Latest / The Bootleg Kev Podcast / #330 - Malcolm Mays

Transcript

#330 - Malcolm Mays · The Bootleg Kev Podcast

• 0:03
  Speaker 1: Brulet Cat Podcast Special guests in here Malcolm May's welcome sir.
• 0:08
  Speaker 1: For people who don't know what I know you from Snowfall,
• 0:13
  Speaker 1: all right, all right, which is obviously one of the
• 0:15
  Speaker 1: more legendary television shows, the last I don't know forever. Yeah, yeah,
• 0:19
  Speaker 1: it's one of them ones.
• 0:20
  Speaker 2: It's one of them ones.
• 0:22
  Speaker 1: But I did not know that you made music, So
• 0:23
  Speaker 1: what were you doing? First acting of the music?
• 0:25
  Speaker 2: It was always both So I'm I came up at
• 0:28
  Speaker 2: a church that was in the middle of the twenties
• 0:30
  Speaker 2: called First African Methodis Episcopal Fangka. Out of it came
• 0:34
  Speaker 2: fifteen hundred and nothing, so ranting them all from that
• 0:36
  Speaker 2: same church, JAMMI and so I've always been musically inclined.
• 0:40
  Speaker 2: It's just everybody else was better than it around me.
• 0:42
  Speaker 2: So I didn't think, like you know, when you when
• 0:44
  Speaker 2: you hanging around goats, you often think that your talent
• 0:47
  Speaker 2: is minimized, right, But then you also get to stepping
• 0:50
  Speaker 2: around other people and you're like, wait, hold up, how
• 0:52
  Speaker 2: might have something. I'm actually like, they're so amazing that
• 0:54
  Speaker 2: I'm better than everybody else, or I could be persily
• 0:57
  Speaker 2: right if you put the work in in time. But
• 0:59
  Speaker 2: I've always been doing music. I was a songwriter since
• 1:01
  Speaker 2: I was fifteen. I got my first placement at sixteen
• 1:03
  Speaker 2: years old.
• 1:04
  Speaker 1: What was your placement?
• 1:04
  Speaker 2: Man, I ain't even granting them that got that for me? Yeah,
• 1:07
  Speaker 2: they did. It was a blessing. It was I think
• 1:09
  Speaker 2: it was on a TV show or something. It was
• 1:12
  Speaker 2: like a nine or two or zero or something like that. Yeah,
• 1:14
  Speaker 2: my first song independently, Yeah, it was dope.
• 1:17
  Speaker 1: So obviously, living in La a lot of people come
• 1:19
  Speaker 1: here to start acting. What was the origination of you
• 1:23
  Speaker 1: like being an actor and like actually making a career
• 1:26
  Speaker 1: out of it.
• 1:27
  Speaker 2: Oh shit, my mama, bro like mama, grandma, my community,
• 1:31
  Speaker 2: even my church, like from church plays. You know. My
• 1:34
  Speaker 2: mom always was like trying to find different ways to
• 1:36
  Speaker 2: keep me distracted out the streets, and it didn't work,
• 1:39
  Speaker 2: but she tried her best. And this was one of
• 1:41
  Speaker 2: the things that always stuck. When you were Quel Robinson,
• 1:44
  Speaker 2: I got to give her a flower. She had a
• 1:46
  Speaker 2: school in the hood for acting, Amazing Grace Conservatory, which
• 1:49
  Speaker 2: is still active to this day, and basically she gives
• 1:52
  Speaker 2: grants out to certain kids who she believes is talented
• 1:55
  Speaker 2: to kind of foster and give them a conservatory level
• 1:57
  Speaker 2: of training, right and at a cost, which was no
• 2:00
  Speaker 2: cost for some people, to be honest, and that's produced,
• 2:02
  Speaker 2: Like I think the dude who was in Moonlight like me, yeah,
• 2:07
  Speaker 2: she she, it'll produced music or to everybody, everybody, you
• 2:09
  Speaker 2: came out of there, yeah I did. And before that
• 2:11
  Speaker 2: it was faith acting. So it was faith acting. Then
• 2:13
  Speaker 2: AGC and they were kind of the same, so it
• 2:15
  Speaker 2: was there and then yeah, it just kind of kept
• 2:17
  Speaker 2: me out out the way. Well, it tried to keep
• 2:19
  Speaker 2: me out the way.
• 2:19
  Speaker 1: Yeah, how because the act obviously, I'm involved in the
• 2:25
  Speaker 1: music industry, and the music industry is such it's a
• 2:29
  Speaker 1: lot of it's like hitting the lotto, but for whatever reason,
• 2:31
  Speaker 1: the acting game to me feels like even more difficult
• 2:34
  Speaker 1: to get like into.
• 2:36
  Speaker 2: Oh yeah, Numerically, I mean if you look at the people.
• 2:38
  Speaker 2: First of all, music don't have no union.
• 2:39
  Speaker 1: So that's not just everyone moves to LA and it's
• 2:42
  Speaker 1: like not only y'all getting into movies.
• 2:44
  Speaker 2: Bro. Yeah, no, I think it's less than one percent
• 2:46
  Speaker 2: of the SAG union works.
• 2:48
  Speaker 1: That's crazy.
• 2:49
  Speaker 2: It's a job a year, and I've been blessed enough
• 2:51
  Speaker 2: to always work. But that didn't come from no like,
• 2:54
  Speaker 2: you know, knowing nobody. I wasn't nobody nephew or son
• 2:57
  Speaker 2: or everything. I was just me and blessed enough that
• 3:00
  Speaker 2: people see me working along the way.
• 3:01
  Speaker 1: So what was your first big break on the acting side?
• 3:04
  Speaker 2: First big break? Shit, what I made. My first big
• 3:07
  Speaker 2: break to me was when I made my first feature.
• 3:09
  Speaker 2: I was seventeen years old. I wrote director, started it
• 3:11
  Speaker 2: because I didn't know no better. And I won this
• 3:14
  Speaker 2: grant from Panavision. I was like seventeen years old. It
• 3:16
  Speaker 2: was supposed to be for college students, but I didn't know.
• 3:19
  Speaker 2: So I just applied and they gave me this big
• 3:21
  Speaker 2: ass film camera, and so I had to learn how
• 3:24
  Speaker 2: to like cut film, like like my fingers.
• 3:26
  Speaker 1: You shot your own shit, Like yeah, yeah.
• 3:28
  Speaker 2: Like really, I was on Super sixteen. I'm shooting my
• 3:31
  Speaker 2: first feature. I started it, directed it. But I had
• 3:33
  Speaker 2: always had a love for cinema. I always had a
• 3:35
  Speaker 2: love for music, so I just that was like a
• 3:37
  Speaker 2: mode of expression for me. Like even when you said, like, oh,
• 3:39
  Speaker 2: the music industry of the film industry, that should be
• 3:42
  Speaker 2: weird to me, because that's not my I don't have
• 3:44
  Speaker 2: like actor friends. I didn't get active friends till later.
• 3:47
  Speaker 2: I had like friends who like we throw going away
• 3:50
  Speaker 2: parties and those going away parties just to turn themselves
• 3:52
  Speaker 2: in so that you, hell, yeah, that's my friends. So
• 3:55
  Speaker 2: I didn't even as I was being successful, even when
• 3:58
  Speaker 2: like I'm going to tell you ride or what, and
• 4:00
  Speaker 2: the homies ain't never heard of that shit, right, you
• 4:01
  Speaker 2: know what I'm saying. But like I'm talking about you know,
• 4:04
  Speaker 2: Bernardo Berta Lucci. You know, niggas don't really know what
• 4:07
  Speaker 2: the fuck I'm talking about. But you know, they supported me,
• 4:10
  Speaker 2: they loved me. I always got loved, so I just
• 4:11
  Speaker 2: kept doing it. But the industry, the commodification of art,
• 4:15
  Speaker 2: I still don't get that shit. I don't know how
• 4:16
  Speaker 2: you navigated. I don't know how my manager Chris Cornish navigated.
• 4:20
  Speaker 2: I don't know how niggas do that. I just make
• 4:22
  Speaker 2: shit and been blessed in us and people like it,
• 4:24
  Speaker 2: yeah well sometimes, but like really, I just I bother
• 4:27
  Speaker 2: niggas because it ain't shit scarier and ain't no no scary.
• 4:30
  Speaker 2: Ain't nothing scarier than death. So I'll be present, like
• 4:32
  Speaker 2: I'm making my shit, I'm going and if people like it,
• 4:34
  Speaker 2: they like it.
• 4:35
  Speaker 1: So how did you initially get into snowfa Obviously, John
• 4:40
  Speaker 1: Singleton was behind me. God rest the soul, Rest in
• 4:42
  Speaker 1: peace to John Singletons piece of the Big homey Ah,
• 4:45
  Speaker 1: but you obviously very imperative early in the show. What
• 4:49
  Speaker 1: was the process of getting on his radar and getting
• 4:51
  Speaker 1: casted in that show?
• 4:52
  Speaker 2: Well, I had known Johnson Saw sixteen seventeen years old
• 4:54
  Speaker 2: because of that movie. I told you, I'm right. So
• 4:56
  Speaker 2: when I made it, I was also working at Sony
• 4:58
  Speaker 2: Pictures under the head of physical production name Gary Martin.
• 5:00
  Speaker 2: He gave me the opportunity to learn the business of
• 5:02
  Speaker 2: filmmaking because I was bothering him. So he was like,
• 5:06
  Speaker 2: you know, it was an internship that I found. I
• 5:08
  Speaker 2: snuck on the lot.
• 5:09
  Speaker 1: Talk to Jesus, that's crazy.
• 5:10
  Speaker 2: Yeah, it was crazy. It was really wild out here.
• 5:12
  Speaker 2: You know, I would ditch. I was going to summer
• 5:13
  Speaker 2: school at Hamilton and ditching.
• 5:15
  Speaker 1: So you were interning on the movie lot.
• 5:17
  Speaker 2: Yeah, But nobody really knew how old I was, so
• 5:19
  Speaker 2: they just like, let me do shit. And I knew
• 5:21
  Speaker 2: what I was talking about, but they didn't know I
• 5:22
  Speaker 2: was a kid kid. So I was getting checks like
• 5:24
  Speaker 2: sixteen fifteen years old that were looking like nice, like
• 5:27
  Speaker 2: not crazy.
• 5:27
  Speaker 1: Bright or something. Ffteen year old, you're getting.
• 5:30
  Speaker 2: Ten bands, you like nigga, I'm up in my family,
• 5:32
  Speaker 2: living in a section. I'm like, I'm up. So for
• 5:35
  Speaker 2: me making that feature film, there were other people like
• 5:38
  Speaker 2: Gary Martin who had built the careers of minority filmmakers.
• 5:41
  Speaker 2: He's a white dude, looked like Santa Claus right, but
• 5:43
  Speaker 2: he always enabled black Latino and female filmmakers from the
• 5:48
  Speaker 2: nineties like Robert rod Reegaz, like all In and John
• 5:52
  Speaker 2: and he thought that I reminded him of John and
• 5:54
  Speaker 2: John would. He would tell John, I got this kid,
• 5:56
  Speaker 2: I got this kid, but until I made my first feature,
• 5:58
  Speaker 2: John wasn't trying to hear it. So when I find
• 6:00
  Speaker 2: he made my first feature got on the front of
• 6:01
  Speaker 2: New York Times, John was like, Okay, I'll listen to
• 6:03
  Speaker 2: this kid. You feel me? And we clicked because he
• 6:06
  Speaker 2: did know who Bernouto Bertolucci was. He did know you
• 6:09
  Speaker 2: know what what Burger's standing out to go to and
• 6:11
  Speaker 2: south from Los Angeles, and he knew books and he
• 6:13
  Speaker 2: knew music, and he like people don't know. John on
• 6:15
  Speaker 2: the record label and the first person he ever signed
• 6:18
  Speaker 2: was was an aight dog crazy Yeah, that's like he
• 6:22
  Speaker 2: been that nigga, Like it's it's always been intertwined, it's
• 6:25
  Speaker 2: never really been separated. And you know, like if you
• 6:27
  Speaker 2: know the history of l A, you know.
• 6:29
  Speaker 1: Was he also working with Coolio?
• 6:31
  Speaker 2: Yeah at some point yeah, yeah he got he really
• 6:33
  Speaker 2: go like I had, I had.
• 6:34
  Speaker 1: The music director dude for the show on the White
• 6:38
  Speaker 1: dude from from Compton.
• 6:41
  Speaker 2: Yeah, John Stewart. He for real, I ain't gonna lie.
• 6:43
  Speaker 2: He been outside like he'd been outside.
• 6:47
  Speaker 1: But yeah, so you're like a real just film geek.
• 6:51
  Speaker 1: I mean, you got to be a geek about this
• 6:52
  Speaker 1: ship to really like put your own movie out as
• 6:55
  Speaker 1: a kid.
• 6:55
  Speaker 2: I mean shit, I'm like that with music too, like
• 6:58
  Speaker 2: like like so you added in your own movie? I
• 7:01
  Speaker 2: did at that time. Yeah. Now now it's like it's
• 7:03
  Speaker 2: too easy, Like.
• 7:04
  Speaker 1: I'm saying, when you were like so like back in
• 7:06
  Speaker 1: the day, did you have final Cut?
• 7:07
  Speaker 2: Like back in the day it was AVID and now
• 7:09
  Speaker 2: you still have AVID. But back then there was these
• 7:11
  Speaker 2: massive systems that you had to edit on just like
• 7:13
  Speaker 2: music with it right here, and it's.
• 7:14
  Speaker 1: Like no, it used to be crazy. Now anybody can
• 7:16
  Speaker 1: buy a little red box from Guitar Center.
• 7:18
  Speaker 2: But just like music, everything used to be taped, everything
• 7:20
  Speaker 2: used to be analog.
• 7:21
  Speaker 1: You had to cut it right if.
• 7:22
  Speaker 2: You wanted that analog field. So I was actually I
• 7:25
  Speaker 2: remember my first film I cut like on like a
• 7:28
  Speaker 2: like a like a star.
• 7:29
  Speaker 1: You were actually like the film.
• 7:31
  Speaker 2: And then the next film I did like on avid,
• 7:33
  Speaker 2: which is like ingesting these massive things I shot on film.
• 7:36
  Speaker 2: I did all that I've done. I've done my work
• 7:38
  Speaker 2: like I've really been out here. Probably didn't have to,
• 7:40
  Speaker 2: but but that was I loved it. When you love
• 7:43
  Speaker 2: some shit, you don't even know that you're supposed to
• 7:45
  Speaker 2: be doing certain things to industrialize, to solidify a career,
• 7:49
  Speaker 2: or political I never did the politics very well, even
• 7:51
  Speaker 2: in music. Like That's why it took me so long
• 7:54
  Speaker 2: to transfer over and do this EP which is on
• 7:56
  Speaker 2: the Streetjournals Value one June twenty third, And you know,
• 7:59
  Speaker 2: I got these big features and everybody's like, oh my.
• 8:01
  Speaker 1: God, who is on their EP?
• 8:02
  Speaker 2: Like, bro, if ill I gotta tell you off camera
• 8:04
  Speaker 2: because it's a surprise.
• 8:05
  Speaker 1: You're here to promote it.
• 8:07
  Speaker 2: Who's on the EP? This? Can I tell them? Am
• 8:09
  Speaker 2: I holding that it's a big one? You can tell mhm,
• 8:14
  Speaker 2: Well you can't you can't put it in there. You
• 8:16
  Speaker 2: gotta beep it. You gotta you gotta beat it.
• 8:17
  Speaker 1: We'll beep it.
• 8:18
  Speaker 2: So the next single I'll play for you it's alow.
• 8:20
  Speaker 1: Baby, oh shit.
• 8:24
  Speaker 2: And then the next one me and Wally we just
• 8:26
  Speaker 2: got a video to day oh shout out to. Yeah,
• 8:28
  Speaker 2: it's gonna go crazy like it's a fight on you
• 8:30
  Speaker 2: people to go crazy Like it's really different.
• 8:32
  Speaker 1: Damn, that's a pretty uh, that's a pretty serious feature
• 8:36
  Speaker 1: to get. Is this your first EP?
• 8:38
  Speaker 2: It's my second one. The first one was Red Flags.
• 8:40
  Speaker 2: It was Red Flags was more like a like a
• 8:42
  Speaker 2: like a gritty R and B.
• 8:44
  Speaker 1: Would you consider like your movie career is helping you
• 8:48
  Speaker 1: fund your music career now.
• 8:49
  Speaker 2: Because I've been saying saying everything but everything right, like
• 8:52
  Speaker 2: because I you know, my movie career, you know acting,
• 8:54
  Speaker 2: I make a bag that's for the family, but I
• 8:57
  Speaker 2: make people don't know, like I'm diversified. I have a
• 8:59
  Speaker 2: real estate trust. I got like at some point I
• 9:02
  Speaker 2: had an equity stake in the luxury car business during
• 9:04
  Speaker 2: the pandemic because you know, all the finessas and drug
• 9:05
  Speaker 2: dealers wanted to rent cars. I made a bunch of
• 9:08
  Speaker 2: money doing that. But when you say make a bunch
• 9:10
  Speaker 2: of money, it's not like a flex. It's like I
• 9:11
  Speaker 2: would I took. I just basically took money. I was
• 9:13
  Speaker 2: gonna go spend to go buy a Dumn car and
• 9:16
  Speaker 2: it went and invested in the company that I had
• 9:17
  Speaker 2: a bunch of cars, so that like, whatever's not on
• 9:19
  Speaker 2: the lot, I would just use that. So that was
• 9:21
  Speaker 2: fun because I got to experiment with cars and see
• 9:23
  Speaker 2: what I liked. It's never really motivated by me trying
• 9:25
  Speaker 2: to like, you know, look flaw. It's more so me
• 9:28
  Speaker 2: like how do I not lose this money? So I
• 9:30
  Speaker 2: do that I got, But that's all just business ventures
• 9:33
  Speaker 2: to make sure that my mom, my grandma, my son,
• 9:37
  Speaker 2: my seed has something. But the music was always just
• 9:41
  Speaker 2: a passion that I love to do and I don't
• 9:42
  Speaker 2: want to lose money. And Chris got Chris just you know,
• 9:44
  Speaker 2: he just left Empire to fuck with me. You know,
• 9:47
  Speaker 2: I'm managed by him and Brinch Managers, which is tie
• 9:51
  Speaker 2: based in and Jane Andrews. So like a lot of
• 9:54
  Speaker 2: people have banked on me. You know, Venice Music Group
• 9:57
  Speaker 2: is distributing.
• 10:00
  Speaker 1: They dope my friend tweets over there.
• 10:02
  Speaker 2: Yeah, and and essentially they like they just help you
• 10:06
  Speaker 2: if you independent. So a lot of people taking time
• 10:08
  Speaker 2: out putting sweat equity into me, and I just don't
• 10:10
  Speaker 2: want them to look stupid.
• 10:11
  Speaker 1: So like I gotta I gotta fall through now.
• 10:12
  Speaker 2: Yeah, so I put I'm not ashamed of it. I
• 10:14
  Speaker 2: took every dollar I had from all of these different
• 10:16
  Speaker 2: ventures and said I'm banking on myself with this music ship.
• 10:19
  Speaker 2: So when I was talking to Glasses, I'm like, bro,
• 10:22
  Speaker 2: you know, you know because you one of the few
• 10:24
  Speaker 2: left real LA media outlets for hip hop, right, like
• 10:28
  Speaker 2: we are we are in a dire state, right, we
• 10:31
  Speaker 2: got you. We got community in them, which.
• 10:34
  Speaker 1: Broke homegrown radio, shown.
• 10:36
  Speaker 2: Radio of course DJ head and of course like Chuck
• 10:40
  Speaker 2: is that man. But then it's like Gina when she's
• 10:43
  Speaker 2: not on No Jumper, I guess, and like she's.
• 10:45
  Speaker 1: Not on No Jumper now, I think she just started
• 10:47
  Speaker 1: her own thing.
• 10:48
  Speaker 2: Yeah apartment, she should, but she but she's been doing
• 10:51
  Speaker 2: that like she's been hard, Like she's all in the
• 10:53
  Speaker 2: d her and her the DJ friend, they be doing
• 10:55
  Speaker 2: it so like and they should go crazy.
• 10:56
  Speaker 1: Yeah West Coast Conference the name of their show they
• 10:59
  Speaker 1: were doing. I don't think it's happening anymore.
• 11:01
  Speaker 2: Though, Oh okay, well do you see what I'm saying.
• 11:04
  Speaker 2: We don't have a place to go all the all
• 11:06
  Speaker 2: the outlets is on the East coast or in the south, So.
• 11:08
  Speaker 1: For sure, the East coast gotta sewed up.
• 11:10
  Speaker 2: So this is important to me because I'm like, well,
• 11:12
  Speaker 2: where did the little hommies go tap into? Really? Because
• 11:15
  Speaker 2: you know hip hop, you know music history, you know,
• 11:17
  Speaker 2: like you've been outside and you really love this shit.
• 11:19
  Speaker 2: So I was like, man, who do I talk to?
• 11:21
  Speaker 2: Who do I go tell that, Hey, look, I make music,
• 11:23
  Speaker 2: I'm out here and it's not bad. Who do you
• 11:24
  Speaker 2: go to that goes, hey, this shit? This nigga go right,
• 11:27
  Speaker 2: y'all should check this out. There's only like three people,
• 11:30
  Speaker 2: and I'm not going I ain't gonna shit on nobody.
• 11:32
  Speaker 2: But I'm not going to the to the other person
• 11:34
  Speaker 2: because I don't you know, I'm not You're not gonna
• 11:36
  Speaker 2: catch me on nobody, Like, no offense to nobody, respectfully
• 11:39
  Speaker 2: on how they get their money. But certain platforms you're
• 11:41
  Speaker 2: not gonna see me on because I don't I'm from
• 11:43
  Speaker 2: a certain element and I got a cold. I'm not
• 11:45
  Speaker 2: doing that right, And so it makes it very difficult.
• 11:48
  Speaker 2: So this was very important to me. I appreciate you
• 11:50
  Speaker 2: coming through man, really important. You're this is really important.
• 11:54
  Speaker 1: Well, I appreciate you.
• 11:55
  Speaker 2: So, you know.
• 11:56
  Speaker 1: So the EP is June twenty third.
• 12:00
  Speaker 2: When it drop, dropping on the surprise single feature with
• 12:04
  Speaker 2: the music video and the EP. All at once we.
• 12:07
  Speaker 1: Got away from John, you were telling me about how
• 12:11
  Speaker 1: you would.
• 12:11
  Speaker 2: Well, he taught me how to invest in myself.
• 12:13
  Speaker 1: Okay, so he had originally took you serious once he saw.
• 12:16
  Speaker 2: You investing myself.
• 12:17
  Speaker 1: He did this movie your own feature and all that.
• 12:19
  Speaker 1: So how does that spiral off?
• 12:22
  Speaker 2: So what ends up happening is he goes, I'm gonna
• 12:23
  Speaker 2: get you in the USC Film School, okay, because like
• 12:26
  Speaker 2: that's the dream, is that John Singleton walk you into
• 12:29
  Speaker 2: the dean of USC Film School and go, which was
• 12:31
  Speaker 2: essentially what happened. But I was still outside. I think
• 12:35
  Speaker 2: there was some and I always say this, I think
• 12:37
  Speaker 2: I was. He has a son who's a wonderful human
• 12:39
  Speaker 2: being and a great you know, director and creator and
• 12:42
  Speaker 2: visualists himself. But their relationship was tense, and at that
• 12:46
  Speaker 2: time it was tense. It was great after that, but
• 12:49
  Speaker 2: I think I at that time I didn't have me
• 12:51
  Speaker 2: and my pops wasn't really you know, he wasn't really
• 12:53
  Speaker 2: around at that moment. So John kind of failled in,
• 12:55
  Speaker 2: and I kind of filled in for that relationship that
• 12:57
  Speaker 2: he was not repairing with his son in my opinion,
• 12:59
  Speaker 2: and I could be wrong, and we kind of like
• 13:01
  Speaker 2: bumped heads a lot because it meant a lot to us.
• 13:04
  Speaker 2: I didn't know that until later. I just thought he
• 13:05
  Speaker 2: was trying to be my daddy. I'm like, nigga, I
• 13:07
  Speaker 2: don't like, I don't really want to hear none of
• 13:10
  Speaker 2: that shit. But at the end of the day, he
• 13:12
  Speaker 2: wanted me to go to school and study filmmaking. But
• 13:14
  Speaker 2: I wanted to study the business of filmmaking because I
• 13:17
  Speaker 2: knew how to make movies right. And he thought and
• 13:21
  Speaker 2: he was right, that shit was That's not what he
• 13:24
  Speaker 2: walked me in there to do, right, And so we
• 13:26
  Speaker 2: bumped head pretty bad, and we you know, I ended
• 13:28
  Speaker 2: up you know, back in the streets again doing some things,
• 13:30
  Speaker 2: and he kind of was disappointed and we kind of
• 13:33
  Speaker 2: like got into it, and then you know, we ended
• 13:35
  Speaker 2: up re routing back to each other. When I auditioned
• 13:37
  Speaker 2: because Kim Kim Harden, who's his longtime casting.
• 13:40
  Speaker 1: Director auditioned on Snowfall.
• 13:42
  Speaker 2: On Snowfall, she she brought me in originally the audition
• 13:44
  Speaker 2: for Tupac, and then she was like, you dope, Like
• 13:46
  Speaker 2: I need to fuck with you for the Tupac movie. Yeah,
• 13:49
  Speaker 2: he was going to his Tupac movies. I had the
• 13:50
  Speaker 2: original draft of his Tupac movie.
• 13:52
  Speaker 1: John Singleton has a Tupac movie.
• 13:53
  Speaker 2: He has a Tupac movie. And the opening is I'm
• 13:58
  Speaker 2: not even gonna go I have that.
• 14:00
  Speaker 1: Did that movie ever get made?
• 14:01
  Speaker 2: No, No, it's.
• 14:04
  Speaker 1: Just not sitting on the shelf. Because the Tupac movie
• 14:06
  Speaker 1: we got was decent.
• 14:07
  Speaker 2: Let's not even do that it was decent.
• 14:09
  Speaker 1: It was decent. I would say it was decent. I
• 14:10
  Speaker 1: think I think the two Pac movie we got it
• 14:13
  Speaker 1: does it does get some unwarranted hit.
• 14:15
  Speaker 2: I'm a real nigga, Like I love Bennie Boom, like
• 14:16
  Speaker 2: he did a lot for my section.
• 14:18
  Speaker 1: You know, No, I think he gets unwarranted he actually
• 14:20
  Speaker 1: like when I saw it, I was like, I mean,
• 14:22
  Speaker 1: I thought they casted the funk out of the Tupac.
• 14:24
  Speaker 2: But we know that Tupac's biopic deserved the same level
• 14:27
  Speaker 2: of residents even more, I say that he deserved a
• 14:31
  Speaker 2: Gandhi level, right, a Malcolm X level.
• 14:33
  Speaker 1: For sure.
• 14:33
  Speaker 2: He was that big of a in that level of cinema, right,
• 14:36
  Speaker 2: And that doesn't mean that Benny couldn't do it. But
• 14:38
  Speaker 2: the budget limited and all that, you know what I'm saying.
• 14:40
  Speaker 1: I just think there was like budget issues. You can
• 14:42
  Speaker 1: kind of tell. It's like it should have gotten the
• 14:43
  Speaker 1: same respect as like Ali Rush something, you know.
• 14:46
  Speaker 2: And so my big on legs recipes. You know, Lucky
• 14:50
  Speaker 2: was right hands with Bennie Boom. So he's helped out
• 14:52
  Speaker 2: in the section a lot. Shout the walker fucking video
• 14:54
  Speaker 2: on our section all that, so I show him.
• 14:56
  Speaker 1: No, I actually thought it was like like knowing all
• 14:58
  Speaker 1: the restraints and ship, I thought it was lot of
• 15:00
  Speaker 1: a solid and I thought that.
• 15:01
  Speaker 2: Now I can't now I can't say that I don't
• 15:03
  Speaker 2: feel that way, but I respect the kids.
• 15:05
  Speaker 1: Kid who played Tupac though, look just like him.
• 15:07
  Speaker 2: He keV, you're such a hip hop hip hop is
• 15:10
  Speaker 2: just like he looked like him. You are. That's like
• 15:13
  Speaker 2: real hip hop ship to say, It's like.
• 15:14
  Speaker 1: Are we sure I wasn't around your mom Brown?
• 15:17
  Speaker 2: But but you never know what blessings you get from losing.
• 15:20
  Speaker 1: So that.
• 15:21
  Speaker 2: Kim was like, I need to bring you in for something.
• 15:23
  Speaker 2: I think you'd be the great, the great as a
• 15:25
  Speaker 2: lead for She brought me in for the lead of Snowfall.
• 15:27
  Speaker 1: So they you got brought in to be Franklin sat initially.
• 15:29
  Speaker 2: Oh, I screen test, okay, yeah, I always asked the
• 15:31
  Speaker 2: screen test. Yeah. Like I went in like and John
• 15:34
  Speaker 2: didn't even recognize me until the first audition. He was like,
• 15:37
  Speaker 2: holy shit, that's my He was like, that's my fucking son.
• 15:40
  Speaker 2: This is amazing. He's like, where have you been? And
• 15:42
  Speaker 2: he was like. It was a.
• 15:44
  Speaker 1: Beautiful reunit full circle moment.
• 15:46
  Speaker 2: Man. I never forget. It was Mother's Day. I just
• 15:48
  Speaker 2: seen it was really tough for me at that time,
• 15:50
  Speaker 2: like we were my family was going through it and
• 15:52
  Speaker 2: put all our business out. But it was Mother's Day
• 15:54
  Speaker 2: and I just seen my mother and my grandmother in
• 15:56
  Speaker 2: a very compromising situation, like they were hiding, like shit.
• 16:00
  Speaker 2: He was on the first floor of an apartment hiding
• 16:02
  Speaker 2: the air mattress in the bathroom type shit, you know.
• 16:04
  Speaker 2: On Mother's Day. And the next day was my audition
• 16:06
  Speaker 2: for Snowfall.
• 16:07
  Speaker 1: And he knocked it out the park.
• 16:08
  Speaker 2: Obviously I did. And then but I think that the
• 16:11
  Speaker 2: studio just wanted to go another way because the two
• 16:13
  Speaker 2: creators are actually John Singleton and Erica Madio who's from
• 16:16
  Speaker 2: Downy and he never gets enough credit for creating Snowfall.
• 16:20
  Speaker 2: It was him and John's initial idea.
• 16:22
  Speaker 1: Yeah, John's like, you know the name, you know John.
• 16:23
  Speaker 2: Yeah, John's the name, and but their DNA together is
• 16:26
  Speaker 2: what made the show. And then there's this a show
• 16:29
  Speaker 2: runnerho I'm not gonna mention, who was kind of put
• 16:31
  Speaker 2: in position as a company man to kind of manage
• 16:33
  Speaker 2: them because they were they were new to television, and
• 16:36
  Speaker 2: by the end of the situation, I just feel like, uh,
• 16:41
  Speaker 2: a lot of the decision making was not left up
• 16:43
  Speaker 2: to John and you know, to my from from you know,
• 16:47
  Speaker 2: for whatever better or worse. But because of that, certain
• 16:51
  Speaker 2: things happen. And that's fine. I'm okay with it because
• 16:53
  Speaker 2: I think that God works how he works. The only
• 16:55
  Speaker 2: thing I would say is that gave me my mentor back,
• 16:57
  Speaker 2: Like we got to get that cool and that leadership
• 17:00
  Speaker 2: and that foundation, and then and then sundays that I
• 17:02
  Speaker 2: missed in that and being up under him and learning
• 17:04
  Speaker 2: and history and just everything more than just film and television.
• 17:07
  Speaker 2: It was just a beautiful like thing. And the only
• 17:09
  Speaker 2: thing I missed that I wish I could have done
• 17:12
  Speaker 2: was become a big enough star to to give back
• 17:15
  Speaker 2: to him like he's given us so many stars and
• 17:18
  Speaker 2: respecting love to them. But he never got the treatment
• 17:21
  Speaker 2: that Scorsese got. He never got the treatment.
• 17:23
  Speaker 1: He didn't even get to see what Snowfall became.
• 17:25
  Speaker 2: No, he didn't, and and to my in my opinion,
• 17:28
  Speaker 2: I just wish he would have had his Leo, his
• 17:29
  Speaker 2: Robert de Niro, you know whoever his part, like the
• 17:32
  Speaker 2: guy who's booming because he put him on come back
• 17:35
  Speaker 2: and make all his filmmaking dreams come true. So that's
• 17:38
  Speaker 2: my only regrett.
• 17:39
  Speaker 1: Right right right, I mean it ended up being like
• 17:41
  Speaker 1: a greatly casted show.
• 17:42
  Speaker 2: Like yeah, everybody in the show can act.
• 17:44
  Speaker 1: They ass uh, dude did a great job. Like I
• 17:47
  Speaker 1: didn't even know he was from the UK until I
• 17:50
  Speaker 1: think I saw an interview after season two. I was like,
• 17:52
  Speaker 1: this fucking kids from London.
• 17:53
  Speaker 2: No, damn since the star hands Dawn, Like listen the
• 17:55
  Speaker 2: original people who were screen testing for.
• 17:59
  Speaker 1: And the Uncle jer was such a good cast.
• 18:01
  Speaker 2: Yeah, first of all, looking Aim and Joseph, it's a
• 18:04
  Speaker 2: different level about he's a different animal. He's a different animal,
• 18:07
  Speaker 2: same beast. Like he's really what Kobe be talking about.
• 18:10
  Speaker 2: But when I speak of Dampson, Dampson earned that amongst
• 18:12
  Speaker 2: Like he didn't just win that against regular actor niggas
• 18:15
  Speaker 2: he went. He wanted against the best of the best
• 18:17
  Speaker 2: out there, like Kofe Cyrbo was up for that role.
• 18:19
  Speaker 2: Like I was, like, it's certain people who you know,
• 18:21
  Speaker 2: like get busy.
• 18:22
  Speaker 1: I heard like Dub C helped him with his like
• 18:24
  Speaker 1: West Coast style.
• 18:25
  Speaker 2: Yeah, Dub was there to do the training and you know.
• 18:28
  Speaker 1: You didn't help him at all.
• 18:30
  Speaker 2: Of course I did, but I but I ain't never
• 18:31
  Speaker 2: took no credit because you know, Dub was there every
• 18:34
  Speaker 2: day Rogers. But initially, like when we were just like
• 18:36
  Speaker 2: people don't even remember rhythm why g was originally Kevin.
• 18:41
  Speaker 1: I didn't know that.
• 18:42
  Speaker 2: Yeah, And I remember right before brug got you know,
• 18:45
  Speaker 2: he was in the studio and got hurt. Yeah, and
• 18:47
  Speaker 2: then the studio kind of freaked out.
• 18:48
  Speaker 1: I think, so why you was supposed to be in
• 18:50
  Speaker 1: the show, and then he got shot and then things.
• 18:53
  Speaker 2: I don't know why, but after he got hurt, he
• 18:56
  Speaker 2: wasn't Vin no more. Oh wow, and then it was Kofy.
• 18:59
  Speaker 1: That's great, that's real shit.
• 19:00
  Speaker 2: That's how this shit go. Bro, It's like this whole.
• 19:02
  Speaker 1: I did not know why she was supposed to be
• 19:03
  Speaker 1: in a snowfall.
• 19:04
  Speaker 2: Oh man, listen, Kofe was Kofe and I were up
• 19:07
  Speaker 2: for Franklin. Kofe ended up being the leader Queen Sugar.
• 19:10
  Speaker 2: They moved me to Leon. I was Leon at some point.
• 19:13
  Speaker 2: Wo However, for me, the lead to Leon to being
• 19:16
  Speaker 2: being Kevin, Like then they made Kevin a bigger It
• 19:18
  Speaker 2: was crazy, but you know, for whatever the reason, that's
• 19:20
  Speaker 2: that's what it was. But what I'm saying is Damnson
• 19:22
  Speaker 2: is a star and he's also my friend and a
• 19:26
  Speaker 2: good dude. Like he just he fun. He have a
• 19:28
  Speaker 2: good time. But it's funny because I don't even think
• 19:30
  Speaker 2: people have really realized how entertaining he is yet, you know,
• 19:33
  Speaker 2: but it will come. And and that's why I.
• 19:35
  Speaker 1: Just met him at the Tyler the Creator show and
• 19:37
  Speaker 1: he was super nice, super nice guy.
• 19:39
  Speaker 2: Yeah, he's a fun guy.
• 19:40
  Speaker 1: He was just there by himself and joining the Tyler Show.
• 19:42
  Speaker 2: Yeah that's damn damn thing like that. He's really a charming,
• 19:45
  Speaker 2: funny dude.
• 19:46
  Speaker 1: What's up, y'all, we got to stop the interview real
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• 22:10
  Speaker 1: the interviews. When you get the script and you realize
• 22:14
  Speaker 1: your guy's about to get killed off? What's that like?
• 22:17
  Speaker 1: As an actor?
• 22:18
  Speaker 2: I don't feel shit, nigga from the streets that sit.
• 22:20
  Speaker 1: I just wonder, I was.
• 22:21
  Speaker 2: I was glad to get my family out of the hood.
• 22:23
  Speaker 2: I always just thank you for the money.
• 22:25
  Speaker 1: Fact, I wonder when I watch my favorite shows and
• 22:28
  Speaker 1: like you'll see like one of these beloved characters get killed,
• 22:31
  Speaker 1: like on the actors side when they get that script
• 22:33
  Speaker 1: and they're like, oh, well, o keV.
• 22:35
  Speaker 2: I don't know if you know this. I'm black. We
• 22:37
  Speaker 2: dyeing everything. So I'm just used to this. No, I'm
• 22:41
  Speaker 2: just kidding.
• 22:42
  Speaker 1: I knew already, right, So you had an idea that John.
• 22:45
  Speaker 2: Well, listen, there's certain things that I'm just not gonna
• 22:47
  Speaker 2: talk about right now because I want to. I don't
• 22:50
  Speaker 2: want it to overshadow what I'm doing with music, what
• 22:52
  Speaker 2: I'm doing with film and television, because when I talk
• 22:56
  Speaker 2: about that, I want to talk about it from a
• 22:57
  Speaker 2: place of puiture. For niggas can't say I'm hating right,
• 22:59
  Speaker 2: so I gotta first. But the way that I can
• 23:02
  Speaker 2: say without being a snitch ass motherfucker is being like,
• 23:06
  Speaker 2: other things happen, Some real situations happened that I didn't
• 23:09
  Speaker 2: agree with how certain people handled them. John went to
• 23:12
  Speaker 2: bat for me, and they found a way to be like, hey, like,
• 23:16
  Speaker 2: we're not sure if we want to keep them. And
• 23:17
  Speaker 2: John came to me, it was like, do you want
• 23:18
  Speaker 2: me to fight for you? Do you want to stay on?
• 23:20
  Speaker 2: And John and I had so many we had movies
• 23:22
  Speaker 2: with Netflix going We had all types of shit going on,
• 23:24
  Speaker 2: like a movie like, we had all types of things
• 23:26
  Speaker 2: like writing and directing going on, and so he was like,
• 23:29
  Speaker 2: do you want me to go to bat for you?
• 23:31
  Speaker 2: And I was like, no, I don't want to be
• 23:33
  Speaker 2: where I'm not wanting. And He's like, well, it's not
• 23:35
  Speaker 2: that they don't want you. They just want to. You know,
• 23:36
  Speaker 2: they want to, They want to get. They want to
• 23:38
  Speaker 2: they're scared they want to get. Gets you outy here
• 23:40
  Speaker 2: because you know whatever. And I said, I'll be like,
• 23:43
  Speaker 2: I'm straight, bro't I'm good, And I was good. I
• 23:46
  Speaker 2: ended up as a lead on Racing cany So for me,
• 23:49
  Speaker 2: other actors, they operate out of fear because it's just
• 23:52
  Speaker 2: like music. Like you, you know, when people come bringing
• 23:54
  Speaker 2: your mixtape and shit, like they trying so hard. They
• 23:56
  Speaker 2: love this shit so hard. They they work so hard
• 23:58
  Speaker 2: and they don't get nothing back from it. You have
• 24:00
  Speaker 2: one opportunity to wrap in front of cav. You got
• 24:02
  Speaker 2: one opportunity to get in front of like Kanye or
• 24:04
  Speaker 2: somebody and do your shit, and then that could change
• 24:08
  Speaker 2: your whole life. But I've been blessed enough to know
• 24:11
  Speaker 2: my divine ordain. It like people love me at home, bro,
• 24:14
  Speaker 2: like where I'm from, I'm solid im. I could be
• 24:17
  Speaker 2: on the I could be down down dicking the dirt,
• 24:19
  Speaker 2: and niggas respect me because of what I've done in
• 24:21
  Speaker 2: real life. My mama loved me, my grandma loved me.
• 24:24
  Speaker 2: My section love me. You feel me so whether I
• 24:27
  Speaker 2: book a roll or not. First of all, niggas know,
• 24:29
  Speaker 2: I'm cold with this movie shit as you can see.
• 24:32
  Speaker 2: If I want to wrap, I can rap good, seeing Good,
• 24:34
  Speaker 2: do whatever I really want to do. So everything is
• 24:36
  Speaker 2: just timy every but I feel bad for other people
• 24:38
  Speaker 2: because there's a desperation and it's sad because people take
• 24:42
  Speaker 2: advantage of that.
• 24:42
  Speaker 1: We're in like a great position as a as a
• 24:44
  Speaker 1: musical artist because you do have like a real career,
• 24:48
  Speaker 1: the very thriving acting career.
• 24:50
  Speaker 2: Thank you man. Well, and there's a strike right now, right,
• 24:52
  Speaker 2: so like.
• 24:53
  Speaker 1: Yeah, how's that? So for people who don't understand.
• 24:55
  Speaker 2: Because Nigga's not working, they out of.
• 24:58
  Speaker 1: Work because all we do is hear about this strike.
• 25:00
  Speaker 1: My uh, you know, my kid goes to school on burdbanks,
• 25:03
  Speaker 1: so you know it. So some of his friends, like
• 25:06
  Speaker 1: parents are like a stuntman or.
• 25:08
  Speaker 2: Everybody is gangshit.
• 25:09
  Speaker 1: So nobody is working.
• 25:11
  Speaker 2: Bro, let me break this ship down for you. It's
• 25:13
  Speaker 2: gang ship. When you get in the union, they taxing
• 25:15
  Speaker 2: your ass. You don't even want to be in the union.
• 25:17
  Speaker 2: They like, hey, bro, so.
• 25:17
  Speaker 1: Are you with the writers?
• 25:18
  Speaker 2: I'm with writing the I think I'm with DJ. I'm
• 25:21
  Speaker 2: not sure, sag.
• 25:22
  Speaker 1: I mean, are you like you you agree with the
• 25:24
  Speaker 1: writers going on strike like it's a bo.
• 25:26
  Speaker 2: It's gang shit, it don't matter, like it's gang banging.
• 25:30
  Speaker 1: Yeah, so like if they everyone strikes, well yes, well
• 25:36
  Speaker 1: yes now and thank god.
• 25:37
  Speaker 2: But it's not always been like that. There's like inner
• 25:39
  Speaker 2: things fighting, but we're all coming together because we all
• 25:41
  Speaker 2: got the same plight. Now, the problem is that profits
• 25:44
  Speaker 2: have expanded massively egregiously, and they and the compensation has
• 25:49
  Speaker 2: remained the same, much like in American culture with like
• 25:53
  Speaker 2: then wagem to like to something twelve dollars.
• 25:58
  Speaker 1: It does not reflect inflation.
• 26:00
  Speaker 2: Right at all. Inflation is like I don't know, ten
• 26:02
  Speaker 2: x or some shit, and then the minimum wage has
• 26:04
  Speaker 2: moved up a few cents or whatever. That's the same
• 26:06
  Speaker 2: thing that's happened with writers. Now. For me, I'm from
• 26:09
  Speaker 2: a place where like one writer's check that it is
• 26:12
  Speaker 2: right now can change my whole life and everybody's life
• 26:15
  Speaker 2: where I'm from. So it's hard for me to relate
• 26:18
  Speaker 2: as an individual, but as a body and a group
• 26:20
  Speaker 2: of people who are trying to set a standard so
• 26:22
  Speaker 2: that egregious acts aren't happening by people at the top.
• 26:25
  Speaker 2: I gotta support it. It's true. The math is mathing
• 26:28
  Speaker 2: is what.
• 26:29
  Speaker 1: It makes sense.
• 26:29
  Speaker 2: It makes sense why they're striking. It makes sense and
• 26:31
  Speaker 2: they need to.
• 26:32
  Speaker 1: So for you, is your stars filming put to.
• 26:36
  Speaker 2: A halt or did you already wear everything on the whole?
• 26:37
  Speaker 1: I didn't know if you were. We're in the middle
• 26:39
  Speaker 1: of shooting, or like.
• 26:40
  Speaker 2: Well, well we was literally the day I was supposed
• 26:42
  Speaker 2: to go back to shoot like they was like wait, wait, wait,
• 26:44
  Speaker 2: hold up. But a lot of the scripts were already written,
• 26:46
  Speaker 2: so we may still go.
• 26:47
  Speaker 1: Back because everything's written right.
• 26:49
  Speaker 2: Which means we're technically and the clear for some of
• 26:51
  Speaker 2: those scripts. This is where it gets tricky when so
• 26:53
  Speaker 2: this is where it gets tricky because the most gangster
• 26:56
  Speaker 2: of all the unions is I at IATC and the
• 27:01
  Speaker 2: truckers like the truck.
• 27:03
  Speaker 1: Do driving the trucks.
• 27:05
  Speaker 2: They don't get equipment, but they have a we don't
• 27:07
  Speaker 2: cross picket lines policy. It's mandatory. It's game bag. So
• 27:11
  Speaker 2: even though they are contractually obligated to show up's work,
• 27:14
  Speaker 2: if WJ, SAG or DJA show up and they like
• 27:17
  Speaker 2: form a picket line at any production, they won't cross.
• 27:19
  Speaker 2: They ain't crossing it so the secret is and I'm
• 27:22
  Speaker 2: probably snitching too much, but it is what it is.
• 27:25
  Speaker 2: If they if we can get to you, were gonna
• 27:27
  Speaker 2: get on your ass, and they not crossing. So shit
• 27:29
  Speaker 2: gets stopped, you feel me? And that does affect everybody's
• 27:32
  Speaker 2: pocket because then nobody's working. Productions get slowed down. Things
• 27:36
  Speaker 2: ain't happening. I've been blessed enough to have been making
• 27:38
  Speaker 2: a massive pivot, or not even a pivot, but I
• 27:41
  Speaker 2: was doing music.
• 27:41
  Speaker 1: Well, you can focus on music a little bit more now,
• 27:43
  Speaker 1: Oh yeah, I got to you see, I got the man.
• 27:45
  Speaker 2: When I play this, I'm look, I'm baking all I
• 27:48
  Speaker 2: have on music. And it first it sounded stupid to
• 27:50
  Speaker 2: everyone around me because they don't understand. But when you
• 27:52
  Speaker 2: come from nothing, you roll in the dice. Bro, you
• 27:54
  Speaker 2: going in and now it looks like I'm brilliant because
• 27:56
  Speaker 2: my homies ain't working.
• 27:57
  Speaker 1: And you are on this other thing you got.
• 28:00
  Speaker 2: Correct, That's the beauty of being independent. Like I funded
• 28:03
  Speaker 2: my own ship, Bro, can't nobody tell me stop? And
• 28:05
  Speaker 2: quite frankly, like, okay, I'm in solidarity with the writers
• 28:08
  Speaker 2: and actors and all that, but this gives me time
• 28:10
  Speaker 2: to work on my own spec, my own movies, my
• 28:12
  Speaker 2: own music, my own TV, my own.
• 28:15
  Speaker 1: The show you're on, Is that the same show Joey
• 28:16
  Speaker 1: Badass is on?
• 28:17
  Speaker 2: Yes it is. That's my brother. We got a We
• 28:18
  Speaker 2: got a record.
• 28:19
  Speaker 1: Too, how about say to you guys, got to do
• 28:20
  Speaker 1: a record.
• 28:21
  Speaker 2: We got a whole we got a whole type of shit.
• 28:22
  Speaker 1: He's a great actor.
• 28:23
  Speaker 2: Oh yeah, now he turned into a sex symble too.
• 28:25
  Speaker 2: You know, he got tired of rude show.
• 28:29
  Speaker 1: I was at the fucking mall buying Colone and I'll
• 28:33
  Speaker 1: go to buy some cologne a little down and it's
• 28:35
  Speaker 1: fucking Joey Badass modeling Colonne.
• 28:37
  Speaker 2: Oh yeah, I can't wait till I get my on.
• 28:39
  Speaker 1: Can look and then rap Homie isom.
• 28:42
  Speaker 2: Debson had Calvin Klein. First thing I did was take
• 28:45
  Speaker 2: a picture of and be like, look at joe goopa.
• 28:46
  Speaker 2: I was so happy for him. And then you know,
• 28:47
  Speaker 2: Joey got pak over Bond. You know, the Homies is
• 28:50
  Speaker 2: really getting into these spaces. I'm like, I can't wait
• 28:52
  Speaker 2: to get my on. I might be a little too
• 28:53
  Speaker 2: rough though, but they they should look fly.
• 28:55
  Speaker 1: Okay, You're part of the Power Universe, now, is there
• 28:58
  Speaker 1: power the universe? Snowfall.
• 29:00
  Speaker 2: What are we even talking about?
• 29:01
  Speaker 1: Bro?
• 29:01
  Speaker 2: Like, you don't want me to answer that question because look,
• 29:04
  Speaker 2: first of all, I love fifth Fifth Fifth is a
• 29:08
  Speaker 2: beautiful Just let me do my shit, bo don't let
• 29:10
  Speaker 2: me get because look, I'm not scared of getting fired
• 29:12
  Speaker 2: and that's why everybody, that's why I don't do podcasts, right,
• 29:15
  Speaker 2: But I'm fucking with you, so I'm gonna tell you
• 29:16
  Speaker 2: the truth. Fifty No, I love him and he's built
• 29:18
  Speaker 2: something beautiful. He creates stars for sure. Movies don't create stars,
• 29:22
  Speaker 2: right like TV creates stars, and fifty be doing that.
• 29:25
  Speaker 2: So shout out to him. In my personal opinion, Power
• 29:29
  Speaker 2: did something interesting internationally and something that was accessible for
• 29:33
  Speaker 2: a large amount of people. But bar for bar, like
• 29:36
  Speaker 2: what were talking about, Snowfall is a bar for bar.
• 29:39
  Speaker 2: Snowfall is a different level. It's one of the Yeah, now,
• 29:42
  Speaker 2: if you ask me Snowfall versus Raising Kanan, We're gonna
• 29:45
  Speaker 2: have some conversations, okay, because Raising Kanan is top tier filmmaking,
• 29:50
  Speaker 2: Like shout out to Sasha Pin is different over there,
• 29:53
  Speaker 2: shout out to like my whole cast is like, look,
• 29:57
  Speaker 2: look it's tough because amen daancing you know, Gail Bean,
• 30:01
  Speaker 2: like they really go Isaiah, Like everybody over there go crazy,
• 30:05
  Speaker 2: even they're co stars. Like, right, even who plays Dampson's
• 30:08
  Speaker 2: mom is a legendary actors. Right, even the dude who
• 30:11
  Speaker 2: played his dad is a legendary. But when I talk
• 30:13
  Speaker 2: about Patina Miller, I love Dampson. Dampson is one of
• 30:16
  Speaker 2: the best young actors. We have Patina Miller, Tony Award
• 30:20
  Speaker 2: winning Miller, She's she might be one of the best.
• 30:22
  Speaker 2: Win it's all said and done ever wow, and we
• 30:26
  Speaker 2: and everybody around her, Haley Kilgore, Tony nominated cry in every.
• 30:31
  Speaker 1: Episode some real ass them Tony's is them real acting?
• 30:34
  Speaker 1: I'm just it's.
• 30:35
  Speaker 2: Different, bro. And you know, we got then, we got
• 30:38
  Speaker 2: Then we got London Brown, who's giving a cellar performance.
• 30:40
  Speaker 2: Then we have Makay Curtis. I'm the youngest thing on
• 30:42
  Speaker 2: our cast. Makai is murdering everyone in the Power Universe,
• 30:46
  Speaker 2: respect to everybody else. Mackay is acting. When you look
• 30:48
  Speaker 2: at him, you think he fifty crazy, that's a suburban
• 30:52
  Speaker 2: kid and numb fifty about him? In real life, y'all
• 30:54
  Speaker 2: hear him be like, that's fifty. It's different on that side.
• 30:57
  Speaker 2: The texture, the clothing, Frank, who does our clothing is different,
• 31:03
  Speaker 2: the texture is different. If you watch Bar for Bar,
• 31:06
  Speaker 2: it's close. Power might have them with Raisin Kane. Raisin Kane,
• 31:10
  Speaker 2: I think so.
• 31:11
  Speaker 1: I be honestly, I am the most unhipped to the
• 31:14
  Speaker 1: Power universe person alive.
• 31:15
  Speaker 2: It's not your fault. I'm gonna tell you the truth.
• 31:17
  Speaker 1: I just never got stars. I never have the streaming,
• 31:19
  Speaker 1: and then I'm like a wire dude.
• 31:21
  Speaker 2: Bro, I never watched Power until I was on it.
• 31:23
  Speaker 1: Yeah, I never. In fact, I just I always like
• 31:27
  Speaker 1: I started to watch season one.
• 31:28
  Speaker 2: When you get into it, you're hooked.
• 31:30
  Speaker 1: So I watched the first two episodes of the first
• 31:32
  Speaker 1: season of Power and when the chick was like playing
• 31:34
  Speaker 1: with herself on the.
• 31:34
  Speaker 2: Back seat crazy, that's the first episode. Bro, I was
• 31:37
  Speaker 2: just like, I was like, eh, imagine watching it.
• 31:39
  Speaker 1: I'm like, I swear by the Wire. That's my favorite show.
• 31:42
  Speaker 2: Ever because it's one of the best shows of all time.
• 31:44
  Speaker 1: And then Snowfall just sucked me in, Bro, Paul, that
• 31:46
  Speaker 1: shit was amazing.
• 31:47
  Speaker 2: But if we're being real, like my mom was on
• 31:49
  Speaker 2: the Wire is leaps and bounds better than snowballs.
• 31:51
  Speaker 1: Well, I think the Wire is the best show ever.
• 31:53
  Speaker 2: It's top tier.
• 31:54
  Speaker 1: It's literally I think the Wire go ahead and then
• 31:58
  Speaker 1: sopranos are breaking bad.
• 31:59
  Speaker 2: Okay, So I would go, see, I don't see me,
• 32:02
  Speaker 2: I go the Wire, and then I'd go I.
• 32:06
  Speaker 1: Just think it's the Wire and everything else.
• 32:08
  Speaker 2: I think that we have to we have to. Yeah, essentially, it's.
• 32:11
  Speaker 1: Like everything else, it's the Wire and then everything else.
• 32:14
  Speaker 2: Yeah. Rome was pretty great, though I ain't go was
• 32:16
  Speaker 2: that wrong? Oh? You know, I never watched that was
• 32:19
  Speaker 2: HBOT got hitters, bro, they got hit all of them.
• 32:22
  Speaker 1: Man, HBO for whatever reason that whatever's in the water
• 32:24
  Speaker 1: over there, Man, they don't fuck around when it comes
• 32:26
  Speaker 1: to their shows.
• 32:27
  Speaker 2: In the original Crazy No, it's crazy Homicide. Uh, the
• 32:31
  Speaker 2: the original network show that the creators of The Wire created,
• 32:35
  Speaker 2: which was Homicide Something, was actually one of the best
• 32:38
  Speaker 2: shows on television for years and.
• 32:40
  Speaker 1: I never watched it, but I heard about it.
• 32:41
  Speaker 2: Was hard in West Wing Hard, you know, OZ was dope, Like, Yeah,
• 32:45
  Speaker 2: they got hitters. Like, but if we really talking about it,
• 32:47
  Speaker 2: Snowfall is really fun and it has great actors, you know,
• 32:51
  Speaker 2: but when it comes to the Wire is different.
• 32:52
  Speaker 1: So the thing about Snowfall is, let me know, because
• 32:54
  Speaker 1: you went on the show at this time when the
• 32:56
  Speaker 1: episode happens last season and they reback did with the
• 33:01
  Speaker 1: episode where everybody was fucked up at the wedding. I
• 33:03
  Speaker 1: loved that episode. But when the episode happens where they
• 33:05
  Speaker 1: get locked up in the basement and there's a fucking
• 33:08
  Speaker 1: was it a grizzly bear or a tiger something.
• 33:10
  Speaker 2: That's when they lost me. When that happened, I was
• 33:12
  Speaker 2: just like, Yeah, it went too far, but this is
• 33:14
  Speaker 2: what happens. Look, I'm not gonna speak too heavy on
• 33:16
  Speaker 2: that show because there's too many people I love and
• 33:18
  Speaker 2: care about benefiting from that show. And until I'm as
• 33:20
  Speaker 2: big as that show, I have nothing to say about
• 33:21
  Speaker 2: that show but love.
• 33:22
  Speaker 1: The writing guy. That was ridiculous.
• 33:24
  Speaker 2: That was ridiculous, and everybody can agree that was ridiculous.
• 33:26
  Speaker 2: So let's just leave it there because you never saw that, and.
• 33:29
  Speaker 1: I like the way it ended. I thought it ended well.
• 33:31
  Speaker 1: Season five was a nice which is hard to do
• 33:32
  Speaker 1: for a television. Season four was tough, though. When that happened.
• 33:35
  Speaker 1: I was just like, wait a.
• 33:36
  Speaker 2: Minute, I'm gonna say no comment for her.
• 33:38
  Speaker 1: There's a random white dude living in the hood with
• 33:40
  Speaker 1: a fucking tiger in his fucking basement.
• 33:42
  Speaker 2: Bro, no comment and they escaped. Listen. I think you
• 33:45
  Speaker 2: are speaking for the people. Yeah, but I also don't
• 33:49
  Speaker 2: want to make this a snowfall show.
• 33:50
  Speaker 1: There's my wife, right, because my wife she loved that shit.
• 33:53
  Speaker 1: But my wife like loves you know, she likes.
• 33:55
  Speaker 2: Like But that's what I mean. It's like, nobody, bro,
• 33:58
  Speaker 2: let's keep it a buck. Nobody watched The Wire when
• 34:00
  Speaker 2: was first out, except for drug dealers who sold drugs
• 34:02
  Speaker 2: and critics.
• 34:04
  Speaker 1: It was like the nerdy show. To Wise, it's almost yes, succession.
• 34:07
  Speaker 2: Right now, yes, and then years later, I feel.
• 34:10
  Speaker 1: Like finally the general population are like getting hit to succession,
• 34:14
  Speaker 1: where like the TV nerds have kind of been hit
• 34:16
  Speaker 1: for like five years.
• 34:17
  Speaker 2: Yeah, they're the early adopters. It's like knowing and The
• 34:19
  Speaker 2: Wire was like that.
• 34:20
  Speaker 1: Yeah, it had to end for people to be like,
• 34:22
  Speaker 1: let me go back and get the DVD.
• 34:23
  Speaker 2: It's the great American novel, right, It's the ship that
• 34:24
  Speaker 2: everybody knows is great, but it's too long, so no
• 34:27
  Speaker 2: nobody read it.
• 34:29
  Speaker 1: It is like my favorite character in TV.
• 34:31
  Speaker 2: And one of the best ever year and like, in
• 34:32
  Speaker 2: my opinion, like yeah, and there's you know, like I said,
• 34:35
  Speaker 2: I don't want to make this that show, but in
• 34:37
  Speaker 2: real life, I think Snowfall did it.
• 34:39
  Speaker 1: It was a great entertaining job.
• 34:40
  Speaker 2: It was very entertaining. One of the most entertaining shows
• 34:43
  Speaker 2: on television, hands down, and dance is one of the most
• 34:45
  Speaker 2: times people and so is aiming there.
• 34:46
  Speaker 1: How involved it's fifty and like the day to day
• 34:49
  Speaker 1: like do you like here?
• 34:50
  Speaker 2: He sets it up? He set it up. He was
• 34:51
  Speaker 2: very involved day to day when we begin and get
• 34:53
  Speaker 2: the show rolling. But then it's like, bro, I set
• 34:55
  Speaker 2: it up. Y'all gotta do what you gotta do. And really,
• 34:57
  Speaker 2: truly it becomes the mechanizations of everybody who and key
• 35:00
  Speaker 2: positions behind the scenes, such as Saha show you know
• 35:04
  Speaker 2: we got attashed?
• 35:05
  Speaker 1: Has he listened to the music? Have you sent him
• 35:07
  Speaker 1: any records?
• 35:07
  Speaker 2: Oh, fifty, fifty know what's up? Fifty know what's up?
• 35:11
  Speaker 2: But he like, you know, we're gonna see what's going on.
• 35:13
  Speaker 1: That'd be crazy. You get fifty at least do a
• 35:15
  Speaker 1: scared or something.
• 35:15
  Speaker 2: I know, fifty my dog. But you know, bro, I'm
• 35:17
  Speaker 2: not one who asked for handles. I'd rather the homies
• 35:19
  Speaker 2: like when they peep it be like wait, I want
• 35:21
  Speaker 2: to be a part of this. Yeah, that's better for me.
• 35:23
  Speaker 2: I don't want no, you know, unless somebody said, because
• 35:27
  Speaker 2: I feel like when you ask, you know, first of all,
• 35:29
  Speaker 2: everybody's uncomfortable because like bro like, I'm sure a million
• 35:31
  Speaker 2: people asking you. But if I show you what I'm
• 35:33
  Speaker 2: doing and you fuck with it, then it's genuine. You
• 35:35
  Speaker 2: fuck with it like you call it. Hey, this you do,
• 35:37
  Speaker 2: you don't suck? Come on the show?
• 35:39
  Speaker 1: Do you for you? Musically? Like obviously being around fifteen
• 35:42
  Speaker 1: hundred or nothing in their start because they're legends. Yeah,
• 35:45
  Speaker 1: Grammy Award winning producers, be Necesse, they was teenager, they
• 35:48
  Speaker 1: got the school opens. Yeah, they're doing They're doing so much.
• 35:52
  Speaker 1: Who would you say just not even necessarily somebody you know,
• 35:55
  Speaker 1: but like sonically artists wise, would you say have the
• 35:59
  Speaker 1: most influenced on your sound?
• 36:01
  Speaker 2: Like probably Shade, they need a baker and like oddly
• 36:06
  Speaker 2: enough bro Ch go to bars. Hey, Chico was a
• 36:09
  Speaker 2: hoodie like certain people.
• 36:12
  Speaker 1: I do believe go to bars. Yeah, is the son
• 36:16
  Speaker 1: Diddy's son's real dad? Right? What one of Diddy's sons
• 36:22
  Speaker 1: of whom one of Diddy's sons?
• 36:24
  Speaker 2: Oh hell no, actual fathers, Chico to Bar, you're tripping.
• 36:28
  Speaker 2: I think you're talking about Albi Shore.
• 36:30
  Speaker 1: You might be right, and.
• 36:32
  Speaker 2: I think you're talking about it's definitely a sure and
• 36:35
  Speaker 2: Quins don't kill me. If I let you rock with that.
• 36:39
  Speaker 2: Did to go to Albi Shore, then I'm tripping. But
• 36:41
  Speaker 2: to Bar they both like skin.
• 36:42
  Speaker 1: Look at me making my nineties light skin RBC, You're like.
• 36:47
  Speaker 2: No, you're wrong, and this is and this is why
• 36:50
  Speaker 2: they need a nigga like me and R and B
• 36:51
  Speaker 2: because we can't let that.
• 36:53
  Speaker 1: Chico to Bars need a Baker shot.
• 36:56
  Speaker 2: If I could be the street shot or like the
• 36:58
  Speaker 2: street shot, the ghetto tracy, that mean I'm good.
• 37:00
  Speaker 1: I love that.
• 37:01
  Speaker 2: Just be like Frank Gohien popping in every now and
• 37:03
  Speaker 2: then they do great artists about That'd be awesome. That's
• 37:05
  Speaker 2: what I would like to do.
• 37:06
  Speaker 1: Do you feel like R and B is like, I
• 37:08
  Speaker 1: feel like it's finally kind of getting into a really
• 37:11
  Speaker 1: good space in terms of like you know, now when
• 37:13
  Speaker 1: you turn on the radio, you'll hear like real R
• 37:15
  Speaker 1: and B records like Coco Jones. I see you as
• 37:17
  Speaker 1: a big record, Like there's tons of like records that
• 37:19
  Speaker 1: money Long time.
• 37:20
  Speaker 2: Leon Thomas like, come on, bro, let's be real. R
• 37:22
  Speaker 2: and B always had a bunch of people. This is
• 37:24
  Speaker 2: what happened. Everybody talks about Like, I know you were
• 37:27
  Speaker 2: trying to avoid it, but like you know, everybody thought
• 37:30
  Speaker 2: R and B needed resuscitation.
• 37:31
  Speaker 1: I never thought that. I just think that it became
• 37:33
  Speaker 1: kind of underground for a little bit.
• 37:34
  Speaker 2: Well, underground just means it wasn't It wasn't the pretty
• 37:37
  Speaker 2: girl at the ball, you know what.
• 37:38
  Speaker 1: I mean, Like you're not When you and I were
• 37:40
  Speaker 1: growing up, R and B was on the radio.
• 37:42
  Speaker 2: Yeah, because it's not the pretty girl at the bar.
• 37:44
  Speaker 1: It's coming around.
• 37:45
  Speaker 2: It turned thirty years old and game little wait. But
• 37:47
  Speaker 2: the reality is these young dudes, these young kids are
• 37:50
  Speaker 2: finding creative ways to have very interesting conversations around that music.
• 37:54
  Speaker 2: Like brit is an R and B artist, right, And
• 37:57
  Speaker 2: it's when you hear Sounder and you hear those records,
• 38:00
  Speaker 2: You've never heard an R and B record like that.
• 38:02
  Speaker 2: You know, when you hear Leon Thomas go off, you're like, oh,
• 38:04
  Speaker 2: that's that's like it's the Angelo, but it's not like
• 38:07
  Speaker 2: it's something And these guys is really killing it. Man.
• 38:10
  Speaker 2: There's a lot of competition and there's it's a lot
• 38:13
  Speaker 2: of saturation because of these are love babies. They're romance.
• 38:15
  Speaker 1: Yeah, obviously shouts to branch out to a scissor.
• 38:19
  Speaker 2: Audum people and they're going crazy.
• 38:20
  Speaker 1: Challenger got a dope record on the radio right now.
• 38:22
  Speaker 2: I heard it's always been a great writer.
• 38:24
  Speaker 1: I feel like we we lost the R.
• 38:26
  Speaker 2: And B group because yeah, well what we lost what.
• 38:30
  Speaker 1: Were just groups? In general? There's no more groups.
• 38:32
  Speaker 2: Yeah, people don't like because the.
• 38:33
  Speaker 1: Music industry sucks so much. He must have split up the.
• 38:35
  Speaker 2: Power nobody because it doesn't make me sense.
• 38:37
  Speaker 1: It's like where it happened to a Jagged Edge twenty three.
• 38:39
  Speaker 1: There's no more jagget edgres. That's never Drew Hills none.
• 38:42
  Speaker 2: That's never gonna happen. We gonna see singular artists for
• 38:44
  Speaker 2: a long time because it just makes more financial sense.
• 38:46
  Speaker 1: It does.
• 38:47
  Speaker 2: One artist is a headache, and.
• 38:48
  Speaker 1: You know what, it never it never actually works out, no,
• 38:53
  Speaker 1: because there's always one one person in the group that's
• 38:56
  Speaker 1: better than everyone else.
• 38:57
  Speaker 2: Bro. I think that's just indicative of capitalism in human culture.
• 39:02
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  Speaker 1: let's get back to the interview. Like I mean, I
• 42:04
  Speaker 1: think about it.
• 42:05
  Speaker 2: That's just what it is.
• 42:06
  Speaker 1: But right now we got Blue Bucks Clan. Who's a duo.
• 42:08
  Speaker 2: They a duo, the niggasuntil I've seen two of them,
• 42:11
  Speaker 2: niggas going crazy together.
• 42:12
  Speaker 1: They're strong and I love them. I mean Shoreline Mafia
• 42:16
  Speaker 1: broke up. Oh geez, goes solo and goes crazy.
• 42:19
  Speaker 2: But you know why that happened, He SBRB, they broke up. Yeah,
• 42:23
  Speaker 2: everybody breaking that. Fat boys break up now everybody they
• 42:26
  Speaker 2: wake up. But the reality is bro that's it was
• 42:28
  Speaker 2: destined to happen because, like everybody was taught, it's a
• 42:30
  Speaker 2: cultural shift. Also, the kid first of all, R and
• 42:34
  Speaker 2: B is a reflection of whatever the state of love
• 42:36
  Speaker 2: is in the culture. The state of love is in jeopardy,
• 42:38
  Speaker 2: so people are making impressions of love right. The music
• 42:41
  Speaker 2: is that we're making now is what we what we wish,
• 42:43
  Speaker 2: was what we used to think love was supposed to be.
• 42:45
  Speaker 2: But that's why Brent Works says it works because it's
• 42:47
  Speaker 2: what love looks like now, which isn't a fairy tale
• 42:50
  Speaker 2: kind of It's not a fairy tale no more. It's
• 42:52
  Speaker 2: what it is now. I think that the pendulum is
• 42:54
  Speaker 2: going to swing to people desiring romance again. They gonna
• 42:57
  Speaker 2: want those lush voices. They're gonna want the herd of
• 43:00
  Speaker 2: the world to go crazy crazy, yeah crazy, But we're
• 43:02
  Speaker 2: gonna start seeing more like I think vocalist again because
• 43:06
  Speaker 2: there I think women want to fall in love again,
• 43:10
  Speaker 2: and even me, I'm probably gonna lean more into like
• 43:12
  Speaker 2: romantic records. But I can only make what I know.
• 43:15
  Speaker 2: Right now, I'm dealing with trauma, so I'm talking about
• 43:17
  Speaker 2: my pastory ship. I just happened to croon. You know,
• 43:19
  Speaker 2: I'm not even really a singer. I'm a crooner. Like
• 43:21
  Speaker 2: there's a difference. Yeah, it's a real difference, Like like
• 43:24
  Speaker 2: if we being real, like.
• 43:25
  Speaker 1: I feel like Roddy Rich is like a crooner, like.
• 43:28
  Speaker 2: He Roddy Rich is is a nigga who talks in melody.
• 43:35
  Speaker 3: And he's also one of the best, so he's like
• 43:37
  Speaker 3: it's so hard. He's amazing, amazing, He's one of my
• 43:39
  Speaker 3: favorite arists of all time. He's made legendary records. He's
• 43:43
  Speaker 3: made legendary records.
• 43:44
  Speaker 1: I always say, like even like I know a lot
• 43:46
  Speaker 1: of people didn't like the second album, but I'm like,
• 43:48
  Speaker 1: it's so hard for Roddy Rich to make bad music.
• 43:49
  Speaker 1: It's it's like.
• 43:50
  Speaker 2: But I think that's also part of the problem. Like
• 43:52
  Speaker 2: your sophomore album after having that freshman of a debut.
• 43:55
  Speaker 1: Is crazy to have that software And that was a
• 43:57
  Speaker 1: weird timing too, because the box popped off December twenty,
• 44:02
  Speaker 1: twenty nineteen.
• 44:03
  Speaker 2: But if we speak of the science. Right, The records
• 44:06
  Speaker 2: that worked for Roddy were Southern records at first, until
• 44:09
  Speaker 2: Muster and him had this song, So he was making
• 44:11
  Speaker 2: Southern music.
• 44:13
  Speaker 1: Yeah, he's making Southern music.
• 44:14
  Speaker 2: Yeah, he's making Southern music until until Mustard did.
• 44:17
  Speaker 1: You're from La, Because I do feel like if you
• 44:19
  Speaker 1: think of the artists who have transcended outside of being
• 44:23
  Speaker 1: West Coast.
• 44:23
  Speaker 2: Artists, right, yeah, they don't make West Coast music, they
• 44:25
  Speaker 2: don't make West coast.
• 44:26
  Speaker 1: If we're talking about Hendrick, you think a school boy Q.
• 44:28
  Speaker 1: You think of time he.
• 44:29
  Speaker 2: Was accepted on the East coast first, r Tyler was
• 44:31
  Speaker 2: accepted by white kids and mid La Marck.
• 44:33
  Speaker 1: Q was doing records with Asaf Rocky Keydrick's Kendrick.
• 44:36
  Speaker 2: Look at their concerts at first, they'll tell you they're like,
• 44:39
  Speaker 2: I'm sure that.
• 44:39
  Speaker 1: Tony Rich doesn't make traditionally West.
• 44:41
  Speaker 2: Coast no bro, because if you want to break out,
• 44:43
  Speaker 2: it is like, first of all, even YG's first real
• 44:46
  Speaker 2: record was a Southern record. My hit a Southern record,
• 44:49
  Speaker 2: literally by your boy was a West Coast hitter, but
• 44:53
  Speaker 2: it was a West call. I was in high school,
• 44:55
  Speaker 2: but my hit had changed shit, and that wasn't if
• 44:58
  Speaker 2: we being real, Yes, it's his record, but in real life,
• 45:00
  Speaker 2: we know whose record that is. And by the way,
• 45:02
  Speaker 2: that's no disrespect. YG built that ground.
• 45:04
  Speaker 1: For sure, and my Crazy Life is a classic. And
• 45:07
  Speaker 1: he's sleeping with Sweetie right now, so he's winning.
• 45:09
  Speaker 2: Well, let's let's not talk about it. Why are we
• 45:12
  Speaker 2: doing it just because I got to see these people
• 45:14
  Speaker 2: I don't want to know. Don't put me in nobody,
• 45:17
  Speaker 2: Benness Kid, well, look you know Crazy Life for real. Hey,
• 45:26
  Speaker 2: look shout out to shout out to your boy doing
• 45:28
  Speaker 2: this thing. All I can say is that we all
• 45:31
  Speaker 2: know that for you to break out, just like for
• 45:32
  Speaker 2: rappers to be the biggest rappers on the game, for
• 45:34
  Speaker 2: you to be top of the game, you have to
• 45:35
  Speaker 2: make R and B songs for girls. We all know that.
• 45:38
  Speaker 2: Every top that's it, that's the blueprint. It's not a question.
• 45:42
  Speaker 2: The only way that Hove sees the top of the
• 45:44
  Speaker 2: charts is making a song with a female demographic song.
• 45:47
  Speaker 1: Yeah, I think I think back in the day that
• 45:49
  Speaker 1: might have been I think before the Street, because now
• 45:51
  Speaker 1: they're streaming artists who who don't do that, don't depend
• 45:55
  Speaker 1: on radio like you had before. You really kind of
• 45:57
  Speaker 1: had to have something to appeal to women for video correct.
• 46:01
  Speaker 1: But now it's like if you just have a fan
• 46:02
  Speaker 1: base and like you're someone like Dirk, yeah, you could
• 46:05
  Speaker 1: just put out Well, let's tons of crazy records.
• 46:07
  Speaker 2: Let's talk about stream let's talk about it. That's keears
• 46:10
  Speaker 2: A and B. What is the record that when he
• 46:14
  Speaker 2: was moving the streets that women was like, oh I
• 46:15
  Speaker 2: can listen to Dirk. It was Homebody?
• 46:18
  Speaker 1: What about what's the what's the female Little Baby record?
• 46:22
  Speaker 2: Oh?
• 46:23
  Speaker 3: You started off as close friends, we could go look
• 46:28
  Speaker 3: at the number.
• 46:28
  Speaker 1: You're right, You're right close friends all the way.
• 46:30
  Speaker 2: First of all, what is the hottest the second, if
• 46:32
  Speaker 2: not the hottest record off of the new record is.
• 46:36
  Speaker 1: Friday? Friday so hard? His voice is crazy.
• 46:42
  Speaker 2: He's the like I think everybody is like ailiation. Like,
• 46:45
  Speaker 2: by the way, I love Friday. He's amazing voices. It's
• 46:47
  Speaker 2: so dramatic. He's basically give on in the weekend put together. Yeah,
• 46:51
  Speaker 2: everything just sounds.
• 46:52
  Speaker 1: You put on that calid record. He sounds crazy.
• 46:55
  Speaker 2: Bo Friday is my favorite artist. Like when he dropped
• 46:58
  Speaker 2: his mixtape, I was like, Bro, I need that.
• 46:59
  Speaker 1: I his voice is crazy.
• 47:01
  Speaker 2: No, and by the way, my bad on comparison, I
• 47:03
  Speaker 2: know new artists. That's that's his tone. Whatever he's doing
• 47:07
  Speaker 2: is the thing that he deserves to do. I just
• 47:09
  Speaker 2: think that stuff like that stands out. But once again,
• 47:12
  Speaker 2: I don't think you can avoid I think I'm going
• 47:14
  Speaker 2: to be proven to be right that even though the
• 47:16
  Speaker 2: landscape has changed, because you can have a niche market
• 47:18
  Speaker 2: due to streaming if you want to win, if you want,
• 47:21
  Speaker 2: if one ring to rule them almost the world of ring. Shit, God,
• 47:25
  Speaker 2: you got to talk to the females because human even Roddy.
• 47:27
  Speaker 1: Like yeah, Roddy, things changed for him when he.
• 47:31
  Speaker 2: That must the record went crazy.
• 47:33
  Speaker 1: So for you, because we've seen it work with artists
• 47:36
  Speaker 1: that might be known for something else, like Mac Wilde's
• 47:39
  Speaker 1: is a great examples, you.
• 47:41
  Speaker 2: Know Tristan, Yeah, that's my dog. My first Grammy nomination
• 47:44
  Speaker 2: was on his album.
• 47:45
  Speaker 1: Was there for you?
• 47:46
  Speaker 2: Like?
• 47:46
  Speaker 1: Are you noticing at least like you kind of it's
• 47:50
  Speaker 1: a little harder for you to earn people's respect as
• 47:51
  Speaker 1: an artists because they perceive you as an actor.
• 47:54
  Speaker 2: Oh no, I don't care because I was a street
• 47:55
  Speaker 2: nigga first, right, So like my respect doesn't come from
• 47:59
  Speaker 2: and Tristan is a project baby first, Like people don't
• 48:02
  Speaker 2: know that, Like, he just likes R and B music,
• 48:04
  Speaker 2: so he does R and B shit, and he got
• 48:06
  Speaker 2: an R and B voice. He can really sing, so
• 48:07
  Speaker 2: that's what he liked. But if we're talking about how
• 48:09
  Speaker 2: the market wants to receive you, of course they're gonna
• 48:11
  Speaker 2: they want to see you how they want to see you.
• 48:13
  Speaker 2: And I've been blessed enough and lucky enough to the
• 48:16
  Speaker 2: kind of music that I think I'm making might be
• 48:18
  Speaker 2: easier to digest with the people who watch me on
• 48:20
  Speaker 2: screen because I'm talking about past situations.
• 48:24
  Speaker 1: That are not too far away from the stuff.
• 48:26
  Speaker 2: From the stuff that I kind of am in the
• 48:27
  Speaker 2: world of Now, if I go make a pop record
• 48:30
  Speaker 2: and I'm making records like like like, what's the face
• 48:32
  Speaker 2: you just mentioned her? The one who who had that
• 48:35
  Speaker 2: big record, the female artist that came out of nowhere, songwriter,
• 48:38
  Speaker 2: what's her name? You just said a record? What's her name?
• 48:40
  Speaker 2: She just had a big record, songwriter the hours, oh
• 48:45
  Speaker 2: money Long. Remember she had that super poppy record that
• 48:48
  Speaker 2: came out right after right, Like right, But that's not
• 48:52
  Speaker 2: But if I did that, maybe my audience is that's
• 48:54
  Speaker 2: not who following me, right, now right.
• 48:56
  Speaker 1: That people who are following you, you're making them type
• 48:58
  Speaker 1: of music that they might be like, oh shit.
• 49:00
  Speaker 2: It's kind of hard, like this may not because all
• 49:01
  Speaker 2: I gotta do, really, bro, I look at everything as
• 49:04
  Speaker 2: an opportunity, so like, all I gotta do is not suck.
• 49:06
  Speaker 2: If I don't suck, people will be like, even if
• 49:09
  Speaker 2: they want to hate, they're like, okay, oh like this
• 49:11
  Speaker 2: all like that. I'm like, but if I keep going
• 49:13
  Speaker 2: and it keeps working, it at some point, bro, you're
• 49:15
  Speaker 2: gonna have to at least respect the grind.
• 49:17
  Speaker 1: And you know what's crazy is like when you used
• 49:20
  Speaker 1: to watch movies as like, like when I was a
• 49:22
  Speaker 1: kid and you were probably were probably similar in age.
• 49:25
  Speaker 1: The guys who would be like rapping on the movies
• 49:28
  Speaker 1: or on the shows would also have music in the soundtrack.
• 49:30
  Speaker 2: That's a fact almost all all the time.
• 49:32
  Speaker 1: So you can get like, like the above, the.
• 49:34
  Speaker 2: Rim soundtrack was hard.
• 49:38
  Speaker 1: The soundtrack were crazy. It'd always be like, oh, the
• 49:40
  Speaker 1: guy in the movie's got a song on the fucking soundtrack.
• 49:42
  Speaker 2: That's act.
• 49:43
  Speaker 1: So are you well, I mean, everyone's out of work,
• 49:46
  Speaker 1: but like, obviously you're killing it in the TV game.
• 49:49
  Speaker 1: Are you actively like is the how different is the
• 49:55
  Speaker 1: movie hustle and the TV hustle.
• 49:56
  Speaker 2: The difference is, well, that's the thing is even the
• 49:59
  Speaker 2: writers strike is about more so TV writers pay in
• 50:04
  Speaker 2: TV writers' rooms and how they're being kind of like
• 50:06
  Speaker 2: finessed out of a bag because of these predatory practices.
• 50:10
  Speaker 2: The movie dudes are kind of like, we ain't tripping.
• 50:13
  Speaker 2: We ain't tripping unless it say like you know what
• 50:15
  Speaker 2: I'm saying official telligence, like we're good and but that's
• 50:19
  Speaker 2: not really but we're all in solidarity. I'm just telling
• 50:21
  Speaker 2: you the truth. Like, so when I talk to because
• 50:22
  Speaker 2: I got people like who are executives, who are film executives?
• 50:25
  Speaker 2: TV executives, I'll talk to everybody, and people fuck with me,
• 50:27
  Speaker 2: so I'll talk to them. I'd be like, what's the
• 50:29
  Speaker 2: real you know, and everybody's kind of like, well, we're
• 50:31
  Speaker 2: just waiting to see how it plays out. Movies, is
• 50:34
  Speaker 2: you right aspect? You know, you could get hired on
• 50:36
  Speaker 2: assignment to write a spect there's less steps than in
• 50:39
  Speaker 2: the TV deal. When you do TV show, you gotta do.
• 50:43
  Speaker 2: You got to do a blueprint before you get to
• 50:44
  Speaker 2: the treatment, before you even get to the pilot, there's
• 50:46
  Speaker 2: like five steps and they get to parcel out the
• 50:49
  Speaker 2: money a little bit more. And also you're not getting
• 50:52
  Speaker 2: paid as much unless you're popping so movies, I started
• 50:55
  Speaker 2: off writing movies, you know, like UJ City.
• 50:57
  Speaker 1: Too movie, because there's a budget already.
• 50:59
  Speaker 2: They are this is development here, Hey, look like here,
• 51:03
  Speaker 2: here's here's a certain amount of money and to develop.
• 51:05
  Speaker 2: Now you still have steps. You still have to do
• 51:07
  Speaker 2: a first draft, second draft, rewrite. They're old that they
• 51:10
  Speaker 2: don't even have to pay you for the second steps
• 51:11
  Speaker 2: if they don't want to, if they don't feel like
• 51:13
  Speaker 2: you're doing what you're supposed to do, they'll just give
• 51:14
  Speaker 2: it to another writer. You'll get second credit, and you
• 51:16
  Speaker 2: don't get as much money on the royalties of backing.
• 51:18
  Speaker 2: And that's if you get blessed enough to have a
• 51:19
  Speaker 2: movie get made. But with TV writers, they kind of,
• 51:22
  Speaker 2: I think they hope, they kind of string you on
• 51:24
  Speaker 2: a little bit more, and the money is parceled out
• 51:26
  Speaker 2: a little bit longer, and it's more of a grind.
• 51:27
  Speaker 2: It's more of a blue collar work. And so that's
• 51:30
  Speaker 2: why it's kind of like that, it's.
• 51:31
  Speaker 1: More of a thing. Every week you're in writer's room.
• 51:35
  Speaker 2: And it's the same thing with the acting with an
• 51:36
  Speaker 2: acting contract unless you're on well, I guess network isn't dead,
• 51:40
  Speaker 2: but network is not the primary thing anymore. It's streamings
• 51:42
  Speaker 2: like Netflix. You know you used to be you could
• 51:45
  Speaker 2: be there. They're the most If you ever looked at
• 51:47
  Speaker 2: the highest paid actors, it would always be like five
• 51:50
  Speaker 2: people off in cis six like.
• 51:53
  Speaker 1: Right Earth Friends or something right, it'd be something crazy
• 51:55
  Speaker 1: on the six some hit TV show right because they're
• 51:57
  Speaker 1: doing twenty two episodes and each episode are getting paid
• 51:59
  Speaker 1: a hundreds and six hundred dollars.
• 52:00
  Speaker 2: You know it's but you're doing so many episodes and
• 52:03
  Speaker 2: then you do TV. TV is just instead of eight
• 52:06
  Speaker 2: months out your year, excuse me, TV is like you're
• 52:09
  Speaker 2: doing eight months out the year, six months out the
• 52:11
  Speaker 2: year to shoot something. But for a movie maybe you're
• 52:13
  Speaker 2: doing three to six or maybe two.
• 52:15
  Speaker 1: Yeah. And then also, like if you think about Netflix,
• 52:16
  Speaker 1: you're like, for every Stranger Things, there's like one hundred
• 52:19
  Speaker 1: other shows that aren't on that level and they just
• 52:23
  Speaker 1: two seasons.
• 52:24
  Speaker 2: And they just throwing bread. They trying to see what
• 52:26
  Speaker 2: they're going off algorithm and shit, and that's cool. But
• 52:29
  Speaker 2: for me, as it relates to me as a person
• 52:30
  Speaker 2: who's trying to create, it's the same solution. All of
• 52:33
  Speaker 2: these pieces can change. Bro. This is all just distractions
• 52:36
  Speaker 2: for me, because at the end of the day, Bro,
• 52:38
  Speaker 2: it's the name of the game of what you're doing.
• 52:39
  Speaker 2: Right here, you work at an institution and you know
• 52:43
  Speaker 2: that your leverage is limited there, just like head New,
• 52:46
  Speaker 2: my leverage is limited there.
• 52:47
  Speaker 1: I don't work there anymore, all right? They run my show, said,
• 52:51
  Speaker 1: they syndicate my show, but I record my show at
• 52:53
  Speaker 1: the crib.
• 52:54
  Speaker 2: Here, And what does that mean? You pay for it?
• 52:56
  Speaker 1: Right because the simple conversation put up, I put up
• 52:58
  Speaker 1: the risk, and then the show. They just picked up
• 53:01
  Speaker 1: my show. So I'm on it all these markets and
• 53:03
  Speaker 1: I don't work for nobody.
• 53:03
  Speaker 2: So when you ask me what's the difference, I'd say
• 53:05
  Speaker 2: the only difference for me is what my mom and
• 53:06
  Speaker 2: my daddy told what my mom and my daddy told me,
• 53:08
  Speaker 2: which is, hey, look, if you pay for it, you
• 53:12
  Speaker 2: own it. You can tell people what to do next.
• 53:14
  Speaker 1: Curious from your perspective, from somebody who's done so much
• 53:18
  Speaker 1: in the entertainment industry, what would be your advice for
• 53:21
  Speaker 1: somebody who maybe has a good idea or maybe has
• 53:25
  Speaker 1: put together like a great idea for a pilot or
• 53:27
  Speaker 1: like a concept for a TV show, but they have
• 53:30
  Speaker 1: zero relationships in the industry. What would be your advice
• 53:34
  Speaker 1: to somebody like that, how to break in, how to
• 53:36
  Speaker 1: get their script in the right hands, how to try
• 53:37
  Speaker 1: to get some sort of movement in an industry that
• 53:41
  Speaker 1: to me, it's just even living here. The movie industry,
• 53:44
  Speaker 1: the TV industry, it feels unpenetratable. And I'm sure a
• 53:47
  Speaker 1: lot of people feel that way about the music industry.
• 53:49
  Speaker 2: It's the same thing everything, It's all the same shit.
• 53:51
  Speaker 2: The only difference is that, like there's more miracles in music,
• 53:55
  Speaker 2: there's more happy accidents in music because the threshold to entry,
• 53:58
  Speaker 2: the barrier the entry is a little love.
• 54:00
  Speaker 1: It's a lot easier to go straight to the marketplace.
• 54:01
  Speaker 2: Yeah, because you could just like record in your bedroom
• 54:03
  Speaker 2: SoundCloud and you're amazing, You're up. But with movies, it
• 54:06
  Speaker 2: costs so much more to have a product that can
• 54:08
  Speaker 2: compete with the other products that are on the assembly.
• 54:11
  Speaker 2: So what I would say is this, first of all,
• 54:13
  Speaker 2: the simple thing is what you're doing.
• 54:14
  Speaker 1: Bro.
• 54:14
  Speaker 2: It's like same thing that was told to me that
• 54:16
  Speaker 2: I knew to do just like, go make your own shit,
• 54:19
  Speaker 2: collaborate with people who are your superior, who are your
• 54:22
  Speaker 2: peer group, and keep to bettering your craft, and invest
• 54:26
  Speaker 2: in yourself and keep it manageable so that you're not
• 54:29
  Speaker 2: encroaching them on your personal life. If you have responsibilities.
• 54:31
  Speaker 2: If you don't have responsibilities, roll the fucking dice while
• 54:34
  Speaker 2: you go in. If you do have responsibilities, please do
• 54:37
  Speaker 2: not like unless you are unless you like Selena Daddy
• 54:41
  Speaker 2: and you like fuck it, and you got a partner
• 54:44
  Speaker 2: this with you like you know, I don't.
• 54:45
  Speaker 1: I don't someone their own pilot, right they do with that?
• 54:51
  Speaker 1: Will they put it on YouTube? Would they shop it
• 54:52
  Speaker 1: around with an agent?
• 54:53
  Speaker 2: You could do that? That may work. I think that
• 54:55
  Speaker 2: it's a low likelihood. I would say, take the same
• 54:58
  Speaker 2: money that you would spend on a sixty page pilot,
• 55:00
  Speaker 2: which is going to be you know, let's say how
• 55:02
  Speaker 2: much money you would spend on that, and spend that
• 55:05
  Speaker 2: same amount of money on a three to six or
• 55:08
  Speaker 2: seven minutes short. They can display your idea or the
• 55:12
  Speaker 2: fraction of your ideas, so that you can go get
• 55:14
  Speaker 2: other people to invest what you need to go do
• 55:15
  Speaker 2: what they need to do for people just need to
• 55:17
  Speaker 2: see the idea look cool and work.
• 55:19
  Speaker 1: So it's kind of like getting a record deal. You
• 55:21
  Speaker 1: have to find a production company that believes in the
• 55:23
  Speaker 1: idea to bankroll how it should be done, or.
• 55:26
  Speaker 2: You bankrolled it. Like I've found out what a lot
• 55:28
  Speaker 2: of artists even quicker than them. Like I heard that
• 55:29
  Speaker 2: they was recording in their basement and then they took
• 55:31
  Speaker 2: their little demo type to whomever, and the person was like, Okay,
• 55:33
  Speaker 2: this is something, We'll put more money in it because
• 55:35
  Speaker 2: it looks like it may work. I'll invest equity with you.
• 55:38
  Speaker 2: Same thing me and my team doing so it's all
• 55:40
  Speaker 2: the same, bro. It's business is business. If you invest
• 55:43
  Speaker 2: in your own shit, when it works, you get all
• 55:45
  Speaker 2: the funds, but you also got to take the risk
• 55:47
  Speaker 2: of falling on your ass. I don't advise people because
• 55:49
  Speaker 2: I don't know their personal situations. All I can say is,
• 55:51
  Speaker 2: if you want to do it, this is how you
• 55:53
  Speaker 2: go about it. You got to bank on yourself, and
• 55:55
  Speaker 2: you got to work with people who are both slightly
• 55:57
  Speaker 2: above you and near you so that you can both
• 55:59
  Speaker 2: improve and keep and keep your your community going.
• 56:02
  Speaker 1: That's dope. June twenty third, Your EP is coming.
• 56:05
  Speaker 2: Street Journal Volume one got some cool features on it
• 56:08
  Speaker 2: also got some dope music. Sticks and Stones is out
• 56:10
  Speaker 2: right now, that's making motion. We on like three or four.
• 56:13
  Speaker 1: Music video two?
• 56:14
  Speaker 2: Yeah, yeah today for both of them songs.
• 56:16
  Speaker 1: Your music video has gotta be crazy, right, Oh.
• 56:18
  Speaker 2: You gonna see it. We get a part of years,
• 56:19
  Speaker 2: it's gonna go crazy.
• 56:20
  Speaker 1: Yeah, anything else you have on the way obviously outside
• 56:24
  Speaker 1: of music, I mean, I'm sure or Strike is kind
• 56:26
  Speaker 1: of putting up a bit of a well.
• 56:27
  Speaker 2: Listen, we still got the third season of Raisin Kanan
• 56:30
  Speaker 2: coming out.
• 56:31
  Speaker 1: It's already done.
• 56:32
  Speaker 2: Yeah, we've been done that. We right what you ya now?
• 56:34
  Speaker 2: Next summer, we don't know what's going on. I think
• 56:36
  Speaker 2: that's coming out in the fall or something like that.
• 56:37
  Speaker 2: They pushed it back. Don't quote me, but yeah, it's
• 56:41
  Speaker 2: just be for right now.
• 56:42
  Speaker 1: Anything else in the can that you filmed, it's on
• 56:44
  Speaker 1: the way.
• 56:45
  Speaker 2: Oh them season two, I wrote on I wrote on
• 56:47
  Speaker 2: Them season two, So that's coming. But I would still
• 56:49
  Speaker 2: say the music right now is gonna save everybody life.
• 56:52
  Speaker 2: I can go take care of my family. So do that.
• 56:53
  Speaker 2: Go listen to streams, go streaming all that.
• 56:56
  Speaker 1: Uh, and of course go check out the freestyle wor
• 56:58
  Speaker 1: recorded too, except for YouTube.
• 57:00
  Speaker 2: Oh yeah, that's gonna be it, all right, man, I
• 57:01
  Speaker 2: appreciate you for making me. Thanks for making me wrap care.
• 57:03
  Speaker 2: Appreciate you. You're welcome, because now I'm gonna be rapping.
• 57:06
  Speaker 1: The just keep crooning. Appreciate you pulling up man, all right, Yes, sir,
• 57:11
  Speaker 1: with you. Hey, appreciate y'all watching that. Another interview brought
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  Speaker 1: you're at the end of the interview. Though. Much love