know she's from that tradition. You know, you know, I 112 00:04:46,000 --> 00:04:48,719 Speaker 1: got punched today. Man punches on the program. You know, 113 00:04:48,839 --> 00:04:51,840 Speaker 1: president of TV still got to be super proud like Scissor. 114 00:04:51,880 --> 00:04:53,360 Speaker 1: He gets all the credit with Sissor, like he was 115 00:04:53,400 --> 00:04:55,440 Speaker 1: the one that really signed her and like you know, 116 00:04:55,520 --> 00:04:58,040 Speaker 1: developed it through the years. Obviously controls a classic and 117 00:04:58,120 --> 00:05:01,200 Speaker 1: now this album's even he clips that. Man, the reception 118 00:05:01,200 --> 00:05:03,159 Speaker 1: has been crazy, and of course he's has two sold 119 00:05:03,160 --> 00:05:05,720 Speaker 1: out shows at Madison Square Garden. Yeah, like it was 120 00:05:05,800 --> 00:05:07,919 Speaker 1: last night, the first show with tape before a second 121 00:05:07,920 --> 00:05:10,640 Speaker 1: show tonight. So he's like, come to New York. Miss 122 00:05:10,680 --> 00:05:12,280 Speaker 1: it with the West one of the West Coast Kings 123 00:05:12,320 --> 00:05:13,840 Speaker 1: in New York. Man switch to the style. But it's 124 00:05:13,839 --> 00:05:16,400 Speaker 1: like the Control days, right whatever bringing the rockets to 125 00:05:16,480 --> 00:05:19,840 Speaker 1: me that controverse came out. We haven't seen we haven't 126 00:05:19,839 --> 00:05:22,720 Speaker 1: had punch on the programming, Like what almost five six years, 127 00:05:22,960 --> 00:05:25,080 Speaker 1: A long time. It's been a while. The last time 128 00:05:25,120 --> 00:05:27,520 Speaker 1: he was here, it was so funny. He missed his flight, 129 00:05:27,680 --> 00:05:31,600 Speaker 1: right because of whatever the circumstances. He was in New 130 00:05:31,640 --> 00:05:34,400 Speaker 1: York and he missed his flight. So later that day, 131 00:05:34,640 --> 00:05:37,240 Speaker 1: I was gonna get gas in my neighborhood. Right. I 132 00:05:37,320 --> 00:05:39,360 Speaker 1: look up while I'm pumping. Who I see it's fucking 133 00:05:39,400 --> 00:05:45,239 Speaker 1: punch Queens. Yeah, said Queens. What I'm doing here? He's like, yeah, 134 00:05:45,279 --> 00:05:51,040 Speaker 1: I see you. Part he because we filmed it earlier 135 00:05:51,080 --> 00:05:53,080 Speaker 1: in the day, right, So he missed his flight and 136 00:05:53,120 --> 00:05:55,520 Speaker 1: then like six o'clock in the afternoon, I'm going to 137 00:05:55,600 --> 00:05:59,000 Speaker 1: get gas and the neighborhood punch and then we did 138 00:05:59,040 --> 00:06:01,040 Speaker 1: him the next morning. We did him that same day. 139 00:06:01,120 --> 00:06:04,320 Speaker 1: Oh wow, Yeah, that's crazy that the punch out, the 140 00:06:04,320 --> 00:06:06,040 Speaker 1: punch man, you know. And he'd be rapping too, the 141 00:06:06,080 --> 00:06:08,320 Speaker 1: little oh yeah everyone full of mirrors thing he had 142 00:06:08,400 --> 00:06:09,960 Speaker 1: last year. It was the last year, the year before 143 00:06:09,960 --> 00:06:11,800 Speaker 1: he's putting it. It was last year, the whole rap 144 00:06:11,839 --> 00:06:15,200 Speaker 1: collected together with Nick Nick Grant, that's my day, Like yeah, 145 00:06:15,279 --> 00:06:17,160 Speaker 1: And he also got busy on the Appsoles project too. 146 00:06:17,240 --> 00:06:19,400 Speaker 1: Let's talk about that good man man. He tore down. 147 00:06:19,400 --> 00:06:21,520 Speaker 1: He has a blue playlist to all the little guests. 148 00:06:21,520 --> 00:06:24,159 Speaker 1: He just on him TV, which is nice. Man, Boss 149 00:06:24,360 --> 00:06:26,279 Speaker 1: Punch is nice. You think he ever gonna put on album. 150 00:06:26,279 --> 00:06:31,680 Speaker 1: He's like he's like the Punch Electronica and the album 151 00:06:31,800 --> 00:06:34,039 Speaker 1: is good. That's the thing too, like Punch when he 152 00:06:34,040 --> 00:06:40,360 Speaker 1: put it out. Yeah, that's a signature. Yeah, let's seem 153 00:06:40,360 --> 00:06:42,680 Speaker 1: on the program, Manna getting a team. It's own man, 154 00:06:43,160 --> 00:06:46,520 Speaker 1: top Dog Terence Punch Henderson Man, Yes, sir, Yeah, rapper 155 00:06:46,560 --> 00:06:50,680 Speaker 1: it off podcast? What's up baby? Great? It's like we 156 00:06:50,720 --> 00:06:55,279 Speaker 1: have an old friend. Yes, this guy stirs it up 157 00:06:55,320 --> 00:06:57,320 Speaker 1: on the internet for many years. Man be able to 158 00:06:57,360 --> 00:06:59,800 Speaker 1: call him the executive the Week a couple of weeks ago, 159 00:07:00,080 --> 00:07:02,760 Speaker 1: but I know him as a president of TDE Terence 160 00:07:02,800 --> 00:07:07,599 Speaker 1: Punchion Terence, welcome back on the program, man, I'm glad 161 00:07:07,600 --> 00:07:09,120 Speaker 1: to be back. Yeah. The only two kid to have 162 00:07:09,240 --> 00:07:13,200 Speaker 1: two weeks number one album platform. Man, you know what 163 00:07:13,200 --> 00:07:15,640 Speaker 1: I'm saying. Yeah, how do you do it? Punch Man? 164 00:07:15,640 --> 00:07:18,480 Speaker 1: How do you share everybody up and deliver since the 165 00:07:18,560 --> 00:07:23,400 Speaker 1: album that I think even exceeded many expectations. We just 166 00:07:23,440 --> 00:07:25,600 Speaker 1: made the music, you know what I mean? We didn't 167 00:07:25,720 --> 00:07:29,360 Speaker 1: uh we didn't give in to the pressure of people 168 00:07:29,360 --> 00:07:33,240 Speaker 1: asking for it and saying when we should put it out. Like, 169 00:07:33,360 --> 00:07:36,080 Speaker 1: as a unit and as a team, we know when 170 00:07:36,080 --> 00:07:39,280 Speaker 1: the time is right, when it's ready. So I just 171 00:07:39,520 --> 00:07:41,280 Speaker 1: you know, I was ready at the right time and 172 00:07:41,400 --> 00:07:45,080 Speaker 1: we mapped it out from there. Do you feel vindicated 173 00:07:45,120 --> 00:07:49,160 Speaker 1: now with a successful the album? No? Now, what I mean, 174 00:07:49,200 --> 00:07:53,360 Speaker 1: I don't see. I don't look for validation from nobody. Really, 175 00:07:53,880 --> 00:07:57,320 Speaker 1: it's about keeping the integrity of the music, you know 176 00:07:57,360 --> 00:07:59,840 Speaker 1: what I mean? And I feel we made a great 177 00:08:00,040 --> 00:08:02,400 Speaker 1: project and we put it out and that was that 178 00:08:02,520 --> 00:08:05,520 Speaker 1: was it. It's not a yeah, look at us, we 179 00:08:05,560 --> 00:08:07,840 Speaker 1: did it. We proved the wholly out wrong. Like it's 180 00:08:07,880 --> 00:08:10,600 Speaker 1: not the thing. It's about making great music. But the 181 00:08:10,600 --> 00:08:12,600 Speaker 1: fans never got into these skin because those sits of 182 00:08:12,640 --> 00:08:16,600 Speaker 1: fans was they were going hard. They didn't name. They 183 00:08:16,600 --> 00:08:18,080 Speaker 1: don't have a name like the Bobs or anything, but 184 00:08:18,160 --> 00:08:21,320 Speaker 1: we didn't give him a name. Camp sits camp siss okay, 185 00:08:21,360 --> 00:08:25,120 Speaker 1: my bad. Camp sitism beyond you. But you know what, 186 00:08:25,200 --> 00:08:27,760 Speaker 1: It's all motivated out of love, you know what I mean. 187 00:08:27,840 --> 00:08:30,880 Speaker 1: Like I always say, she said some stuff that touched 188 00:08:30,880 --> 00:08:34,280 Speaker 1: some people, so they wanted like it resonated with something 189 00:08:34,320 --> 00:08:37,839 Speaker 1: in their life, so I never I never really take 190 00:08:37,880 --> 00:08:39,719 Speaker 1: it personal. I like to have fun and go back 191 00:08:39,760 --> 00:08:42,839 Speaker 1: and forth with them sometimes. So what exactly is is 192 00:08:42,880 --> 00:08:44,880 Speaker 1: Punch's role with a siss An album? Like is it 193 00:08:44,920 --> 00:08:47,560 Speaker 1: a constant thing where she's sending you songs and you're 194 00:08:47,559 --> 00:08:49,800 Speaker 1: giving your input, Like how would you describe what your 195 00:08:49,880 --> 00:08:52,080 Speaker 1: role is? And when you look back at sos? Like 196 00:08:52,440 --> 00:08:55,319 Speaker 1: what role do you play specifically? And that's one of 197 00:08:55,360 --> 00:08:58,920 Speaker 1: the roles I played, where she actually recorded most of 198 00:08:58,920 --> 00:09:01,559 Speaker 1: it by herself, Like I come to the studio maybe early, 199 00:09:02,360 --> 00:09:04,959 Speaker 1: and we'll talk, I mean talk about what's gonna happen 200 00:09:05,000 --> 00:09:07,959 Speaker 1: for the day, and then I'll leave leave her there 201 00:09:08,000 --> 00:09:09,720 Speaker 1: with the engineer and should cook up and I may 202 00:09:09,800 --> 00:09:13,320 Speaker 1: come back later or maybe the next day and listen 203 00:09:13,360 --> 00:09:16,280 Speaker 1: to the record and who just you know, my job 204 00:09:16,400 --> 00:09:19,120 Speaker 1: was to pretty much make an album out of the songs, 205 00:09:21,960 --> 00:09:25,000 Speaker 1: amongst other things, because I'm not serious you about sequencing. 206 00:09:25,440 --> 00:09:27,080 Speaker 1: But then when I saw the track list at first, 207 00:09:27,080 --> 00:09:28,520 Speaker 1: before I heard it, it was like, oh, there's a 208 00:09:28,559 --> 00:09:30,960 Speaker 1: lot of songs on this albums that was surprising, Like 209 00:09:31,000 --> 00:09:34,160 Speaker 1: for somebody who I know, you're very meticulous about sequencing, 210 00:09:34,160 --> 00:09:36,560 Speaker 1: like can you speak on that, Like sequencing album that 211 00:09:36,600 --> 00:09:38,200 Speaker 1: has a lot of tracks on, it's probably a little 212 00:09:38,240 --> 00:09:43,120 Speaker 1: more higher challenge, right, I wanted twelve. I wanted twelve 213 00:09:43,200 --> 00:09:47,520 Speaker 1: to fourteen. I mean, I feel like that's enough as 214 00:09:47,559 --> 00:09:49,320 Speaker 1: long as you get the point across or what you're 215 00:09:49,320 --> 00:09:51,200 Speaker 1: trying to say in the music and the story of 216 00:09:51,200 --> 00:09:55,960 Speaker 1: the album. But it's a new day as well, you 217 00:09:55,960 --> 00:10:00,520 Speaker 1: know what I mean. We have streaming, so we don't 218 00:10:00,559 --> 00:10:03,080 Speaker 1: have to stick to those same old rules that we 219 00:10:03,200 --> 00:10:05,760 Speaker 1: always had, you know what I mean. But early on 220 00:10:05,840 --> 00:10:08,480 Speaker 1: in the process, I'm like, nah, we gotta do fourteen. 221 00:10:08,559 --> 00:10:11,880 Speaker 1: That's it. But you know her, she wanted to add more, 222 00:10:12,160 --> 00:10:14,120 Speaker 1: like she feels like she was gone for so long. 223 00:10:14,720 --> 00:10:16,400 Speaker 1: She wanted to get the fans, you know what I mean, 224 00:10:17,040 --> 00:10:22,400 Speaker 1: they're worth. So we decided on the twenty three and 225 00:10:22,480 --> 00:10:24,880 Speaker 1: we made a story like out of the whole thing, 226 00:10:25,040 --> 00:10:28,040 Speaker 1: Like if you listen to it, like it goes up 227 00:10:28,040 --> 00:10:30,719 Speaker 1: and down in emotion and goes up and down sonically, 228 00:10:30,880 --> 00:10:33,760 Speaker 1: so it's a whole cohesive thing. And to bland all 229 00:10:33,840 --> 00:10:38,760 Speaker 1: those different genres, which is tough, but I think we 230 00:10:38,880 --> 00:10:42,040 Speaker 1: U think we did a good job. I like it, 231 00:10:42,120 --> 00:10:43,599 Speaker 1: is it more fun? Sequence in the R and B 232 00:10:43,679 --> 00:10:47,400 Speaker 1: album versus the rap albums, It's all the same to 233 00:10:47,480 --> 00:10:51,160 Speaker 1: me because I really look for the story, and I 234 00:10:51,200 --> 00:10:53,400 Speaker 1: mean what was trying to be painted as a whole. 235 00:10:54,360 --> 00:10:57,199 Speaker 1: So I love it, Like either way they're singing or 236 00:10:57,280 --> 00:11:01,079 Speaker 1: there's rapping, whatever, it's all music. What we mentioned about 237 00:11:01,080 --> 00:11:03,160 Speaker 1: stuff like she definitely showed her range right on this 238 00:11:03,240 --> 00:11:05,640 Speaker 1: stood like talk about that, like was that something you 239 00:11:05,920 --> 00:11:07,400 Speaker 1: knew from Jump that she wanted to do with the 240 00:11:07,440 --> 00:11:09,760 Speaker 1: project or that that just kind of just developing the process. 241 00:11:09,960 --> 00:11:12,600 Speaker 1: Well not she always done it, you know what I mean, 242 00:11:12,679 --> 00:11:16,040 Speaker 1: But a lot of it don't get highlighted like other records, 243 00:11:16,040 --> 00:11:18,120 Speaker 1: would you know what I mean? Like she did Drew 244 00:11:18,160 --> 00:11:24,040 Speaker 1: Barrymore on CTRL. She also had prom on there, you 245 00:11:24,080 --> 00:11:26,200 Speaker 1: know what I mean? Even before that, like other stuff, 246 00:11:26,200 --> 00:11:31,559 Speaker 1: She's always been she always bended the genre. So it 247 00:11:31,679 --> 00:11:34,360 Speaker 1: wasn't nothing new. Was just going just pushing it further, 248 00:11:34,480 --> 00:11:39,200 Speaker 1: Like she's doing full rap records now. Yeah, so she 249 00:11:39,280 --> 00:11:48,839 Speaker 1: got them, bars man, really she got like maybe she 250 00:11:48,960 --> 00:11:53,480 Speaker 1: got like an EPs worth of full rap records, like 251 00:11:53,520 --> 00:11:57,040 Speaker 1: all the way out and I'm singing, so I like 252 00:11:57,120 --> 00:12:00,679 Speaker 1: the flow. Yeah, you know what I'm saying, She's are 253 00:12:00,720 --> 00:12:05,480 Speaker 1: you constructed with the with the with the bars. Absolutely yeah. 254 00:12:05,600 --> 00:12:07,520 Speaker 1: I don't get something like, hell, what you mean when 255 00:12:07,559 --> 00:12:10,200 Speaker 1: he said this, like, how does that make sense with 256 00:12:10,320 --> 00:12:14,360 Speaker 1: this part? We'll go back and forth for sure. Thin 257 00:12:14,360 --> 00:12:19,440 Speaker 1: when you heard smoking on xpass nuts like she really 258 00:12:19,440 --> 00:12:23,040 Speaker 1: went in but it fits though, it fits her. I mean, 259 00:12:23,080 --> 00:12:25,960 Speaker 1: it's not like it was something that she was trying 260 00:12:26,000 --> 00:12:28,880 Speaker 1: to experiment on and it was left full left field, 261 00:12:29,440 --> 00:12:31,880 Speaker 1: like it's all in the flow of who she is. 262 00:12:32,559 --> 00:12:34,520 Speaker 1: Speaking of the raps man, how did you acquire this 263 00:12:34,640 --> 00:12:41,439 Speaker 1: ODB vocals Forgiveness? I was crazy, Um, Rodney Jerkins. It 264 00:12:41,600 --> 00:12:46,000 Speaker 1: was footage that he had of ODB, and Um, that's 265 00:12:46,040 --> 00:12:48,680 Speaker 1: the story was they was in la at the studio 266 00:12:49,400 --> 00:12:52,840 Speaker 1: and Rodney was playing beats and ODB was in another room. 267 00:12:52,960 --> 00:12:54,480 Speaker 1: I guess he was in the hallway and hurt the 268 00:12:54,480 --> 00:12:57,040 Speaker 1: beats and he went in and he just started freestyle 269 00:12:57,080 --> 00:13:00,760 Speaker 1: and then Rodney said he's known for like all right. 270 00:13:01,600 --> 00:13:04,400 Speaker 1: So at some point Rodney picked up his camera and 271 00:13:04,480 --> 00:13:08,760 Speaker 1: started feeling him. So when uh Alroddy made the beat 272 00:13:09,400 --> 00:13:14,800 Speaker 1: for forgiveless, I get he heard ODB remember that, and 273 00:13:14,840 --> 00:13:17,640 Speaker 1: he tried to place it up under there. So that's 274 00:13:17,640 --> 00:13:20,839 Speaker 1: how that came about, so it was just automatic, like, oh, 275 00:13:20,880 --> 00:13:23,840 Speaker 1: we're gonna put that on the on the drink. Absolutely 276 00:13:23,920 --> 00:13:26,760 Speaker 1: when he first did it, you know the idea. It's 277 00:13:26,800 --> 00:13:31,720 Speaker 1: crazy and it's still going in conjunction with her wool 278 00:13:31,760 --> 00:13:35,319 Speaker 1: tang thing. Her name is Scissors, right. We had Rizard 279 00:13:35,360 --> 00:13:39,080 Speaker 1: due to promo for the first album for CTRL, so 280 00:13:39,240 --> 00:13:43,600 Speaker 1: like it only be right, makes sense. Full circle moment man, Yeah, absolutely, 281 00:13:43,679 --> 00:13:45,920 Speaker 1: a lot of full circle moments, you know with this project. 282 00:13:46,040 --> 00:13:48,240 Speaker 1: Like I saw that you tweet this morning that you 283 00:13:48,320 --> 00:13:51,720 Speaker 1: saw her, you met her? H No, you met her 284 00:13:51,720 --> 00:13:54,760 Speaker 1: in twenty eleven, and you remember seeing her perform at 285 00:13:54,760 --> 00:13:58,079 Speaker 1: Brooklyn Steel only fifty to seventy five people. Fast forward 286 00:13:58,120 --> 00:14:01,319 Speaker 1: now we're doing Madison Square Gardens, right, How meaningful is 287 00:14:01,360 --> 00:14:04,600 Speaker 1: that for you? It's crazy. It's really a full circle moment, 288 00:14:05,240 --> 00:14:08,000 Speaker 1: you know what I mean. Like even that show when 289 00:14:08,000 --> 00:14:12,320 Speaker 1: I'm talking about at Brooklyn still, I surprised they're popping up. 290 00:14:12,360 --> 00:14:13,839 Speaker 1: She didn't even tell her I was coming because I 291 00:14:13,840 --> 00:14:17,040 Speaker 1: didn't want her to be nervous or whatever. So when 292 00:14:17,080 --> 00:14:19,600 Speaker 1: I got there and seeing her performing then and I'm like, yoh, 293 00:14:19,640 --> 00:14:22,760 Speaker 1: it's a diamond and the rough for sure. So then 294 00:14:22,800 --> 00:14:24,920 Speaker 1: to go through all the years and now it was 295 00:14:25,280 --> 00:14:29,320 Speaker 1: Madison Square Garden sold out, like nuts, What was it 296 00:14:29,440 --> 00:14:34,000 Speaker 1: like last night? I was insane. It was absolutely crowd 297 00:14:34,080 --> 00:14:35,480 Speaker 1: like why did you how did you peep it? I 298 00:14:35,520 --> 00:14:42,360 Speaker 1: watched from the from the suite right. Yeah, I'm gonna 299 00:14:42,400 --> 00:14:44,080 Speaker 1: go down with the people though in the next couple 300 00:14:44,080 --> 00:14:47,680 Speaker 1: of shows get the full effect of it. But I 301 00:14:47,760 --> 00:14:50,720 Speaker 1: like to like look over the whole production and see, 302 00:14:50,840 --> 00:14:52,480 Speaker 1: you know what I mean, well we put together I 303 00:14:52,560 --> 00:14:55,840 Speaker 1: was being received by the people. The people was going crazy, 304 00:14:55,920 --> 00:14:59,240 Speaker 1: like as soon as the lights dropped, it were nuts. 305 00:14:59,600 --> 00:15:02,480 Speaker 1: Spend ammonium. Let's speak in that reception. Man, number one album, 306 00:15:02,480 --> 00:15:04,320 Speaker 1: I'm sure you want to achieve that, but like to 307 00:15:04,400 --> 00:15:06,600 Speaker 1: have this ten weeks like yeah, I feel like in 308 00:15:06,640 --> 00:15:09,040 Speaker 1: real time I see you on social it's like you're like, oh, Man, 309 00:15:09,120 --> 00:15:11,680 Speaker 1: like seven weeks, eight weeks like yeah, like it blow, 310 00:15:11,920 --> 00:15:14,800 Speaker 1: Like did anybody have that level of expectation and you 311 00:15:14,840 --> 00:15:17,640 Speaker 1: allow yourself to have that? Or like you know, I 312 00:15:17,640 --> 00:15:21,080 Speaker 1: mean I could be cool and say yeah, but I wouldn't. 313 00:15:21,080 --> 00:15:23,520 Speaker 1: I wouldn't be telling you the truth. Yeah, But I 314 00:15:23,520 --> 00:15:26,760 Speaker 1: mean I had expectations for it to be very successful. 315 00:15:27,240 --> 00:15:29,640 Speaker 1: I thought we would do a few weeks number one, 316 00:15:29,880 --> 00:15:34,480 Speaker 1: but ten, that's that's crazy. And they see all of 317 00:15:34,480 --> 00:15:39,440 Speaker 1: the like legendary albums that is passing in the process. 318 00:15:39,240 --> 00:15:42,520 Speaker 1: It's crazy. It's getting mentioned. Beyonce and one of the 319 00:15:42,720 --> 00:15:45,920 Speaker 1: accolades you broken and you had said that Feelingly Beyonce 320 00:15:46,120 --> 00:15:48,160 Speaker 1: was one of the first people of Merit to reach 321 00:15:48,160 --> 00:15:50,600 Speaker 1: out and work with her, right, absolutely, you speak on that. 322 00:15:50,600 --> 00:15:53,880 Speaker 1: That's with the Feeling Myself, right, Yeah, that was two 323 00:15:53,960 --> 00:15:59,400 Speaker 1: thousand and fourteen. Um, you know they had called the 324 00:15:59,520 --> 00:16:01,880 Speaker 1: Carter and the Right because Beyonce was working on the 325 00:16:01,960 --> 00:16:05,280 Speaker 1: stuff or whatever. So she came into a bunch of songs, 326 00:16:06,160 --> 00:16:09,880 Speaker 1: builded a bond with Beyonce and Jay and the whole thing, 327 00:16:10,000 --> 00:16:15,080 Speaker 1: and Feeling Myself came out of that batch. So like 328 00:16:15,120 --> 00:16:18,560 Speaker 1: I was a super dump experience. She look up to Beyonce. 329 00:16:18,720 --> 00:16:21,360 Speaker 1: Of course. Yeah, you said, it's crazy that shirt is 330 00:16:21,360 --> 00:16:24,760 Speaker 1: the number one on urban and rhythmic radio. Why are 331 00:16:24,760 --> 00:16:28,040 Speaker 1: you're surprised by that? I wasn't really surprised, kind of 332 00:16:28,080 --> 00:16:32,760 Speaker 1: inside thing because I was. I was actually taking a 333 00:16:32,760 --> 00:16:35,000 Speaker 1: shout at her because she didn't she didn't like Shirt 334 00:16:35,240 --> 00:16:42,440 Speaker 1: being out first, and she blamed it on me. I 335 00:16:42,480 --> 00:16:46,480 Speaker 1: hit number one on radio, Like, yeah, it seems like 336 00:16:46,520 --> 00:16:49,280 Speaker 1: you know what you're talking about kind of, I would think, 337 00:16:49,320 --> 00:16:53,400 Speaker 1: I like to think. So she's her biggest critic for sure. Yeah, 338 00:16:53,920 --> 00:16:56,680 Speaker 1: you know what I mean. So she's like honed in 339 00:16:56,920 --> 00:17:01,000 Speaker 1: on everything that's going on with her process, her album dropping, 340 00:17:01,080 --> 00:17:04,879 Speaker 1: with her songs out, and she felt like a shirt 341 00:17:05,119 --> 00:17:09,439 Speaker 1: was the snippet had been out for too long, you 342 00:17:09,480 --> 00:17:11,840 Speaker 1: know what I mean. Well, my thought thinking on it 343 00:17:11,880 --> 00:17:14,240 Speaker 1: was all right, it's been out, let's just put that out, 344 00:17:14,320 --> 00:17:17,359 Speaker 1: drop the video and then we'll go from there. Like 345 00:17:17,400 --> 00:17:21,240 Speaker 1: it's not even the thing of your first your lead single, 346 00:17:21,400 --> 00:17:23,560 Speaker 1: your this and that, Like it's a whole different ballgame. 347 00:17:24,720 --> 00:17:27,960 Speaker 1: And even kill Bill is doing well as well. Yeah 348 00:17:28,000 --> 00:17:30,760 Speaker 1: that's crazy too, Like I knew what a goal, but 349 00:17:30,880 --> 00:17:34,399 Speaker 1: I didn't know it's gonna go like that. I guess nuts. 350 00:17:34,480 --> 00:17:36,439 Speaker 1: Like even when the when she played it at the 351 00:17:36,600 --> 00:17:42,640 Speaker 1: in the garden, all these kids out there screaming it's 352 00:17:42,720 --> 00:17:45,919 Speaker 1: killed by Yea. You even stepped it up with the 353 00:17:45,960 --> 00:17:48,800 Speaker 1: visuals you have vox in the video. Yeah, yeah, for sure. 354 00:17:49,520 --> 00:17:52,320 Speaker 1: She always been super visual though, Like she's hands on 355 00:17:52,480 --> 00:17:57,240 Speaker 1: with all of her music videos. So she's there with 356 00:17:57,280 --> 00:18:01,080 Speaker 1: the directors like during the treatment process and everything given input, 357 00:18:01,880 --> 00:18:04,960 Speaker 1: so pretty much most of them are co directed by her. 358 00:18:05,600 --> 00:18:07,200 Speaker 1: But Punch, how do you do still wear a fandom? 359 00:18:07,200 --> 00:18:09,119 Speaker 1: Because I saw somewhere it's like, you know, you know 360 00:18:09,119 --> 00:18:11,040 Speaker 1: how fans are. She'll always be teasing a song, so 361 00:18:11,359 --> 00:18:13,639 Speaker 1: she'll get the snippet outs and they want that record 362 00:18:13,680 --> 00:18:15,200 Speaker 1: on the album too, Like I feel like a lot 363 00:18:15,200 --> 00:18:17,959 Speaker 1: of times, you know, you can't please everybody, Like how 364 00:18:17,960 --> 00:18:21,160 Speaker 1: do you deal with that? With that? With the snippets, 365 00:18:21,160 --> 00:18:23,520 Speaker 1: Like that's something that we have, we've been doing since 366 00:18:23,600 --> 00:18:26,960 Speaker 1: we first started working together, and it will drop a 367 00:18:27,000 --> 00:18:29,040 Speaker 1: song and then preview the next one just to get 368 00:18:29,359 --> 00:18:32,640 Speaker 1: people excited for what's to come, you know what I mean. 369 00:18:32,720 --> 00:18:36,160 Speaker 1: And that turned into like a whole thing to where 370 00:18:36,280 --> 00:18:39,679 Speaker 1: like you know, it just builds up the anticipation so 371 00:18:39,760 --> 00:18:43,840 Speaker 1: crazy now and we just continue with it. So even 372 00:18:43,880 --> 00:18:47,160 Speaker 1: with the visuals, would drop a snippet of another song 373 00:18:47,280 --> 00:18:49,040 Speaker 1: with the video. All right, So when did the album 374 00:18:49,080 --> 00:18:54,160 Speaker 1: feel complete? Um? Because it feels like y'all was sitting 375 00:18:54,160 --> 00:18:57,320 Speaker 1: on it for a while though, right, Nay, it was 376 00:18:57,760 --> 00:19:04,000 Speaker 1: changing stuff after a different mixes. Yeah, absolutely, small things 377 00:19:04,000 --> 00:19:06,119 Speaker 1: we wouldn't catch so like fixing the plane while I 378 00:19:06,240 --> 00:19:10,159 Speaker 1: was still in the end, absolutely, but not the way 379 00:19:10,200 --> 00:19:13,440 Speaker 1: it happened was all right, So we dropped in CTRL 380 00:19:13,520 --> 00:19:20,480 Speaker 1: in twenty seventeen. So twenty the end of twenty seventeen 381 00:19:20,520 --> 00:19:24,560 Speaker 1: she was torn. Twenty eighteen, she was touring and we 382 00:19:24,600 --> 00:19:27,240 Speaker 1: did the Championship tour and we did, I mean a 383 00:19:27,280 --> 00:19:31,639 Speaker 1: lot of festival runs. So she didn't officially start working 384 00:19:31,720 --> 00:19:38,680 Speaker 1: on the next album until maybe the end of twenty nineteen, 385 00:19:40,000 --> 00:19:42,960 Speaker 1: twenty twenty. Count we get the pandemic, everything shut down, 386 00:19:44,880 --> 00:19:47,359 Speaker 1: So I would say she didn't get into a real 387 00:19:47,480 --> 00:19:54,600 Speaker 1: groove until twenty twenty one. That makes sense, yeah, but 388 00:19:54,680 --> 00:19:58,199 Speaker 1: it seemed like a like a longer thing. But we 389 00:19:58,240 --> 00:20:02,120 Speaker 1: don't count the pandemic years. She had went to Hawaii 390 00:20:02,480 --> 00:20:05,440 Speaker 1: to record and she just hit a hit a groove 391 00:20:05,480 --> 00:20:10,960 Speaker 1: out there, knocked out about seven eight songs like oh okay, 392 00:20:11,400 --> 00:20:13,320 Speaker 1: this is where we're going now, we got it. What 393 00:20:13,400 --> 00:20:16,719 Speaker 1: are your personal favorites on the album? It fluctuates, of course, 394 00:20:16,760 --> 00:20:21,080 Speaker 1: but I still love the intro ss Yeah, because to me, 395 00:20:21,160 --> 00:20:23,320 Speaker 1: that just set the tone for the rest of the record, 396 00:20:24,080 --> 00:20:27,199 Speaker 1: you know what I mean. And it's to me is 397 00:20:27,280 --> 00:20:30,399 Speaker 1: speaking to a lot of critics, a lot of different artists, 398 00:20:30,440 --> 00:20:38,960 Speaker 1: a lot of people in general. That's my thing. But 399 00:20:39,080 --> 00:20:40,679 Speaker 1: now I set the tone for what the rest of 400 00:20:40,720 --> 00:20:43,480 Speaker 1: the album is. What I mean then of course it 401 00:20:43,560 --> 00:20:48,240 Speaker 1: is nobody gets Me? Is Gone Girl? Like so many 402 00:20:48,240 --> 00:20:51,080 Speaker 1: different records. How do you feel like the album stacks 403 00:20:51,320 --> 00:20:54,639 Speaker 1: against control? You know what I got out of comparing 404 00:20:55,440 --> 00:20:59,600 Speaker 1: in that way, because it'll never be right like the 405 00:20:59,680 --> 00:21:04,440 Speaker 1: time when she made control like what she ate when 406 00:21:04,480 --> 00:21:07,240 Speaker 1: she was doing it here she was breathing, like what's 407 00:21:07,320 --> 00:21:09,199 Speaker 1: going on in the light? Like all of that is different, 408 00:21:10,160 --> 00:21:14,240 Speaker 1: But I think the quality stands up for sure. Yeah, 409 00:21:14,280 --> 00:21:16,119 Speaker 1: you know what I mean? I was she adjusting with 410 00:21:16,160 --> 00:21:18,320 Speaker 1: the success because you know, you see like she sometimes 411 00:21:18,359 --> 00:21:20,919 Speaker 1: she'll get into an artist's bag where she's kind of 412 00:21:20,960 --> 00:21:23,159 Speaker 1: like doesn't want to show up and do this or 413 00:21:23,160 --> 00:21:25,800 Speaker 1: whatever x y Z. Like now with all the attention 414 00:21:25,840 --> 00:21:28,879 Speaker 1: and this new found like even more exposure, like growth, Like, 415 00:21:28,880 --> 00:21:31,000 Speaker 1: how do you think she's adjusting to it? I think 416 00:21:31,040 --> 00:21:33,479 Speaker 1: she adjusted a lot better now. I think it's finally 417 00:21:33,600 --> 00:21:36,639 Speaker 1: starting to sit in as to what's going on and 418 00:21:36,760 --> 00:21:39,600 Speaker 1: who she is. Like for the longest, I don't feel 419 00:21:40,080 --> 00:21:44,840 Speaker 1: she connected who Scissor is to Salana, But I think 420 00:21:44,880 --> 00:21:48,919 Speaker 1: now she's finally starting to see it understand, like and 421 00:21:49,000 --> 00:21:52,280 Speaker 1: that I think that really comes with a tour, mostly 422 00:21:52,920 --> 00:21:55,440 Speaker 1: because you're actually seeing these live people, when you're seeing 423 00:21:55,480 --> 00:21:59,960 Speaker 1: them respond to you and that energy exchange. So she said, 424 00:22:00,000 --> 00:22:02,960 Speaker 1: to live away a lot better now. Yeah, you've seen 425 00:22:03,000 --> 00:22:05,520 Speaker 1: it from you know, infants from the jump from twenty 426 00:22:05,520 --> 00:22:07,640 Speaker 1: twenty eleven. Like I mentioned, you met her at CMJ 427 00:22:08,200 --> 00:22:11,119 Speaker 1: here in New York City, Um, and you were her 428 00:22:11,200 --> 00:22:14,080 Speaker 1: songs that her friend was listening to. What were some 429 00:22:14,119 --> 00:22:16,359 Speaker 1: of those songs that impressed you to want to do 430 00:22:16,880 --> 00:22:19,159 Speaker 1: business with? Think? What I heard was, Um, it was 431 00:22:19,240 --> 00:22:22,840 Speaker 1: a song bad. It was a song country that was 432 00:22:22,920 --> 00:22:27,359 Speaker 1: on C Says a Run, which it was actually called 433 00:22:27,440 --> 00:22:31,240 Speaker 1: C Sults a Run at that time when she changed 434 00:22:31,240 --> 00:22:34,159 Speaker 1: it the whole thing. But even back then, like I 435 00:22:34,200 --> 00:22:39,080 Speaker 1: recognized the lyricism for one I heard it, I'm like, okay, 436 00:22:39,119 --> 00:22:41,920 Speaker 1: I know what this is. It's kind of the stuff 437 00:22:41,960 --> 00:22:45,399 Speaker 1: we do, Like yeah, makes sense. And then the melodies 438 00:22:45,440 --> 00:22:47,400 Speaker 1: and all of this she come up with was insane. 439 00:22:47,480 --> 00:22:53,080 Speaker 1: So I forgot your question. So that it's cool. But 440 00:22:53,200 --> 00:22:56,120 Speaker 1: when you presented the music top was he easily impressed 441 00:22:56,119 --> 00:22:58,600 Speaker 1: as well? Yeah, he liked he liked her voice right 442 00:22:58,600 --> 00:23:01,879 Speaker 1: away for sure. But the way I did it was 443 00:23:01,920 --> 00:23:07,600 Speaker 1: like I wanted to get everybody else involved first before 444 00:23:07,640 --> 00:23:10,679 Speaker 1: I let Todd hear it. So the first thing, I 445 00:23:10,760 --> 00:23:12,720 Speaker 1: think Musa was the first person I let hear it. 446 00:23:13,520 --> 00:23:16,520 Speaker 1: Then I let Dave hear some records, and I think 447 00:23:17,240 --> 00:23:20,520 Speaker 1: died after that. So then when I went to top, 448 00:23:20,600 --> 00:23:22,960 Speaker 1: he was like, yeah, it's hard. He was like, you 449 00:23:23,119 --> 00:23:28,680 Speaker 1: let mosere it. Yeah, I let Moose here. What about 450 00:23:28,760 --> 00:23:31,160 Speaker 1: Dave and dotting them? Yeah, they heard it too, they 451 00:23:31,200 --> 00:23:34,440 Speaker 1: like it too. And he was like, what about you've 452 00:23:34,440 --> 00:23:38,160 Speaker 1: seen her perform yet I'm flying out to Brooklyn next week. 453 00:23:38,240 --> 00:23:40,000 Speaker 1: She gotta show, so I'm gonna check it out then. 454 00:23:41,080 --> 00:23:44,200 Speaker 1: So yeah, he was. He was on board from jump. 455 00:23:45,000 --> 00:23:46,919 Speaker 1: You know, he wanted to know what everybody else's opinion 456 00:23:47,000 --> 00:23:49,720 Speaker 1: was too. She was like a year long process. A 457 00:23:49,760 --> 00:23:54,960 Speaker 1: couple of months that it happened. Uh maybe when a 458 00:23:55,119 --> 00:23:58,919 Speaker 1: month when we actually really decided to work together. Like 459 00:23:58,920 --> 00:24:01,879 Speaker 1: I said, we met in two an eleven, Yeah, and 460 00:24:01,960 --> 00:24:05,320 Speaker 1: we just kept in touch since then, like sending songs 461 00:24:05,440 --> 00:24:09,000 Speaker 1: and giving my opinion and helping with her projects and 462 00:24:09,040 --> 00:24:14,880 Speaker 1: all of that. So in twenty I think thirteen, we're 463 00:24:14,880 --> 00:24:17,119 Speaker 1: just having a conversation. She's like, Yo, you should just 464 00:24:17,160 --> 00:24:21,160 Speaker 1: manage me, right. I'm like, oh, yeah, that makes sense. 465 00:24:21,800 --> 00:24:24,600 Speaker 1: I ain't consider it like that before because she she 466 00:24:24,680 --> 00:24:28,159 Speaker 1: already had a situation management and all of that, so 467 00:24:28,200 --> 00:24:31,600 Speaker 1: I was just more on some consultant type stuff. When 468 00:24:31,640 --> 00:24:33,320 Speaker 1: she said that it was a no brainer. It makes 469 00:24:33,320 --> 00:24:35,280 Speaker 1: sense because that's when I met her at south By 470 00:24:35,320 --> 00:24:37,960 Speaker 1: Southwest twenty thirteen, when you guys at the house ye 471 00:24:38,440 --> 00:24:43,560 Speaker 1: did the photo shoot for respect Good. Yeah, she was 472 00:24:43,600 --> 00:24:45,840 Speaker 1: at the shoot. Yeah, she was. That's crazy. She was 473 00:24:46,080 --> 00:24:49,399 Speaker 1: sitting by the lake all by herself, and I was like, 474 00:24:49,800 --> 00:24:51,199 Speaker 1: she was that girl. He was like, I don't know. 475 00:24:52,960 --> 00:24:58,919 Speaker 1: We talked to him. That's funny we speaking of how 476 00:24:58,960 --> 00:25:01,359 Speaker 1: crazy is like about that's the Black Kippie days and 477 00:25:01,400 --> 00:25:04,120 Speaker 1: you think TV's lyrical spit of rappers now like your 478 00:25:04,359 --> 00:25:08,680 Speaker 1: flagship artists, your top artist is on B singer. What's 479 00:25:08,680 --> 00:25:11,760 Speaker 1: that adjustment? Like, I think it's I think it's natural, 480 00:25:12,320 --> 00:25:14,600 Speaker 1: you know what I mean, because she she's been building 481 00:25:14,800 --> 00:25:18,360 Speaker 1: at the same time with everybody else. Yeah, I mean, 482 00:25:18,400 --> 00:25:20,920 Speaker 1: so it's not really much of a difference at this point. 483 00:25:21,640 --> 00:25:24,640 Speaker 1: Like when she first came on, Yeah, it was super different. Yeah, 484 00:25:24,720 --> 00:25:29,680 Speaker 1: I mean dealing with a female artist. But now it's 485 00:25:29,760 --> 00:25:34,359 Speaker 1: like it's just a natural progression. Speaking of progression, like 486 00:25:34,400 --> 00:25:37,240 Speaker 1: you are the president of TV also almost like A 487 00:25:37,359 --> 00:25:40,480 Speaker 1: and RG like everything for man, Like what are you 488 00:25:40,600 --> 00:25:43,440 Speaker 1: like day to day rolls as the president of the label? Man? 489 00:25:43,480 --> 00:25:47,960 Speaker 1: It varies day to day. Really, there's no one like 490 00:25:48,000 --> 00:25:52,840 Speaker 1: we wasn't built on the corporate structure. Ful things should 491 00:25:52,880 --> 00:25:55,840 Speaker 1: go like we get up and see what needs to 492 00:25:55,840 --> 00:25:58,080 Speaker 1: be done, and we're doing it. It don't matter what 493 00:25:58,119 --> 00:26:01,119 Speaker 1: it is. Everybody, Like I always tell the story. It 494 00:26:01,200 --> 00:26:06,639 Speaker 1: was one show Jay Rock had Top was recording the show. 495 00:26:07,800 --> 00:26:11,680 Speaker 1: I was in the back working merch. Dave was DJ 496 00:26:12,320 --> 00:26:17,240 Speaker 1: hand handing out posters. At the same time, It's like, 497 00:26:17,320 --> 00:26:19,160 Speaker 1: we just do it whatever it needs to be done, 498 00:26:19,480 --> 00:26:21,399 Speaker 1: you know what I mean, We get it done. I 499 00:26:21,440 --> 00:26:24,159 Speaker 1: mean we got a lot more structure now. And it 500 00:26:24,200 --> 00:26:25,639 Speaker 1: was like, because we've been doing it, we know what 501 00:26:25,680 --> 00:26:29,000 Speaker 1: to expect. But I don't know. My whole thing is 502 00:26:30,240 --> 00:26:33,600 Speaker 1: I'm I'm in the studio, you know what I'm saying, Well, 503 00:26:33,600 --> 00:26:37,480 Speaker 1: that's my biggest contribution to the whole thing. Like I'm 504 00:26:37,520 --> 00:26:42,760 Speaker 1: listening to records and giving advice and input and finding 505 00:26:42,800 --> 00:26:47,560 Speaker 1: producers and the whole nine. So let's say my responsibility 506 00:26:47,640 --> 00:26:50,560 Speaker 1: is more of creative even though I do all the 507 00:26:50,560 --> 00:26:54,680 Speaker 1: business stuff too, but creative things my thing. Man. It's 508 00:26:54,720 --> 00:26:56,639 Speaker 1: like it's still hands on even before you came in 509 00:26:56,680 --> 00:26:58,719 Speaker 1: and was like yo this, but even having assystem at 510 00:26:58,720 --> 00:27:04,679 Speaker 1: this point, it's like he gets his own course. Yeah, definitely, 511 00:27:05,359 --> 00:27:08,080 Speaker 1: but it's um. You know, we're so much bigger now 512 00:27:08,200 --> 00:27:12,240 Speaker 1: though I can't be hands on with every single artist 513 00:27:12,320 --> 00:27:16,239 Speaker 1: how it was. So that's the That's one of the 514 00:27:16,280 --> 00:27:19,439 Speaker 1: major changes as we as we grew, so we have 515 00:27:19,480 --> 00:27:23,320 Speaker 1: a lot more people doing more things other than trying 516 00:27:23,320 --> 00:27:25,160 Speaker 1: to murder the money. On one of the tracks, would 517 00:27:25,160 --> 00:27:28,080 Speaker 1: you involve me with an appolo Herbert album? It was 518 00:27:28,119 --> 00:27:32,199 Speaker 1: the same thing. It's kind of um going back and 519 00:27:32,240 --> 00:27:36,760 Speaker 1: forth with them on records getting that whole thing out now. 520 00:27:36,840 --> 00:27:39,600 Speaker 1: He was he was specific in this. He wanted to um, 521 00:27:40,960 --> 00:27:45,359 Speaker 1: he wanted more input than usual, you know what I mean, 522 00:27:45,400 --> 00:27:49,320 Speaker 1: because he was feeling like, all right, I normally don't 523 00:27:49,359 --> 00:27:52,840 Speaker 1: take advice when I'm doing this thing. That's what I've 524 00:27:52,880 --> 00:27:57,200 Speaker 1: been doing, so now I want everybody's input, you know 525 00:27:57,240 --> 00:28:00,760 Speaker 1: what I mean. I'm I'm releasing Relinqua and all power 526 00:28:01,960 --> 00:28:04,520 Speaker 1: so that's kind of what that gave him, like some 527 00:28:04,640 --> 00:28:07,639 Speaker 1: real yeah, constructive criticism of the time, and then he 528 00:28:07,760 --> 00:28:11,680 Speaker 1: kind of pivoted and made some champions. Nah, definitely, yeah, 529 00:28:11,720 --> 00:28:14,919 Speaker 1: he uh, he just wanted to input up the team. 530 00:28:15,040 --> 00:28:17,199 Speaker 1: You know what I'm saying, the whole machine. You wouldn't 531 00:28:17,200 --> 00:28:21,600 Speaker 1: absolutely be making good music together. Man. Yeah, it's my gosh, 532 00:28:21,800 --> 00:28:24,000 Speaker 1: clash at the Titans. You guys have to do a 533 00:28:24,040 --> 00:28:29,679 Speaker 1: record anytime. Yeah, that's something he said, like from this 534 00:28:29,800 --> 00:28:32,679 Speaker 1: first project, and he did. He was like, yeah, I'm 535 00:28:32,680 --> 00:28:36,080 Speaker 1: gonna put you on every project I ever do. So 536 00:28:36,119 --> 00:28:38,440 Speaker 1: that's that's intentional and no purpose is that the good 537 00:28:38,480 --> 00:28:41,360 Speaker 1: Man was out of session together Like what Nah, It's 538 00:28:41,400 --> 00:28:45,200 Speaker 1: funny is he um, he has sent me the record 539 00:28:45,280 --> 00:28:50,240 Speaker 1: maybe six months before I actually did it. Like he 540 00:28:50,360 --> 00:28:52,160 Speaker 1: sent it and lesten to him like all right, cool, 541 00:28:52,200 --> 00:28:55,440 Speaker 1: I'm gonna do it. Six months later, one day he 542 00:28:55,480 --> 00:28:57,080 Speaker 1: was in the studio, He's like, yo, I need you. 543 00:28:57,080 --> 00:29:00,640 Speaker 1: You're gonna do the record. I'm like re sending to him, 544 00:29:00,680 --> 00:29:02,880 Speaker 1: and he sent it. I wrote it in like probably 545 00:29:02,880 --> 00:29:06,640 Speaker 1: like fifteen minutes literally and went in recorded and sent 546 00:29:06,720 --> 00:29:09,960 Speaker 1: it back. So that's how that whole process was. Yeah, 547 00:29:10,000 --> 00:29:12,000 Speaker 1: that one line you said, Jay doesn't Jay told you 548 00:29:12,000 --> 00:29:15,960 Speaker 1: why I bothered with peasants about jay Z? What do 549 00:29:16,040 --> 00:29:18,280 Speaker 1: you even? What did you mean by that? I hate him? 550 00:29:18,280 --> 00:29:21,080 Speaker 1: One time there was some some rappers who I said 551 00:29:21,120 --> 00:29:25,040 Speaker 1: some stuff and I hit him like, yo, what you 552 00:29:25,160 --> 00:29:27,719 Speaker 1: think it is? And that it was his response. I'm 553 00:29:27,760 --> 00:29:30,200 Speaker 1: not gonna say who it was, but his whole thing 554 00:29:30,320 --> 00:29:33,120 Speaker 1: was like I waste your time. I don't worry about it. 555 00:29:34,120 --> 00:29:36,760 Speaker 1: I may keep pushing. Y'all got something greater going. So 556 00:29:36,840 --> 00:29:39,480 Speaker 1: how do you feel like when people complain online that 557 00:29:39,640 --> 00:29:42,959 Speaker 1: say TV doesn't release enough music as some of you 558 00:29:43,000 --> 00:29:47,000 Speaker 1: guys's peers, or you know, the output isn't as frequent 559 00:29:47,080 --> 00:29:50,640 Speaker 1: as other labels. What are your thoughts on that? Basic 560 00:29:50,720 --> 00:29:53,520 Speaker 1: economics to me? You know what I mean, if you 561 00:29:55,520 --> 00:29:59,800 Speaker 1: if you flood the market, it's gonna be oversaturated. It's 562 00:29:59,840 --> 00:30:02,320 Speaker 1: not gonna be a special when it happens. Our thing 563 00:30:02,480 --> 00:30:06,680 Speaker 1: is is always quality over quantity. I mean, if you 564 00:30:06,760 --> 00:30:09,520 Speaker 1: make a quality product, people are gonna keep coming back 565 00:30:09,560 --> 00:30:14,479 Speaker 1: to it. Like that's just human beings in general. Like 566 00:30:14,520 --> 00:30:17,240 Speaker 1: it might seem like you got something going, some momentum 567 00:30:17,240 --> 00:30:21,880 Speaker 1: going when you're constantly constantly dropping, but you're wearing yourself thin. 568 00:30:23,000 --> 00:30:25,320 Speaker 1: People gonna get tired of that and it's gonna be over. 569 00:30:26,360 --> 00:30:28,960 Speaker 1: So that's why our thing is always you know, quality 570 00:30:28,960 --> 00:30:32,360 Speaker 1: of a quantity or disrespect anybody to do it that way. 571 00:30:32,760 --> 00:30:34,440 Speaker 1: So that almost seems like an old school model in 572 00:30:34,520 --> 00:30:36,480 Speaker 1: this day and age, right, because streaming kind of makes 573 00:30:36,480 --> 00:30:39,600 Speaker 1: you feel like you're supposed to just constantly flood it out, 574 00:30:39,680 --> 00:30:43,280 Speaker 1: refresh refreshment. Here it is it is. It a tough standard. 575 00:30:43,280 --> 00:30:45,240 Speaker 1: Stay that way. The whole team is kind of always 576 00:30:45,240 --> 00:30:47,600 Speaker 1: aligned it. We gotta keep doing it the way we've 577 00:30:47,760 --> 00:30:50,760 Speaker 1: We've done it. You gotta you gotta stay strong. I 578 00:30:50,760 --> 00:30:53,160 Speaker 1: remember hearing a Jay Z interview a while ago when 579 00:30:53,200 --> 00:30:56,960 Speaker 1: he was talking about that, say, he's not under nobody's timeline. 580 00:30:57,160 --> 00:31:01,960 Speaker 1: Oh you're rush rushing this process process. Yeah, so it 581 00:31:02,080 --> 00:31:06,200 Speaker 1: makes perfect sense to me. But I understand the pressure though, 582 00:31:06,200 --> 00:31:08,800 Speaker 1: when it feels like you gotta put something out and 583 00:31:08,800 --> 00:31:12,000 Speaker 1: put something out because everything's moving so fast. But if 584 00:31:12,000 --> 00:31:15,000 Speaker 1: it's quality and timeless, the stays. But even though like 585 00:31:15,040 --> 00:31:18,840 Speaker 1: the business hash change, you know, since you guys first 586 00:31:18,880 --> 00:31:22,680 Speaker 1: into Yeah, definitely, but like you still don't feel like 587 00:31:22,680 --> 00:31:29,400 Speaker 1: the need to like I'm not doing because you ain't 588 00:31:29,360 --> 00:31:33,200 Speaker 1: getting schoolboy, John saw me he's in. I saw Jay 589 00:31:33,280 --> 00:31:36,080 Speaker 1: Rocks in the studio. Yeah, everybody working. But the thing 590 00:31:36,160 --> 00:31:39,560 Speaker 1: though with that is people don't really change that much. 591 00:31:40,680 --> 00:31:44,520 Speaker 1: How we get things changed, for sure, but who we 592 00:31:44,600 --> 00:31:49,200 Speaker 1: are are emotions or feelings, the whole thing, and we 593 00:31:49,320 --> 00:31:53,000 Speaker 1: still people. It's still gonna remain the same. Yeah, fair enough. 594 00:31:53,000 --> 00:31:57,240 Speaker 1: But I know Jay Rock is in the studio as well, right, absolutely, yeah, 595 00:31:57,280 --> 00:32:01,400 Speaker 1: he finishing up his uh his project right now we speak. Okay, 596 00:32:01,560 --> 00:32:05,920 Speaker 1: it's cool boy, qu Yeah he said we let the rapper? 597 00:32:05,960 --> 00:32:07,840 Speaker 1: What was the like, am I putting? Letting the rappers in? 598 00:32:07,920 --> 00:32:10,240 Speaker 1: He wants his credit? Man getting punch talk on that 599 00:32:10,320 --> 00:32:13,360 Speaker 1: what he's saying that? Yeah, that's right. Qu's a golfer now, man, 600 00:32:13,480 --> 00:32:16,920 Speaker 1: is he still right? Can you beat him in golf? 601 00:32:16,960 --> 00:32:20,520 Speaker 1: Punch me? No, I'll never golf to damn my life. 602 00:32:21,440 --> 00:32:23,400 Speaker 1: You know. As a part of him, just evolving as 603 00:32:23,400 --> 00:32:27,680 Speaker 1: a person, you know what I mean, like discovering new 604 00:32:27,760 --> 00:32:32,280 Speaker 1: things that he's into and passionate about. He's just growing. Yeah, 605 00:32:32,320 --> 00:32:34,640 Speaker 1: you know what I mean. You're growing too, man, expanding 606 00:32:34,680 --> 00:32:37,880 Speaker 1: your your talents. You have a room full of mirrors. Absolutely, 607 00:32:37,880 --> 00:32:40,160 Speaker 1: talk about your collective Why aren't those Why isn't that 608 00:32:40,240 --> 00:32:43,040 Speaker 1: a t D act. Well, it's tough because I'm I'm 609 00:32:43,120 --> 00:32:45,840 Speaker 1: tde right, you know, I mean, I'm a part of 610 00:32:45,840 --> 00:32:48,400 Speaker 1: the collective. So yeah, you know what I mean. It's 611 00:32:49,080 --> 00:32:51,520 Speaker 1: it's not a it's not a rush, you know what 612 00:32:51,600 --> 00:32:56,160 Speaker 1: I mean. But the collective is um, it's myself, it's 613 00:32:56,400 --> 00:33:03,440 Speaker 1: um Daylight, Itchy Bond down a k Willie b It's 614 00:33:03,440 --> 00:33:08,120 Speaker 1: an early Riser and lyric Michelle Na Nicka is not 615 00:33:08,640 --> 00:33:11,440 Speaker 1: actually a part of it no more. Yeah, it kicked 616 00:33:11,520 --> 00:33:17,920 Speaker 1: him out the group or so the rap battle went wrong. No, 617 00:33:18,080 --> 00:33:21,880 Speaker 1: I think it was just um, we'll say creative differences. 618 00:33:22,600 --> 00:33:24,080 Speaker 1: I mean, he got it, you know, his own thing. 619 00:33:24,560 --> 00:33:26,360 Speaker 1: Whatever it is he into it was on you when 620 00:33:26,720 --> 00:33:28,960 Speaker 1: it was one thing it was something about Scissor was 621 00:33:29,040 --> 00:33:30,840 Speaker 1: a delay that you dropped the record. It was just 622 00:33:30,960 --> 00:33:35,000 Speaker 1: like it was all your handling Scots rapping. That's white 623 00:33:35,000 --> 00:33:38,280 Speaker 1: a little Scissor album yet, man, Jesus Chrish Sorry go though, 624 00:33:39,040 --> 00:33:43,560 Speaker 1: when when when it's in high demand? But but down 625 00:33:43,600 --> 00:33:47,800 Speaker 1: the room flamerors thing like that's like my passion project. 626 00:33:49,080 --> 00:33:51,520 Speaker 1: Feel good to be able to have a creative outlet 627 00:33:51,800 --> 00:33:55,360 Speaker 1: and platform like that. We could just make records, and 628 00:33:56,640 --> 00:34:00,880 Speaker 1: you know, everybody's in the film and directing and acting 629 00:34:01,040 --> 00:34:04,920 Speaker 1: the whole thing, so it's like a whole creative space. 630 00:34:05,320 --> 00:34:08,840 Speaker 1: You're gonna create another project. Absolutely, Yeah. We got a 631 00:34:08,880 --> 00:34:11,040 Speaker 1: bunch of records now, like we've been working since the 632 00:34:11,160 --> 00:34:14,680 Speaker 1: top of the year, went back in and plus everybody's 633 00:34:14,719 --> 00:34:18,719 Speaker 1: individual projects too. Speaking of which, Punch Electronica, we have 634 00:34:18,840 --> 00:34:24,960 Speaker 1: a guy so so out man a hard drive somewhere. Man, 635 00:34:25,040 --> 00:34:27,680 Speaker 1: where's the album? It's tough when you don't have a deadline. 636 00:34:27,840 --> 00:34:30,879 Speaker 1: Oh man. You got to listen to Secial like three 637 00:34:30,960 --> 00:34:38,560 Speaker 1: years ago. Man, Man, it was funny. I was just 638 00:34:38,680 --> 00:34:40,920 Speaker 1: looking at the pictures and the videos from that from 639 00:34:40,960 --> 00:34:45,799 Speaker 1: that time. But now I'm um, I'm definitely gonna put 640 00:34:45,840 --> 00:34:48,560 Speaker 1: it out for sure. But like I said, it's it's 641 00:34:48,600 --> 00:34:51,800 Speaker 1: difficult when you really don't have a deadline when you 642 00:34:51,840 --> 00:34:54,400 Speaker 1: got to create it for yourself, plus you got the 643 00:34:54,440 --> 00:34:58,400 Speaker 1: responsibility of all these other artists as well. It's like 644 00:34:58,440 --> 00:34:59,799 Speaker 1: I could be all right, I'm gonna put my minds 645 00:34:59,800 --> 00:35:02,000 Speaker 1: out now, then something to come up on somebody else, 646 00:35:02,080 --> 00:35:05,440 Speaker 1: then my focus on shift to that, right, And I'm 647 00:35:05,480 --> 00:35:11,439 Speaker 1: predicting twelve to fourteen songs might be more now twenty two. 648 00:35:11,680 --> 00:35:14,239 Speaker 1: It was at fifteen. Last time I looked at it. 649 00:35:14,360 --> 00:35:16,200 Speaker 1: I remember he did a whole session. You had a 650 00:35:16,239 --> 00:35:18,279 Speaker 1: whole list of this session. It was good music. Too 651 00:35:18,400 --> 00:35:23,320 Speaker 1: many to remember. That's funny. So at that point you 652 00:35:23,640 --> 00:35:25,840 Speaker 1: thought about putting it out. Yeah, I was about to 653 00:35:25,920 --> 00:35:28,920 Speaker 1: drop it then, but I was gonna wait to um 654 00:35:29,280 --> 00:35:32,840 Speaker 1: to twenty twenty to do it then. Literally in March, 655 00:35:33,480 --> 00:35:36,759 Speaker 1: everything shut down, does it? Probably even people kind of 656 00:35:36,800 --> 00:35:39,360 Speaker 1: criticize you for rapping when you're still like an executive, 657 00:35:39,880 --> 00:35:46,640 Speaker 1: not at all, nothing bother done at all. Always keep 658 00:35:46,640 --> 00:35:49,400 Speaker 1: it in perspective as to what things really are, you 659 00:35:49,480 --> 00:35:51,960 Speaker 1: know what I mean, where we come from, things we 660 00:35:52,120 --> 00:35:55,480 Speaker 1: survived and went through. Like we talk about music, right, 661 00:35:55,760 --> 00:35:59,719 Speaker 1: Like that's that'll never changed in my perspective. So you 662 00:35:59,800 --> 00:36:02,239 Speaker 1: can you can go at me all day long at 663 00:36:02,719 --> 00:36:05,600 Speaker 1: on the Twitter. Yeah, that's cool. I love talking on 664 00:36:05,680 --> 00:36:08,040 Speaker 1: Twitter because you don't think I have a lot of perspectives. 665 00:36:08,080 --> 00:36:10,440 Speaker 1: Like you said something one time about um, when did 666 00:36:10,520 --> 00:36:14,279 Speaker 1: the music or the personalities dominate the music? Something like that. Yeah, 667 00:36:14,840 --> 00:36:18,120 Speaker 1: because you see that a lot now, like everybody is 668 00:36:18,280 --> 00:36:23,040 Speaker 1: um it is almost influences. I mean a lot of 669 00:36:23,040 --> 00:36:27,160 Speaker 1: the artists like, yeah, you can get Brandon Deals and 670 00:36:27,280 --> 00:36:30,520 Speaker 1: the whole thing just off of your social media following 671 00:36:31,239 --> 00:36:35,080 Speaker 1: and the music been taken a back seat. Me. So 672 00:36:35,160 --> 00:36:37,320 Speaker 1: I was like, I'm just curious when did this happened? Like, 673 00:36:38,800 --> 00:36:42,120 Speaker 1: because I love music, like that's my thing, but now 674 00:36:42,200 --> 00:36:46,560 Speaker 1: it's just about who got the most followers. But it's 675 00:36:46,600 --> 00:36:48,480 Speaker 1: got to feel rewarding with Scissor because I think you 676 00:36:48,600 --> 00:36:50,840 Speaker 1: else said about like, you know, there's a lack of 677 00:36:50,920 --> 00:36:53,200 Speaker 1: superstars right or in this thing, but not to see 678 00:36:53,239 --> 00:36:55,839 Speaker 1: her kind of ascending right like, it's clearly a successfully 679 00:36:55,880 --> 00:36:59,120 Speaker 1: of somebody's career ascending in front of us, and that 680 00:36:59,320 --> 00:37:04,000 Speaker 1: was definitely rewarding, you know what I mean, her success 681 00:37:04,120 --> 00:37:08,520 Speaker 1: and then to through this arena tour, like to me, 682 00:37:08,680 --> 00:37:12,680 Speaker 1: I think that solidified her as one of those artists 683 00:37:13,280 --> 00:37:19,120 Speaker 1: for sure. Has the superstar changed? Yeah, because I think 684 00:37:19,200 --> 00:37:22,040 Speaker 1: the appeal of the superstar was you couldn't get close 685 00:37:22,080 --> 00:37:24,759 Speaker 1: to him at first, you know, I mean, it was 686 00:37:24,760 --> 00:37:27,399 Speaker 1: a lot of mystery there, and then you will see 687 00:37:27,480 --> 00:37:31,440 Speaker 1: him in certain spots. Now everybody is everywhere because of 688 00:37:32,760 --> 00:37:36,640 Speaker 1: how we feel we have to do social media. But 689 00:37:37,000 --> 00:37:40,680 Speaker 1: you know what I mean, but beyond a superstar thing 690 00:37:40,800 --> 00:37:45,040 Speaker 1: like just the artists maintaining his mystery. It's super important. 691 00:37:45,120 --> 00:37:48,400 Speaker 1: It's about the quality of control. If you look at 692 00:37:48,440 --> 00:37:52,040 Speaker 1: somebody like Frank Ocean, you don't never see him nowhere, 693 00:37:52,880 --> 00:37:55,480 Speaker 1: but his name is held in high regard because of 694 00:37:55,520 --> 00:37:58,280 Speaker 1: that product he put out and then he go away. 695 00:37:58,560 --> 00:38:00,600 Speaker 1: You know, I mean, you need time to to miss 696 00:38:00,920 --> 00:38:05,600 Speaker 1: the artist. Now. Everybody is so feel touchable and regular, 697 00:38:06,000 --> 00:38:08,239 Speaker 1: so like in regards this says of being an R 698 00:38:08,280 --> 00:38:10,200 Speaker 1: and B artist, Like we don't have too many R 699 00:38:10,280 --> 00:38:12,680 Speaker 1: and B superstars anymore. Like why do you think she's 700 00:38:13,040 --> 00:38:15,600 Speaker 1: been able to separate herself from the pack? I think 701 00:38:15,600 --> 00:38:19,759 Speaker 1: it's the honesty in her music first, you know what 702 00:38:19,800 --> 00:38:22,200 Speaker 1: I mean, if you roll with your emotions and you're 703 00:38:22,239 --> 00:38:26,160 Speaker 1: saying things that people can relate to and feel like, 704 00:38:26,280 --> 00:38:28,680 Speaker 1: that's gonna take you a long way. I think a 705 00:38:28,719 --> 00:38:32,399 Speaker 1: lot of people was missing that to start, what I mean. 706 00:38:32,480 --> 00:38:36,719 Speaker 1: And then does she made great music on top of that? 707 00:38:37,800 --> 00:38:40,560 Speaker 1: It just sounds good, it feel good, you know what 708 00:38:40,600 --> 00:38:43,640 Speaker 1: I mean. Anna caters to whatever emotion you might be 709 00:38:43,719 --> 00:38:47,279 Speaker 1: going through. So I think that's really what separates her. 710 00:38:47,400 --> 00:38:50,600 Speaker 1: She's not trying to do nobody else, you know what 711 00:38:50,640 --> 00:38:53,560 Speaker 1: I mean. If you look like it's who do you 712 00:38:53,680 --> 00:38:57,880 Speaker 1: compare with before her? You know what I mean? Not 713 00:38:58,000 --> 00:39:02,080 Speaker 1: saying that, you know, she's the originator of a certain thing, 714 00:39:02,239 --> 00:39:06,839 Speaker 1: but it's very distinctive from a lot of artists. Yeah, 715 00:39:06,960 --> 00:39:09,239 Speaker 1: but then you guys also have another young lady on 716 00:39:09,320 --> 00:39:13,120 Speaker 1: the label. Now, don't she absolutely Florida? Yeah? Like what 717 00:39:13,360 --> 00:39:15,680 Speaker 1: was so attractive about her that maybe want to do 718 00:39:15,800 --> 00:39:18,480 Speaker 1: business with? What I was that came through most of 719 00:39:18,520 --> 00:39:21,840 Speaker 1: the must about her and when he played me the records, 720 00:39:21,880 --> 00:39:25,040 Speaker 1: like the talent was undeniable, you know what I mean, 721 00:39:25,120 --> 00:39:29,640 Speaker 1: she threw it all. She rapped saying to the dance thing, 722 00:39:29,800 --> 00:39:33,960 Speaker 1: big production, like she's super talented. There's no limits on 723 00:39:34,280 --> 00:39:41,680 Speaker 1: where she can go. Yeah, Barack Obama's tapped in. You 724 00:39:41,760 --> 00:39:44,200 Speaker 1: think Obama coming up with that? No water believes that 725 00:39:44,280 --> 00:39:48,919 Speaker 1: Obama listens the music. They think it's the daughters. I'll 726 00:39:48,960 --> 00:39:51,160 Speaker 1: take that they got taste. So at this point, what 727 00:39:51,600 --> 00:39:53,759 Speaker 1: what makes you want to, you know, do business with 728 00:39:54,000 --> 00:39:56,279 Speaker 1: a new artist? Like, are you guys still actively looking 729 00:39:56,320 --> 00:40:00,560 Speaker 1: for new talent? I never actively looked. I let it 730 00:40:00,719 --> 00:40:03,440 Speaker 1: come to me, you know what I mean, Like I 731 00:40:03,600 --> 00:40:07,480 Speaker 1: never just said I'm gonna find this new artist. But 732 00:40:07,600 --> 00:40:10,799 Speaker 1: I'll be looking around just in general and something might 733 00:40:11,160 --> 00:40:14,279 Speaker 1: just pop out, you know what I'm saying. But I 734 00:40:14,400 --> 00:40:19,839 Speaker 1: gotta think. Literally, I've only signed says wow wow really 735 00:40:19,840 --> 00:40:23,200 Speaker 1: ain't like me personally personally. Yeah, And after that, the 736 00:40:23,320 --> 00:40:27,040 Speaker 1: next thing was the Room Full of Mares. Wow. So 737 00:40:27,400 --> 00:40:33,360 Speaker 1: it shows y'all how picky I am. It's crazy because 738 00:40:33,360 --> 00:40:35,040 Speaker 1: she feels like a veteran. But like you told me, 739 00:40:35,280 --> 00:40:39,160 Speaker 1: this is only her sophomore album, literally her second major album. Yeah, 740 00:40:39,760 --> 00:40:46,320 Speaker 1: it's still selling there. That's what's crazy. It's nuts. But 741 00:40:46,400 --> 00:40:49,160 Speaker 1: you also, I mean outside of music and twenty eighteen, 742 00:40:49,160 --> 00:40:52,399 Speaker 1: you guys started doing TV sports, right he started still 743 00:40:52,480 --> 00:40:55,600 Speaker 1: doing that or uh you know what? That's the top question? 744 00:40:56,120 --> 00:41:01,120 Speaker 1: Good top on the phone? Yeah, he tell you about that, uh, 745 00:41:01,480 --> 00:41:04,719 Speaker 1: in more detail than I could because I never I 746 00:41:04,840 --> 00:41:06,759 Speaker 1: never really got involved with that. Like when he was 747 00:41:08,080 --> 00:41:10,640 Speaker 1: starting to do that. I was so deep into the 748 00:41:10,800 --> 00:41:13,239 Speaker 1: music stuff. Would you guys ever sign someone outside of 749 00:41:13,320 --> 00:41:15,200 Speaker 1: the R and B or hip hop space like TD 750 00:41:15,400 --> 00:41:18,879 Speaker 1: rock or K pop or absolutely we might got something 751 00:41:18,920 --> 00:41:27,239 Speaker 1: to cutting their har shit, spill the beans punch, but 752 00:41:27,400 --> 00:41:30,000 Speaker 1: yeah no, it's no. Um, we're not keeping it just 753 00:41:30,120 --> 00:41:34,719 Speaker 1: to that like whatever sounds good, whatever, feels good. Yeah, 754 00:41:34,719 --> 00:41:38,080 Speaker 1: I mean, we'll definitely explore Kendrew lamar man. It's no 755 00:41:38,239 --> 00:41:42,839 Speaker 1: longer on the label lane, right, young kid flying, your 756 00:41:42,960 --> 00:41:44,719 Speaker 1: kick flying. What do you think about the success that 757 00:41:44,800 --> 00:41:47,360 Speaker 1: he's made, you know, stepping on on his own. I 758 00:41:47,440 --> 00:41:50,480 Speaker 1: think it's amazing, you know what I mean, to to 759 00:41:50,680 --> 00:41:54,960 Speaker 1: watch somebody as a kid, like as a sixteen seventeen 760 00:41:55,040 --> 00:41:58,800 Speaker 1: year old kid coming to the studio and developed to 761 00:41:58,880 --> 00:42:02,080 Speaker 1: where he is now and venturing out and being his 762 00:42:02,200 --> 00:42:05,399 Speaker 1: own business man. I think it's that's what it's all about. 763 00:42:06,560 --> 00:42:09,080 Speaker 1: Did you see that in him in day three early on? Yeah, 764 00:42:09,239 --> 00:42:13,880 Speaker 1: for sure, because they have ideas, you know what I mean, 765 00:42:13,960 --> 00:42:15,680 Speaker 1: and what the idea is. All you gotta do is 766 00:42:15,719 --> 00:42:20,080 Speaker 1: execute on those ideas. So like Kendrick is a kid 767 00:42:20,080 --> 00:42:23,920 Speaker 1: who's mind never stopped working, So yeah, of course I've 768 00:42:23,960 --> 00:42:27,000 Speaker 1: seen that for them way early on. What did you 769 00:42:27,080 --> 00:42:29,879 Speaker 1: think of mister Morales? Like? I had a very like polarizing, 770 00:42:30,040 --> 00:42:34,600 Speaker 1: you know reaction. That's a tough album. It's tough because 771 00:42:35,560 --> 00:42:38,000 Speaker 1: I feel like you have to be going through those 772 00:42:38,120 --> 00:42:42,040 Speaker 1: things that he's talking about because it's so specific to 773 00:42:42,400 --> 00:42:45,560 Speaker 1: fill it to his max, you know what I mean, Like, 774 00:42:45,680 --> 00:42:47,960 Speaker 1: if you there in that vibe, in that mind state, 775 00:42:48,160 --> 00:42:51,279 Speaker 1: then yeah, you're gonna love it, you know what I'm saying. 776 00:42:51,320 --> 00:42:52,960 Speaker 1: But if you're in another place, then you might not 777 00:42:54,040 --> 00:42:57,279 Speaker 1: frequented as much. But I think it was just, um, 778 00:42:58,239 --> 00:43:00,120 Speaker 1: I think that was the album that he won it 779 00:43:00,239 --> 00:43:03,439 Speaker 1: to do you know what I mean? For himself? Yeah, 780 00:43:04,080 --> 00:43:07,919 Speaker 1: so I call it a selfish album because it's really 781 00:43:07,960 --> 00:43:12,759 Speaker 1: about his feelings, his inner thoughts, like specifically for him. 782 00:43:13,680 --> 00:43:17,560 Speaker 1: I mean other albums spoke for people in general, but 783 00:43:17,719 --> 00:43:19,680 Speaker 1: this one, to me, was for him. Yea, how do 784 00:43:19,719 --> 00:43:23,239 Speaker 1: you look specifically? You know what Curious Duty is? Like 785 00:43:23,280 --> 00:43:24,920 Speaker 1: how much involvement you had with his album? So I 786 00:43:25,000 --> 00:43:27,600 Speaker 1: know section eighty you listened as executive producer, Like yeah, 787 00:43:27,960 --> 00:43:29,640 Speaker 1: you know from Good Kid on, Like, can you speak 788 00:43:29,680 --> 00:43:31,719 Speaker 1: on how you view those albums and what was your 789 00:43:31,800 --> 00:43:35,000 Speaker 1: involvement throughout that sort of his growth involvement was It's 790 00:43:35,080 --> 00:43:40,120 Speaker 1: always been the same up until up until mister Morale. Really, 791 00:43:41,360 --> 00:43:43,440 Speaker 1: you know what I mean. I come in, We constantly 792 00:43:43,520 --> 00:43:47,360 Speaker 1: talking about the record, how we want the record to sound, 793 00:43:47,520 --> 00:43:53,400 Speaker 1: to everything about the whole thing. Like let's give you 794 00:43:53,440 --> 00:43:56,960 Speaker 1: an example, like on the Pepper Butterfly, you know the 795 00:43:57,080 --> 00:43:59,160 Speaker 1: skit at the end when he read and pot the 796 00:43:59,480 --> 00:44:04,800 Speaker 1: poem whatever, like I wrote that. So the reason I 797 00:44:04,880 --> 00:44:08,000 Speaker 1: wrote it was because he was lost in the album 798 00:44:08,080 --> 00:44:10,279 Speaker 1: at this point and he was like, yeoh, could you 799 00:44:10,360 --> 00:44:15,000 Speaker 1: write something for me to sum everything up and man 800 00:44:15,520 --> 00:44:17,680 Speaker 1: of the album. So that's what I wrote. He ended 801 00:44:17,760 --> 00:44:22,200 Speaker 1: up using it on the thing. So that's what my 802 00:44:22,320 --> 00:44:26,320 Speaker 1: involvement has been overall view of the project. Was it 803 00:44:26,400 --> 00:44:28,640 Speaker 1: crazy to like hear it? To hear this album like 804 00:44:28,760 --> 00:44:31,840 Speaker 1: without you involved with it for the first time, it 805 00:44:31,960 --> 00:44:37,640 Speaker 1: was wild? To fan it was crazy. It was a 806 00:44:37,680 --> 00:44:40,360 Speaker 1: different experience for sure. How did you do Did you 807 00:44:40,440 --> 00:44:42,520 Speaker 1: set up a studio somewhere? Did you think it? Like? 808 00:44:42,640 --> 00:44:45,719 Speaker 1: We asked when it dropped? Um, because you know, I 809 00:44:45,760 --> 00:44:49,640 Speaker 1: could have went by the studio numerous times, but I decided, like, 810 00:44:49,800 --> 00:44:53,080 Speaker 1: all right, I'm gonna just sit back. So we we 811 00:44:53,239 --> 00:44:55,080 Speaker 1: was in the studio when the drop just cut it 812 00:44:55,160 --> 00:44:58,600 Speaker 1: owns just played it topped the bottom. We're surprised by 813 00:44:58,600 --> 00:45:01,080 Speaker 1: any of the stories that he told on the prob Jack, No, 814 00:45:01,160 --> 00:45:05,000 Speaker 1: I'm not surprised, but um, I don't know. I like, 815 00:45:05,200 --> 00:45:07,640 Speaker 1: I liked it initially when when I first heard it, 816 00:45:07,960 --> 00:45:09,560 Speaker 1: you know what I mean, I got it. It made 817 00:45:09,640 --> 00:45:12,120 Speaker 1: sense to me where he was going like it was 818 00:45:12,440 --> 00:45:15,320 Speaker 1: full out therapy for him. How do you feel like 819 00:45:15,400 --> 00:45:18,440 Speaker 1: that stacks up against all the previous projects? You know, 820 00:45:18,480 --> 00:45:20,520 Speaker 1: there's different spaces, you know what I mean, different time. 821 00:45:20,520 --> 00:45:23,320 Speaker 1: I always described it as a good Kid was a 822 00:45:23,440 --> 00:45:29,040 Speaker 1: classic pepper Butterfly, it was a masterpiece, and Damn was 823 00:45:29,120 --> 00:45:36,400 Speaker 1: a blockbuster. I think it's a Politzer. I don't know. 824 00:45:36,480 --> 00:45:39,480 Speaker 1: It's so they're all so different to me that you 825 00:45:39,600 --> 00:45:42,360 Speaker 1: can't really compare them, you know what I mean, So 826 00:45:42,480 --> 00:45:44,840 Speaker 1: I don't I don't even put that thought into it. 827 00:45:45,400 --> 00:45:47,439 Speaker 1: What's your memories of making Damn? I feel like Damn 828 00:45:47,520 --> 00:45:49,320 Speaker 1: was the record where it's like because it was to me, 829 00:45:49,400 --> 00:45:51,759 Speaker 1: it was always a little murmuring like, well, Kenji, don't 830 00:45:51,800 --> 00:45:54,080 Speaker 1: make something you could really play in the club, Humble 831 00:45:54,239 --> 00:45:56,200 Speaker 1: or whatever type record, and then like he kind of 832 00:45:56,280 --> 00:46:00,200 Speaker 1: shut everybody off. Was that kind of the intenseolutely want 833 00:46:00,200 --> 00:46:03,759 Speaker 1: the anthems and that was the whole point. So then 834 00:46:03,840 --> 00:46:08,680 Speaker 1: you got, um, I mean loyalty, you got uh, what's 835 00:46:08,760 --> 00:46:17,400 Speaker 1: doing that's doing? That went Diamonded went down, Yeah, Humble, 836 00:46:17,440 --> 00:46:23,120 Speaker 1: you know what I mean? All those are like anthem type. Yeah, 837 00:46:23,160 --> 00:46:25,800 Speaker 1: that was the mindset though them to really make anthems 838 00:46:25,840 --> 00:46:29,120 Speaker 1: that everybody could really sing along too. Do you feel 839 00:46:29,160 --> 00:46:30,680 Speaker 1: like even for the newer artists that they have to 840 00:46:30,800 --> 00:46:33,080 Speaker 1: live up to the expectation of like Kendrick and Sizzle, 841 00:46:33,200 --> 00:46:37,600 Speaker 1: or you just feel like they have to pressure. I 842 00:46:37,840 --> 00:46:41,200 Speaker 1: personally don't feel like they do. But I don't mean 843 00:46:41,280 --> 00:46:44,319 Speaker 1: that they don't feel that pressure, you know what I mean? 844 00:46:44,440 --> 00:46:47,440 Speaker 1: Like I think it's it's just naturally set based on 845 00:46:47,560 --> 00:46:51,799 Speaker 1: everything that happened and what we've done. So I mean, 846 00:46:52,120 --> 00:46:55,520 Speaker 1: I never hold an artist to somebody else's standards because 847 00:46:55,520 --> 00:46:59,120 Speaker 1: they completely different. People Like I just try to figure 848 00:46:59,160 --> 00:47:01,040 Speaker 1: out where they want to go and help them get 849 00:47:01,080 --> 00:47:03,680 Speaker 1: to that spot, right, I mean, because if sisters doing 850 00:47:04,120 --> 00:47:06,600 Speaker 1: MSG and you know someone else is doing a you know, 851 00:47:06,719 --> 00:47:10,920 Speaker 1: three hundred capacity space, Yeah, it is what it is. 852 00:47:11,400 --> 00:47:14,879 Speaker 1: That's the cry, right, That's the whole process right there. Yeah, 853 00:47:15,080 --> 00:47:16,839 Speaker 1: But you say that that's also what you love even 854 00:47:16,880 --> 00:47:19,000 Speaker 1: with Full of Merry, Like you love that process of 855 00:47:19,120 --> 00:47:21,279 Speaker 1: kind of just building it absolutely on the top, Like 856 00:47:21,560 --> 00:47:23,320 Speaker 1: why is that sophere warring to you? That feeling of 857 00:47:23,440 --> 00:47:26,000 Speaker 1: like building something from it because there's so much discovery, 858 00:47:27,040 --> 00:47:29,399 Speaker 1: you know what I mean, Like it's that teaching part 859 00:47:29,480 --> 00:47:33,960 Speaker 1: where somebody didn't know something at all and then it's 860 00:47:34,280 --> 00:47:36,320 Speaker 1: clicking to him like, oh, this is how you do this. 861 00:47:36,600 --> 00:47:39,760 Speaker 1: This is like I just love that feeling. That exchange 862 00:47:39,800 --> 00:47:43,920 Speaker 1: to me is the whole thing. It's like usually sometimes 863 00:47:43,960 --> 00:47:46,839 Speaker 1: when artists get to a certain point, it's like, I mean, 864 00:47:47,080 --> 00:47:50,239 Speaker 1: you know what to do. You coached, so you know, 865 00:47:50,719 --> 00:47:54,839 Speaker 1: get it done right. Like even like when you talk 866 00:47:54,880 --> 00:47:58,400 Speaker 1: about Kendrick and in the last album, it's like it 867 00:47:58,480 --> 00:48:01,200 Speaker 1: was nothing I could really provide to him at that 868 00:48:01,280 --> 00:48:04,840 Speaker 1: point in making an album. It's like a made guy. Yeah, absolutely, 869 00:48:05,040 --> 00:48:07,640 Speaker 1: Like you know what it is like. So you was 870 00:48:07,680 --> 00:48:12,680 Speaker 1: at the Grammys two in your black teeth. Yeah absolutely, 871 00:48:12,880 --> 00:48:16,040 Speaker 1: no button up, no button up, but you're never gonnaee 872 00:48:16,080 --> 00:48:18,880 Speaker 1: punch of the dressing up going to these people establishment 873 00:48:22,480 --> 00:48:26,360 Speaker 1: going as me. Yeah. So yeah, so you took that 874 00:48:26,440 --> 00:48:29,360 Speaker 1: picture with Jay and Dave Free and Kennedy. That was 875 00:48:29,360 --> 00:48:31,520 Speaker 1: really dope seeing you guys collective because people think on 876 00:48:31,600 --> 00:48:33,920 Speaker 1: the internet that you guys, yeah it's an issue, it's 877 00:48:33,920 --> 00:48:37,000 Speaker 1: an issue or something. Yeah, you're gonna have that though, 878 00:48:37,040 --> 00:48:42,840 Speaker 1: because that's usually how it goes. And if people, you know, 879 00:48:43,000 --> 00:48:45,960 Speaker 1: finish their business and move on to different things, that 880 00:48:46,080 --> 00:48:49,960 Speaker 1: people automatically feel it's a problem. But that's family. Yeah, 881 00:48:50,080 --> 00:48:53,600 Speaker 1: you know what I mean. It's family. It's never it's 882 00:48:53,640 --> 00:48:55,719 Speaker 1: never an issue for somebody to go out and try 883 00:48:55,760 --> 00:48:58,960 Speaker 1: to build their own thing. Never. Yeah, So the family 884 00:48:59,080 --> 00:49:02,560 Speaker 1: staying tight, man, absolutely. How many new CD acts do 885 00:49:02,600 --> 00:49:04,680 Speaker 1: we have? Another? Looking? What's the guy Vaughan? What's his name? 886 00:49:06,400 --> 00:49:09,160 Speaker 1: You got new music from Start coming on the way? Yeah, yeah, 887 00:49:09,200 --> 00:49:12,239 Speaker 1: Start coming to Chasing Summer Man. You like that one? 888 00:49:12,280 --> 00:49:15,640 Speaker 1: That was a classic. Yeah, I love that album too. Yeah. Yeah. 889 00:49:16,000 --> 00:49:19,160 Speaker 1: Everybody is cooking though, man, and it is right there, 890 00:49:19,480 --> 00:49:22,960 Speaker 1: like almost done. I think Q might be done. Don't 891 00:49:23,040 --> 00:49:25,200 Speaker 1: quote me on it, though. So we got new music 892 00:49:25,280 --> 00:49:29,040 Speaker 1: from absol Array in the cooker out right now, Jay 893 00:49:29,160 --> 00:49:33,600 Speaker 1: Rocks coming soon, Yeah, Ray Vaughn, Sir, missing anybody else? 894 00:49:34,440 --> 00:49:42,560 Speaker 1: Reason cooking, Reason cooking? Uh, Lance just dropped something. So 895 00:49:42,800 --> 00:49:46,680 Speaker 1: everybody is in a great space and working. How's Izaya Rashard? 896 00:49:46,880 --> 00:49:49,239 Speaker 1: You know, you know we had that. I don't want 897 00:49:49,239 --> 00:49:52,760 Speaker 1: know what to call it, invasion of privacy that happened 898 00:49:52,760 --> 00:49:54,919 Speaker 1: in a while ago. Is he in a good space though? 899 00:49:55,280 --> 00:49:57,319 Speaker 1: I think it's tough, you know what I mean when 900 00:49:57,520 --> 00:50:00,960 Speaker 1: when something like that happens like you're always gonna have 901 00:50:01,040 --> 00:50:04,080 Speaker 1: to figure out how to deal with it. But he 902 00:50:04,200 --> 00:50:07,240 Speaker 1: definitely has his high moments, and he has his moments 903 00:50:07,280 --> 00:50:08,920 Speaker 1: when he's not, you know what I mean, really feeling it. 904 00:50:09,960 --> 00:50:12,719 Speaker 1: So as of now though, I think he in a 905 00:50:12,800 --> 00:50:16,440 Speaker 1: great space. He on tour, okay, I think it was 906 00:50:16,520 --> 00:50:18,279 Speaker 1: very dope the way you know, stood up for him 907 00:50:18,320 --> 00:50:20,440 Speaker 1: and backed him, and you know, yeah, from the controversy 908 00:50:20,560 --> 00:50:22,040 Speaker 1: hit to whatever. It's like, I feel like, you know, 909 00:50:22,600 --> 00:50:25,520 Speaker 1: as family, you know what I mean. I'm saying, whatever 910 00:50:26,280 --> 00:50:28,880 Speaker 1: people do with a personal business is a personal business. 911 00:50:28,960 --> 00:50:31,800 Speaker 1: I don't you know, I don't. I don't have no 912 00:50:31,920 --> 00:50:36,480 Speaker 1: bearing on on what we're doing. Still business as usual? Yeah, absolutely, 913 00:50:37,480 --> 00:50:40,800 Speaker 1: Are we going to get anymore tde Christmases and nickoson gardens? 914 00:50:41,520 --> 00:50:44,120 Speaker 1: I think we're gonna do it this year. It's been 915 00:50:44,200 --> 00:50:46,759 Speaker 1: tough for COVID, okay, you know what I mean, Like 916 00:50:46,840 --> 00:50:49,600 Speaker 1: even last year it was certain restrictions that they wanted 917 00:50:49,640 --> 00:50:53,120 Speaker 1: on it that we didn't feel like, you know, it's 918 00:50:53,120 --> 00:50:55,880 Speaker 1: the right time to do it again. But I think it's, Uh, 919 00:50:56,040 --> 00:50:59,320 Speaker 1: it's wide open down, so you're gonna come out the 920 00:50:59,360 --> 00:51:03,759 Speaker 1: way come. I'm scared you're on the West no excuse now, 921 00:51:03,880 --> 00:51:08,359 Speaker 1: right to come out there. I've never been to watch too, 922 00:51:08,400 --> 00:51:10,840 Speaker 1: so I gotta come through. You should come, Yeah, Rihanna 923 00:51:10,880 --> 00:51:18,200 Speaker 1: there once punch of time. Yeah, Rihanna, you'll be staying good. Right. Yeah, 924 00:51:18,239 --> 00:51:20,240 Speaker 1: you got Zach Raindolph getting the rest of the outside 925 00:51:20,239 --> 00:51:26,440 Speaker 1: I didn't. Zach got the rest of the walk story. Hey, Man, 926 00:51:26,520 --> 00:51:29,680 Speaker 1: don't come, and then one day Punch will get sis 927 00:51:29,800 --> 00:51:31,560 Speaker 1: on the program. Right, I'm saying, I know my wife 928 00:51:31,600 --> 00:51:36,200 Speaker 1: gets all the interviews, Damn Smith. He like, how's it 929 00:51:36,280 --> 00:51:40,359 Speaker 1: feel losing the interviews to your wife? Oh Man? Typical punt? 930 00:51:41,000 --> 00:51:43,840 Speaker 1: Absolutely day Now I'm gonna try to get her on 931 00:51:43,920 --> 00:51:48,400 Speaker 1: there man with no interviews, not really her thing like that. Absolutely. 932 00:51:48,600 --> 00:51:50,520 Speaker 1: So what do you think of the Times piece? Did you? 933 00:51:50,600 --> 00:51:52,719 Speaker 1: Did you read it? Time? Yeah? I thought it was good. 934 00:51:52,800 --> 00:51:56,080 Speaker 1: I liked it a lot. Yeah, Dann did a great job. Yeah, 935 00:51:56,320 --> 00:51:59,160 Speaker 1: thank sure. Absolutely we would do a good job too 936 00:51:59,200 --> 00:52:00,839 Speaker 1: if we ever get them, think we will as well. 937 00:52:01,880 --> 00:52:03,960 Speaker 1: But the meantime we gotta go to MSG. Man you're ready, 938 00:52:03,960 --> 00:52:06,000 Speaker 1: get your tickets out, We're going tonight, Going tonight, man 939 00:52:06,160 --> 00:52:12,480 Speaker 1: Punch his house this interview there o, Man, you tell 940 00:52:12,560 --> 00:52:17,319 Speaker 1: us see when he comes to New York. He wants 941 00:52:17,400 --> 00:52:19,680 Speaker 1: the party, wants to go everywhere. So I guess you 942 00:52:19,760 --> 00:52:22,080 Speaker 1: know you used to call Kendrick Lamar King of New York. 943 00:52:22,400 --> 00:52:25,040 Speaker 1: Absolutely does that mean that since the Queen of New 944 00:52:25,120 --> 00:52:30,680 Speaker 1: York right there for sure? Thank you, punch Man. Good 945 00:52:30,719 --> 00:52:34,879 Speaker 1: to see my brother Sir. Likewise, appreciate you guys man anytime. Yeah. 946 00:52:35,000 --> 00:52:39,800 Speaker 1: Rapper Up podcast rappertor Is The Interval presents original production 947 00:52:39,840 --> 00:52:43,680 Speaker 1: from Hyperhouse, produced by Laura Wasser, Hosts and producers Elliott 948 00:52:43,680 --> 00:52:47,640 Speaker 1: Wilson and Brian b Doc Miller Hermittiful Presents executive producers 949 00:52:47,719 --> 00:52:52,640 Speaker 1: Alan Coy and Jake Kleinberg, Executive producer Paul Rosenberg, editing 950 00:52:52,680 --> 00:52:57,279 Speaker 1: his sound design by Dylan Alexander Freeman, recording engineer Mike Urban, 951 00:52:57,840 --> 00:53:02,760 Speaker 1: visual director Josh Perez, Operations lead Sarah You, business development 952 00:53:02,840 --> 00:53:06,680 Speaker 1: Lead Cheffie Allenswegg, and marketing lead Samara Still. Make sure 953 00:53:06,719 --> 00:53:09,520 Speaker 1: to follow an operator or listen on Apple Podcasts, Spotify, 954 00:53:09,680 --> 00:53:12,200 Speaker 1: Amazon Music, Stitcher, or wherever you get your podcasts