Latest / The Bootleg Kev Podcast / #323 - Aaron "Ace" Christian

Transcript

#323 - Aaron "Ace" Christian · The Bootleg Kev Podcast

• 0:00
  Speaker 1: What up. It's Ace. Catch you on the Bootleg Cab Show.
• 0:05
  Speaker 2: Bootleg cap Podcast Special guests in here. My guy Ace.
• 0:09
  Speaker 2: If you guys do not know who Ace is, big
• 0:11
  Speaker 2: time manager in the music industry, Manager's Corday managing Turbo.
• 0:16
  Speaker 2: Who else you managed?
• 0:17
  Speaker 1: Tommy Genesis? Okay, Tommy Genesis, A couple other couple other developments.
• 0:24
  Speaker 2: So how did you get started in the music industry
• 0:26
  Speaker 2: because you're from Boston.
• 0:27
  Speaker 1: Right, Yeah, I'm from New Bedford, Massachusetts. Man, it's like
• 0:30
  Speaker 1: forty minutes south of Boston. I had a mutual friend,
• 0:34
  Speaker 1: her name is Susante James. She was living in Miami
• 0:37
  Speaker 1: at the time. I was going to school in Florida,
• 0:40
  Speaker 1: and we had a mutual friend of White Club Jean Ah. Yeah, yeah,
• 0:44
  Speaker 1: so White Club out of concert down in Miami. I
• 0:48
  Speaker 1: came down from Daytona Beach to kick it with Susie
• 0:52
  Speaker 1: on her college campus, Lynn University at the time. It's
• 0:55
  Speaker 1: in Boca Raton, Florida, went down and watched class in
• 0:57
  Speaker 1: Miami at the film One. Me and him just connected backstage.
• 1:01
  Speaker 1: We like, just you know, he's he was just cool
• 1:05
  Speaker 1: as fucking He took a genuine interest to me. I
• 1:07
  Speaker 1: was a school at the time. I was playing scholarship basketball,
• 1:09
  Speaker 1: so I wasn't even the music industry but play Saint
• 1:13
  Speaker 1: Andrew's University. No, but through Cooking University at this time
• 1:17
  Speaker 1: in Daytona Beach.
• 1:18
  Speaker 2: So you were going to school in Florida.
• 1:20
  Speaker 1: Yeah, yeah, yeah, I was playing scholarship basketball.
• 1:22
  Speaker 2: That's great. So you ended up meeting white Cliff just
• 1:24
  Speaker 2: through her. Through her, I just fucked with you and
• 1:27
  Speaker 2: from there. From then what happens with white Cliff?
• 1:30
  Speaker 1: I went back to school. This is like my with
• 1:34
  Speaker 1: my sophomore yet we just stayed in touch. Unfortunately, he
• 1:39
  Speaker 1: was running for president haiti, Oh.
• 1:42
  Speaker 2: I remember that? Yeah, I forgot he did that?
• 1:44
  Speaker 1: Yeah bro?
• 1:45
  Speaker 2: What year was that? Was that?
• 1:48
  Speaker 1: Like eight? Yeah? Nine? Yeah?
• 1:50
  Speaker 2: Oh nine?
• 1:51
  Speaker 1: So he lost, right, he dropped out, he got shot,
• 1:56
  Speaker 1: and he was just like, I'm good.
• 1:57
  Speaker 2: How do I not remember why Cleiff getting shots?
• 2:00
  Speaker 1: Like the president of that time, you know, it wasn't
• 2:03
  Speaker 1: really that that.
• 2:03
  Speaker 2: Important trying to kill white Cleft.
• 2:05
  Speaker 1: I mean, that's important, but like what the fuck?
• 2:09
  Speaker 2: Yeah, assassination attempt on one of the members of the
• 2:12
  Speaker 2: Fuji's and the other guys in.
• 2:15
  Speaker 1: President for it, what the fun? Maybe there's some lineas
• 2:18
  Speaker 1: between the two.
• 2:19
  Speaker 2: Who knows the conspiracies anyway, So continue he was running
• 2:26
  Speaker 2: for president at the time.
• 2:28
  Speaker 1: Yeah, he was one of the president at the time,
• 2:29
  Speaker 1: and he was just using me as like his young
• 2:32
  Speaker 1: eyes and ears for the landscape where music was at
• 2:35
  Speaker 1: because even though he was in politics, like it's like
• 2:38
  Speaker 1: he's still he's still a musician and he was out
• 2:41
  Speaker 1: of his deal Sony. You know he had that song
• 2:43
  Speaker 1: with with Akon and Lil Wayne that was a smash.
• 2:48
  Speaker 1: I'm gonna tell you who told me Cash moves everything
• 2:51
  Speaker 1: around me? So get down down the bills. The sweetest girl,
• 2:54
  Speaker 1: the sweetest.
• 2:54
  Speaker 2: Girl, sweetest girl, sweetest girl. I remember this.
• 2:59
  Speaker 1: I remember, okay now that what she was.
• 3:01
  Speaker 2: Remember it was like the last kind of like radio record.
• 3:04
  Speaker 1: Yeah, yeah, it was the last one. Yeah, I remember
• 3:07
  Speaker 1: so like he had that record and like this is
• 3:10
  Speaker 1: like two years later when I met and he was
• 3:13
  Speaker 1: just like this is one. Like it was cool to
• 3:14
  Speaker 1: be independent. Remember, like YouTube like took over TV and
• 3:17
  Speaker 1: it was the forefront and the centerpiece of all contents.
• 3:20
  Speaker 2: Like right now, you're really it's really like the when
• 3:22
  Speaker 2: it's cool to be independent though right now for real,
• 3:25
  Speaker 2: everybody wants to be indie.
• 3:26
  Speaker 1: You get it out right now. The labels on the DSPs,
• 3:30
  Speaker 1: they're like squeezing the juice side of like everyone kid no,
• 3:35
  Speaker 1: but it's like it's like but it's like if you
• 3:38
  Speaker 1: upload your music to distro Kid, where's it going.
• 3:40
  Speaker 2: To go then?
• 3:40
  Speaker 1: And you're paying for your own ads? Like, how are
• 3:42
  Speaker 1: you gonna get into the playlist where you get visibility
• 3:44
  Speaker 1: for the first twenty four to forty eight hours, playlists
• 3:47
  Speaker 1: actually work. After that, it's just visibility. But visibility is
• 3:50
  Speaker 1: everything awareness.
• 3:52
  Speaker 2: I think l Russell's done a good job getting on playlist.
• 3:54
  Speaker 2: That's one guy, Russo Core you know.
• 3:58
  Speaker 1: Tell me what what's the iron even both of those
• 4:00
  Speaker 1: names you just mentioned.
• 4:01
  Speaker 2: I know if you guys who are doing very well
• 4:03
  Speaker 2: we work together on Distro Kid and on.
• 4:07
  Speaker 1: But if you look at if you just look again,
• 4:09
  Speaker 1: I'm gon use this word.
• 4:10
  Speaker 2: I don't want to get well, we'll get to all this.
• 4:11
  Speaker 2: But okay, why CLEF.
• 4:14
  Speaker 1: Twelve, this is why? Like being independent was like cool,
• 4:19
  Speaker 1: like you had like you know, funk volume you have okay, yes, yeah,
• 4:24
  Speaker 1: volume wave and tis strange music and like it was
• 4:28
  Speaker 1: you could be independent at the chance was like acid
• 4:31
  Speaker 1: rap chance that was.
• 4:33
  Speaker 2: Both him and Chance were independent.
• 4:35
  Speaker 1: Is yeah, even mac Miller like was Roster, but like
• 4:37
  Speaker 1: that's independent, Like rostro was independence. They weren't the time,
• 4:40
  Speaker 1: you know. But in any case, I was just like
• 4:44
  Speaker 1: putting cleft onto like what was happening at that time.
• 4:46
  Speaker 1: Like j Cole was like, you know for this like
• 4:49
  Speaker 1: Friday night lights, Ga, you know what I'm saying, like
• 4:52
  Speaker 1: section eighty Kendrick and Ship. So I was just keeping
• 4:54
  Speaker 1: him privy to like who was popping and what was
• 4:56
  Speaker 1: going on and b the time, like my senior year
• 5:01
  Speaker 1: came around, like I've been playing ball my whole life
• 5:03
  Speaker 1: and at a high level, I just got to like
• 5:04
  Speaker 1: burn down, tired of it. It's not being fun because
• 5:06
  Speaker 1: it became a business to me in our age. So
• 5:08
  Speaker 1: I reached out the Clefts and I was like, Yo,
• 5:12
  Speaker 1: I want to be in the music industry. Would you
• 5:16
  Speaker 1: want to be like my an R. I'm like yeah,
• 5:17
  Speaker 1: that's like I was searching the consultants in the music
• 5:19
  Speaker 1: consulting in an R kind of fitsed an exact description
• 5:22
  Speaker 1: of what that is. And he's like, Okay, don't call
• 5:25
  Speaker 1: me when you graduate. I'm like, dude, I'm in college,
• 5:27
  Speaker 1: Like I can go play pro overseas. I have a degree,
• 5:32
  Speaker 1: and it's like, you're like, that's my like stamp of reassurance.
• 5:35
  Speaker 1: When I got out of college, it's like call me
• 5:36
  Speaker 1: when you graduate.
• 5:37
  Speaker 2: I'm like, I graduated today. I quit.
• 5:39
  Speaker 1: Yeah, bro, so I fucking I did. I mean, I graduated.
• 5:43
  Speaker 1: I just I went out to New York to his crib.
• 5:45
  Speaker 1: We chopped it up and kicked him more, and then
• 5:47
  Speaker 1: I just started making back and forth trips from like
• 5:49
  Speaker 1: Massachusetts to New York. She's getting in the studio and
• 5:53
  Speaker 1: he was working at Daddy's house.
• 5:55
  Speaker 2: Were you at a I saw? The only time I
• 5:57
  Speaker 2: saw white Cliff live was rare animally at south By
• 6:00
  Speaker 2: Southwest and like two thousand and fourteen.
• 6:03
  Speaker 1: I didn't go with him, man, I remember that, but
• 6:05
  Speaker 1: I didn't go.
• 6:06
  Speaker 2: It was just on stage with a guitar. Schoolboy Q
• 6:09
  Speaker 2: opened and it was fucking gnarly. It was like White
• 6:12
  Speaker 2: Cleff with a guitar and like a basement in Austin.
• 6:15
  Speaker 1: Just yeah, nah, he's an incredible performer. Roads he plays
• 6:19
  Speaker 1: every instrument.
• 6:20
  Speaker 2: He's a beast man.
• 6:21
  Speaker 1: Well but yeah, no, I mean in short for him,
• 6:23
  Speaker 1: that was kind of how like I got him. It
• 6:25
  Speaker 1: was just like I got him with Clef. I was like,
• 6:29
  Speaker 1: once I was working with him, I was just bringing
• 6:31
  Speaker 1: in all of the people who were like my peers
• 6:34
  Speaker 1: who I was a fan of, right, but they are
• 6:37
  Speaker 1: fans of why Cleff. So because I'm there, Pier and
• 6:40
  Speaker 1: I'm young, and I'm able to bring them in studio
• 6:42
  Speaker 1: with Cleff and put them on records and curing videos
• 6:46
  Speaker 1: and all types of shit, like they're looking at me
• 6:48
  Speaker 1: like I'm lit because they're like this is a legend
• 6:50
  Speaker 1: and like this is the guy who's next to him Ace,
• 6:53
  Speaker 1: And he relied on me to do that, and he
• 6:55
  Speaker 1: gave me, fortunately, he gave me his platform in the
• 6:58
  Speaker 1: green light to be able to just speak on his behalf,
• 7:00
  Speaker 1: currate anything around him that I thought was dope, youthful
• 7:03
  Speaker 1: and what was in because he was a little disconnected
• 7:05
  Speaker 1: from Right. So I built a lot of my relationships
• 7:08
  Speaker 1: from originally utilizing clubs likeness in my positioning around him.
• 7:15
  Speaker 1: But then those relationships as time would pass, like I
• 7:18
  Speaker 1: continue to add value to them and they became a
• 7:21
  Speaker 1: relationship with my own.
• 7:22
  Speaker 2: So how do you end up linking up with the
• 7:23
  Speaker 2: YBN kids because you obviously I met in the mirror
• 7:26
  Speaker 2: through you. Yeah, Corde through You told me about cord shit.
• 7:30
  Speaker 2: You were like, there's this kid out in Maryland. Here's
• 7:33
  Speaker 2: a SoundCloud link. Yeah, before the freestyle.
• 7:36
  Speaker 1: So crazy, Bro, you know what's crazy yet, that's a
• 7:38
  Speaker 1: fact you really like you really were the first person
• 7:41
  Speaker 1: who like, outside of like me of course, like work
• 7:44
  Speaker 1: with him. You were the first person who was on
• 7:46
  Speaker 1: corday for because no one even knows that the first
• 7:50
  Speaker 1: music got heard from Cordiyo was a SoundCloud thing. Brow.
• 7:52
  Speaker 1: I know.
• 7:53
  Speaker 2: You send me a link and it was like it
• 7:55
  Speaker 2: was before any of those videos came out. It was
• 7:56
  Speaker 2: before he was out here.
• 7:57
  Speaker 1: Yeah, I just want to see your opinion because you
• 7:59
  Speaker 1: were super supportive of the YBN shit. You always supported us,
• 8:02
  Speaker 1: so I wanted your opinion. That's so funny though, Bro,
• 8:04
  Speaker 1: you really were the first one on him. Now, I
• 8:07
  Speaker 1: got a call from my boy he's a OG James,
• 8:12
  Speaker 1: he's a lawyer, and he was like, yeah, I got
• 8:15
  Speaker 1: this kid. Actually it was from my boy Byron who
• 8:19
  Speaker 1: called me first, who was working with us O Management
• 8:22
  Speaker 1: at the time. He was a part of management. He's like, Yo,
• 8:26
  Speaker 1: me and James have this kid YB in the mirror
• 8:30
  Speaker 1: and he needs you know, he needs a manager, Like
• 8:32
  Speaker 1: he's about to be on the road and he's leaving tomorrow.
• 8:36
  Speaker 2: Was it his mom was involved at first?
• 8:37
  Speaker 1: Two? Right? His moms was just always around my business.
• 8:41
  Speaker 1: He's just like that's her only child. She just like
• 8:43
  Speaker 1: couldn't let him leave home. But I was about to
• 8:46
  Speaker 1: go on like a five day road trip with Denverrick
• 8:47
  Speaker 1: just to go fuck off from party with Coco. He
• 8:50
  Speaker 1: was on tour with with fucking Dizzy. Sorry, I bet
• 8:52
  Speaker 1: we're about to jump on the tour of us to
• 8:53
  Speaker 1: go party in Denver Salt Lake City, Vegas. And I
• 8:56
  Speaker 1: got that call and I don't even know who I
• 8:58
  Speaker 1: mean it was. Bro. I was pretty much actually about
• 9:00
  Speaker 1: to be done with the music industry. I was about
• 9:02
  Speaker 1: to just stay on the brand's side of ship and
• 9:06
  Speaker 1: in corporate. I was just tired of like hustling so much. Bro.
• 9:10
  Speaker 1: And then I got that call and he's like, yo,
• 9:14
  Speaker 1: uh it's a it's a it's a California leg of
• 9:17
  Speaker 1: a tour and he needs someone who helped. I'm like, yo,
• 9:19
  Speaker 1: I'm about to I got plans though, I'm like abo
• 9:22
  Speaker 1: to just go fuck off. And he's like, all right, Well,
• 9:25
  Speaker 1: I'm just telling you, like, this kid's doing a million
• 9:26
  Speaker 1: views a day on YouTube right now for his first
• 9:29
  Speaker 1: of a video, and whoever we put out there is
• 9:32
  Speaker 1: probably gonna end up bonding with him, and that's gonna
• 9:34
  Speaker 1: be like the solidified position, right. So I was like,
• 9:38
  Speaker 1: give me five minutes, hung up stalking a con call.
• 9:40
  Speaker 1: I'm like, yo, yeah, I checked them out and I'm like, oh, ship,
• 9:44
  Speaker 1: like eight million views and nine days on this video.
• 9:48
  Speaker 1: At the time, yeah, it was And if you remember,
• 9:51
  Speaker 1: a million views for a video at the time was
• 9:52
  Speaker 1: still like kind of like that was traditionally like a
• 9:57
  Speaker 1: big record for an artist if you had a million
• 9:58
  Speaker 1: views on YouTube, for sure. It's not like we hit
• 10:01
  Speaker 1: the SoundCloud wave right after that. If you remember when
• 10:03
  Speaker 1: people could do a million views in the day, but
• 10:05
  Speaker 1: Cole Bennett kind of changed that.
• 10:06
  Speaker 2: Yeah, now, the YouTube shit was big for sure.
• 10:09
  Speaker 1: Yeah, before that, if you had a million views, that
• 10:10
  Speaker 1: was a big record. So for him to have like
• 10:12
  Speaker 1: eight million views and nine days, I was like, yo,
• 10:14
  Speaker 1: I can't miss this opportunity. So I met him at
• 10:17
  Speaker 1: the Montre on like an hour later, it's like one
• 10:21
  Speaker 1: in the morning, found out that we didn't have a
• 10:24
  Speaker 1: bus driver. It was a shitty van. I was gonna
• 10:26
  Speaker 1: have to drive it. I had no license. I showed
• 10:29
  Speaker 1: back up for I was there like five in the morning,
• 10:32
  Speaker 1: jumped in with like five of these like little wild
• 10:36
  Speaker 1: young kids. Now, Mirror was super cool. He's pretty quiet.
• 10:39
  Speaker 1: He didn't know what the fuck was happening. Bro, Like,
• 10:41
  Speaker 1: this is all happened so fast, and we went on
• 10:44
  Speaker 1: like six city California run like kind of like the
• 10:49
  Speaker 1: shittiest talents in California, like Bakersfield, Yes, Fresno was one.
• 10:57
  Speaker 1: It was like, what what's what was it? Now? I
• 11:00
  Speaker 1: let the no that I let this local. It was
• 11:02
  Speaker 1: like Oxnard, No, that's a pretty cool time to be
• 11:07
  Speaker 1: it was Stocked was one of them. No, Modesta was
• 11:10
  Speaker 1: one of them. And then it went way up into
• 11:12
  Speaker 1: Humble County, bro, like where people don't even go. But
• 11:14
  Speaker 1: we bought. And then we came back down into Arizona,
• 11:16
  Speaker 1: so we bonded. We go real close and the rest
• 11:18
  Speaker 1: of his kind of history, bro, Like you know he
• 11:21
  Speaker 1: mia moved in with me.
• 11:23
  Speaker 2: I know he was living with you.
• 11:25
  Speaker 1: I had the hype man whose name is Glizzie. I
• 11:30
  Speaker 1: had not mere had many j I had our DJ
• 11:34
  Speaker 1: living with us. Bro. I had like five of these
• 11:36
  Speaker 1: little niggas living in my love Jesus with fucking two dogs.
• 11:39
  Speaker 1: And then that mel went and bought a dog from
• 11:41
  Speaker 1: Jazz Prince and it was a it was with.
• 11:47
  Speaker 2: You when he was fucking black China.
• 11:51
  Speaker 1: Yeah, I made the phone call, like, I called TMZ
• 11:54
  Speaker 1: to pull up on him outside of the bowl in
• 11:56
  Speaker 1: alley Wood, China. Yeah. I was on a plane players
• 12:00
  Speaker 1: to take off. He calls me. He's like, yo, what
• 12:02
  Speaker 1: at the bowling alley because he was fucking with China
• 12:05
  Speaker 1: for like two weeks. But I'm like, you know, we
• 12:07
  Speaker 1: gotta get this out, bro. I was just like, this
• 12:09
  Speaker 1: is like gold, Bro, you're fucking China. Like Jay's all
• 12:12
  Speaker 1: skinny and it's like eighteen. So I'm like, yo, at
• 12:14
  Speaker 1: some point, you just gotta let me know when y'all
• 12:16
  Speaker 1: are in the public and I'm gonna do what I
• 12:18
  Speaker 1: gotta do. He calls me, he's like, Yo, I'm at
• 12:20
  Speaker 1: the bowling out of China about to leave. I was like, Yo,
• 12:23
  Speaker 1: I need you to hold her there for ten minutes.
• 12:25
  Speaker 1: I'm gonna call Temz to have them pull up. He's like, a, YO,
• 12:29
  Speaker 1: I don't know if I can hold her, but I'm
• 12:30
  Speaker 1: gonna try. My plane's want leave in like five minutes.
• 12:33
  Speaker 1: So I'm like, Yo, where you guys are. He's like, man,
• 12:35
  Speaker 1: we're going off the left entrance, out the side that
• 12:37
  Speaker 1: goes into the parking lot. I need you to go
• 12:39
  Speaker 1: out the other side, the other side, on the street side,
• 12:40
  Speaker 1: and this bush is there, teams He's way, he said,
• 12:43
  Speaker 1: I'm gonna redirect the hold on. I'm gonna call it
• 12:44
  Speaker 1: right back. My plane took off. So now I'm sitting
• 12:48
  Speaker 1: there in the air waiting right WiFi kicks in him
• 12:52
  Speaker 1: like thirty minutes he texted me. He's like, YO, my bad.
• 12:55
  Speaker 1: He's like, Yo, they got it. They got it. They
• 12:57
  Speaker 1: all jumped out. She's pissed. I'm like, that's perfect. They
• 13:00
  Speaker 1: got it thought. He's like yeah. I was like, what
• 13:03
  Speaker 1: did you do? He was like I just asked like
• 13:04
  Speaker 1: I didn't know what was going on. I was like,
• 13:06
  Speaker 1: what did she do? He's like, she just kept on walking.
• 13:10
  Speaker 1: She's pissed, though, Bro, I'm like, Yo, it don't matter.
• 13:12
  Speaker 1: We got it. Yo. The next day, so I'm flying
• 13:14
  Speaker 1: across country right to New York. So I land in
• 13:17
  Speaker 1: New York off of Red Eye. So it's like six am.
• 13:22
  Speaker 1: But it's like three am in La y'all. Like I
• 13:26
  Speaker 1: take a nap in New York because I'm jet Like
• 13:28
  Speaker 1: I wake up like nine am. It's already everywhere on
• 13:31
  Speaker 1: like all over the fucking media. About like six seven am,
• 13:33
  Speaker 1: it was fucking everywhere.
• 13:35
  Speaker 2: That's such a weird problem child for real. I wasn't
• 13:39
  Speaker 2: he eighteen?
• 13:39
  Speaker 1: It was eighteen. Oh my god, he was eighteen. Yo
• 13:43
  Speaker 1: J was knocking him down. Bro, I'm not gonna lie.
• 13:45
  Speaker 1: Jay hit everything. Bro Jay's hit more. Yo Jay's hit
• 13:50
  Speaker 1: every bad bitch and in black, in brown American hip
• 13:58
  Speaker 1: hop culture. Bro Jay's hit him all. Bro, Interesting Jay's
• 14:02
  Speaker 1: hit him all you have, you know, almost Adeny chick.
• 14:05
  Speaker 1: You can think of who's popping right now in the
• 14:09
  Speaker 1: female landscape.
• 14:10
  Speaker 2: Rat Almighty J's been.
• 14:12
  Speaker 1: There, Almighty J. Almighty Jay's the man. What a list,
• 14:16
  Speaker 1: He's the one.
• 14:16
  Speaker 2: I can't wait to talk to him.
• 14:17
  Speaker 1: And he's still on a run. But now it's just
• 14:19
  Speaker 1: like it's way more under wraps because he's under wraps.
• 14:22
  Speaker 2: So at what point in time did you uh? Because
• 14:25
  Speaker 2: obviously there was the YBN split, Corday dropped the YBN
• 14:30
  Speaker 2: from his name. Everyone's still cool, you know, everyone's still kosher.
• 14:34
  Speaker 2: But like you kind of just dove in with Corda.
• 14:36
  Speaker 2: So what was like the the like, obviously Corday's fucking
• 14:41
  Speaker 2: you know, generationally talented guy's great, great kid. Like what
• 14:44
  Speaker 2: was it about Corday that made you want to like
• 14:46
  Speaker 2: really focus on him as a client.
• 14:50
  Speaker 1: Like once I already was working with all three of
• 14:53
  Speaker 1: the guys. Yeah, yeah, yeah, he was focused. He wanted
• 14:57
  Speaker 1: to be great. He wants to be great. He still does.
• 14:59
  Speaker 1: But I'm saying, like I noticed that from the very
• 15:02
  Speaker 1: moment that I started working with Corday, our conversations were
• 15:06
  Speaker 1: different than what I was having with Jay and I Miir,
• 15:09
  Speaker 1: you know, And I mean look to like Jay and
• 15:13
  Speaker 1: Amir's defense, Like Namir never like wanted to be like
• 15:16
  Speaker 1: a professional rapper. Noamir always made music eve when he
• 15:19
  Speaker 1: was younger, but like he didn't have like that like
• 15:22
  Speaker 1: that bug, you know, like that burning desire to be
• 15:26
  Speaker 1: Yeah he wants to be famous, yeah yeah actually yeah,
• 15:29
  Speaker 1: and he got famous and then it was just like
• 15:31
  Speaker 1: he's like what the fuck do I do now? And
• 15:33
  Speaker 1: everything was happening so fast. Namir always just wanted to
• 15:36
  Speaker 1: be a kid. He just wanted to be famous while
• 15:38
  Speaker 1: doing it right. The industry doesn't really allow you to
• 15:41
  Speaker 1: do that once you have a real demand, like it
• 15:44
  Speaker 1: becomes a business. So he struggled with that. Jay always
• 15:48
  Speaker 1: just wanted the fun bitches. So like once he achieved that,
• 15:52
  Speaker 1: once he was successful with that, it was hard to
• 15:55
  Speaker 1: keep him focused. Corday always was like he would wake
• 15:59
  Speaker 1: up and go to sleep just talking about like music, ideas,
• 16:02
  Speaker 1: idea and like what's the next step, and like, Yo,
• 16:04
  Speaker 1: I did this, I did that. I'm going to meet
• 16:06
  Speaker 1: with this person. I was networking with this person, said
• 16:09
  Speaker 1: this person hit me up, Yo, what do you think
• 16:10
  Speaker 1: about this record? Everything was just music music, music, So
• 16:13
  Speaker 1: he was focused.
• 16:14
  Speaker 2: Was it his idea to do the Jake Cole reply?
• 16:16
  Speaker 1: It was. We were living together at the time. He
• 16:18
  Speaker 1: was living upstairs in my loft. He came downstairs one morning.
• 16:21
  Speaker 1: I woke up. He came downstairs and he's like, yo,
• 16:24
  Speaker 1: I was thinking, mind you, I never.
• 16:27
  Speaker 2: Even heard the Jake Cole nineteen eighty five.
• 16:29
  Speaker 1: Yeah, I never heard nineteen eighty five. He came downstairs like, yo,
• 16:33
  Speaker 1: you know the nineteen eighty five record by Jake Cole.
• 16:35
  Speaker 1: I'm like, that's why I was a new project. I
• 16:37
  Speaker 1: ain't heard it. He's like, well, basically, it's like he's
• 16:40
  Speaker 1: touching upon like how this new era of youth and
• 16:43
  Speaker 1: rappers and kind of like what you would consider me
• 16:45
  Speaker 1: the sound cloud era. He's like, my generation, how everyone's
• 16:48
  Speaker 1: kind of lost and a lot of the mistakes were
• 16:50
  Speaker 1: making they're not going to last, you know. I feel
• 16:53
  Speaker 1: like making a response for that on behalf of like
• 16:55
  Speaker 1: my peers and my generation and the youth explaining to
• 16:58
  Speaker 1: him and even just those who represent that older generational mentality,
• 17:03
  Speaker 1: like this is why we do this. Why don't you
• 17:05
  Speaker 1: looking at from our perspective? And I'm like, sounds dope,
• 17:09
  Speaker 1: but I never heard the original, so I'm just supporting.
• 17:11
  Speaker 1: H'm like, go do it. When he came back and
• 17:14
  Speaker 1: played me the record, I still never heard the gen con.
• 17:17
  Speaker 1: I was just like, Yo, this is wild. The narration, Yeah,
• 17:21
  Speaker 1: I was just like the narration of it is bridging,
• 17:23
  Speaker 1: like this separation in this gap that was becoming like
• 17:27
  Speaker 1: really really obviously that talent was all aware between traditional.
• 17:30
  Speaker 2: Right of course, yeah that was like SoundCloud shit, and
• 17:32
  Speaker 2: it was like yeah yeah, And I mean there wasn't
• 17:35
  Speaker 2: even anybody who was doing real.
• 17:36
  Speaker 1: Rode from the new school at the time, nobody, nobody
• 17:38
  Speaker 1: was making traditional hip.
• 17:39
  Speaker 2: Hop for sure.
• 17:40
  Speaker 1: Yeah.
• 17:40
  Speaker 2: He was like, wait, this kid's eighteen and he's fucking
• 17:43
  Speaker 2: rapping over eminem Yeah.
• 17:45
  Speaker 1: Yeah, So I was like that all that collectively kind
• 17:48
  Speaker 1: of was what made me really really focused on cord
• 17:51
  Speaker 1: because I have a job to do, and quite frankly,
• 17:53
  Speaker 1: like people in my position, we empower those who allow
• 17:56
  Speaker 1: us to do our job and who see their who
• 18:01
  Speaker 1: take their job seriously.
• 18:02
  Speaker 2: What is like for people who don't know what a
• 18:04
  Speaker 2: manager does in it? Like a role like yourself? What
• 18:08
  Speaker 2: is like your duties as a manager, like for people
• 18:10
  Speaker 2: who are interested in maybe getting into the music industry
• 18:12
  Speaker 2: or you know.
• 18:14
  Speaker 1: I think that the job description itself has a few
• 18:21
  Speaker 1: kind of unwavering core responsibilities for everybody, right, no matter
• 18:26
  Speaker 1: what client you represent, because it does vary every clients,
• 18:31
  Speaker 1: but managing relationships. Managing relationships first and foremost. Right, you
• 18:35
  Speaker 1: don't even have to like your manager. If you're doing
• 18:38
  Speaker 1: your job as an artist and your manager is good
• 18:41
  Speaker 1: at managing relationships, you guys can be extremely successful together,
• 18:45
  Speaker 1: you know what I'm saying. Because as an artist, it's
• 18:47
  Speaker 1: like you're the centerpiece, Like you're you're the engine of
• 18:51
  Speaker 1: the vehicle, Like what you do determines if it goes up.
• 18:55
  Speaker 1: If your manager is good at managing relationships, he's likable,
• 18:57
  Speaker 1: he's dependable, he's charismatic, he's genuine, he's friendly. He does
• 19:02
  Speaker 1: good business by thinking about what the other party is
• 19:06
  Speaker 1: getting out of every equation, not just where you guys
• 19:08
  Speaker 1: are getting, so that people see him as fair. You
• 19:11
  Speaker 1: guys can be great together. That's first. Second, I think
• 19:15
  Speaker 1: that your manager has to have if you're managing a
• 19:19
  Speaker 1: this is difference, right, Managing a rapper is different if
• 19:23
  Speaker 1: you're managing an artist, right, then I think that there
• 19:27
  Speaker 1: has to be a vision attached to it because there
• 19:32
  Speaker 1: has to be a long term goal, not just near
• 19:36
  Speaker 1: sighted accomplishments as the focus when you think of rappers, right,
• 19:42
  Speaker 1: and this isn't to discredit anybody, but this is just
• 19:44
  Speaker 1: like if this is just a fact, there's country artists,
• 19:49
  Speaker 1: pop artists, reggae artists, hip hop artists. Right when they
• 19:57
  Speaker 1: say rappers, it's kind of because like rap is the
• 20:00
  Speaker 1: evolution of hip hop. It kind of created its own
• 20:03
  Speaker 1: image almost like its own genre. It's like it came
• 20:07
  Speaker 1: kind of with the evolution of production, right, like not
• 20:12
  Speaker 1: necessarily baselines, but like eight o eights and scent pads
• 20:15
  Speaker 1: and different things like that. And then the concepts in
• 20:19
  Speaker 1: the subject matter of what rap talks about. Hip hop
• 20:21
  Speaker 1: stems from like black and brown people coming from like
• 20:25
  Speaker 1: inner cities in just places in America where your voices
• 20:30
  Speaker 1: couldn't be heard, it didn't fit a certain political statue
• 20:32
  Speaker 1: of economic stature. So through breakdancing and graffiti and song form,
• 20:36
  Speaker 1: people would listen now DJ yeah, people would listen now.
• 20:40
  Speaker 1: But then rap is the evolution that where it's like
• 20:42
  Speaker 1: it represents black and brown people who have now achieved
• 20:47
  Speaker 1: those things that we didn't have. Now now you have well,
• 20:49
  Speaker 1: now you have money. Now you have a political stature.
• 20:52
  Speaker 1: So it's like we can talk about different subject matters
• 20:54
  Speaker 1: like cars and wealth and all these different glorified things
• 20:57
  Speaker 1: we never used to see raps like the El loose
• 21:00
  Speaker 1: and hip hop. So I feel like, if you're managing
• 21:02
  Speaker 1: rappers the landscape of what that lifestyle entails. You can
• 21:05
  Speaker 1: be in the clubs like you can do features for money,
• 21:09
  Speaker 1: you set set up bags bro like in like yo,
• 21:12
  Speaker 1: motherfuckers get rich all here, and I love that shit.
• 21:14
  Speaker 1: That's what I love about how hip hop is evolved
• 21:16
  Speaker 1: to rap, but in some of the other genres the
• 21:20
  Speaker 1: traditional genre is of like hip hop, country pop, you know, reggae,
• 21:26
  Speaker 1: R and B whatever, there has to be kind of
• 21:30
  Speaker 1: a more long term goal that's attached to it because
• 21:35
  Speaker 1: those are not cash out genres like rap has become right,
• 21:39
  Speaker 1: and that's why rap is so saturated. It is because
• 21:41
  Speaker 1: there's enough money in it to satisfy everybody.
• 21:44
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  Speaker 2: get back to the interview. Well, yeah, I think like Corde,
• 24:19
  Speaker 2: I think he had said, like in one of our interviews,
• 24:22
  Speaker 2: he turned down, like was it the gap? He turned
• 24:26
  Speaker 2: down like a crazy bag?
• 24:28
  Speaker 1: Did we tell you that because I know you're a
• 24:29
  Speaker 1: fishing Did we say that? Oh? I had them say
• 24:31
  Speaker 1: yeah it was the gap?
• 24:32
  Speaker 2: Yeah yeah, But like it's like not all like I think, well,
• 24:37
  Speaker 2: I think most people, like most artists or rappers would
• 24:40
  Speaker 2: be like how much is it? Yes?
• 24:42
  Speaker 1: Yeah, yeah, some gap on you know what I mean.
• 24:44
  Speaker 1: So I think that the responsibilities coming out to just
• 24:46
  Speaker 1: like having like a long term vision for where you
• 24:49
  Speaker 1: guys want to go, because now it's kind of going
• 24:51
  Speaker 1: to serve as your moral compass that allows you to
• 24:54
  Speaker 1: know what's right and wrong for you, for your business
• 24:58
  Speaker 1: and for the image of the artists. Again, just focusing
• 25:02
  Speaker 1: on like the low term and goal and not near
• 25:03
  Speaker 1: set of accomplishments, right, And then I think I think
• 25:09
  Speaker 1: just like yeah, bro, just no, only had knowingly how
• 25:15
  Speaker 1: to work cohesively within the team, right, So your representation
• 25:20
  Speaker 1: of the artists. So it's not just managing relationships, it's
• 25:23
  Speaker 1: understanding the functionality of teams. So if it's a label,
• 25:25
  Speaker 1: for example, you got no the difference between your A
• 25:28
  Speaker 1: and R. You got no difference between that role and
• 25:30
  Speaker 1: your product manager, your admin the executive vice president of
• 25:34
  Speaker 1: A and R versus the ones who do research your
• 25:39
  Speaker 1: music video commissioner, you know, the legal department, the president
• 25:45
  Speaker 1: versus the CEO, you know versus.
• 25:50
  Speaker 2: You know, because you're kind of like you're also kind
• 25:53
  Speaker 2: of the liaison too, between him and the label, right
• 25:55
  Speaker 2: when it comes to certain communication.
• 25:57
  Speaker 1: Like, yeah, you're kind of the liaison between the artists
• 25:59
  Speaker 1: and everything. Yeah, ultimately, and that's why it's so important
• 26:01
  Speaker 1: for an artist and a manager to be on the
• 26:02
  Speaker 1: same page, just psychologically and also in terms of like
• 26:07
  Speaker 1: the orientation of your goals, because you're speaking on their behalf.
• 26:10
  Speaker 1: If you guys are on the same page, you're gonna
• 26:12
  Speaker 1: have a lot of false narrative conversations on their behalf.
• 26:15
  Speaker 1: And eventually those types of convos and narratives get back
• 26:18
  Speaker 1: to the artists, and that's an artists say, wait, why
• 26:20
  Speaker 1: didn't I know about this? You didn't tell me this?
• 26:22
  Speaker 2: The manager's having conversations behind my back. Yeah, yeah, all
• 26:25
  Speaker 2: kinds of shit.
• 26:26
  Speaker 1: Yeah, So like when the conversations represent the artists best,
• 26:29
  Speaker 1: those conversations never get back to the artists because it's fluid,
• 26:33
  Speaker 1: you know what I'm saying.
• 26:34
  Speaker 2: Like, transparency is important.
• 26:36
  Speaker 1: Yeah, and when something's wrong, you know, like you know,
• 26:38
  Speaker 1: it's like a DJ and also an entrepreneur and you
• 26:41
  Speaker 1: know many other things. If you have relationships now like
• 26:43
  Speaker 1: little artists, if you're talking to their managers, you know,
• 26:46
  Speaker 1: where it sells is coming from the manager or not
• 26:48
  Speaker 1: the artist.
• 26:48
  Speaker 2: Oh for sure, it happens a lot because.
• 26:50
  Speaker 1: The manager is not it's not upholding the representation of
• 26:53
  Speaker 1: the artists that you know personally. So when it's clear
• 26:57
  Speaker 1: and it's concise, it feels consistent in or.
• 27:00
  Speaker 2: It'll feel like There'll be times I'll be talking to
• 27:02
  Speaker 2: like some guys managers and I'll be like, dude, listen, man,
• 27:06
  Speaker 2: there's guy's clearly putting a whole out on top of
• 27:09
  Speaker 2: whatever he's quoting me so he can put it in
• 27:13
  Speaker 2: his pocket. But like, it happens.
• 27:15
  Speaker 1: And I think that's the other thing too, dude, Like
• 27:17
  Speaker 1: to be real with you, Like again, rap is different
• 27:22
  Speaker 1: because like it's just such a lucrative industry where there's
• 27:25
  Speaker 1: so much money.
• 27:27
  Speaker 2: Yeah, and it's a cash heavy business. So he says, Yo,
• 27:29
  Speaker 2: I could tell this promoter twenty five and get my
• 27:33
  Speaker 2: artists twenty Yeah, for sure.
• 27:36
  Speaker 1: But when you're dealing with almost any other genre and
• 27:38
  Speaker 1: it like that you like.
• 27:39
  Speaker 2: That was just yeah, that was just happening with a
• 27:40
  Speaker 2: big artists who's a female where she found out that
• 27:43
  Speaker 2: like she was like whoever she was doing parties with,
• 27:48
  Speaker 2: Like I think it was her road manager was just
• 27:50
  Speaker 2: like taking.
• 27:51
  Speaker 1: Yeah, lots of bread off the top. Yeah, And I
• 27:54
  Speaker 1: really do believe that, like money is what focusing on money,
• 27:59
  Speaker 1: putting money for is what ruins businesses. Like you have
• 28:03
  Speaker 1: to focus on.
• 28:04
  Speaker 2: Purpose and like all that shit will come.
• 28:07
  Speaker 1: It does as long as you don't put it first.
• 28:09
  Speaker 1: Because at the end of the day, no one pays
• 28:10
  Speaker 1: you money because you want money, right. People pay you
• 28:13
  Speaker 1: for a service or a byproduct that you're selling. So
• 28:16
  Speaker 1: if you focus on the quality of your service where
• 28:19
  Speaker 1: people feel like they either can't get it anywhere else
• 28:22
  Speaker 1: or that you just do it better than most.
• 28:26
  Speaker 2: That's what The New Sun's owner just made news because
• 28:30
  Speaker 2: he u the Sons had like a deal with like
• 28:33
  Speaker 2: Bally Sports for the last like five years, so if
• 28:35
  Speaker 2: you didn't have cable, you can watch Suns games in Phoenix. Yeah,
• 28:38
  Speaker 2: and he's like, fuck that, I want my ship to
• 28:40
  Speaker 2: be free everywhere. Yeah, So now the Sun's like you
• 28:43
  Speaker 2: can watch like I think starting next season, Like, wherever
• 28:47
  Speaker 2: you're at, you could either stream Suns games for free,
• 28:49
  Speaker 2: you don't have to have a league pass, or if
• 28:51
  Speaker 2: you're in Arizona, it's just on the fucking normal channel three.
• 28:54
  Speaker 2: So like, and he said, I just heard an interview.
• 28:56
  Speaker 2: He was like, I don't give a few He's like,
• 28:58
  Speaker 2: I give a fuck about the fans. He's like, because
• 29:00
  Speaker 2: like the short term money doesn't matter, like I'm gonna
• 29:03
  Speaker 2: own this team forever.
• 29:04
  Speaker 1: Yeah.
• 29:04
  Speaker 2: Other thing to remember to build diehard fans. I want
• 29:07
  Speaker 2: the more people who watch the game, the more Suns
• 29:09
  Speaker 2: fans we have, Like what are we doing here?
• 29:10
  Speaker 1: And the other thing to a member is right like
• 29:12
  Speaker 1: and I'll draw a comparison in lineage what I'm about
• 29:17
  Speaker 1: to say, even with sports, like you brought the Suns.
• 29:21
  Speaker 1: I'm a Celtics fan, right, Go look at the Celtics
• 29:23
  Speaker 1: five years ago. Go get the Suns five years ago. Right.
• 29:26
  Speaker 1: Look at any rapper, any hip hop artists, any pop art,
• 29:29
  Speaker 1: just any act. Go look at any corporate business, any brand.
• 29:33
  Speaker 1: It takes five years to build a strong in identifiable business.
• 29:38
  Speaker 2: Or Branda because five years ago they went to the
• 29:40
  Speaker 2: Eastern Conference finals.
• 29:41
  Speaker 1: Though go look at what who in the Celtics.
• 29:44
  Speaker 2: That was the year that Kyrie was hurting and they
• 29:45
  Speaker 2: went to Thestern Conference Finals. Really mm hmm, I was
• 29:49
  Speaker 2: twenty eighteen.
• 29:50
  Speaker 1: You went to the Eastern Conference Finals.
• 29:51
  Speaker 2: Yeah, and lost to Lebron James.
• 29:54
  Speaker 1: Right, but well, in any case, go look at the place.
• 29:57
  Speaker 2: No, no, no, but nobody expected that and it was
• 30:00
  Speaker 2: kind of like a it felt like it felt like
• 30:03
  Speaker 2: when the Hawks made it to the Eastern Conference Finals
• 30:05
  Speaker 2: two years ago, nobody was like well, and also I think, no,
• 30:08
  Speaker 2: the Celtics have built.
• 30:09
  Speaker 1: My point is we have a team that belongs to
• 30:11
  Speaker 1: us now, though Kyrie was a traded player.
• 30:13
  Speaker 2: Like everybody's drafted, everybody's Marcus Smart, Jason Tatum and those.
• 30:18
  Speaker 1: Until time to developed those plays. I'm saying, squad, it's
• 30:21
  Speaker 1: felt like Robert Williams like four years of Jason Tatum.
• 30:25
  Speaker 2: And six or seven years ago, but it's like, what
• 30:29
  Speaker 2: the fuck is Danny Ainge's doing with all these picks?
• 30:31
  Speaker 1: Yeah yeah, yeah, yeah, Devin book. So my point is
• 30:36
  Speaker 1: like it's the same thing with artists, bro, Like even
• 30:39
  Speaker 1: if you see like a success that seems to just
• 30:42
  Speaker 1: like come out of nowhere, like why be in the mirror,
• 30:44
  Speaker 1: like in the like a yeat or something like that.
• 30:47
  Speaker 1: Five years is going to tell you where it's really yet,
• 30:49
  Speaker 1: it's either gonna tail off because you didn't through the
• 30:53
  Speaker 1: necessary things, break by break to make sure that you
• 30:55
  Speaker 1: were building something sustainable, or it's going to completely start
• 31:00
  Speaker 1: to catapult an in calling because you did all the
• 31:04
  Speaker 1: groundwork to build something sustainable. Now you're seeing the foods
• 31:07
  Speaker 1: in your labor pay off. So I think that as
• 31:09
  Speaker 1: a manager like you have to you have to be
• 31:12
  Speaker 1: focused on that because ain't nobody bigger than the program. Right,
• 31:14
  Speaker 1: There's no such thing as elevators. They go up just
• 31:17
  Speaker 1: as fast as they come down. You gotta take the
• 31:20
  Speaker 1: stairs because the only way that you can fall off
• 31:22
  Speaker 1: we literally infinatively is if you choose to. You gotta
• 31:25
  Speaker 1: go back down those steps. You have to make terrible
• 31:27
  Speaker 1: decisions on your behalf that sends you back down them.
• 31:30
  Speaker 1: But you built it yourself, break by britt, so at
• 31:34
  Speaker 1: least you have that option.
• 31:36
  Speaker 2: I think that's like obviously, what you guys have been
• 31:37
  Speaker 2: building with Corde, it's like it's a fan base, it's
• 31:40
  Speaker 2: a twenty year plan. It's not a you know, fucking
• 31:44
  Speaker 2: short sighted I just when I think of Cordea, I'm like, well,
• 31:47
  Speaker 2: Cornea will be here, and I feel like he'll be
• 31:49
  Speaker 2: here forever. So it's like, you know, a lot of
• 31:50
  Speaker 2: these guys, I can't say that about Yeah.
• 31:52
  Speaker 1: And the hardest part for the artists, I'm not.
• 31:54
  Speaker 2: Sure anyone's gonna care about y Eat in three years.
• 31:56
  Speaker 2: I could be wrong, I could be wrong.
• 31:59
  Speaker 1: I'm this guy's crazy.
• 32:00
  Speaker 2: I just don't think anyone's gonna care. Personally, seems like
• 32:03
  Speaker 2: a nice.
• 32:03
  Speaker 1: I love you. You know what I like about ship, Leff,
• 32:05
  Speaker 1: You get to just say what the fuck you want.
• 32:08
  Speaker 2: Nobody can fire his music's fucking terrible, but if someone likes.
• 32:12
  Speaker 1: It, I like, you know what I like? You know
• 32:14
  Speaker 1: the thing that.
• 32:15
  Speaker 2: Somebody likes Yeat, somebody likes Playboy CARDI all this ship
• 32:18
  Speaker 2: is just going over my head. I'm under my head.
• 32:20
  Speaker 1: What I think is super important too.
• 32:23
  Speaker 2: It all likes Yeat heat sucking piece, yeh yeah, oh
• 32:28
  Speaker 2: this guy, this guy's a fucking but.
• 32:29
  Speaker 1: You know what, I think it's super important. I think
• 32:31
  Speaker 1: this is so important. I think this is the fucking
• 32:33
  Speaker 1: reason why we have so many trolls. Also because it's
• 32:35
  Speaker 1: like little white kids who don't know anything about.
• 32:38
  Speaker 2: They're gonna grow up. They're gonna be twenty one and
• 32:41
  Speaker 2: they're gonna be like, I'm a little old for this
• 32:44
  Speaker 2: yeat ship.
• 32:45
  Speaker 3: Oh yeah, and then they're gonna still be posted on
• 32:47
  Speaker 3: like that, no id. But like oh my grandma I said,
• 32:50
  Speaker 3: the reality is this conceptual music that's made with intent
• 32:55
  Speaker 3: and purpose. It's always gonna outlast the ladder. And the
• 32:58
  Speaker 3: reason why is because he's young kids who adapt to
• 33:00
  Speaker 3: shit so quickly. They're young minded, they don't have responsibilities
• 33:03
  Speaker 3: and not going through real things. But as they get
• 33:05
  Speaker 3: older and they have bills, they're going through real relationships.
• 33:07
  Speaker 2: They're not gonna still want the same microwavable shit.
• 33:10
  Speaker 1: Yeah. They need things that get them through the times
• 33:12
  Speaker 1: and relate to them during the times that they're dealing with,
• 33:16
  Speaker 1: and who they're gonna turn to the things that they
• 33:17
  Speaker 1: once criticized and turned a cheek to that they didn't
• 33:21
  Speaker 1: understand at the time. And that's why you have the
• 33:23
  Speaker 1: Scissors and the janni Cos and the Lizzos and the
• 33:26
  Speaker 1: Kendricks and the j Coles.
• 33:27
  Speaker 2: They outlast everybody for sure, because it's quality. Yeah, I
• 33:29
  Speaker 2: mean I always say that.
• 33:30
  Speaker 1: Because people are always gonna go through the same troubles, tribulations,
• 33:34
  Speaker 1: life experiences over and over. They just have to reach
• 33:37
  Speaker 1: a certain age when it clicks in, and some people
• 33:39
  Speaker 1: hit it earlier than others. But it's gonna click no
• 33:41
  Speaker 1: matter what. It's inevitable.
• 33:43
  Speaker 2: How do you see AI affecting what you do and
• 33:47
  Speaker 2: or just the music industry as a whole.
• 33:50
  Speaker 1: I mean, bro, you know it's crazy cord. They put
• 33:52
  Speaker 1: me onto this website where I forget the name of it,
• 33:56
  Speaker 1: but like you can type in celebrities and you can
• 33:59
  Speaker 1: ask questions, is about those celebrities?
• 34:01
  Speaker 2: And I take the question is it chat GBT?
• 34:05
  Speaker 1: I forget that one.
• 34:07
  Speaker 2: Yeah, that's the main one. Yeah.
• 34:09
  Speaker 1: I typed the question about an artist and I said, like,
• 34:12
  Speaker 1: what can this artist do? I put the artist's name,
• 34:15
  Speaker 1: I said, what can this artist do to elevate their career? Yo?
• 34:20
  Speaker 1: The four responses that came back were so fucking on
• 34:23
  Speaker 1: point that I'm like, yo, A I can put mantages
• 34:25
  Speaker 1: out of business. I just can't show up physically.
• 34:28
  Speaker 2: I feel like they can make it. I feel like
• 34:29
  Speaker 2: they're gonna end up like someone's going to figure out
• 34:31
  Speaker 2: how to make AI produce records. There's going to be
• 34:35
  Speaker 2: an app where like you could just be like I
• 34:36
  Speaker 2: want to beat that sounds like this and uses this
• 34:40
  Speaker 2: riff and then they're just gonna make a beat like
• 34:42
  Speaker 2: it's coming.
• 34:43
  Speaker 1: But you know the problem with AI, AI can't AI
• 34:47
  Speaker 1: is predicated purely on data and the pure injection and
• 34:54
  Speaker 1: consumption of analytics. It's never going to be able to
• 34:57
  Speaker 1: form an opinion. So and we we're a lot of
• 35:00
  Speaker 1: work where nobody has the answers. It's it's just a current.
• 35:04
  Speaker 1: It flows and it changes and tomorrow this can be
• 35:07
  Speaker 1: a trend and the next day can be a trend
• 35:08
  Speaker 1: and the only way to keep up with that is if you,
• 35:10
  Speaker 1: as a human being are actually in tune or something.
• 35:12
  Speaker 1: And that's what we're always gonna have over technology is
• 35:15
  Speaker 1: free thought and opinion. Free thought opinion, and you're never
• 35:19
  Speaker 1: gonna be able you can put a price on that
• 35:21
  Speaker 1: of value, because that's why we all have a job,
• 35:24
  Speaker 1: you know what I'm saying, Because to certain degrees, we're
• 35:27
  Speaker 1: all experts in some way, shape or form, some more
• 35:32
  Speaker 1: than others, some lesson others. But like we're doing this professionally,
• 35:35
  Speaker 1: you know what I'm saying. So if not experts, we're
• 35:38
  Speaker 1: definitely professionals. AI is not a professional it's the consumption
• 35:41
  Speaker 1: and injection of that and data. Data can be wrong.
• 35:45
  Speaker 1: Machines are always wrong at some point, And who you're
• 35:47
  Speaker 1: gonna blame, Like an artist at some point is gonna
• 35:49
  Speaker 1: sit there and look at it, like you you're putting
• 35:51
  Speaker 1: my fucking career. Yeah, you're putting my career in the
• 35:54
  Speaker 1: hands of technology. Like what would you.
• 35:56
  Speaker 2: If you're like a listen, there's an up and coming
• 35:59
  Speaker 2: artist they're fucking in Saint Louis and they're like, the
• 36:04
  Speaker 2: guy got a local buzz. They don't have a manager.
• 36:07
  Speaker 2: What would be a fair percentage for that up and
• 36:11
  Speaker 2: coming artist to give up to a to a new manager?
• 36:16
  Speaker 1: What would be fair?
• 36:17
  Speaker 2: Yeah, Like, cause you know, we always hear about people
• 36:18
  Speaker 2: getting taken advantage of. We always hear, like, you know,
• 36:21
  Speaker 2: they're shitty production deals that happen. There's like if you're like, like,
• 36:24
  Speaker 2: what would be like a standard fair percentage for a
• 36:27
  Speaker 2: new artist to give to a manager who maybe has
• 36:30
  Speaker 2: some experience to kind of without them getting kind of
• 36:33
  Speaker 2: like bent over, you know, because I hear some crazy.
• 36:37
  Speaker 1: Shit percentage artists to give a brand new manager.
• 36:40
  Speaker 2: Yeah, no, no, not a brand new. Like let's say
• 36:43
  Speaker 2: rapper X has thirty thousand monthly listening is running around
• 36:49
  Speaker 2: whatever hometown getting five hundred to one thousand dollars to do.
• 36:52
  Speaker 2: A club has a song kind of doing all right
• 36:54
  Speaker 2: on TikTok no management, someone approaches them, what would you
• 36:58
  Speaker 2: say is like a fair uh number that that they
• 37:03
  Speaker 2: could get what they want without getting taken advantage of,
• 37:07
  Speaker 2: because what is the industry standard between like ten twenty,
• 37:09
  Speaker 2: fifteen fifteen.
• 37:10
  Speaker 1: Okay, fifteen, ten minimum twenty on the high if you're
• 37:13
  Speaker 1: doing ten, you should usually have a partner because then
• 37:16
  Speaker 1: you're ever doing ten your co manager because then like
• 37:18
  Speaker 1: both you gouts split ten and the equals the max,
• 37:20
  Speaker 1: which is twenty twenty.
• 37:23
  Speaker 2: You gotta do a lot.
• 37:23
  Speaker 1: You gotta be you got to be bringing a lot
• 37:26
  Speaker 1: and a lot in.
• 37:27
  Speaker 2: So between ten and twenty, depending on the cerch.
• 37:29
  Speaker 1: Fifteen is safe because like if, for whatever reason that
• 37:33
  Speaker 1: hopefully is fair and justifiable, the artist decides that they
• 37:36
  Speaker 1: want to decrease your percentage, there's wigga room for you
• 37:38
  Speaker 1: to come down between from fifteen to ten is the floor,
• 37:42
  Speaker 1: but also there's wigga room for you as a manager
• 37:44
  Speaker 1: where you can may justify going up if you're just
• 37:47
  Speaker 1: fucking crushing it, you know what I mean. There's also
• 37:52
  Speaker 1: a Wiga room where, like you know, you may want
• 37:54
  Speaker 1: to bring the day to day manager and give them
• 37:55
  Speaker 1: five percent so that you can grow as a manager.
• 37:58
  Speaker 1: You can accomplish more things with your time instead of
• 38:00
  Speaker 1: being spread thin, and so the artist has someone around
• 38:04
  Speaker 1: all the time to be able to handle the small nuts,
• 38:07
  Speaker 1: small that you're overqualified to be able to handle. Even
• 38:09
  Speaker 1: though you can handle it. We only have so many
• 38:12
  Speaker 1: hours in the day. Where do you want to apply
• 38:13
  Speaker 1: your focus? You know, you should be doing on the
• 38:15
  Speaker 1: things that only you are capable of doing around that
• 38:18
  Speaker 1: artist and bringing somebody else in who's qualified to consider
• 38:23
  Speaker 1: themselves a manager, but not quite for a percentage where
• 38:27
  Speaker 1: the artist is kicking more out of the person.
• 38:29
  Speaker 2: Are you how involved are you with the high level
• 38:32
  Speaker 2: high level?
• 38:33
  Speaker 1: I mean me and Corday like we're partners, which is yeah,
• 38:37
  Speaker 1: that's his brand, it's his label. We just did a
• 38:38
  Speaker 1: pub deal with Posts.
• 38:40
  Speaker 2: So he just I mean I just saw like a
• 38:42
  Speaker 2: high level Puma.
• 38:43
  Speaker 1: That dropped right, Yeah, yeah, yeah, we.
• 38:46
  Speaker 2: There they are.
• 38:48
  Speaker 1: I mean I've been wearing them.
• 38:49
  Speaker 2: But those are sick. I don't have any, but they're nice.
• 38:51
  Speaker 1: I thought I put you on the list for him.
• 38:53
  Speaker 2: No, I'm not on any lists.
• 38:54
  Speaker 1: Yeah, we've been with Puma for four years. Shout out boom.
• 38:56
  Speaker 1: We've we actually have the longest current activity with Puma. Yeah,
• 39:01
  Speaker 1: of any of their music artists. That's big indoor seas.
• 39:07
  Speaker 1: Uh so you know it was. It was something that
• 39:09
  Speaker 1: we were working up for two years, between the designs,
• 39:11
  Speaker 1: the business of it, the roll out, the planning and shit.
• 39:14
  Speaker 1: But yeah, it's dope. We did a high level Puma
• 39:18
  Speaker 1: capsule clothing collab and it went through nationwide distribution and
• 39:22
  Speaker 1: foot lockers all throughout the country, even in Puerto Rico,
• 39:25
  Speaker 1: which was tight. Yeah, that was tight. So, I mean
• 39:30
  Speaker 1: we're just focusing on making like small strategic moves in
• 39:35
  Speaker 1: terms of like the collapse we do because it's really
• 39:37
  Speaker 1: early still the brands two years ago. Cordet's been in
• 39:40
  Speaker 1: the music industry for four and a half years. So
• 39:42
  Speaker 1: as the artist gets bigger, everything around them does as well.
• 39:45
  Speaker 1: So we're on the rush to try to like explode
• 39:46
  Speaker 1: the brand. We just want to start building the story
• 39:49
  Speaker 1: in terms of like where you see it, who we
• 39:50
  Speaker 1: align with. So it's sexy, it makes sense. And you know,
• 39:56
  Speaker 1: as we continue to grow, as he continues to grow,
• 39:59
  Speaker 1: the brand will with it. You know, Dreamville was an idea,
• 40:02
  Speaker 1: right and then it became a label, and when it
• 40:05
  Speaker 1: was big enough to sign artists, and then they developed
• 40:07
  Speaker 1: a festival and clothing line and now Dreamville is, like,
• 40:10
  Speaker 1: you know, it's a very serious, multi million dollar brain
• 40:13
  Speaker 1: in business.
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• 42:40
  Speaker 2: how many times have you had to be manager slash
• 42:42
  Speaker 2: bodyguard bro?
• 42:43
  Speaker 1: I had to do that early on when Amos Court
• 42:45
  Speaker 1: that shit was wild just because like.
• 42:48
  Speaker 2: Because I feel like sometimes I'll see you and there's
• 42:51
  Speaker 2: be no security, it's just you. Yeah, So I guess
• 42:53
  Speaker 2: Ace is just kind of the the last the last
• 42:56
  Speaker 2: line of defense.
• 42:57
  Speaker 1: Yeah. It ain't fun though, because it's like, you know
• 43:01
  Speaker 1: me bodyguard is like just like level it, like yo,
• 43:04
  Speaker 1: come on, yo, like yo, we're just trying to do this,
• 43:06
  Speaker 1: Like can y'all move? I don't know, you just cheat
• 43:09
  Speaker 1: people with respect, you know, people always reciprocated in return.
• 43:12
  Speaker 1: You know. Bodyguards ain't out there for that. Then they're
• 43:14
  Speaker 1: like look intimidating, be intimidating, neutralized. But when I first started,
• 43:17
  Speaker 1: when I mere unfortunately we couldn't afford to have like
• 43:20
  Speaker 1: a professional bodyguard on retainer, so like I wasn't really
• 43:24
  Speaker 1: the bodyguard. I was just, like I guess, like the
• 43:28
  Speaker 1: big brother, a parental figure who was just like moving
• 43:31
  Speaker 1: him around as such. Right, And and this is like
• 43:34
  Speaker 1: in the very early stages, like in the first few months,
• 43:37
  Speaker 1: you know what I'm saying. It was mad unsettling though,
• 43:39
  Speaker 1: because I'm trying to do business and like do my job,
• 43:42
  Speaker 1: and then I also have to be like having my
• 43:43
  Speaker 1: head on swift. We're looking at like who's looking and
• 43:46
  Speaker 1: watching because he folked a lot of negative energy. Bro,
• 43:48
  Speaker 1: he's talking about guns and shooting people and killing.
• 43:50
  Speaker 2: The music video. Yeah, first time I met him, I
• 43:53
  Speaker 2: was like, Bro, you're a good kid.
• 43:56
  Speaker 1: You're a sweetheart.
• 43:57
  Speaker 2: I was like, I was like, bro, you're a good kid.
• 43:59
  Speaker 1: Like so, like that type of energy. Had a lot
• 44:02
  Speaker 1: of other young niggas pulling up, And it's always the
• 44:04
  Speaker 1: young niggas in every city who everyone's shooting and doing
• 44:06
  Speaker 1: dumb shit because they have all that time in their hands, right,
• 44:08
  Speaker 1: you know, So those are the That was the shit
• 44:10
  Speaker 1: I was dealing with early on, was like looking at
• 44:12
  Speaker 1: the looking at the eyes of like five hooded up
• 44:16
  Speaker 1: sixteen year old is watching our sprint van pull up,
• 44:19
  Speaker 1: or looking at him in the crowd, not cheering, not celebrating,
• 44:22
  Speaker 1: not joining in on the crowd interaction. They're just there
• 44:25
  Speaker 1: just to talk shit and say fun. Why be in
• 44:26
  Speaker 1: at the end of the performance? So Jesus, yeah, it
• 44:29
  Speaker 1: was a wild time. It was fun though, because like
• 44:30
  Speaker 1: at the end of the day, it's like, even though
• 44:32
  Speaker 1: shit does get real, I have no choice but to
• 44:34
  Speaker 1: look at it for what it is, Like, you guys
• 44:35
  Speaker 1: are fucking kids.
• 44:37
  Speaker 2: For sure. You know what I mean, what's coming up next?
• 44:39
  Speaker 1: Man?
• 44:39
  Speaker 2: Anything you want to promote or I know you you
• 44:44
  Speaker 2: you obviously just signed Turbo, which is a big, big deal.
• 44:47
  Speaker 1: Yeah. Yeah. I'm a partner at Range, which is we're
• 44:52
  Speaker 1: a management company. There's like, I think twelve of us,
• 44:56
  Speaker 1: and then we have a you know, a really really
• 44:58
  Speaker 1: dope staff, like I think like sixty individuals who all
• 45:03
  Speaker 1: come from different labels and companies and things of that nature.
• 45:07
  Speaker 1: And yeah, we just started working with Turbos, So I'm
• 45:12
  Speaker 1: working with him now, and you know, he's dope. You know,
• 45:17
  Speaker 1: Diamond Diamond, credited producer, crazy tons of plaques and he's
• 45:23
  Speaker 1: working on an album, oh you know, his debut album,
• 45:27
  Speaker 1: which is very very premature stages, but it's something that
• 45:31
  Speaker 1: he's gonna be working on. We have a really really
• 45:36
  Speaker 1: dope single coming out. I can't say with who. When
• 45:39
  Speaker 1: I say we, I mean Corday in June, June sixteenth.
• 45:43
  Speaker 1: I think it's gonna shake the world. It's it's not
• 45:46
  Speaker 1: just us, it's kind of I can't really say what
• 45:50
  Speaker 1: it is without giving us h much information, but it's
• 45:52
  Speaker 1: something that's.
• 45:52
  Speaker 2: Really big deal coming.
• 45:53
  Speaker 1: Yeah. Yeah, it has like several parties involved that make
• 45:56
  Speaker 1: it something that's like really monumental and special. For June sixteen,
• 46:00
  Speaker 1: that's happening corde As a tour taking place domestic. It'll
• 46:07
  Speaker 1: be announced, you know, it'll be in the fall and
• 46:08
  Speaker 1: then go over seas the world toilets and on the horizon.
• 46:12
  Speaker 1: But yeah, bro, just just working and just you know, honestly, Bro,
• 46:17
  Speaker 1: it's if you talk with anybody but any a and
• 46:20
  Speaker 1: r any manager, anybuddy who's want that fashion like you,
• 46:23
  Speaker 1: it will be the same thing if I ask you
• 46:24
  Speaker 1: what you have going on, it's all the things you're
• 46:26
  Speaker 1: doing now. But you just have to keep it going.
• 46:28
  Speaker 1: You to keep working at it because everything is just
• 46:32
  Speaker 1: like one foot in front of the other. You've never
• 46:33
  Speaker 1: really arrived, you know, so there's there's no finishing. So
• 46:37
  Speaker 1: just continuously working.
• 46:38
  Speaker 2: Bro, there it is.
• 46:39
  Speaker 1: You know what I'm saying, What are you? What do
• 46:41
  Speaker 1: you got coming up? keV? What are you working on?
• 46:43
  Speaker 1: No one ever asked you questions? Man, I want to
• 46:45
  Speaker 1: ask about you know.
• 46:45
  Speaker 2: Man, I'm just you know, trying to rack up the
• 46:47
  Speaker 2: radio stations on the syndicated show and up.
• 46:50
  Speaker 1: The club Baby Club eleven eleven, Arizona. What made you
• 46:55
  Speaker 1: want to open the club.
• 46:57
  Speaker 2: It was an opportunity that is, like I wanted to
• 47:00
  Speaker 2: open the club. It was just an opportunity that fell
• 47:04
  Speaker 2: in my lap. That was a slam dunk of a
• 47:08
  Speaker 2: gamble as it could be.
• 47:10
  Speaker 1: Some homies, some good friends that you have a relationship
• 47:12
  Speaker 1: were opening the club and they saw like no.
• 47:14
  Speaker 2: So one of my close friends had reached out to me,
• 47:18
  Speaker 2: my boy Corey, and he was like, hey, there's an
• 47:21
  Speaker 2: opportunity here. I'm not going to do it without you
• 47:25
  Speaker 2: and Daveon if you guys are in, you know, we
• 47:29
  Speaker 2: figured it out. We kind of Yeah, it was just
• 47:31
  Speaker 2: a it was like a slam dunk.
• 47:34
  Speaker 1: Yeah.
• 47:35
  Speaker 2: So it was like, I mean i'd be because I
• 47:37
  Speaker 2: had turned down opportunities to be a part of clubs
• 47:38
  Speaker 2: in Phoenix before or in Arizona rather, but this particular
• 47:43
  Speaker 2: opportunity was like the other parties who were involved, Yeah,
• 47:48
  Speaker 2: it was just there was like a missing just I mean, look,
• 47:52
  Speaker 2: there's no hip hop clubs. I mean in Scotstale, all
• 47:54
  Speaker 2: the hip hop clubs got closed was done international clothes.
• 47:58
  Speaker 2: There was a there's a small st there called Pretty Please,
• 48:01
  Speaker 2: which is like a fucking shoe box. But there was
• 48:03
  Speaker 2: really nothing else going on, So it was like, damn
• 48:05
  Speaker 2: if we do this the right way, and super Bowl
• 48:08
  Speaker 2: was coming up. Yeah, so it's like, shit, super Bowl's
• 48:11
  Speaker 2: next year.
• 48:11
  Speaker 1: There's something else happening in Arizona next year. I was
• 48:13
  Speaker 1: just texting you about when I found out super Bowl
• 48:15
  Speaker 1: just happened.
• 48:16
  Speaker 2: But I think Final Force that's what.
• 48:17
  Speaker 1: It is, the Final Four. Oh dude, you're gonna.
• 48:19
  Speaker 2: Final Force come in. We get spring training.
• 48:21
  Speaker 1: You know, it's like two weeks of games.
• 48:23
  Speaker 2: Spring training is you know, a month and a half.
• 48:26
  Speaker 2: There's a lot of shit, But yeah, I.
• 48:28
  Speaker 1: Like about you. Kevin djaying is I think DJing in
• 48:33
  Speaker 1: terms of like one of the core forms of art
• 48:39
  Speaker 1: in music, it's the hardest job to be it's the
• 48:46
  Speaker 1: hardest job to be successful at by way of making
• 48:49
  Speaker 1: a real living. Now, I'm not talking about being able
• 48:52
  Speaker 1: to afford bills. I'm talking about like to the point
• 48:54
  Speaker 1: where like you can continue to progress and you can
• 48:57
  Speaker 1: make the type of money that we all hope to
• 48:58
  Speaker 1: make one day and to be able to acquire things
• 49:00
  Speaker 1: that we want, just not that we need, and where
• 49:03
  Speaker 1: you don't have to worry about bills because DJ's all
• 49:06
  Speaker 1: the time and the last people to get paid. When
• 49:07
  Speaker 1: you look at the overhead costs of a club or
• 49:11
  Speaker 1: a festival, or even if you're looking at artists, dude,
• 49:15
  Speaker 1: like you look at it, it's like how much is this DJ?
• 49:17
  Speaker 1: Is dope, but like how much do it cost? Okay? Cool,
• 49:19
  Speaker 1: we can go find another DJ who'll do it for less.
• 49:21
  Speaker 1: And that's the problem. It's almost like graphic designers.
• 49:23
  Speaker 2: Yeah, you guys had hit me up to be Corde's first.
• 49:25
  Speaker 1: DJ, Yeah, I would have loved that. I would have
• 49:27
  Speaker 1: been tight.
• 49:27
  Speaker 2: I just was like, I can't do it, man, I
• 49:29
  Speaker 2: got too many.
• 49:29
  Speaker 1: What I mean, you look when artists are just starting,
• 49:31
  Speaker 1: but we couldn't afford you. Somebody would jump in. It
• 49:33
  Speaker 1: would have been tight, you know what I mean. But
• 49:35
  Speaker 1: my point is I love what you're doing because like
• 49:39
  Speaker 1: you're like the ultra entrepreneur because you've been able to
• 49:43
  Speaker 1: take DJing as just kind of like the identifiable aspect
• 49:49
  Speaker 1: in the core of what you do that made everybody
• 49:50
  Speaker 1: give a shit, right, And then from there you're like, Okay,
• 49:54
  Speaker 1: if I'm in the DJ, what's the next step of
• 49:58
  Speaker 1: how I can how I can generate something that's lucrative,
• 50:00
  Speaker 1: Like it's okay, let me get the radio. Then you
• 50:03
  Speaker 1: get the radio. You're okay, cool. Radio now is transitioning
• 50:07
  Speaker 1: to podcasts. Let me start a podcast, okay cool. So
• 50:11
  Speaker 1: now if I'm on radio and I'm interviewing artists because
• 50:14
  Speaker 1: I have relationships with them, what's the next step? Let
• 50:18
  Speaker 1: me bring them to a club.
• 50:19
  Speaker 2: And Hannibal is calling, Let me give you my phone
• 50:22
  Speaker 2: real quick fire.
• 50:23
  Speaker 1: How do you know that number? Without his name popping out? Oh,
• 50:25
  Speaker 1: it is popping up. We're with them. And so I
• 50:29
  Speaker 1: wanted to tell you because I don't think anybody's ever
• 50:31
  Speaker 1: told you this one, bro, but you deserve to hear it.
• 50:33
  Speaker 1: It's dope. You've been able to make a business out
• 50:35
  Speaker 1: of yourself instead of a byproduct, but a business out
• 50:38
  Speaker 1: of yourself. And and there's several different verticals of the
• 50:42
  Speaker 1: bootle like Kevi.
• 50:43
  Speaker 2: Bra trying to run it up.
• 50:44
  Speaker 3: Man, it's hard to do that, bro, It's hard to
• 50:47
  Speaker 3: do that.
• 50:48
  Speaker 1: That's like pure entrepreneurialism. That's the word, right, entrepreneurialism. Yeah.
• 50:51
  Speaker 2: I might be buying another clip too. I'm sorry, I
• 50:53
  Speaker 2: might be buying another club too.
• 50:55
  Speaker 1: I need it on that one. I need it on
• 50:58
  Speaker 1: that one, bro, Yeah, need.
• 51:00
  Speaker 2: I can't tell you what city. But it's in California
• 51:06
  Speaker 2: to Modesto. I'm actually now I actually start doing nights
• 51:10
  Speaker 2: out there next Monday. I'll be the night show in Modesto. Y.
• 51:15
  Speaker 1: Let's Hannibal, Yes, Hannibal man? You was you was in
• 51:20
  Speaker 1: our video for R and P bro R and P.
• 51:22
  Speaker 1: Well Cordey Anderson bat it was in acting fucking crazy.
• 51:26
  Speaker 2: All right, Well listen, Ace go follow Ace with tr G.
• 51:29
  Speaker 1: Oh, people call me, it's just pp L call me Ace.
• 51:32
  Speaker 2: Boom my guy. Appreciate your brother, Yes, sir, Hey, we
• 51:36
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