Latest / Earn Your Leisure / Jermaine Dupri On Being Part Of 400M Records Sold, Changing Hip Hop Forever & Never Getting Credit

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Jermaine Dupri On Being Part Of 400M Records Sold, Changing Hip Hop Forever & Never Getting Credit · Earn Your Leisure

• 0:00
  Speaker 1: I brought youth to Hippot. When Crisscross came out, the
• 0:04
  Speaker 1: entire rap game was twenty plus years old. These niggas
• 0:07
  Speaker 1: is eleven and twelve. Nobody told me about them. I
• 0:10
  Speaker 1: found him at the mall. They wouldn't even rappers. If
• 0:12
  Speaker 1: I get a song that go along with the way
• 0:14
  Speaker 1: they look, these kids is out of here. I knew that.
• 0:16
  Speaker 2: Do you feel pressure to continue or you know that
• 0:19
  Speaker 2: you just have this natural gift to create song?
• 0:21
  Speaker 3: Right and mold artists.
• 0:23
  Speaker 1: Maybyface told me that that's cool that little jump record
• 0:26
  Speaker 1: you got, But how many times can you do that?
• 0:28
  Speaker 1: That stuck with me forever. So all I've been trying
• 0:30
  Speaker 1: to do is just continue to keep making every face
• 0:32
  Speaker 1: see I could do it again. What's the craziest publishing
• 0:35
  Speaker 1: check you ever got? Once you start selling records like that,
• 0:38
  Speaker 1: everybody know the money is dead, so you're getting You're
• 0:40
  Speaker 1: getting all the money the talent that I had, nobody
• 0:42
  Speaker 1: else had.
• 0:43
  Speaker 2: I don't think people recognize the marketing genius that you
• 0:46
  Speaker 2: are and what.
• 0:46
  Speaker 1: You ever sell your Catalan. If you buy calos A
• 0:49
  Speaker 1: five hundred million and you go bro, you can sell
• 0:51
  Speaker 1: it from five hundred million and it's not gonna depreciate,
• 0:54
  Speaker 1: it's just gonna keep going up.
• 0:55
  Speaker 3: There's no doubt in your mind that this is a win.
• 0:57
  Speaker 1: You get in a fight with niggas. You gotta know,
• 1:00
  Speaker 1: fight with AI can't do what you just did. You
• 1:02
  Speaker 1: could sit down prompt it, but it's like ultimately you're
• 1:05
  Speaker 1: just telling AI to find something that somebody already did.
• 1:10
  Speaker 1: All right, guys, welcome back, special episode. Earn your Alisha.
• 1:14
  Speaker 3: Yeah, yeah, Atlanta.
• 1:15
  Speaker 4: This is our Atlanta home, so it's only right we
• 1:17
  Speaker 4: had to tap in one of the greatest, most influential
• 1:20
  Speaker 4: people that ever come out of the city of Atlanta,
• 1:23
  Speaker 4: the one and only Jermaine Duprix.
• 1:24
  Speaker 1: Something my brother the doing.
• 1:27
  Speaker 3: To be the greatest producer of the twenty first century.
• 1:31
  Speaker 2: As they say, no, that that you are the greatest
• 1:33
  Speaker 2: producer of the twenty first cent, that's not that's not sugarcoaches.
• 1:40
  Speaker 1: Nah. You know it's great.
• 1:40
  Speaker 4: It's the first time we actually had like a sit
• 1:42
  Speaker 4: down conversation, but we've been around each other. He's done
• 1:44
  Speaker 4: invest Fast for us before came to invest Fast. So
• 1:48
  Speaker 4: there's a conversation definitely looking forward to having as far
• 1:50
  Speaker 4: as to you know, just hear your your perspective on
• 1:54
  Speaker 4: the music business from the artists ie, from the producer side,
• 1:58
  Speaker 4: from the label side, from the CEO side.
• 2:00
  Speaker 1: I think you have a unique perspective.
• 2:02
  Speaker 4: You're like Bill Russell, player coach, like you know, like
• 2:07
  Speaker 4: you actually wore like both all sides of the things. Now,
• 2:10
  Speaker 4: there's not a lot of people, I think to have
• 2:11
  Speaker 4: that perspective from you're an artist, but you're a producer,
• 2:14
  Speaker 4: but you're an executive and you're a CEO. So it's
• 2:17
  Speaker 4: like you, you know, you played in every every position.
• 2:20
  Speaker 2: And I'm thinking about it now, like how many people
• 2:23
  Speaker 2: have we seen had a consistent one for forty years?
• 2:27
  Speaker 1: I got that long, but yeah, close is this? I
• 2:29
  Speaker 1: mean like early nine, thirty thirty, thirty, thirty thirty somewhere
• 2:34
  Speaker 1: in there. I mean, we're gonna get the forty though,
• 2:37
  Speaker 1: you know, I.
• 2:37
  Speaker 2: Mean with you now, Yes, I'm thinking Chris Cross early
• 2:40
  Speaker 2: is like ninety ninety two, ninety two.
• 2:45
  Speaker 3: We're getting it. We're getting in.
• 2:47
  Speaker 1: Yeah. So yeah, looking forward to it, man, But yeah,
• 2:49
  Speaker 1: thank you for joining us once again. Appreciate it. So
• 2:52
  Speaker 1: let's let's let's get into it.
• 2:53
  Speaker 4: As far as longevity, he started with that longevity right,
• 2:57
  Speaker 4: like what do you think has separated you from other
• 3:01
  Speaker 4: people in the space as far as being able to
• 3:04
  Speaker 4: stay relevant through different decades and changing from working with
• 3:08
  Speaker 4: deaf jam to being an artists, being a producer working
• 3:11
  Speaker 4: with us. You know, like, how have you been able
• 3:13
  Speaker 4: to maintain relevancy for so long?
• 3:16
  Speaker 1: I mean, I think one is because I was super young.
• 3:19
  Speaker 1: You know when I came in. I don't think people
• 3:20
  Speaker 1: really realize how young I was. So the first ten
• 3:25
  Speaker 1: years of people paying attention to me, almost five of
• 3:31
  Speaker 1: them years, I wasn't illegal, you know what I mean,
• 3:33
  Speaker 1: Like hopefully you know what I'm saying. So it was
• 3:34
  Speaker 1: like it was it's you know, half of that half
• 3:40
  Speaker 1: of the we're talking about half of the thirty That's
• 3:41
  Speaker 1: what I'm saying. Half of it. The first ten to
• 3:43
  Speaker 1: twenty years is like I'm a lot younger than a
• 3:46
  Speaker 1: lot of the other people that was like doing what
• 3:49
  Speaker 1: they gotta do. So it's almost like I get extra,
• 3:53
  Speaker 1: you know what I mean, I get an extra I
• 3:54
  Speaker 1: get a couple of extra years from them, just because
• 3:57
  Speaker 1: you know what I mean. I was thinking about that
• 3:58
  Speaker 1: when I was like I was to go see Teddy
• 4:01
  Speaker 1: the other day, and when when I started idolizing Teddy
• 4:06
  Speaker 1: Ronnie Teddy ro I was already grown, yeah, you know
• 4:08
  Speaker 1: what I mean, at least I thought he was grown anyway. Right,
• 4:12
  Speaker 1: So I was idolizing him as a teenager, you know
• 4:16
  Speaker 1: what I mean. As so I was. I'm a late teenager,
• 4:19
  Speaker 1: but I still was a teenager. And I was just
• 4:22
  Speaker 1: thinking about that, Like a lot of these guys they
• 4:25
  Speaker 1: like twenty four, twenty three, twenty four, twenty five years old,
• 4:29
  Speaker 1: somewhere in there, that's where they was getting off at
• 4:31
  Speaker 1: where I became a millionaire nineteen okay, right, you know
• 4:35
  Speaker 1: what I mean, So I was like sixteen seventeen eighteen.
• 4:40
  Speaker 1: I was trying to get to that space.
• 4:43
  Speaker 2: It's interesting because this is gonna take you back. Maybe
• 4:46
  Speaker 2: I don't remember this. Maybe I don't think people recognized
• 4:49
  Speaker 2: the marketing genius that you are going back to ninety
• 4:53
  Speaker 2: two because we grew up in it, like literally growing
• 4:56
  Speaker 2: up hat to the back, close to the back, crisscross
• 5:00
  Speaker 2: to the point you had the Sega Genesis criss class game. Yeah,
• 5:06
  Speaker 2: I'm thinking like at this time, you teint, where are
• 5:09
  Speaker 2: you getting this marketing savvy from?
• 5:12
  Speaker 1: Well, I mean a lot of that stuff was was
• 5:13
  Speaker 1: it once the marketing started as far as like doing
• 5:18
  Speaker 1: like sub deals with Crisscross, I wasn't involved with that
• 5:22
  Speaker 1: as much as I was as far as creating a group.
• 5:26
  Speaker 1: And I think that's also something that kept me in
• 5:29
  Speaker 1: the space because I was also a guy that was
• 5:31
  Speaker 1: like I was only focused on I mean still to today,
• 5:34
  Speaker 1: I'm only focused on what I believe I know or
• 5:37
  Speaker 1: what I believe I can move, you know, move the
• 5:40
  Speaker 1: needle on. I'm not trying to just put my hand
• 5:42
  Speaker 1: on things just because I could put my hands on it. Right.
• 5:46
  Speaker 1: So when Crisscross came out, I had this joint situation
• 5:50
  Speaker 1: with my dad when I would just like past every
• 5:53
  Speaker 1: group that I found that him managed to or or
• 5:57
  Speaker 1: whoever they manage, it was that somebody else had the manager.
• 5:59
  Speaker 1: So I was always like, just like all of that stuff,
• 6:02
  Speaker 1: y'all deal with that. I'm trying to make sure that
• 6:04
  Speaker 1: this group is what they're supposed to be and then
• 6:06
  Speaker 1: they continue to be what it is.
• 6:08
  Speaker 4: Speaking of Teddy Value, he has spoke about that he
• 6:11
  Speaker 4: didn't get paid from the Keep Sweat. Then I think
• 6:14
  Speaker 4: him and Keep Sweat had a conversation, But that leads
• 6:16
  Speaker 4: to a broader question that I have as far as business,
• 6:19
  Speaker 4: can you explain the business side as far as how
• 6:21
  Speaker 4: the producers get paid because you got the publishing, you
• 6:23
  Speaker 4: got the masters, but you're also a songwriter also, I
• 6:26
  Speaker 4: forgot to mention that. So there's a lot of moving parts.
• 6:30
  Speaker 4: Like if I write a song for somebody, am I
• 6:33
  Speaker 4: automatically included in the publishing? Or what's the percent? Is
• 6:36
  Speaker 4: that negotiable? If I produce the song, do I have
• 6:40
  Speaker 4: to get some of the masters? Am I entitled to
• 6:42
  Speaker 4: some of the publishing? Like, explain how that works?
• 6:46
  Speaker 1: I mean, well, if you're writer, the publisher is yours
• 6:49
  Speaker 1: the whole whoever writes the songs that stay published one
• 6:52
  Speaker 1: hundred percent? I mean supposed to be. It's supposed to
• 6:55
  Speaker 1: be supposed to be. What happens is, you know, it's
• 6:59
  Speaker 1: guys out here that that understand the game, that knew
• 7:02
  Speaker 1: the game that you know that's a little bit faster
• 7:04
  Speaker 1: talking to a lot of these other people, and they
• 7:08
  Speaker 1: they know what the publishing situation is. They know what
• 7:11
  Speaker 1: that means, right, And then even the artists out here
• 7:14
  Speaker 1: that like young kids, like I said, like even my
• 7:16
  Speaker 1: age that when I was talking about like sixteen seventeen
• 7:19
  Speaker 1: years old, that don't have no money, right, Like I
• 7:23
  Speaker 1: wasn't why it's actually one of them kids were talking
• 7:25
  Speaker 1: about this the other day, like I was boring to
• 7:27
  Speaker 1: like crystals and eat and I had like ninety nine cents.
• 7:30
  Speaker 1: You have to find like pennies in your house and
• 7:32
  Speaker 1: you have to like go eat. So it's like if
• 7:35
  Speaker 1: somebody come and they offer you twenty thousand dollars and
• 7:38
  Speaker 1: this is how you actually live in you like twenty
• 7:41
  Speaker 1: thousand dollars and you're not actually thinking about the publishing
• 7:44
  Speaker 1: because you ain't made no money righting anyway, right, So
• 7:48
  Speaker 1: this the first time somebody show up like, yo, let
• 7:50
  Speaker 1: me if you sign your publishing over me, I'll give
• 7:53
  Speaker 1: you twenty five thousand dollars. That sounded like a deal
• 7:56
  Speaker 1: because you don't you don't actually know what. You ain't
• 7:58
  Speaker 1: never seen a publishing check to know what it actually is, right,
• 8:02
  Speaker 1: So when when people start talking about publishing, it just
• 8:05
  Speaker 1: sounded like something that's like right, but like I'm not
• 8:10
  Speaker 1: knowing the sky here, like not knowing as soon as
• 8:12
  Speaker 1: you write a hit record, it's right there, Like can
• 8:16
  Speaker 1: you give us an example? You got a lot of them, Yeah,
• 8:19
  Speaker 1: I mean like well, I mean like you know as
• 8:21
  Speaker 1: far as like i'm I'm I'm one hundred percent writer, right, So,
• 8:24
  Speaker 1: like say, if it's like Chrisscross's first album or Chriscross
• 8:27
  Speaker 1: all of the album I wrote with the first album,
• 8:30
  Speaker 1: I wrote everything on the album and produced everything on
• 8:33
  Speaker 1: the album. So therefore, you you know, that's one hundred
• 8:36
  Speaker 1: percent of Like therefore I get one hundred percent of
• 8:39
  Speaker 1: every piece of the pot that's coming when it's publishing, right,
• 8:43
  Speaker 1: So that's what I'm saying. So soon as Crisscross sold
• 8:48
  Speaker 1: two million, it was a million dollars at my door,
• 8:52
  Speaker 1: a million dollars. They so two millions. So they sold
• 8:55
  Speaker 1: two million records like like two weeks publishing from publishing it,
• 8:58
  Speaker 1: it was a million dollars. It was a million. I was
• 9:00
  Speaker 1: already like it's because once it's it's like they say,
• 9:03
  Speaker 1: it's in the pipe. They called him, like you know
• 9:05
  Speaker 1: what I mean, it's in the pipeline. So once you
• 9:08
  Speaker 1: start selling records like that, the money people everybody know
• 9:12
  Speaker 1: the money is there, and so then people just start
• 9:14
  Speaker 1: showing up like y'all I give you know what I mean,
• 9:16
  Speaker 1: if you let's do fifty percent of publishing, would give
• 9:19
  Speaker 1: you a million dollar advance out of the That's what
• 9:22
  Speaker 1: advances start because they can see they can see the money.
• 9:25
  Speaker 3: They looking at the future.
• 9:26
  Speaker 1: Cha, how let me just talk up on that.
• 9:29
  Speaker 4: And Leslie told us something was like you have to
• 9:31
  Speaker 4: hire a publishing company to track down because he's like
• 9:34
  Speaker 4: even overseas, like they'd be playing your music, they'll be
• 9:36
  Speaker 4: distributing the music. But if you don't know like that
• 9:40
  Speaker 4: the music is actually moving, then you can actually lose
• 9:43
  Speaker 4: out on money. So there's there's like publishing companies that
• 9:45
  Speaker 4: that's their job to like track down.
• 9:48
  Speaker 1: So I mean like like with me. So that's what
• 9:49
  Speaker 1: I'm saying. So when I signed with it was called
• 9:52
  Speaker 1: EMI at the time, but it's not Sony Music Publishing.
• 9:55
  Speaker 1: I signed with him when I was nineteen maybe younger, Yeah, yeah,
• 10:00
  Speaker 1: probably somewhere running at nineteen, I'd say nineteen. And what
• 10:05
  Speaker 1: you do? You sign over? You basically do a fifty
• 10:08
  Speaker 1: to fifty deal with them and they give you this advance.
• 10:10
  Speaker 1: And that was the first million dollars that I got,
• 10:13
  Speaker 1: Oh from the advance. Yeah, what's the craziest publishing check
• 10:15
  Speaker 1: you ever got?
• 10:17
  Speaker 4: Like years later, like from I'm a Riot carry record
• 10:20
  Speaker 4: or just something crazy like it just came into mail.
• 10:22
  Speaker 1: I mean it varies because like I said, once it
• 10:26
  Speaker 1: once it start, it's just you know, you might get
• 10:28
  Speaker 1: eight hundred thousand one day, you might get two hundred
• 10:32
  Speaker 1: and fifty thousand the next week. It's like it just
• 10:34
  Speaker 1: it's never like the same the same number. It just
• 10:37
  Speaker 1: continued to be like all a different number this here
• 10:39
  Speaker 1: and there. So I mean, you know, at the most
• 10:42
  Speaker 1: it's like I mean, you can see a lot and
• 10:44
  Speaker 1: it depends on what you know. It depends on like
• 10:46
  Speaker 1: you said, it depends on who who administered them, the
• 10:51
  Speaker 1: publisher as well as who's out there going to get
• 10:54
  Speaker 1: the money. So it's like three different companies that people
• 10:56
  Speaker 1: you may BMI as cap on Seasick.
• 10:59
  Speaker 3: I think.
• 11:00
  Speaker 1: I think there's a couple other ones, but these are
• 11:02
  Speaker 1: the ones that I know, like Brian Cox's with Cea
• 11:04
  Speaker 1: sac and I've been with I'm doing as caps since
• 11:07
  Speaker 1: I was you know, yeah, almost sixteen.
• 11:10
  Speaker 3: To give me my ass cap or get your ass caped.
• 11:15
  Speaker 3: So I mean this is.
• 11:18
  Speaker 2: You write the hits, right, you got the album, Do
• 11:20
  Speaker 2: you feel pressure to continue or you know that you
• 11:23
  Speaker 2: just have this natural gift to create songwright and mold
• 11:28
  Speaker 2: artists right like after the success of the first one.
• 11:31
  Speaker 2: Is it we got to get the next person right away?
• 11:33
  Speaker 2: Or was that always a plan inside of the vision
• 11:35
  Speaker 2: of what social staff was going to be.
• 11:39
  Speaker 1: Yeah, I don't talk to nobody. I'm just talking to myself,
• 11:42
  Speaker 1: So I don't know, you know what I mean that
• 11:44
  Speaker 1: the plan is, I guess how I'm feeling at the time.
• 11:47
  Speaker 1: But I never I mean, you know, I wrote music
• 11:50
  Speaker 1: based out of not having right so say, for instance,
• 11:54
  Speaker 1: like like I said, I was so young that I
• 11:55
  Speaker 1: ain't even have access to people to be like engineers
• 12:02
  Speaker 1: or anything. I just was like in my room in
• 12:05
  Speaker 1: my house, and I'm like, I want to do this,
• 12:09
  Speaker 1: but I don't really have no access to like you
• 12:12
  Speaker 1: know what I mean. The only people I know this
• 12:13
  Speaker 1: from the music that this is the people that my
• 12:15
  Speaker 1: dad know. So I go around these people, but for
• 12:17
  Speaker 1: the most part, they're not young, they're older. And I
• 12:24
  Speaker 1: was thinking about this this morning because somebody sent me
• 12:27
  Speaker 1: a post about the Living Color and I was Isaac,
• 12:31
  Speaker 1: Isaac Hayes third. He sent this, and I was and
• 12:33
  Speaker 1: I was looking at it, and I was sitting there
• 12:39
  Speaker 1: in the bed looking at this thing. It was like
• 12:42
  Speaker 1: nine in the morning. He sent this message to me
• 12:44
  Speaker 1: and it was a guy on there that's talking about
• 12:47
  Speaker 1: how crisscross, And for a second, I went into a
• 12:55
  Speaker 1: whole nother space like I didn't do it right, Like yeah,
• 12:59
  Speaker 1: because I'm like, you don't actually really be like you
• 13:03
  Speaker 1: don't understand how much you can actually do or how
• 13:06
  Speaker 1: crazy you can do something when your head is down
• 13:09
  Speaker 1: and you just completely focus, right, And that's all I was.
• 13:13
  Speaker 1: I was so focused in trying to make them pop
• 13:15
  Speaker 1: that I wasn't even paying attention to the rest of
• 13:17
  Speaker 1: the world. You know, you like, oh, Atlanta playing the
• 13:21
  Speaker 1: record were popping in Atlanta. But when you see somebody
• 13:24
  Speaker 1: say that this was happening across the world and they
• 13:28
  Speaker 1: cold School was dressed backwards, you like, I'm seeing this
• 13:32
  Speaker 1: now and I'm just like, man, this shit is crazy.
• 13:34
  Speaker 1: So it's like, yeah, I mean, that's just that's been
• 13:39
  Speaker 1: to go to answer a question a long way. It's
• 13:40
  Speaker 1: just like I always just wondered. I started writing, and
• 13:44
  Speaker 1: I saw that I could do it. But it's also
• 13:46
  Speaker 1: like once you do it once I had Bayface told
• 13:51
  Speaker 1: me this when I was mintioning like a Chriscrush record.
• 13:52
  Speaker 1: He was like, you know, that's cool that little jump
• 13:55
  Speaker 1: record you got, but it's really like how many times
• 13:58
  Speaker 1: can you do that? Right? And that's that that stuck
• 14:01
  Speaker 1: with me forever. So all I've been trying to do
• 14:03
  Speaker 1: is just continue to keep making every face see I
• 14:07
  Speaker 1: could do it again.
• 14:08
  Speaker 2: In my mind, That's what I'm thinking right as I'm
• 14:10
  Speaker 2: watching as a young kid and becoming a teenager in
• 14:12
  Speaker 2: the mid nineties, I'm thinking, like New York Puff is
• 14:16
  Speaker 2: doing what he's doing, def Jam is doing what they're doing.
• 14:20
  Speaker 3: Death Ro's doing what they're doing.
• 14:22
  Speaker 2: And you got You're like everybody's watching each other saying,
• 14:24
  Speaker 2: oh they do they got to hit, they gotta hit,
• 14:26
  Speaker 2: I gotta I'm gonna make it help. That's how I'm thinking.
• 14:28
  Speaker 2: It's happening here in Atlanta. The Face is doing what
• 14:30
  Speaker 2: they doing baby faces. Oh that's cool, I'm gonna make
• 14:33
  Speaker 2: another hit. And it's just that and that's just like
• 14:35
  Speaker 2: an influence. But you're like, my head was down just
• 14:37
  Speaker 2: trying to create.
• 14:38
  Speaker 1: Yeah, I mean, I was just like I'm just I'm
• 14:40
  Speaker 1: I'm you know, I'm and I'm I'm also not knowing
• 14:45
  Speaker 1: but feeling like the talent that I had nobody else had.
• 14:50
  Speaker 1: And then when you like, look at it today. It's
• 14:52
  Speaker 1: nobody that people compare me to that's ever done what
• 14:56
  Speaker 1: I did with Chriss Kross, Like and what explain that
• 14:59
  Speaker 1: explain that I wrote? I found them First of all,
• 15:03
  Speaker 1: nobody brought them to me. Usually with artists in the industry,
• 15:07
  Speaker 1: somebody your man or somebody come and tell you about
• 15:09
  Speaker 1: these kids, right, nobody told me about them. I found
• 15:13
  Speaker 1: them at the mall. They weren't even rappers, right, They
• 15:15
  Speaker 1: weren't trying to rap, they didn't have no demo. It's
• 15:18
  Speaker 1: just two kids that I identified as it just said
• 15:21
  Speaker 1: to be artist. These kids looked like stars. They didn't
• 15:25
  Speaker 1: come up to you or nothing. They didn't come up
• 15:26
  Speaker 1: to me. They was walking around them all and I
• 15:28
  Speaker 1: was watching them, and I'm like why, Like they just
• 15:31
  Speaker 1: had this aura about them that the girls on the
• 15:34
  Speaker 1: mall was trying to get at them, you know what
• 15:36
  Speaker 1: I mean. I couldn't understand it. It was like I
• 15:40
  Speaker 1: was I wasn't grown yet, so I thought I was cool.
• 15:44
  Speaker 1: But then I seen two little niggas that was younger
• 15:47
  Speaker 1: than me that felt like they was way cooler than me,
• 15:51
  Speaker 1: And I was like, this can't be serious. Right, So
• 15:54
  Speaker 1: when you look at that right, That's what I'm saying.
• 15:56
  Speaker 1: I found them, took them to my house and start
• 16:00
  Speaker 1: trying to create what people are like now talk about.
• 16:04
  Speaker 1: So I you know, so when I say that, I'm saying, like,
• 16:07
  Speaker 1: we don't have nobody else in the business that has
• 16:09
  Speaker 1: a story where they found the artists. Then they wrote
• 16:12
  Speaker 1: all the songs and they produced all the songs, like
• 16:17
  Speaker 1: and they told him to put their clothes on backwards.
• 16:19
  Speaker 1: Oh yeah, that was your idea. So he was like
• 16:22
  Speaker 1: that stylist too.
• 16:23
  Speaker 3: Yeah, that's what I'm saying, that's the marketing part.
• 16:25
  Speaker 1: Yeah, that's what you was talking about.
• 16:26
  Speaker 2: Yeah, because I'm like, I remember going to school and
• 16:28
  Speaker 2: trying to do it and then going to the principal's
• 16:30
  Speaker 2: office and them telling me, like, you got to change
• 16:32
  Speaker 2: your clothes back What made you.
• 16:34
  Speaker 1: Tell them with the closes backwards? Well, I mean at
• 16:36
  Speaker 1: that time, we was trying everything, you know, Like I
• 16:39
  Speaker 1: had blonde high top, you know what I mean. I
• 16:41
  Speaker 1: had cut somebody brother, I had ring, nose ring, you
• 16:46
  Speaker 1: know what I mean. We was there trying to do
• 16:48
  Speaker 1: everything to be seen right. They weren't, but I was
• 16:52
  Speaker 1: right because that's what the era of hip hop. I
• 16:54
  Speaker 1: came from and at the same time, I had left
• 16:59
  Speaker 1: Eye from TLC. They hadn't even got signed yet, so
• 17:02
  Speaker 1: left I was at my house when I was actually
• 17:05
  Speaker 1: trying to develop. Chriscross the most before THLC, yeah, before TLC,
• 17:10
  Speaker 1: and she always was on the left eye. Shit, like
• 17:13
  Speaker 1: her whole thing was like put the condom over one eye.
• 17:16
  Speaker 1: That was like her thing. Always, like she was at
• 17:18
  Speaker 1: home cutting jeans up and doing like all kind of
• 17:21
  Speaker 1: like artists development stuff. So being around her doing that,
• 17:26
  Speaker 1: it just made me just start thinking the things all
• 17:28
  Speaker 1: the time. So then Chris and Chris they would come
• 17:30
  Speaker 1: to my house like after school, and one day Chris
• 17:33
  Speaker 1: came to my house and he had this jump on.
• 17:35
  Speaker 1: It was just so big because that was also like
• 17:37
  Speaker 1: we was in so much oversized clothes back then. It
• 17:40
  Speaker 1: was like these pants was like triple the size of
• 17:44
  Speaker 1: what you supposed to wear, and this jumper was so
• 17:46
  Speaker 1: it was like the jumper was so big. I'm like, yo,
• 17:49
  Speaker 1: you should flip the jump around, and he's like why,
• 17:52
  Speaker 1: and I'm like, I don't know, you should just do it.
• 17:54
  Speaker 1: It ain't gonna bother you anyway, because it's so big.
• 17:56
  Speaker 1: You could turn around and you know without doing it,
• 18:00
  Speaker 1: and he did it, and I was like, let's go
• 18:03
  Speaker 1: to tomorrow and see if anybody like paying attention to And
• 18:07
  Speaker 1: we went the LINUX and it's like people was flipping
• 18:10
  Speaker 1: out and I was flipping out, like I can't believe ea,
• 18:13
  Speaker 1: y'all acting like this because this ain't nothing like he
• 18:17
  Speaker 1: just turned to Jesus around. It's like, why y'all acting
• 18:20
  Speaker 1: like this? So once I saw that, it was just like, oh,
• 18:23
  Speaker 1: I got to get a song. I ain't had a
• 18:25
  Speaker 1: drump when we did this, so I'm like, I need
• 18:27
  Speaker 1: a song that fits this look. If I get a
• 18:31
  Speaker 1: song that go along with with the way they look,
• 18:33
  Speaker 1: these kids is out of here. I knew that you're right,
• 18:38
  Speaker 1: So I mean, now that's you know, And that's that's
• 18:40
  Speaker 1: the thing. If I was having the same conversation with
• 18:42
  Speaker 1: Steve stopp the other night because I was trying to
• 18:43
  Speaker 1: tell him like people be comparing me to puff and
• 18:46
  Speaker 1: they compare me to this person that compare me to that,
• 18:49
  Speaker 1: And people sometimes they hear me respond and they think
• 18:54
  Speaker 1: that I'm being overly cocky, right, and I'm not. I'm
• 18:59
  Speaker 1: trying to explain exactly who and what I am. But
• 19:02
  Speaker 1: like like even when you gave my introduction, you left
• 19:05
  Speaker 1: out the part of my song, right, People be leaving
• 19:07
  Speaker 1: that ship out like they don't like you know, it's
• 19:10
  Speaker 1: they talk about so many other things. I love it.
• 19:12
  Speaker 1: But the cream of the crop when it comes to
• 19:15
  Speaker 1: gimanity PRIs that I'm one hundred percent of do everything. Yeah,
• 19:19
  Speaker 1: I mean I'm talking about as far as the right, Oh.
• 19:22
  Speaker 2: We that's you. Are you more passionate? Are you more
• 19:25
  Speaker 2: passionate about writing or produce that or none? I know
• 19:28
  Speaker 2: what I said, greatest producer, But now I'm thinking.
• 19:30
  Speaker 1: Are you more passionate about writing or producing?
• 19:32
  Speaker 3: Maybe great songwriting?
• 19:33
  Speaker 1: I mean I write songs that I mean I write,
• 19:39
  Speaker 1: I write, I write song But.
• 19:40
  Speaker 4: We can go to confessions right, and to me, that's
• 19:43
  Speaker 4: my favorite R and V album of all time.
• 19:44
  Speaker 2: That's the greatest our album of all time ever.
• 19:48
  Speaker 1: No Thrillers, ye, and I mean.
• 19:56
  Speaker 2: No, I'm saying it right to say why people say
• 19:59
  Speaker 2: Thriller And yes, I think Thriller has an argument to
• 20:01
  Speaker 2: be one of the greatest albums of all time. I'm
• 20:03
  Speaker 2: just saying for R and B, like what it means
• 20:06
  Speaker 2: and what it is, that's the greatest body of work
• 20:10
  Speaker 2: that I've ever we.
• 20:12
  Speaker 4: Ain't for sure, we ain't grow up on Thriller. No
• 20:14
  Speaker 4: disrespect to Mike Jackson, but we didn't grow up on Thriller.
• 20:16
  Speaker 4: We grew up on on that. So that was more.
• 20:18
  Speaker 4: That's impactful.
• 20:20
  Speaker 2: Yeah, but I mean I take it, but I want
• 20:22
  Speaker 2: to because if you could go there, but if we
• 20:25
  Speaker 2: go to confessions, I feel like we miss in a
• 20:27
  Speaker 2: decade of a lot. You know what I'm saying, because
• 20:30
  Speaker 2: before you you have Usher for well puff has him,
• 20:34
  Speaker 2: then that doesn't work. But he comes to you, and
• 20:36
  Speaker 2: in my way, he's created. Like people forget that piece
• 20:39
  Speaker 2: of it because that talks about artists development because obviously
• 20:41
  Speaker 2: it's Cris Cross, but it's also the Brad right then
• 20:45
  Speaker 2: escape Then my way like developing talent that nobody knows,
• 20:51
  Speaker 2: writing the songs introducing us.
• 20:54
  Speaker 3: I'll be honest.
• 20:55
  Speaker 2: When people talk about Atlanta, we talked about Rushmore. They
• 20:57
  Speaker 2: always talk about artists like rappers, but like, there's no
• 21:01
  Speaker 2: Atlanta sound for me. I don't even know Atlanta music.
• 21:03
  Speaker 2: If I don't hear you and Big together, I don't
• 21:09
  Speaker 2: see Bratt in his videos and it's like oh and
• 21:12
  Speaker 2: then outcast comes. So the in points that talk about
• 21:15
  Speaker 2: this moment in time in Atlanta where you're introducing a.
• 21:18
  Speaker 3: Sound to the world.
• 21:19
  Speaker 1: Really, yeah, like I said, I don't actually know that
• 21:23
  Speaker 1: I'm actually introducing it to the world. I just think
• 21:26
  Speaker 1: I'm trying to make music for Atlanta, you know what
• 21:29
  Speaker 1: I mean. I'm just trying to get out of here.
• 21:31
  Speaker 1: I'm just trying to do what I'm trying to do.
• 21:33
  Speaker 1: But I'm down like this. I'm not even looking up
• 21:36
  Speaker 1: and I'm not even thinking about it. I'm just thinking, like,
• 21:40
  Speaker 1: you know, how can I make this work? What's out
• 21:42
  Speaker 1: of here?
• 21:43
  Speaker 3: Though?
• 21:43
  Speaker 2: Because I'm thinking after Chris ross Brat becomes the first
• 21:46
  Speaker 2: female rap artists to go platinum, there are we not
• 21:50
  Speaker 2: out of here? No?
• 21:52
  Speaker 1: I mean, well you should be. But the stigma of
• 21:56
  Speaker 1: being from the South and being from Atlanta was so
• 21:59
  Speaker 1: strong and hip hop that it diminished the success of
• 22:04
  Speaker 1: what you're talking about.
• 22:05
  Speaker 3: Okay, okay, Okay, that makes sense, you know what I'm saying.
• 22:09
  Speaker 1: So it's like you if I was you know, I
• 22:13
  Speaker 1: said this on the Breakfast Club one day. If I
• 22:14
  Speaker 1: lived in New York, I'd be the king of music.
• 22:18
  Speaker 1: Niggas has called me the king of music. So you
• 22:20
  Speaker 1: don't think it was No, you think that it was
• 22:23
  Speaker 1: because of Atlanta that you that it wasn't elevated the
• 22:27
  Speaker 1: way that is. Yeah, it's like, you know, you gotta
• 22:29
  Speaker 1: think like when I created the Brat, I didn't create Brat,
• 22:32
  Speaker 1: but once I found Bratt and I put Brad out.
• 22:36
  Speaker 1: In order to get Pressed to come to Atlanta to
• 22:39
  Speaker 1: even interview her and talk to her, I had to
• 22:42
  Speaker 1: pay for niggas from New York to come to Atlanta.
• 22:45
  Speaker 1: Like niggas in New York, Russell them ain't paying for press.
• 22:49
  Speaker 1: I'm paying for press. I'm paying for people. You know
• 22:51
  Speaker 1: what I mean. I'm flying people to Atlanta to do
• 22:54
  Speaker 1: interviews in Atlanta as opposed to us getting on a
• 22:57
  Speaker 1: plane and going to New York. You know what I'm saying.
• 23:00
  Speaker 1: Trying to because I'm trying to keep it in the city.
• 23:02
  Speaker 1: But it's no, it's no outlets in Atlanta at this time.
• 23:06
  Speaker 1: You know, in ninety four, once you know, we had
• 23:08
  Speaker 1: Arnell Star, that's like American rap make because that's the
• 23:12
  Speaker 1: that's the that's that guy in Atlanta. But as far
• 23:15
  Speaker 1: as somebody that was like a publication or source or
• 23:20
  Speaker 1: any of that, none of that shit was here in Atlanta.
• 23:22
  Speaker 1: So you you lose ground because the other people that
• 23:27
  Speaker 1: you in competition with, they could just walk outside and
• 23:29
  Speaker 1: go down the street, you know what I mean, So
• 23:32
  Speaker 1: they can have a listening party and everybody show up.
• 23:36
  Speaker 1: I have a listening part. I gotta do it in
• 23:38
  Speaker 1: a time where everybody can fly to Atlanta and they
• 23:42
  Speaker 1: they got time to come to Atlanta to actually do it,
• 23:45
  Speaker 1: you know what I'm saying. So that's that's what you're
• 23:47
  Speaker 1: dealing with. That's what I was dealing with as a
• 23:51
  Speaker 1: you know what I mean, even as as a CEO.
• 23:52
  Speaker 1: Like when we talk about Jermaine Duprix, the CEO and
• 23:56
  Speaker 1: social depth, A lot of the conversations about my company
• 24:00
  Speaker 1: is lost because of the South, because people weren't even
• 24:04
  Speaker 1: here to actually see the amount of employees I had
• 24:08
  Speaker 1: the office. Just that you nobody's seen this activity because
• 24:12
  Speaker 1: it was happening in Atlanta.
• 24:13
  Speaker 2: But is my way the record now that I'm out
• 24:19
  Speaker 2: of here? No still, because you make me want to?
• 24:23
  Speaker 2: Is is that your first time born? No?
• 24:28
  Speaker 1: No, well jumps change that I first number one? You
• 24:33
  Speaker 1: make me want to? It's the first male record from
• 24:38
  Speaker 1: a male R and B artist that I ever wrote.
• 24:40
  Speaker 1: Though Okay, I never did no other male artists before
• 24:43
  Speaker 1: that song, and that song was no more.
• 24:46
  Speaker 3: Yeah, that's a big one.
• 24:47
  Speaker 1: Yeah, But that's what I'm saying, Like that's and by
• 24:49
  Speaker 1: the way, this is just what I'm saying. You make
• 24:51
  Speaker 1: me want one hundred percent nice and slow.
• 24:55
  Speaker 4: So okay, I mean everybody that you wrote for and
• 24:59
  Speaker 4: produce for wasn't on your label. But the people that
• 25:01
  Speaker 4: was on your label. If you own the label and
• 25:04
  Speaker 4: you're getting the masters, and then you write the music,
• 25:07
  Speaker 4: and you get in the publishing, and then you produce
• 25:10
  Speaker 4: the music, so you're getting you're getting.
• 25:11
  Speaker 1: At all the money. They don't get all the money.
• 25:13
  Speaker 1: But what else is the get you? I mean, by
• 25:16
  Speaker 1: the way you get, you get it. You get you
• 25:19
  Speaker 1: get a significant amount of money, a large but the
• 25:22
  Speaker 1: line ship you get you get a significant amount of
• 25:24
  Speaker 1: money you don't but you don't get all the money.
• 25:26
  Speaker 1: But I'm saying at the same time, you know what's
• 25:30
  Speaker 1: funny with me is that when I be hearing people
• 25:31
  Speaker 1: talk about contracts unders that and the third the contract states
• 25:36
  Speaker 1: what you get. You know what I'm saying, The contract
• 25:39
  Speaker 1: don't state you're gonna get jerk. The contract states exactly
• 25:45
  Speaker 1: what you get. That's why you're supposed to give your
• 25:47
  Speaker 1: contract to somebody and let them look over it, and
• 25:50
  Speaker 1: then you give that contract back to the person that
• 25:52
  Speaker 1: you're talking to, and it's supposed to say what you
• 25:54
  Speaker 1: want from that personal what's your thoughts on that?
• 25:57
  Speaker 4: Because I always feel like, for the most part, there's
• 25:59
  Speaker 4: no such thing as a bad deal because people signed
• 26:02
  Speaker 4: a deal in that moment you needed one hundred thousand
• 26:06
  Speaker 4: dollars to save your life. But when you sell a
• 26:08
  Speaker 4: Mellion Records, it's like, damn, I got jerked. I sold
• 26:10
  Speaker 4: my Masters for one hundred thousand. Well, if you had leverage,
• 26:13
  Speaker 4: you wouldn't have done that.
• 26:14
  Speaker 1: Well, first of all, people that I think the conversation
• 26:16
  Speaker 1: about selling your master it's never a master conversation initially, Right,
• 26:23
  Speaker 1: if you was coming up in the nineties and you
• 26:25
  Speaker 1: was just getting signed to a record company, it wasn't
• 26:27
  Speaker 1: no conversation about mass wasn't thought. That's not no conversation
• 26:31
  Speaker 1: because masters ultimately you you you're not thinking about that.
• 26:37
  Speaker 1: You're thinking about publishing, you think about production, you're thinking
• 26:40
  Speaker 1: about trying to get your records heard on the radio. Right,
• 26:45
  Speaker 1: the mastering thing came into into play, like with master
• 26:49
  Speaker 1: p no limit cash money, and these guys even like
• 26:53
  Speaker 1: jay Z jay Z them signed to death Jam after
• 26:58
  Speaker 1: they still was you know, they was running around New
• 27:01
  Speaker 1: York and nobody was signing them. But they still did
• 27:03
  Speaker 1: a deal with Depth Sham, you know what I mean.
• 27:05
  Speaker 1: They own their Masters, but they still was trying to
• 27:07
  Speaker 1: get into these labels. It was like everybody still was
• 27:10
  Speaker 1: trying to get into these majors. Master Peed them was
• 27:13
  Speaker 1: the only people that was like independent, I mean and
• 27:15
  Speaker 1: and J Prince. They was the only people that was like,
• 27:18
  Speaker 1: we don't want to be inside these record companies. But
• 27:21
  Speaker 1: I feel like they got that. They felt like that
• 27:23
  Speaker 1: because of how I felt. You you know, you don't
• 27:27
  Speaker 1: have no support in your little hometown, right if you
• 27:30
  Speaker 1: in these little bitdass towns. I mean, when Atlanta felt
• 27:33
  Speaker 1: like one of these little towns, you don't have nobody
• 27:36
  Speaker 1: supporting it. It's nothing that you know, every time I
• 27:38
  Speaker 1: did something, or every time I do something, I gotta
• 27:40
  Speaker 1: call somebody and tell them that this is gonna happen. Like,
• 27:45
  Speaker 1: you know, maybe I should come down to Atlanta and
• 27:47
  Speaker 1: catch me. I'm going down the street in my Ferrari
• 27:49
  Speaker 1: doing a hundred you know, yep, you might want to
• 27:52
  Speaker 1: see this, like saying like you couldn't like it wasn't
• 27:58
  Speaker 1: nobody like telling people to who this leads? Are really
• 28:01
  Speaker 1: doing this?
• 28:02
  Speaker 4: It's like if you if you didn't have any blueprint
• 28:03
  Speaker 4: to follow at such a young age, you running a company,
• 28:08
  Speaker 4: how did how did you know what to do?
• 28:10
  Speaker 1: You don't? You just you just just winging it? Yeah,
• 28:12
  Speaker 1: you don't know? You so you didn't have no mentors
• 28:14
  Speaker 1: at all? Noah, I mean, you know, I got people
• 28:16
  Speaker 1: that I mean, Russell Simmons, Andrea Rell Recipes, these people,
• 28:21
  Speaker 1: you know what I mean. I'm following. I'm watching them
• 28:24
  Speaker 1: come afar from nobody calling nobody, No, nobody telling me nothing,
• 28:29
  Speaker 1: you know what I mean, Like, no, it's it's it's all.
• 28:32
  Speaker 1: Did that lead to making a lot of mistakes? Probably?
• 28:35
  Speaker 1: But I don't, you know, I don't know what a mistake,
• 28:37
  Speaker 1: you know, something like in the business, like when you
• 28:40
  Speaker 1: got more season than you realize, like, oh damn that
• 28:42
  Speaker 1: I shouldn't even have done that that way, or I
• 28:45
  Speaker 1: gave up too much. I think that I think that,
• 28:47
  Speaker 1: like I said, I think that me staying away from
• 28:50
  Speaker 1: people kept me from making dumb with mistakes because I
• 28:55
  Speaker 1: actually wasn't doing what they was doing. You know what
• 28:58
  Speaker 1: I mean. I actually was just doing things that I
• 29:01
  Speaker 1: thought people was doing and then find out that that
• 29:04
  Speaker 1: wasn't what they was doing.
• 29:04
  Speaker 4: You didn't have a negative the path following and I said,
• 29:06
  Speaker 4: that's actually a good point. A lot of times people
• 29:08
  Speaker 4: only look at it like if you don't have a mentor,
• 29:10
  Speaker 4: but you got a negative mentor.
• 29:11
  Speaker 1: Too, and they can lead you down a bunch of
• 29:13
  Speaker 1: people that tell you, yo, you should do this, you
• 29:15
  Speaker 1: should do this, and if you look at what they.
• 29:17
  Speaker 3: Did, it ain't really work.
• 29:19
  Speaker 1: That ain't work.
• 29:20
  Speaker 3: It sha brought up something that I think.
• 29:23
  Speaker 2: It's interesting you wrote for a lot of people that
• 29:26
  Speaker 2: weren't sign to your label. I justly comes to mind
• 29:30
  Speaker 2: for sure because he wasn't sign but that the relationship
• 29:32
  Speaker 2: feels like he's a social death artist but he's not.
• 29:35
  Speaker 3: Was there any like conflict in that where it was like,
• 29:38
  Speaker 3: you know, this guy is a guy. I know he's
• 29:39
  Speaker 3: going to be a guy.
• 29:40
  Speaker 2: I'm gonna work, I'm gonna write for him, but he's
• 29:42
  Speaker 2: not officially signed or was it just like let me
• 29:45
  Speaker 2: help elevate this guy's career.
• 29:48
  Speaker 1: At first? I feel like I was in that mode.
• 29:53
  Speaker 1: It was. It was a little conflict between the face
• 29:55
  Speaker 1: because I was promoting Usha with Social Death, so I
• 30:00
  Speaker 1: did things in the city. It would it would say,
• 30:05
  Speaker 1: you know, Jamaine Dupree, Social Death party hosting my Usher,
• 30:09
  Speaker 1: and then I get a call from her face like yo,
• 30:13
  Speaker 1: like Russia and I signed and so so Death.
• 30:16
  Speaker 3: But you're on the first two singles, right, so get
• 30:19
  Speaker 3: the make Me Want song. I'm saying that I'm.
• 30:21
  Speaker 2: Looking big about the video to my Way, like your
• 30:23
  Speaker 2: voice is on all that that you're there there.
• 30:24
  Speaker 1: I'm writing all them songs. That's all me, So I
• 30:28
  Speaker 1: mean it's not. But I'm saying they gave me Usher
• 30:30
  Speaker 1: with that same mentality. I was told, take Usher and
• 30:34
  Speaker 1: do what you did with Chriss Krutz and don't bring
• 30:37
  Speaker 1: him back to you feel like you got that. That's
• 30:39
  Speaker 1: what they told me. And Usher came to my house
• 30:42
  Speaker 1: in Cottage Park and he stayed out there and basically
• 30:46
  Speaker 1: was living in my house and we got to know
• 30:47
  Speaker 1: each other like brothers, and we made my Way.
• 30:51
  Speaker 4: Well, how do you feel about that, because that's something
• 30:53
  Speaker 4: that dark Nning that actually said to us. They had
• 30:56
  Speaker 4: some level of frustration with Luzi and they like nobody
• 31:00
  Speaker 4: that he was signed to them because he was only
• 31:01
  Speaker 4: wearing a Rockefeller chain and like, well, we gave you
• 31:03
  Speaker 4: a chain too.
• 31:05
  Speaker 1: Like like what's up with that one? Yeah? And even
• 31:09
  Speaker 1: Jack Harlow and I didn't even know that he was
• 31:10
  Speaker 1: signed to them. So how do you feel, like from
• 31:12
  Speaker 1: an executive standpoint, can you understand frustration if like them,
• 31:16
  Speaker 1: I'm investing in his artists and he running with a
• 31:18
  Speaker 1: different camp. I can because La and Babyface are not
• 31:23
  Speaker 1: from hip hop, right, They not cut from the cloth
• 31:26
  Speaker 1: that I come from, So therefore they don't underdy At
• 31:29
  Speaker 1: that time, they didn't understand what me telling us you
• 31:34
  Speaker 1: to be a part of a camp was anyway. Like
• 31:38
  Speaker 1: I wasn't looking at it like the name. I was
• 31:41
  Speaker 1: looking at it like he was part of my crew, right,
• 31:44
  Speaker 1: and hip hop that's that's what That's how we moved, Right.
• 31:47
  Speaker 1: It's like if y'all tell me to come to a
• 31:49
  Speaker 1: party that y'all got going, and y'all name all over it,
• 31:52
  Speaker 1: I don't care if y'all name all over it. I'm
• 31:54
  Speaker 1: rolling with y'all because we're supposed to be crue, right.
• 31:56
  Speaker 1: So it's like that's just how my mind was thinking
• 32:00
  Speaker 1: about it from that perspective they was thinking about it
• 32:02
  Speaker 1: from like a business you know, like Usher looks like
• 32:05
  Speaker 1: he's on so so that cool, like so so Death
• 32:09
  Speaker 1: is actually moving around the city more than you guys.
• 32:12
  Speaker 1: Are you need him to look like this because the
• 32:15
  Speaker 1: last record didn't work And I don't think that. I
• 32:18
  Speaker 1: think that at the time, they weren't paying attention to that.
• 32:21
  Speaker 1: They weren't paying attention to how much in the culture
• 32:25
  Speaker 1: that I am or was at that point in.
• 32:28
  Speaker 3: Time, and so like he's not on the label.
• 32:31
  Speaker 2: But are you now seeking more talent because I think
• 32:33
  Speaker 2: like at that time, Bratt might be putting out her
• 32:36
  Speaker 2: second album.
• 32:38
  Speaker 3: Are you trying to.
• 32:39
  Speaker 2: Add more talent to the label because of that, Like,
• 32:41
  Speaker 2: here's the success of somebody I'm writing for.
• 32:43
  Speaker 3: Let me get somebody in house as well.
• 32:45
  Speaker 1: No, because I'm trying to find I mean, every time
• 32:48
  Speaker 1: I make a project still to this day, I'm just like, Okay,
• 32:51
  Speaker 1: this is that I gotta find something else. So I
• 32:54
  Speaker 1: wasn't even gonna look for like, if I'm writing all
• 32:56
  Speaker 1: Usher records or producing Usher, I'm not getting ready try
• 32:59
  Speaker 1: to bring another male artist in there, because then I'm
• 33:02
  Speaker 1: gonna start competing with myself even though I did that,
• 33:05
  Speaker 1: but it was a male group, so I signed Jagged
• 33:07
  Speaker 1: as they weren't like ushit.
• 33:11
  Speaker 3: That's it.
• 33:12
  Speaker 2: I want to I want to talk about classics. I
• 33:14
  Speaker 2: told be Conscious, but Jay Harpik one of them, one
• 33:18
  Speaker 2: of them.
• 33:18
  Speaker 3: We'll get to the classics.
• 33:19
  Speaker 2: So because I act the R and B guy, I'm
• 33:22
  Speaker 2: on music, I'm asking that because I'm the kid who
• 33:26
  Speaker 2: was in the CD store when Life of fourteen seventy
• 33:29
  Speaker 2: two comes out, money ain't thing.
• 33:31
  Speaker 3: So now like you're the artist.
• 33:33
  Speaker 2: So the person that used to is writing the songs,
• 33:37
  Speaker 2: producing the songs, curating the talent, now you are the talent.
• 33:40
  Speaker 3: What was that transition?
• 33:42
  Speaker 1: Like it wasn't even no transition because I'm writing songs
• 33:49
  Speaker 1: so much at this time period that people would hear
• 33:53
  Speaker 1: songs that I was writing and be like, yo, you
• 33:55
  Speaker 1: should just keep that, and I'm like no. So I
• 33:58
  Speaker 1: write a song and I rap on the song, and
• 34:02
  Speaker 1: I'm just doing it for fun. Because this is also
• 34:07
  Speaker 1: an exercise that I'm gonna go back. This is also
• 34:10
  Speaker 1: an exercise that I was thinking about this morning when
• 34:12
  Speaker 1: I looked at the criscross thing, the crisscross exercise that
• 34:17
  Speaker 1: I had to go through to even get Crisscruss to
• 34:20
  Speaker 1: the place they all living. Color was that these kids
• 34:25
  Speaker 1: was regular neighborhood kids, right. They was listening to rap
• 34:30
  Speaker 1: music that wasn't from Atlanta. So ice Cube and whatever
• 34:35
  Speaker 1: else was out in ninety one, ninety whatever.
• 34:39
  Speaker 3: And.
• 34:40
  Speaker 1: No artists from Atlanta. By the way, we had bass music,
• 34:43
  Speaker 1: but it wasn't nobody that was like that had come
• 34:46
  Speaker 1: out and had a number one record that was actually
• 34:48
  Speaker 1: looking like somebody that was going to be a superstar
• 34:52
  Speaker 1: in Atlanta. Right, So all of the inspiration and motivation
• 34:57
  Speaker 1: for rap and hip hop was coming from la in
• 35:00
  Speaker 1: New York. So I write them a song and they'll
• 35:05
  Speaker 1: be like, na, Na, that ain't it And eleven and
• 35:12
  Speaker 1: twelve year old kids telling you chitchus song about it? Right?
• 35:19
  Speaker 1: And I went through this for a year of them
• 35:23
  Speaker 1: not liking what I was writing for them, and I'm
• 35:25
  Speaker 1: like and I had to start really like understanding that
• 35:34
  Speaker 1: once I get them to like what I'm doing, I
• 35:36
  Speaker 1: done got good, right, Oh, I done got better than
• 35:38
  Speaker 1: I am. So I was writing so much. I'm writing
• 35:41
  Speaker 1: so many songs, and then one day I wrote this
• 35:44
  Speaker 1: song called Little Boys in the Hood, and they set
• 35:47
  Speaker 1: up on the seats and they was looking like, oh,
• 35:50
  Speaker 1: that's our song. Like it felt like it was theirs.
• 35:53
  Speaker 1: It felt like I had got to a space. I
• 35:55
  Speaker 1: saw that energy and I was like, oh, okay, I'm
• 36:00
  Speaker 1: getting close. So I start paying attention to what I
• 36:03
  Speaker 1: did when I wrote that song and how I kept writing.
• 36:05
  Speaker 1: So what I'm saying is I'm writing so much as
• 36:08
  Speaker 1: just a rapper. I don't know what I'm gonna do
• 36:11
  Speaker 1: with these songs. I'm throwing shit away because they don't
• 36:13
  Speaker 1: like it, whatever it is. So in that same process
• 36:16
  Speaker 1: I go into usher, I go into Brad. I mean,
• 36:20
  Speaker 1: I write Escape album. I'm writing so many songs and
• 36:25
  Speaker 1: then so it's just stuff that's just sitting around. I
• 36:27
  Speaker 1: be rapping, and I start writing songs that don't even
• 36:31
  Speaker 1: be songs that come out. I'm just in the house
• 36:33
  Speaker 1: making stupid songs. So I wrote this song called Jazzy
• 36:36
  Speaker 1: Holes that actually was on Life in fourteen seventy two,
• 36:40
  Speaker 1: but I did the verses of Jazzi Holes over shook
• 36:43
  Speaker 1: ones because I ain't had no I wasn't put I
• 36:46
  Speaker 1: wasn't making the music. It was just like I'm just
• 36:47
  Speaker 1: gonna rap, but I had all I like is them
• 36:50
  Speaker 1: jazzy holes. I put the hook on on shook Ones
• 36:53
  Speaker 1: and I put on like we had little mixtapes whatever.
• 36:55
  Speaker 1: I put it on like a mixtape and my friends
• 36:57
  Speaker 1: was like, yo, you should do song with that song
• 37:00
  Speaker 1: and that song that's that's we want that song. People
• 37:02
  Speaker 1: was asking for it. So then my app so it
• 37:04
  Speaker 1: was just like I did another song like that. I
• 37:07
  Speaker 1: did another song like that, and they was just like throwaways.
• 37:09
  Speaker 1: I wasn't even like serious about it. Peoples like, yo,
• 37:11
  Speaker 1: you should put it out, and I'm like, I don't
• 37:15
  Speaker 1: really care to put out an album, and it's like
• 37:17
  Speaker 1: you should do it, and I'm thinking, like, all, it
• 37:19
  Speaker 1: wouldn't take nothing for me to put the record out.
• 37:21
  Speaker 1: I'm doing this already. I got like five songs already.
• 37:24
  Speaker 1: I could just put somebody on the sauce and that
• 37:26
  Speaker 1: basically was what it was. It wasn't even like no pressure.
• 37:28
  Speaker 1: It was just like like a breathing let's let's just
• 37:34
  Speaker 1: just put it out.
• 37:36
  Speaker 4: So yeah, when you when they talk about the top
• 37:39
  Speaker 4: hip hop labels of all time, I don't think Social
• 37:43
  Speaker 4: Death gets the full recognition or you know, they kind
• 37:47
  Speaker 4: of left out of that conversation a lot. When you
• 37:48
  Speaker 4: talk about bad boy death Row and then of course
• 37:51
  Speaker 4: cash Money.
• 37:54
  Speaker 1: Why do you think that that is one that ain't
• 37:59
  Speaker 1: no bad shit has ever been said to even have
• 38:02
  Speaker 1: a conversation, right, Like, none of my artists, they ain't
• 38:07
  Speaker 1: suit me. None of my artists want to fight me.
• 38:12
  Speaker 1: My artists still working to this day, you know what
• 38:14
  Speaker 1: I mean, It ain't no badness in the mix of
• 38:18
  Speaker 1: it one which it shouldn't be. But hip hop is bad.
• 38:21
  Speaker 1: Hip Hop is driven by bad shit, right, and the
• 38:26
  Speaker 1: more bad shit is the people that you hear about
• 38:28
  Speaker 1: it hip hop as opposed to the niggas that they
• 38:30
  Speaker 1: ain't doing the bad shit. But then, like I said, also,
• 38:34
  Speaker 1: I'm so Atlanta, right, I'm not the guy that's like
• 38:39
  Speaker 1: I'm saying I'm from Atlanta just to be saying that
• 38:41
  Speaker 1: I'm the nigga that's out here that's been fighting for
• 38:43
  Speaker 1: this city before the face was in Atlanta before you
• 38:47
  Speaker 1: know what I mean, I was here. I've been here
• 38:50
  Speaker 1: doing this and I feel like I really really carry
• 38:56
  Speaker 1: the energy of Atlanta. Look how long it took Atlanta
• 39:00
  Speaker 1: or to actually become what Atlanta is today.
• 39:03
  Speaker 4: Well do you also think that maybe it's because like
• 39:07
  Speaker 4: the roster doesn't include a franchise player, like a top
• 39:11
  Speaker 4: ten like no, no, no, listen, like a top ten artist of.
• 39:14
  Speaker 1: All time, like he's like that boy has Biggie tupacing
• 39:17
  Speaker 1: even cash Money had like there was no like yeah,
• 39:22
  Speaker 1: there's no like one. Yeah. So that's what I'm saying.
• 39:24
  Speaker 1: I got to answer all like ultimately that what happened
• 39:27
  Speaker 1: is also is that the powers that be thought hip
• 39:34
  Speaker 1: hop was supposed to be that, right, the powers that
• 39:38
  Speaker 1: be thought hip hop was supposed to be Tupac, Biggie,
• 39:42
  Speaker 1: this person, this person, right, all of them niggas is
• 39:46
  Speaker 1: twenty five plus right, So so death is under the
• 39:52
  Speaker 1: age young ar. I'm the person that created the why
• 39:57
  Speaker 1: and shit.
• 39:58
  Speaker 2: Yeah, yes, tell you slip because when you said franchise player,
• 40:03
  Speaker 2: I'm thinking like Brett Boost, I.
• 40:06
  Speaker 1: Mean franchise player. I say, but he's on Mount Rushmore
• 40:10
  Speaker 1: greatest of all time.
• 40:11
  Speaker 2: But I'm thinking like in the sense because my rebuttal
• 40:15
  Speaker 2: would have been, like, is he not one of the
• 40:16
  Speaker 2: biggest artists of all time?
• 40:17
  Speaker 3: He is? Is he still touring? He is?
• 40:20
  Speaker 2: Is he still showing our shows every year? He is?
• 40:23
  Speaker 2: Is he still acting? How many guys have done that?
• 40:26
  Speaker 1: But yeah, yeah, it's not even about that. It's really
• 40:29
  Speaker 1: like I said, what what people didn't This is another
• 40:32
  Speaker 1: thing what people don't discuss is what I brought to
• 40:37
  Speaker 1: hip hop. I brought youth to hip hop. Yes, when
• 40:42
  Speaker 1: Chris Cross came out, the entire rap game was twenty
• 40:47
  Speaker 1: plus years old, these leaguas was eleven and twelve. I
• 40:51
  Speaker 1: was nineteen. Right, you had never seen nobody teenagers or
• 40:57
  Speaker 1: not even teenagers with the number one raps on Like
• 41:01
  Speaker 1: we're talking about top one hundred. I'm not talking about
• 41:03
  Speaker 1: R and B. I'm talking about the top one hundred.
• 41:06
  Speaker 1: Criss Cross eleven and twelve years old at the top
• 41:09
  Speaker 1: of the music chart.
• 41:12
  Speaker 2: And not in that way either, like very like you
• 41:15
  Speaker 2: said pop, like a number one record pop chart, because
• 41:18
  Speaker 2: I'm thinking, like there was a youngster shin here.
• 41:22
  Speaker 1: Ain't that they didn't get close?
• 41:24
  Speaker 3: Not even No, No, they did.
• 41:25
  Speaker 1: I'm just saying, I'm saying this for the people that's listening,
• 41:30
  Speaker 1: not even close.
• 41:32
  Speaker 2: That's an interesting perspective. I never thought about it like that.
• 41:34
  Speaker 2: So you wasn't even trying to play in that real
• 41:36
  Speaker 2: ball way. I need the biggest adult you was. Your
• 41:40
  Speaker 2: realm was I got young artists.
• 41:42
  Speaker 1: Oh, I'm young. I don't mind you. That's what I'm saying.
• 41:46
  Speaker 1: I'm so young. I don't know these old Landis niggash
• 41:50
  Speaker 1: so they was old to you. There's what I'm saying.
• 41:52
  Speaker 1: I don't know these niggas. I don't know niggas. That's old.
• 41:55
  Speaker 1: I don't how you know what I'm saying. I'm nineteen.
• 41:57
  Speaker 1: I can't get in no club in Atlantic.
• 41:59
  Speaker 2: Okay, you're really at like you. Whatever happened in Atlanta
• 42:03
  Speaker 2: is what you know?
• 42:05
  Speaker 1: I mean, whatever's happening where I can and the way
• 42:10
  Speaker 1: so like safe inst is like when I did Crisscross album,
• 42:13
  Speaker 1: we went to Philly because they would signed a rough
• 42:15
  Speaker 1: house and rough house, you know, that's what schooly d
• 42:23
  Speaker 1: DMX would signed a rough house, the Fuji's Cypress Hill
• 42:29
  Speaker 1: and it's a label. They're a studio four rough House
• 42:32
  Speaker 1: Records was recording. They recorded in the Studio four. So
• 42:35
  Speaker 1: we we went to Philly to actually record the Crisscross album.
• 42:39
  Speaker 1: I'm in Philly trying to go out and go around
• 42:42
  Speaker 1: and see things about. But now, if I was like
• 42:44
  Speaker 1: twenty one, twenty three, twenty four to twenty five, I
• 42:47
  Speaker 1: probably would have found whoever Steady be or whoever was
• 42:50
  Speaker 1: in Philly, right, because I'm trying. I'm out in the streets.
• 42:53
  Speaker 1: They got a club in Philly, Card after Midnight, Right,
• 42:57
  Speaker 1: I'm I'm I'm I'm so hip hop, but I can't
• 43:00
  Speaker 1: get in. I stand outside the club just so I
• 43:03
  Speaker 1: can listen to what niggas is doing in the club.
• 43:06
  Speaker 1: They won't let me in because I'm not twenty one
• 43:08
  Speaker 1: years old. But I'm standing outside. I'm looking at the
• 43:11
  Speaker 1: niggas to close. Theggas got bubbles goosely we in Philly,
• 43:15
  Speaker 1: and I'm just soaking up all of this energy. But
• 43:19
  Speaker 1: what I'm saying is, I'm so I'm too young to
• 43:21
  Speaker 1: actually participate in what the rap game look like at
• 43:25
  Speaker 1: ninety two, gotcha, right? So therefore Criscross sell eight million records.
• 43:31
  Speaker 1: It don't even get it, don't even translate in the
• 43:34
  Speaker 1: world that you're talking to, because them niggas ain't selling
• 43:38
  Speaker 1: eight million records, and they don't even want to talk
• 43:40
  Speaker 1: about it because they supposed to be the pillars of
• 43:42
  Speaker 1: rap and it's these eleven to twelve year olds. So
• 43:45
  Speaker 1: then they start trying to make it seem like young
• 43:47
  Speaker 1: niggas ain't supposed to be in rap music discredit. Yeah,
• 43:50
  Speaker 1: so they try to discredit you know what I mean, Like,
• 43:53
  Speaker 1: that's what starts happening with Jamaine Dbris and you start
• 43:56
  Speaker 1: having people try to say, because I'm young and the
• 44:00
  Speaker 1: people around me is young, that this music is not
• 44:03
  Speaker 1: rap music. That's interesting.
• 44:07
  Speaker 4: That's what really happened. Then me quickly call up on that.
• 44:09
  Speaker 4: So where do you place where do you place the
• 44:11
  Speaker 4: label in the history of late Because you got bad Boy,
• 44:14
  Speaker 4: you got rough Riders, you got rough Rockefeller, you got
• 44:18
  Speaker 4: cash money, you got no limit, you got you Where
• 44:21
  Speaker 4: do you place so so deaf in the history of
• 44:25
  Speaker 4: of I.
• 44:26
  Speaker 1: Mean, it's right, it should be in the conversation. It ain't. No,
• 44:28
  Speaker 1: I mean you know, I ain't put out a bunch
• 44:30
  Speaker 1: of artists that didn't sell records. There's a couple of
• 44:33
  Speaker 1: them labels you just named niggas. I'm like, I'm just saying,
• 44:40
  Speaker 1: like if we were when we listen, we by the way,
• 44:45
  Speaker 1: I'm super competitive because of this, how this how I
• 44:47
  Speaker 1: had to come on around here. I've been fighting forever, right,
• 44:51
  Speaker 1: But no, I'm saying, ultimately, if we look at it,
• 44:55
  Speaker 1: like I got things that happened at Social Death that
• 44:58
  Speaker 1: did not happen in any other label, like no female
• 45:03
  Speaker 1: artists solo million records before So So Death. Fact that
• 45:06
  Speaker 1: automatically ship puts Social Death in the top five of
• 45:10
  Speaker 1: hip hop labels that you can talk about because as
• 45:14
  Speaker 1: all the females that rap right now, all the solo
• 45:17
  Speaker 1: females that's out, Lil Kim, Foxy Brown, Cardi B. Brat,
• 45:25
  Speaker 1: Set to Pay.
• 45:28
  Speaker 3: True.
• 45:28
  Speaker 1: She was the first one.
• 45:30
  Speaker 3: And there was female rappers too. I mean, you don't.
• 45:34
  Speaker 1: Now some people listen to this, they don't. They don't
• 45:36
  Speaker 1: because he listened stupidly listen. Some people was out as
• 45:40
  Speaker 1: a group. I'm talking about as far as one female solo,
• 45:44
  Speaker 1: a solo female artist coming out and selling a million records. Yeah,
• 45:50
  Speaker 1: albums would it wouldn't urt you? No, I don't know.
• 45:56
  Speaker 1: It might, but not the album.
• 46:00
  Speaker 3: Yeah, that's a lot. That's a lot.
• 46:02
  Speaker 1: So Brat was nineteen when this happened. Yeah, it was
• 46:06
  Speaker 1: that ninety four, ninety four. Some saying she's under twenty one. Yeah,
• 46:12
  Speaker 1: so you started the yam you started the.
• 46:15
  Speaker 3: Thanks Dady.
• 46:16
  Speaker 1: Yeah, reverse the course.
• 46:21
  Speaker 2: So the Youth movie in itself brings me to that
• 46:24
  Speaker 2: that the next phase of your career, obviously after this
• 46:27
  Speaker 2: sole thing the bow Wow era. This is before we
• 46:32
  Speaker 2: get to about when is the moment that you feel
• 46:34
  Speaker 2: like you've made it, because then the bow Wow thing
• 46:36
  Speaker 2: sets off a whole nother.
• 46:37
  Speaker 1: I didn't feel like I made it until I did
• 46:39
  Speaker 1: money and anything. Really, yeah, that's interesting, and that that's
• 46:45
  Speaker 1: because I could finally go to New York and hear
• 46:48
  Speaker 1: my records on the radio out of here, you know
• 46:52
  Speaker 1: what I'm saying. That's that's when I felt like, oh,
• 46:54
  Speaker 1: these nicks really fuck with me now, Like okay, like
• 46:59
  Speaker 1: you know what I mean. But my whole focus was
• 47:02
  Speaker 1: like I wanted the song on the Clue tape. I
• 47:05
  Speaker 1: wanted to be the first nigga from Atlanta to have
• 47:07
  Speaker 1: the first song on the Clue tape. Like these are
• 47:09
  Speaker 1: the things that mattered to me, right. So when me
• 47:12
  Speaker 1: and j made money and that, I called Clue soon
• 47:14
  Speaker 1: as the song was finished. I'm like, nigga, I'm getting
• 47:16
  Speaker 1: the first song on your tape and he was like,
• 47:19
  Speaker 1: what the placement if he was in the first five songs?
• 47:23
  Speaker 1: Like I promised you. I got the first song on
• 47:27
  Speaker 1: the tape, and that's all I cared about. Even with
• 47:29
  Speaker 1: my album, I didn't care about if it when gold platinum.
• 47:32
  Speaker 1: I just wanted to have that. If I get the
• 47:36
  Speaker 1: first Clue mixtape, then that means I'm hip hop, you
• 47:39
  Speaker 1: know what I mean, because everything else was that was
• 47:42
  Speaker 1: supposed to be the hip that's the that was a
• 47:44
  Speaker 1: bible at the time for what was happening in hip hop.
• 47:48
  Speaker 1: So yeah, so that's you know, niggas calling me to
• 47:52
  Speaker 1: perform at the Tunnel, you know what I mean.
• 47:57
  Speaker 5: I'm like, so I did girls, as I'm saying, so,
• 48:02
  Speaker 5: I did Criss Cross, I did Escape, I did Brad,
• 48:07
  Speaker 5: I did Usher.
• 48:10
  Speaker 1: I ain't never got a call to go to Tunnel.
• 48:14
  Speaker 1: I did Monty anything. Now performing in New York. It
• 48:18
  Speaker 1: actually was the the Sleeping in My Bed remix first.
• 48:22
  Speaker 3: Hard Let me just take in on that one. That's shit,
• 48:26
  Speaker 3: that's one of the ones.
• 48:27
  Speaker 1: That that started. That's what introduced me and Jay. That
• 48:31
  Speaker 1: that Sleeping in My Bad remix is what basically started
• 48:35
  Speaker 1: moving that needle.
• 48:37
  Speaker 3: That's a big one. That's a big so that this
• 48:41
  Speaker 3: is not this is that the first time You're like,
• 48:44
  Speaker 3: cause you and Brad are going back and forth on that.
• 48:46
  Speaker 1: Yeah, well we did it on Funktified her so first
• 48:48
  Speaker 1: single right right right album we was going back and forth,
• 48:50
  Speaker 1: but that's when I started like saying, let's do it more. Yeah,
• 48:54
  Speaker 1: and sleeping in my bed was the beginning of us. Actually,
• 48:57
  Speaker 1: every time you see Bratt, you see me type and.
• 49:00
  Speaker 3: I mean you're still doing R and B right, because
• 49:01
  Speaker 3: you said jay E Heartbreak that's like ninety nine, I
• 49:03
  Speaker 3: feel like.
• 49:04
  Speaker 2: And so there's a there's a like a few years
• 49:08
  Speaker 2: in between where it's like JD's just writing songs and.
• 49:11
  Speaker 3: He's performing this is this, there's a second album. Yes,
• 49:15
  Speaker 3: the second album comes and then like this the bow Wow.
• 49:19
  Speaker 2: Talk about the moment that this happens because this is
• 49:21
  Speaker 2: now one on six in part TRL is the thing
• 49:24
  Speaker 2: seeing artists. You know, we didn't have any music by
• 49:27
  Speaker 2: rhap City was a thing, but TRL was like and
• 49:29
  Speaker 2: then we got one O six and at the same
• 49:31
  Speaker 2: time you're bringing this new artist to us.
• 49:34
  Speaker 3: Talk about the discovery and like the moment that this
• 49:37
  Speaker 3: thing just went hey wi, I.
• 49:40
  Speaker 1: Mean bow Wow was designed right. So bow Wow basically
• 49:44
  Speaker 1: was like he he came from my friend Steve Prudon.
• 49:50
  Speaker 1: He signed him and he signed him to Epic, right,
• 49:54
  Speaker 1: and so Epic was upstairs on Madison and I I
• 50:00
  Speaker 1: was you know and social depth and Columbia was downstairs
• 50:03
  Speaker 1: and they called one day, I think Ron Sweeney was
• 50:07
  Speaker 1: like the president of the company, and he called and
• 50:11
  Speaker 1: he's like, you know, JD wants you to work with
• 50:14
  Speaker 1: this kid that we got that's your pocket. And I'm like, alright,
• 50:19
  Speaker 1: cooling me, I mean what I'm saying. So I go
• 50:22
  Speaker 1: check him out and they, you know, they telling me
• 50:24
  Speaker 1: that he was signed to death Rod. That's the kid
• 50:26
  Speaker 1: that's talking on the Snoop Dogg album. They giving me
• 50:29
  Speaker 1: the whole spell, and I'm like, all right, cool. I
• 50:31
  Speaker 1: wasn't really into it because I also felt like I couldn't.
• 50:35
  Speaker 1: I'm like, I don't. I don't believe that lighting theill
• 50:39
  Speaker 1: strike twice and you know what I mean, I don't
• 50:40
  Speaker 1: believe it.
• 50:41
  Speaker 3: You're getting older.
• 50:43
  Speaker 1: You no, Cris Cross, I did that.
• 50:47
  Speaker 2: Yeah. I'm saying from the standpoint where like you're nineteen
• 50:49
  Speaker 2: the eleven, right, but now you've gotten older.
• 50:51
  Speaker 3: Yeah, and this kid is yeah, he's eleven eleven.
• 50:55
  Speaker 1: So yeah, by the way, I'm so I'm out of
• 50:57
  Speaker 1: the teenage era, right, And I'm starting to think these
• 51:00
  Speaker 1: old niggas that was speaking before before, I can't push
• 51:02
  Speaker 1: them out. We want to sell. So I'm like, I
• 51:10
  Speaker 1: don't know about this, but I'm it's my homeboy Steve.
• 51:13
  Speaker 1: By the way, Steve was the guy who gave him
• 51:15
  Speaker 1: my first million dollars at am I. He left I
• 51:18
  Speaker 1: and went to Epic. So me and Steve just, let's
• 51:21
  Speaker 1: my brother. So he telling me JD, I'm telling you that,
• 51:25
  Speaker 1: well got it, you can make him a star. And
• 51:28
  Speaker 1: I'm just like, it ain't as easy as it, you know,
• 51:32
  Speaker 1: as y'all think it was, or whatever it is. And
• 51:38
  Speaker 1: I started thinking about how long it had been since
• 51:41
  Speaker 1: I put Crisscross out, and that was the only thing
• 51:43
  Speaker 1: that actually made me do it. It had been ten
• 51:46
  Speaker 1: years since Crisscross. So therefore I kept looking at the
• 51:49
  Speaker 1: fact that young kids didn't have a group for the
• 51:54
  Speaker 1: last six years. I'm like, they don't have no music, Like,
• 51:58
  Speaker 1: wh who actually is servicing dayleven and twelve year old
• 52:02
  Speaker 1: generational people out here with music? Chris Cross has been
• 52:05
  Speaker 1: net that's what they were. Chris. Chris start getting older,
• 52:09
  Speaker 1: they started smoking weed. They start turning into these old niggas.
• 52:14
  Speaker 3: Tonights and nights and that's a slept on record. That's
• 52:16
  Speaker 3: a good record.
• 52:17
  Speaker 1: I ain't really slap on people. What that means? What
• 52:19
  Speaker 1: the they you know? But like what I'm saying, they
• 52:22
  Speaker 1: got older, they started making they didn't want to make
• 52:24
  Speaker 1: records like to Night Niga be more in the mix.
• 52:27
  Speaker 1: So they they are moving away from this audience where
• 52:31
  Speaker 1: these people are still kids and that's the only thing
• 52:36
  Speaker 1: I can pay attention to. And I still wasn't really
• 52:38
  Speaker 1: totally sold. So then one night, me and jay Z
• 52:40
  Speaker 1: had a show here in Atlanta, who I had to
• 52:44
  Speaker 1: show here and and I think it was a V
• 52:47
  Speaker 1: one O three jam or something like that, and I
• 52:49
  Speaker 1: had jay Z come and we did money and things,
• 52:52
  Speaker 1: and I introduced jay to bow our backstage, and while
• 52:58
  Speaker 1: I was on stage, Biwall kept saying, let me rap.
• 53:03
  Speaker 1: This ain't even playing, Like, I'm like, fuck no, like
• 53:06
  Speaker 1: you never about to get up here and come out show.
• 53:08
  Speaker 1: I don't know what you gonna do, right, So then
• 53:11
  Speaker 1: he just kept doing. He was on the side of
• 53:13
  Speaker 1: the stage. He kept saying, let me rap. So I'm like, okay, listen,
• 53:16
  Speaker 1: So I s I got it on a mic, and
• 53:17
  Speaker 1: I'm like, yod well, I got this little kid on
• 53:18
  Speaker 1: the stage and keep saying you wanna rap? Then Hole
• 53:20
  Speaker 1: starts saying yeah, let the little nigga wrap 'm and
• 53:22
  Speaker 1: see what will. So everybody start pushing me to let
• 53:25
  Speaker 1: him rap. He came out and then DJ put a
• 53:31
  Speaker 1: beat on and he was like, nah, stop the beat.
• 53:34
  Speaker 1: And his demeanor of how he told the DJ to
• 53:36
  Speaker 1: stop the beat at twelve years old just wasn't regular,
• 53:41
  Speaker 1: like it just one matter of fak was left and
• 53:44
  Speaker 1: it wasn't even like it wasn't It wasn't like. It
• 53:46
  Speaker 1: wasn't like Chris Cross Criscross. I taught them everything that
• 53:51
  Speaker 1: they knew about hip hop. This kid did this without
• 53:56
  Speaker 1: me telling him to do anything. He was just like, yo,
• 53:58
  Speaker 1: stop beat, and he said watch this, and he started
• 54:01
  Speaker 1: rapping a cappella to the crowd, so he already knew, like,
• 54:06
  Speaker 1: they ain't gonna hear me on the beat, right, they
• 54:08
  Speaker 1: need to hear me. And he started rapping a cappella
• 54:10
  Speaker 1: to the crowd, and the crowd was all adults and
• 54:13
  Speaker 1: they started shit shit, and I'm like, oh, you know
• 54:18
  Speaker 1: this always happens with kid. So I'm still fighting. I'm like, yeah, okay,
• 54:24
  Speaker 1: but I still had to pay attention to his demeanor.
• 54:27
  Speaker 1: His demeanor was just like different, and once I started realizing, okay,
• 54:31
  Speaker 1: bow I actually is a rapper this time, I actually
• 54:34
  Speaker 1: have a person who wants to be a rapper. Chris
• 54:38
  Speaker 1: Crust is like rap that shit like they was actually
• 54:40
  Speaker 1: thinking like they was talking like rappers whack, like they
• 54:44
  Speaker 1: want to do something else, like go to the marrow
• 54:45
  Speaker 1: instead of rap. That's what they thing was. Bowo was
• 54:49
  Speaker 1: straight a rapper. His mentality was just like, I'm gonna
• 54:53
  Speaker 1: be the best rapper ever. And I remember I started
• 54:57
  Speaker 1: writing songs in and the first song I wrote from
• 55:02
  Speaker 1: it wasn't that good. He ain't love it through the
• 55:04
  Speaker 1: same thing. It was the same process, and then I
• 55:10
  Speaker 1: started figuring. I started thinking like maybe I can't. I'm
• 55:12
  Speaker 1: not the greatest rapper writer for this. So I'm like
• 55:15
  Speaker 1: Brat helped me write this rap right, And then being
• 55:18
  Speaker 1: Brat wrote Bounce with me. But Brat raps faster than me,
• 55:23
  Speaker 1: and she from Chicago. She got this, you know. Her
• 55:25
  Speaker 1: style was different, and she wrote the whole verse about
• 55:29
  Speaker 1: putting the hand in the net like Vince Carter. She
• 55:33
  Speaker 1: wrote that whole rap right, And when I heard her
• 55:36
  Speaker 1: do it, I'm like, this little niggain't gonna be able
• 55:38
  Speaker 1: to do that. And he heard it and he was like,
• 55:42
  Speaker 1: y'all leave me here, I'm gonna I'm gonna have it
• 55:45
  Speaker 1: done when y'all come back. And we left him at
• 55:47
  Speaker 1: the studio and when we came back, the song was
• 55:50
  Speaker 1: done Bounce with me and I was just like, Oh, okay,
• 55:53
  Speaker 1: you might you might really be something. So then I
• 55:56
  Speaker 1: then then at that point, once it clicked to me
• 55:58
  Speaker 1: that he could possibly be something, then that's when my
• 56:01
  Speaker 1: mind started thinking about the marketing, which one O six
• 56:05
  Speaker 1: and Park didn't exist at this point in time. This
• 56:07
  Speaker 1: is a big controversial conversation that I had with Ray
• 56:12
  Speaker 1: Das about the one O six and Park thing. One
• 56:16
  Speaker 1: O six and Park didn't exist when we created Bounds
• 56:20
  Speaker 1: with me, I kept watching TRL and I'm saying, listen,
• 56:26
  Speaker 1: we don't have this space. We don't have a space
• 56:29
  Speaker 1: for artists like bow Wow. We need this space, right.
• 56:33
  Speaker 1: We know Stephen Hill. We need to go talk to
• 56:36
  Speaker 1: Stephen Hill and let's try to come over to our
• 56:38
  Speaker 1: own show. They come back with the one O six
• 56:41
  Speaker 1: Apart after we had this conversation, one O six and
• 56:44
  Speaker 1: Part was at the Pollow the very first time. It
• 56:47
  Speaker 1: was the first time bow I performed at that very
• 56:49
  Speaker 1: first one O six and Part the first time the
• 56:52
  Speaker 1: show ever was talked about, and it was at the
• 56:55
  Speaker 1: Pollow and he killed it. And that's why name him
• 56:58
  Speaker 1: mister one O six apart because he's he performed at
• 57:02
  Speaker 1: the birth of that show. Yeah, and became you know
• 57:06
  Speaker 1: what I mean. And and this was you know, when
• 57:09
  Speaker 1: the show first came on, The voting process was a
• 57:15
  Speaker 1: real process before the labels got involved and started trying
• 57:18
  Speaker 1: to not understand how bow Wow was like so dominating.
• 57:24
  Speaker 1: This was a real process, right, So bow Wow was winning,
• 57:29
  Speaker 1: like he was killing every artist on one of those
• 57:33
  Speaker 1: second part and people couldn't understand that. And it was like,
• 57:36
  Speaker 1: finally we have a space. We have a space that's
• 57:39
  Speaker 1: like TRL for black artists. So that was you know,
• 57:43
  Speaker 1: I mean, that was that was That was all something
• 57:45
  Speaker 1: that happened. I don't know if one those six and
• 57:47
  Speaker 1: Park would have popped off if won for bow Wow. Okay,
• 57:51
  Speaker 1: he played a major part, played a major part, yeah,
• 57:54
  Speaker 1: well bow Wow, because then he becomes a movie star
• 57:57
  Speaker 1: or he just becomes a global sensation. Right, Like you
• 58:01
  Speaker 1: obviously had experience from working with kids in the past,
• 58:04
  Speaker 1: so that I'm assuming that helped you with bow Wow. Right, Yeah,
• 58:09
  Speaker 1: but like a different together. It was like nine and day.
• 58:12
  Speaker 1: Though bow Wow was an artist, Christian christ was just
• 58:14
  Speaker 1: like they were like sponges. He was harder.
• 58:18
  Speaker 2: No.
• 58:18
  Speaker 1: Yeah, well he actually told me he didn't like Chris Kruss.
• 58:22
  Speaker 1: He was like one of them type, like he was
• 58:24
  Speaker 1: like you know what I mean, he was trying to
• 58:26
  Speaker 1: be around. But on Kennedy, yeah, he was trying to
• 58:29
  Speaker 1: be in you know, and he was really on the
• 58:32
  Speaker 1: like Sloop. No, he was really like that, Like he
• 58:34
  Speaker 1: was like bow Our first name was kid gangster. So
• 58:40
  Speaker 1: the mentality of the kid that you hear on that
• 58:42
  Speaker 1: Snoop Dogg album is really bow Wow, Like he was
• 58:45
  Speaker 1: a bad, little motherfucker kid that thought he was against
• 58:48
  Speaker 1: the rapper or thought that's what he was gonna be,
• 58:51
  Speaker 1: and he wanted to be in that space. He didn't
• 58:53
  Speaker 1: actually want to be. He didn't want to do jump.
• 58:55
  Speaker 1: He wanted to be but you had to educate him off,
• 58:58
  Speaker 1: like no, this is the pathway to No. I had
• 59:00
  Speaker 1: to make songs that fit his character, right, so I
• 59:06
  Speaker 1: had to start like paying attention to actually who he was, right.
• 59:10
  Speaker 1: So the whole thing was like and bounce with me
• 59:13
  Speaker 1: video when the dog has come down the street and
• 59:14
  Speaker 1: he transformed me. I had to like start thinking about
• 59:18
  Speaker 1: this guy wants to be like this. He don't want
• 59:20
  Speaker 1: to be like this, So Jermaine, don't make him like
• 59:23
  Speaker 1: Crisscross because that ain't who he is. You gotta let
• 59:26
  Speaker 1: him be who is. And you gotta, you know, you
• 59:29
  Speaker 1: gotta put your arms around what he got going on.
• 59:32
  Speaker 1: And how how are you gonna make because I mean,
• 59:34
  Speaker 1: the key to writing artists, for artists to meet is
• 59:36
  Speaker 1: that you always have to do something that sparks their attention.
• 59:42
  Speaker 1: And if you understand that and you do things that
• 59:46
  Speaker 1: make them want to do it, you're gonna get a
• 59:49
  Speaker 1: better product.
• 59:51
  Speaker 2: All Right, this is a this is a tough question
• 59:53
  Speaker 2: for you, but you're the only person I can answer it.
• 59:57
  Speaker 2: You let it right up until two thousand and four.
• 1:00:02
  Speaker 2: Think of this year in terms of your career as
• 1:00:04
  Speaker 2: a songwriter. It's two thousand and.
• 1:00:06
  Speaker 3: Four your greatest year as a songwriter?
• 1:00:09
  Speaker 2: Or is it two thousand and six an messipation of
• 1:00:12
  Speaker 2: MEMI that confession time when you got four number ones
• 1:00:16
  Speaker 2: or two thousand and six when you I mean, I
• 1:00:18
  Speaker 2: can't even count how many? No more has happened? Which
• 1:00:21
  Speaker 2: is the best year for you as a songwriter.
• 1:00:23
  Speaker 1: I think probably I don't even know what year it was,
• 1:00:26
  Speaker 1: but I had one, two and three and I had
• 1:00:28
  Speaker 1: never seen that before from Confessions. No, it was it
• 1:00:32
  Speaker 1: was Bowow and Sierra.
• 1:00:40
  Speaker 2: It was.
• 1:00:42
  Speaker 1: I think we belong together and it might be shaken off.
• 1:00:47
  Speaker 1: It was one of like, because whatever year, I think
• 1:00:49
  Speaker 1: we'll shake it off because we belong together kept shake
• 1:00:53
  Speaker 1: it off from becoming Mariah's you know, eighteenth number one record.
• 1:00:56
  Speaker 1: So yeah, it was that. But it was like they
• 1:00:58
  Speaker 1: were stacked like that. I had was saying the album
• 1:01:00
  Speaker 1: and I was just like, you know, god, damn. I
• 1:01:04
  Speaker 1: actually made T shirts like one, two and three that
• 1:01:08
  Speaker 1: was what was I think that was my three because
• 1:01:10
  Speaker 1: you know that you don't, You'll never believe that you
• 1:01:13
  Speaker 1: can do that.
• 1:01:15
  Speaker 2: Yeah, I'm asking because Confessions in two thousand and four
• 1:01:19
  Speaker 2: he had the four number one singles, which is I mean,
• 1:01:24
  Speaker 2: how many albums do that?
• 1:01:27
  Speaker 1: Not a lot? Actually was he? It was it was like, yeah,
• 1:01:31
  Speaker 1: four I think, Yeah, my boot burned Confessions. Yeah, by
• 1:01:36
  Speaker 1: the way, my boot was left in the trash. That
• 1:01:41
  Speaker 1: was he wasn't gonna put that on the album. No,
• 1:01:42
  Speaker 1: it wasn't on that. La left that off the album.
• 1:01:45
  Speaker 1: It was on a repackage. I went to that tour twice. Yeah,
• 1:01:49
  Speaker 1: just because he left that song off the album. He
• 1:01:52
  Speaker 1: didn't like that song. When you was writing Confessions, did
• 1:01:58
  Speaker 1: you know this is like life changing? Like you know,
• 1:02:03
  Speaker 1: I thought that it was gonna be mad at me
• 1:02:05
  Speaker 1: because I was telling like you're telling your your truth. Yeah,
• 1:02:08
  Speaker 1: but I'm saying I'm telling it in a way that
• 1:02:11
  Speaker 1: a man is telling on himself. Like oh, they thought
• 1:02:14
  Speaker 1: he's like dirty Mac, like you like not even dirty Mac.
• 1:02:17
  Speaker 1: You just why are you exposing this stuff to women
• 1:02:22
  Speaker 1: to start thinking that that's how we think.
• 1:02:25
  Speaker 4: That's what I was believing was gonna happen. So you
• 1:02:28
  Speaker 4: you was really just you just writing. But it's it's
• 1:02:31
  Speaker 4: done in a way. It's like a it's a it's
• 1:02:34
  Speaker 4: almost like a story album right where it's not just
• 1:02:36
  Speaker 4: a regular album. Like it's so when you because Usha,
• 1:02:40
  Speaker 4: what did you have a conversation with Usher like Yo, look,
• 1:02:43
  Speaker 4: this is what I'm gonna put on you because that's
• 1:02:45
  Speaker 4: a lot for artists to take on, like it No,
• 1:02:49
  Speaker 4: he this is like all right, I trust you whatever
• 1:02:51
  Speaker 4: you want to do with you.
• 1:02:51
  Speaker 1: I mean what I'm saying, like Confessions was like it
• 1:02:56
  Speaker 1: wasn't even no idea about confessions. I actually got a
• 1:02:58
  Speaker 1: writer's block, which don't happened a lot, but I had
• 1:03:01
  Speaker 1: caught writer's block, and I left the studio. And when
• 1:03:04
  Speaker 1: I left the studio, I'm driving to pH And when
• 1:03:08
  Speaker 1: I'm driving down pH, I took the beat. And when
• 1:03:11
  Speaker 1: I'm driving down pH, I'm looking at all the things
• 1:03:14
  Speaker 1: that I'm saying in the song. It's like the size
• 1:03:17
  Speaker 1: of k Like it's like that, like if I wouldn't
• 1:03:22
  Speaker 1: have been like on third leaving Bayface Studio, so I'm
• 1:03:27
  Speaker 1: guessing that's third going to Los Enegus. So it's like
• 1:03:31
  Speaker 1: third in Los Angegas. So you're sitting right there on
• 1:03:32
  Speaker 1: the corner. I was at the light and the Beverly
• 1:03:34
  Speaker 1: Center was right here. So the music is playing right
• 1:03:38
  Speaker 1: And if the Beverly Center wasn't there, you wouldn't even
• 1:03:40
  Speaker 1: hear that in that song. It just happened to be
• 1:03:42
  Speaker 1: right there. And that's what that's just. I'm just writing
• 1:03:45
  Speaker 1: like I'm looking, and I'm like, damn, I'm at the
• 1:03:47
  Speaker 1: Beverly Center, like man, I keep him Damn who sees me? Oh,
• 1:03:50
  Speaker 1: so I wasn't a true story. No, I'm looking at
• 1:03:52
  Speaker 1: the Beverly Center. I'm just righting. Oh so that was
• 1:03:56
  Speaker 1: all just there wasn't truth to that. I thought that
• 1:03:59
  Speaker 1: was like you was actually going through these things in
• 1:04:01
  Speaker 1: real life. Part two Confessions one.
• 1:04:05
  Speaker 3: We heard Confessions two before we heard Confessions one.
• 1:04:08
  Speaker 1: Yeah. Yeah, that's also LA left one off.
• 1:04:12
  Speaker 2: Hold on, hold on all this he's see what I'm saying,
• 1:04:15
  Speaker 2: because we heard Confessions to first and then when the
• 1:04:18
  Speaker 2: Eye of Buddy.
• 1:04:19
  Speaker 1: But what they did was they put the they put
• 1:04:21
  Speaker 1: Part one verse at the beginning in the video the
• 1:04:24
  Speaker 1: video to go into party so you could start hearing it.
• 1:04:28
  Speaker 1: So but but every time I was in l A,
• 1:04:30
  Speaker 1: i was with my ex girlfriend. All of that ship
• 1:04:32
  Speaker 1: is like just me thinking of what people think because
• 1:04:37
  Speaker 1: because I feel like the whole album is with the.
• 1:04:43
  Speaker 4: Like a lot of the songs are it wasn't like
• 1:04:45
  Speaker 4: that wasn't it wasn't just the one song. That concept
• 1:04:48
  Speaker 4: there's a concept album of somebody that went through a breakup,
• 1:04:50
  Speaker 4: that somebody that was fucking up a bunch of times like.
• 1:04:53
  Speaker 3: That was the coincidence, just a coincident, the biggest coincidence.
• 1:04:57
  Speaker 2: And I don't know if this part of the market
• 1:04:59
  Speaker 2: is at the time because he's fresh off at eighty
• 1:05:01
  Speaker 2: seven oh one till he's in the video. This is
• 1:05:04
  Speaker 2: his girl. It's a breakup. Here comes confessions. That's why
• 1:05:08
  Speaker 2: they broke up. Ye, that's what everybody thought. Everybody thought
• 1:05:10
  Speaker 2: that that was a real story that ushered that usher
• 1:05:12
  Speaker 2: went through.
• 1:05:13
  Speaker 1: It had nothing to do it or we ran with that.
• 1:05:16
  Speaker 1: She had none to do with that. Like it was
• 1:05:18
  Speaker 1: just like, yeah, that that that's what I'm saying. I'm
• 1:05:21
  Speaker 1: playing on it too. Every time I'm in LA, I'm
• 1:05:23
  Speaker 1: with my girlfriend, I'm playing on you know, he got
• 1:05:27
  Speaker 1: a girlfriend, right, So I'm writing it like that, but
• 1:05:30
  Speaker 1: I'm not thinking about It's not about her and that
• 1:05:33
  Speaker 1: whole story of like that part of the song had nothing.
• 1:05:37
  Speaker 4: To do with even like that that's what it's made for.
• 1:05:40
  Speaker 4: I want you back, like so many sign all of
• 1:05:43
  Speaker 4: those songs, Like we was listening to it and I
• 1:05:45
  Speaker 4: was like, I think I was in college when that
• 1:05:46
  Speaker 4: came out, and I remember these girls were talking about
• 1:05:48
  Speaker 4: it and they was like really having a debate of
• 1:05:49
  Speaker 4: like years I should I can't believe he did all
• 1:05:51
  Speaker 4: this shit.
• 1:05:52
  Speaker 1: Everybody was convinced. Everybody was convinced that that was his
• 1:05:56
  Speaker 1: real life and he was just documenting. That's why it
• 1:05:59
  Speaker 1: was so impactful because it was like people was going
• 1:06:02
  Speaker 1: through that and it was like, damn, somebody off his
• 1:06:04
  Speaker 1: statue is actually going through it and it's relatable. Yeah,
• 1:06:08
  Speaker 1: and I was it was all coincidence because that's just
• 1:06:12
  Speaker 1: the beginning of Usha's album. He wanted to do an
• 1:06:15
  Speaker 1: album called Real Talk basically, and that's what it was.
• 1:06:17
  Speaker 1: So I think all of the producers that was outside
• 1:06:21
  Speaker 1: of you know, everybody trying to write songs, they was
• 1:06:23
  Speaker 1: trying to write songs that was like real talk basically
• 1:06:26
  Speaker 1: a man actually having real talk. So what that actually
• 1:06:29
  Speaker 1: did was it like one song was Dareth bursion of
• 1:06:33
  Speaker 1: Real Talk, and my songs was the Confessions, and it
• 1:06:36
  Speaker 1: just started feeling like it was all was like a
• 1:06:39
  Speaker 1: glue of like all talking about the same thing.
• 1:06:42
  Speaker 3: Who's idea was it?
• 1:06:43
  Speaker 2: Because this is very rare that what happens and is
• 1:06:45
  Speaker 2: what I think it's one of the It is the
• 1:06:47
  Speaker 2: best R and D album of all time. Some people
• 1:06:49
  Speaker 2: might argue, I think TP two could be in the
• 1:06:52
  Speaker 2: conversation this is some other ones who decided not to
• 1:06:55
  Speaker 2: make Superstar single.
• 1:06:57
  Speaker 1: I don't know, right because that I feel like that.
• 1:07:00
  Speaker 3: Song has lived on, maybe even better than some of
• 1:07:04
  Speaker 3: the songs on that.
• 1:07:05
  Speaker 1: You know what I'm saying.
• 1:07:05
  Speaker 3: I mean all I mean, I think I think all
• 1:07:08
  Speaker 3: of them, like that girl Girl they made in a video.
• 1:07:12
  Speaker 1: They made a video for bad Girl. But yeah, but
• 1:07:16
  Speaker 1: I also feel like what would have been the fourth.
• 1:07:23
  Speaker 3: Single, yeah they had that would have been caught Up
• 1:07:25
  Speaker 3: got a video?
• 1:07:26
  Speaker 1: But how many? How many videos from the third You're
• 1:07:28
  Speaker 1: gonna have a whole album full of videos. As what
• 1:07:30
  Speaker 1: I'm saying, it was like after like mind you after
• 1:07:34
  Speaker 1: after Yes, first, well, caught Up was caught up? Fourth,
• 1:07:39
  Speaker 1: caught Up was four? Yeah, caught Up was four because
• 1:07:42
  Speaker 1: it was yeah, Burn Confessions caught Up and then yes,
• 1:07:48
  Speaker 1: that's what made it five. So I don't know, I mean,
• 1:07:51
  Speaker 1: it could have been caught Up between caught Up and
• 1:07:53
  Speaker 1: but but they did like.
• 1:07:55
  Speaker 3: Red Light got a video, huh, the extended version that
• 1:07:59
  Speaker 3: the red Light song.
• 1:08:00
  Speaker 1: Yeah, but I don't think that that wasn't a single.
• 1:08:03
  Speaker 3: No, No, that was like when you bought the Bonus City.
• 1:08:05
  Speaker 1: I think I think because Carterup was more up tempo,
• 1:08:09
  Speaker 1: that he needed more temple because he was down in
• 1:08:11
  Speaker 1: Burn Confessionals is down. So it's like let's get back
• 1:08:15
  Speaker 1: to the temple. I don't, I mean that was la
• 1:08:16
  Speaker 1: I can't. I don't have it.
• 1:08:18
  Speaker 3: That gotta get him there. Yeah.
• 1:08:20
  Speaker 1: From from from a music side, can we talk about
• 1:08:23
  Speaker 1: this all day?
• 1:08:23
  Speaker 4: But from a business side, Quincy Jones just sold his
• 1:08:26
  Speaker 4: uh well, Quincy Jones is a state to sold his
• 1:08:29
  Speaker 4: catalog five hundred million. I don't know if that's the
• 1:08:32
  Speaker 4: full cattle, because that seems not a lot of money
• 1:08:34
  Speaker 4: for Quincy Jones's catalog.
• 1:08:35
  Speaker 1: I don't know.
• 1:08:36
  Speaker 4: But what's your thoughts because we've seen this happen for
• 1:08:40
  Speaker 4: years now. We was just with p Coach from Quality
• 1:08:43
  Speaker 4: Control yesterday.
• 1:08:44
  Speaker 1: What's so mart? What's your thoughts on selling catalogs? And
• 1:08:47
  Speaker 1: would you ever sell your catalog? I thought about selling
• 1:08:52
  Speaker 1: some pieces of my catalog because you can. It's like property.
• 1:08:57
  Speaker 1: You can sell some pieces without everybody's selling everything. I mean,
• 1:09:01
  Speaker 1: if somebody want to buy something, they want to they're
• 1:09:03
  Speaker 1: going to buy. You know, it's just like a house
• 1:09:05
  Speaker 1: if you got a lot of them, right, I got
• 1:09:08
  Speaker 1: a lot of them, like a lot of them, so
• 1:09:09
  Speaker 1: I could you know what I mean, which one you
• 1:09:11
  Speaker 1: want to buy? But I also was thinking about this.
• 1:09:17
  Speaker 1: I was thinking about this because I, you know, I'm
• 1:09:19
  Speaker 1: into art, and I was looking at like Bosque yacht,
• 1:09:21
  Speaker 1: and I was looking at like the walls. And when
• 1:09:27
  Speaker 1: you look at like the way that they made these paintings, right,
• 1:09:31
  Speaker 1: it feels like somebody warned them that this was gone,
• 1:09:36
  Speaker 1: that the price was gonna go up, right. And I
• 1:09:40
  Speaker 1: feel like in the beginning of my career, I didn't
• 1:09:47
  Speaker 1: know what I was what I was, I didn't know
• 1:09:50
  Speaker 1: the power that I was. I also didn't know what
• 1:09:52
  Speaker 1: I was gonna bring to the industry. I was just shooting, right.
• 1:09:56
  Speaker 1: But now I've been here thirty five years, and I
• 1:10:00
  Speaker 1: I can see that all the records that I wrote
• 1:10:03
  Speaker 1: in ninety two, they about to revert back to me anyway, Right.
• 1:10:07
  Speaker 1: That ain't normal? Right, Like Prince died telling us about
• 1:10:13
  Speaker 1: or brightened slave on his face because he wanted his masters. Right,
• 1:10:18
  Speaker 1: if he could have stayed here another ten to fifteen
• 1:10:21
  Speaker 1: years and made more music, they was gonna come back
• 1:10:24
  Speaker 1: to him anyway.
• 1:10:25
  Speaker 3: Right.
• 1:10:26
  Speaker 1: What you see me and other artists that are like
• 1:10:31
  Speaker 1: legacy artists, I guess at this point in time, we're
• 1:10:33
  Speaker 1: doing something that the music business has never actually seen.
• 1:10:36
  Speaker 1: A lot of these people when they wrote these songs
• 1:10:39
  Speaker 1: prior to me, thirty years after they records came out,
• 1:10:42
  Speaker 1: they had passed away or they you know, they did
• 1:10:45
  Speaker 1: something over though, something happened where they didn't they weren't
• 1:10:51
  Speaker 1: able to actually put their hands on their projects and
• 1:10:55
  Speaker 1: make proper deals. So with that being said, I'm looking
• 1:10:57
  Speaker 1: at this saying standwich, selling your you know, selling your
• 1:11:02
  Speaker 1: publishing is. But I'm also the first of my kind
• 1:11:06
  Speaker 1: that'll actually be able to walk into everything that I
• 1:11:10
  Speaker 1: wrote forty years ago actually coming back explain that for
• 1:11:14
  Speaker 1: the people that might not be familiar with what you're saying. Well,
• 1:11:17
  Speaker 1: you know, like when you talk about masters and you
• 1:11:19
  Speaker 1: talk about you talk about publishing, like I did a
• 1:11:21
  Speaker 1: publishing deal with like I said, with Sony, where they
• 1:11:24
  Speaker 1: get fifty percent of the writing that I get, right,
• 1:11:27
  Speaker 1: But it's a I think the law it's forty years, right,
• 1:11:32
  Speaker 1: where anything that goes over forty years it automatically comes
• 1:11:36
  Speaker 1: back to the originator. So back here, I might be
• 1:11:40
  Speaker 1: thirty five, Yeah, they're fifty percent comes back to me,
• 1:11:43
  Speaker 1: and then I become one hundred percent of all of
• 1:11:46
  Speaker 1: them songs that have been split moving forward, right, And
• 1:11:53
  Speaker 1: that it's just like that, that's never really happened in
• 1:11:56
  Speaker 1: hip hop, you know what I mean, Like a lot
• 1:11:58
  Speaker 1: of like I said, the guys that's in here and
• 1:12:00
  Speaker 1: we don't you know, they don't and they current still
• 1:12:03
  Speaker 1: they still currently on the on the on the front line.
• 1:12:06
  Speaker 1: You won't actually see that. So with me being in
• 1:12:09
  Speaker 1: that space, I have to look at it from a
• 1:12:10
  Speaker 1: different perspective because the people that I've seen sell their catalogs,
• 1:12:15
  Speaker 1: they don't actually put out that much music after they
• 1:12:17
  Speaker 1: do it, right, I'm still out here putting out records,
• 1:12:21
  Speaker 1: still in the studio every night. I'm still I still
• 1:12:24
  Speaker 1: have a space to go and I still have a
• 1:12:27
  Speaker 1: place that I want to go to. So it ain't
• 1:12:30
  Speaker 1: really even in my I mean, it's a lot of
• 1:12:32
  Speaker 1: money out there, but you know, if you keep working,
• 1:12:35
  Speaker 1: you're gonna make money. Anywa, Why do you think that
• 1:12:37
  Speaker 1: there's such a big push to buy catalogs now? Do
• 1:12:39
  Speaker 1: you think that it's going to be they're gonna train
• 1:12:41
  Speaker 1: AI on it?
• 1:12:42
  Speaker 4: Like why all of a sudden people just getting two
• 1:12:44
  Speaker 4: hundred and five hundred, Like what what makes music catalog
• 1:12:48
  Speaker 4: so valuable?
• 1:12:48
  Speaker 1: And because you can do something with it, you know
• 1:12:51
  Speaker 1: what I mean, Like you got it, you take like
• 1:12:53
  Speaker 1: safe inst like well ship because he chuned you got
• 1:12:57
  Speaker 1: you know, they got thrilled out of that ship. You
• 1:12:59
  Speaker 1: could do whatever want to do with that Michael Jackson
• 1:13:01
  Speaker 1: music like and it's just like it's just like anything
• 1:13:06
  Speaker 1: like I seen like like I've seen the commercial today
• 1:13:10
  Speaker 1: with Ludacris and he's on there and he talking about move.
• 1:13:14
  Speaker 1: It's like something about grass or something and he talking
• 1:13:17
  Speaker 1: about move bitch, and and it's like the more Coaches
• 1:13:22
  Speaker 1: becomes cool to mainstream mainstream America that didn't think it
• 1:13:29
  Speaker 1: was that cool when it became cool, right, because that's
• 1:13:32
  Speaker 1: that's also what we're We're we're in a space where
• 1:13:36
  Speaker 1: we was trying to get into the met Gallay. We
• 1:13:39
  Speaker 1: got into the met Gallon, but when we went, it's
• 1:13:43
  Speaker 1: a generation of people that weren't paying attention to while
• 1:13:45
  Speaker 1: we was at the met Galen. Now the met Gallat's
• 1:13:48
  Speaker 1: on TMZ, right, the metgalused to not be on TMZ.
• 1:13:52
  Speaker 1: Nobody it was like that wasn't it wasn't. It was
• 1:13:54
  Speaker 1: like a quiet fly thing. If you was in the
• 1:13:56
  Speaker 1: fashion you went. Now this ship is like so it's
• 1:13:59
  Speaker 1: like another level of people that's paying attention to the
• 1:14:02
  Speaker 1: culture of hip hop if you will. With that being said,
• 1:14:09
  Speaker 1: what they see could happen with the music is what
• 1:14:12
  Speaker 1: you got to pay attention to, because they're looking at
• 1:14:14
  Speaker 1: it from a perspective of like star Wars or shit. Now,
• 1:14:17
  Speaker 1: like they see you putting Like I mean, like jay
• 1:14:22
  Speaker 1: z Jas. I see jay Z have sinks every day,
• 1:14:25
  Speaker 1: like different car companies and all kinds of stuff. It's
• 1:14:27
  Speaker 1: like with these companies to use rap music or urban
• 1:14:33
  Speaker 1: sounding records is a fad in their business. So to
• 1:14:37
  Speaker 1: find a song is a thing, right, So these guys
• 1:14:42
  Speaker 1: are looking at like, shit, we need to own this space,
• 1:14:45
  Speaker 1: you know what I mean. We need to own this space.
• 1:14:47
  Speaker 1: And ultimately, if you buy Quincy Jones Calia for five
• 1:14:53
  Speaker 1: hundred what you said, Milik, if you buys Calid for
• 1:14:57
  Speaker 1: five hundred million and you go broke, you can sell
• 1:15:03
  Speaker 1: it for five more more, you know what I mean.
• 1:15:07
  Speaker 1: That's that's what it is. And it's not going to depreciate.
• 1:15:09
  Speaker 1: It's just gonna keep going up.
• 1:15:11
  Speaker 2: Yeah, I mean, when I hear about it, I'm thinking licensing,
• 1:15:13
  Speaker 2: how they're gonna fgreut how the likesus say is from
• 1:15:15
  Speaker 2: your side, I'm thinking I think that that it's thirty
• 1:15:19
  Speaker 2: five years, right, and so we're getting close to that
• 1:15:22
  Speaker 2: ninety six where you know, life changes. Instead of having
• 1:15:27
  Speaker 2: fifty percent ownership, now I have one hundred percent ownership.
• 1:15:30
  Speaker 3: Here comes a bigger evaluation.
• 1:15:32
  Speaker 2: You said that there's some parts of the catalog that
• 1:15:34
  Speaker 2: you might in your mind, like what pieces would you
• 1:15:39
  Speaker 2: think that?
• 1:15:39
  Speaker 3: Is it? The ones that revert to one hundred percent
• 1:15:41
  Speaker 3: or that pieces?
• 1:15:42
  Speaker 1: Now, well, I had a meeting with somebody one day
• 1:15:44
  Speaker 1: and they came to have I mean because I was
• 1:15:46
  Speaker 1: trying to like hear about this buying publishing. And a
• 1:15:49
  Speaker 1: guy came to my studio and he had to meet
• 1:15:51
  Speaker 1: with me, and he only wanted to buy this album
• 1:15:56
  Speaker 1: that I did on this artist called Dondria as the
• 1:15:59
  Speaker 1: artist I did female I was named Andrea and fat
• 1:16:02
  Speaker 1: Fat huh fact fat so YouTube too men? Oh yeah, yeah,
• 1:16:08
  Speaker 1: yeah whatever the fuck?
• 1:16:11
  Speaker 3: Yeah?
• 1:16:12
  Speaker 1: So yeah, So I did this project where and he
• 1:16:17
  Speaker 1: came and he was talking about her album and he's like,
• 1:16:20
  Speaker 1: we want to purchase her publishing the purpose you're publishing
• 1:16:25
  Speaker 1: from that album, And I was like, how much is it?
• 1:16:29
  Speaker 1: He's like two hundred thousand, And I'm like, you wanna
• 1:16:35
  Speaker 1: give me two hundred thousand dollars for this Okay, So
• 1:16:40
  Speaker 1: you mean I could just take two hundred thousand dollars
• 1:16:42
  Speaker 1: for this album and you're gonna go home, and I'm
• 1:16:45
  Speaker 1: gonna take two hundred thousand dollars to go my way.
• 1:16:47
  Speaker 1: That's when I started realizing, like, oh, I could split
• 1:16:49
  Speaker 1: this ship up, right, So I probably could go get
• 1:16:54
  Speaker 1: fifty million dollars over here and still have some songs
• 1:16:56
  Speaker 1: left over.
• 1:16:57
  Speaker 3: And you're still making songs.
• 1:16:58
  Speaker 2: Yeah, talk about that because if the song rise, it
• 1:17:02
  Speaker 2: hasn't stopped right.
• 1:17:04
  Speaker 3: Money Along was probably one with that the last number one, and.
• 1:17:10
  Speaker 2: I mean you're still doing this, so like there is
• 1:17:12
  Speaker 2: back kind of log, but this new catalog that you're
• 1:17:15
  Speaker 2: still creating.
• 1:17:16
  Speaker 3: Talk about that process and what it still excites you,
• 1:17:19
  Speaker 3: like from artists today.
• 1:17:24
  Speaker 1: It's not a lot of artists that excite me from today.
• 1:17:27
  Speaker 1: It's just the fact that I know, like I said,
• 1:17:29
  Speaker 1: I'm looking at this from a different perspective now, I'm
• 1:17:31
  Speaker 1: also I'm also I'm I'm I'm experiencing things that I
• 1:17:37
  Speaker 1: never thought I would experience. Like so say, for instance,
• 1:17:41
  Speaker 1: Somema Walker sample you make Me want to and then
• 1:17:45
  Speaker 1: she put usher on the song. That usher caused me
• 1:17:47
  Speaker 1: and said, jad, I want you to write my verse.
• 1:17:49
  Speaker 1: So now I'm writing a new verse on the old
• 1:17:52
  Speaker 1: song that I wrote prior. So I'm getting double publishing.
• 1:17:55
  Speaker 1: I'm getting new publishing, and I'm getting old publishing.
• 1:17:58
  Speaker 3: Damn, that's crazy.
• 1:18:00
  Speaker 1: Happened again. It happened again, so then that was the
• 1:18:03
  Speaker 1: first time of that happen. So then it just happened again.
• 1:18:08
  Speaker 1: With the Chris Brown record. Chris Brown sampled nice and Slow,
• 1:18:12
  Speaker 1: you put on with You, put Usher on the remix,
• 1:18:15
  Speaker 1: and I wrote, I wrote my parts on the I
• 1:18:17
  Speaker 1: wrote Usher parts on the remix. So then I'm getting
• 1:18:20
  Speaker 1: publishing from that song, new publishing, and all publishing from
• 1:18:25
  Speaker 1: the from the record of them sampling is the bug record. Yeah,
• 1:18:29
  Speaker 1: well you kind of yeah.
• 1:18:30
  Speaker 2: I had to clear that, okay, And I was thinking
• 1:18:32
  Speaker 2: because it feels like I remember him playing it, and
• 1:18:34
  Speaker 2: then they played it for Mariot and then my mom like, way,
• 1:18:37
  Speaker 2: that's that's the yeah.
• 1:18:38
  Speaker 1: They I mean, they said, I remember them sending that song.
• 1:18:41
  Speaker 1: She had to clear her this whole records. I ain't.
• 1:18:44
  Speaker 1: I mean, I don't got to clear but I had
• 1:18:45
  Speaker 1: to clear it on my part. What I what I
• 1:18:48
  Speaker 1: have in that song got.
• 1:18:52
  Speaker 4: Back when the verses never happened, bad boy versus so
• 1:18:56
  Speaker 4: so dumb. I know you'a had talked about that a lot.
• 1:18:58
  Speaker 4: Obviously this is the way before Puff to jail, but
• 1:19:01
  Speaker 4: that was a very anticipating, highly anticipated.
• 1:19:04
  Speaker 1: Or too much money, like too much money, too much
• 1:19:07
  Speaker 1: money that would have to be paid to you guys,
• 1:19:11
  Speaker 1: or he was asking for too much money.
• 1:19:12
  Speaker 3: Swiss was like, I.
• 1:19:15
  Speaker 1: Mean, me and Puff had a conversation about it, like
• 1:19:19
  Speaker 1: you know, it's just gonna be the biggest thing in
• 1:19:22
  Speaker 1: hip hop ever, Like we're not getting ready to do
• 1:19:25
  Speaker 1: this just to be doing it to a Pieg you know,
• 1:19:27
  Speaker 1: people like you know, and you know, y'all know I
• 1:19:30
  Speaker 1: Puff was about getting money, Buffos.
• 1:19:33
  Speaker 3: We had conversation with all parties, Swiss, Swiss, We had
• 1:19:35
  Speaker 3: Swiss that I thought it was done.
• 1:19:37
  Speaker 1: No, no, I mean it's a photo of me and
• 1:19:41
  Speaker 1: Pump backyard and Swiss comes over the Puff house and
• 1:19:45
  Speaker 1: we start having this conversation and it's like I'm I'm
• 1:19:49
  Speaker 1: letting Puff lead it because I'm like, if you get
• 1:19:51
  Speaker 1: the money, I'm gonna get the money. So you know
• 1:19:53
  Speaker 1: what I mean, it won't like it won't like a
• 1:19:55
  Speaker 1: different here, it won a different pie it was like,
• 1:19:57
  Speaker 1: if you're gonna give him money, I know I'm gonna
• 1:19:58
  Speaker 1: get paid too. So I was cool, but it was
• 1:20:00
  Speaker 1: it was it was just a facilitating of like doing
• 1:20:05
  Speaker 1: a show that level. We had to pay for all
• 1:20:07
  Speaker 1: the artists to be there. You gotta fly to people there.
• 1:20:11
  Speaker 1: It was gonna just cost a lot.
• 1:20:12
  Speaker 3: Of money there. But what venue was?
• 1:20:14
  Speaker 1: It was gonna be a you know. And then it
• 1:20:16
  Speaker 1: was like we got into an argument about him doing
• 1:20:19
  Speaker 1: it in New York and we're gonna do it in Atlanta.
• 1:20:21
  Speaker 1: So then it got to be like, oh, we're gonna
• 1:20:23
  Speaker 1: have to do two shows. What if they throw to
• 1:20:26
  Speaker 1: the R and B showing a rap show, because Noah,
• 1:20:28
  Speaker 1: I wouldn't be no R and B. It was gonna
• 1:20:29
  Speaker 1: be just to both guys. Had to let it. Let's go,
• 1:20:32
  Speaker 1: let's go, let's ball at home.
• 1:20:34
  Speaker 3: It was gonna be a home and home. Yeah.
• 1:20:35
  Speaker 1: Yeah, so it's just gonna be you know it. It
• 1:20:37
  Speaker 1: was just I mean, it was gonna be like like
• 1:20:39
  Speaker 1: I said, it wasn't never like what everybody it was
• 1:20:41
  Speaker 1: gonna we was having. I thought we was gonna have
• 1:20:43
  Speaker 1: a ball doing felt confident.
• 1:20:45
  Speaker 3: Yeah, I feel like when I hear you talk about it.
• 1:20:48
  Speaker 3: There's no doubt in your mind that this is a
• 1:20:50
  Speaker 3: this is a win.
• 1:20:51
  Speaker 1: I mean, I'm not gonna say a win, but I'm
• 1:20:54
  Speaker 1: gonna say, like, listen, if you get in a fight,
• 1:20:57
  Speaker 1: if you fight Mike Tyson, you think that niggain't gonna
• 1:20:59
  Speaker 1: hit you, just just you know what I'm saying. So
• 1:21:03
  Speaker 1: I'm saying like and my eyes pun going, I'm gonna
• 1:21:06
  Speaker 1: get punched.
• 1:21:07
  Speaker 3: You know.
• 1:21:08
  Speaker 1: It got the Benjimins, he got hypnotized. He got a
• 1:21:10
  Speaker 1: bunch of records that feel like punches. But I also
• 1:21:16
  Speaker 1: got an area where I go in where he got
• 1:21:20
  Speaker 1: figure out a lot of shit like it ain't even
• 1:21:22
  Speaker 1: a punch it. It's like you gotta figure it out.
• 1:21:25
  Speaker 1: It's a lot of number ones. Huh, it's a lot
• 1:21:26
  Speaker 1: of number one. But not even about the number ones.
• 1:21:28
  Speaker 1: It's just about you know, like we start going into
• 1:21:33
  Speaker 1: the age space right because about our age. Difference between
• 1:21:39
  Speaker 1: a lot of artists and what that generation is and
• 1:21:42
  Speaker 1: how they listen to music plays a lot into what
• 1:21:46
  Speaker 1: goes on at versus Like tonight, I don't know what's
• 1:21:49
  Speaker 1: gonna happen to Tank when Tyree start playing these records
• 1:21:54
  Speaker 1: that people actually know there's a lot of records that
• 1:21:56
  Speaker 1: Tank got that's number ones. But the generation that they
• 1:22:02
  Speaker 1: don't know him, right, He talk about it, but they
• 1:22:05
  Speaker 1: don't know him. And I feel like when you're doing verses,
• 1:22:09
  Speaker 1: that's where it started getting. Oh boy, you know changed
• 1:22:11
  Speaker 1: it Jadakiss? Nah No, he didn't, because he for me
• 1:22:15
  Speaker 1: because we was there, so I know what you're saying.
• 1:22:19
  Speaker 1: But what Jadakiss did, what Jadakiss did. He did what
• 1:22:23
  Speaker 1: you're supposed to do in New York, what Camden was
• 1:22:26
  Speaker 1: supposed to do. That's what he did. And he seen it. Oh,
• 1:22:30
  Speaker 1: these niggas don't want to rap, they want to pie
• 1:22:34
  Speaker 1: behind they little songs. Oh nah nah, he turned them.
• 1:22:39
  Speaker 1: He turned on that hip hop machine and niggas in
• 1:22:42
  Speaker 1: there was like and they did it over who shot you?
• 1:22:46
  Speaker 1: And it's just like, oh, okay, game on. You know
• 1:22:49
  Speaker 1: what I mean, we're not gonna keep talking about this.
• 1:22:52
  Speaker 1: And he just and he's a guy that he top
• 1:22:55
  Speaker 1: five dead alive. Right, this ain't even like, no, you
• 1:22:58
  Speaker 1: know you're not playing with somebody, That's what I'm saying.
• 1:23:01
  Speaker 1: You getting a fight with niggas, you gotta know who
• 1:23:04
  Speaker 1: you go with. That's a fact. Jada is not a
• 1:23:06
  Speaker 1: guy to get in the ring and just be like,
• 1:23:08
  Speaker 1: uh yeah, he gonna swing. That's a fact that you
• 1:23:12
  Speaker 1: know what I mean. And when he swung, Cam fucked
• 1:23:15
  Speaker 1: up on his freestyle, that's a that's a fact, you
• 1:23:20
  Speaker 1: know what I mean, Like Kim now opportunity that I
• 1:23:24
  Speaker 1: think they this counted the credit of that.
• 1:23:26
  Speaker 4: They thought they had more songs than the Locks, and
• 1:23:29
  Speaker 4: the Locks has a lot of songs. But then when
• 1:23:31
  Speaker 4: they got in that freestyle, That's that's what I'm saying.
• 1:23:35
  Speaker 4: So it's like, all right, even if you don't got
• 1:23:36
  Speaker 4: so that nobody know, we got a verse. He got
• 1:23:38
  Speaker 4: the first that's called the way.
• 1:23:41
  Speaker 1: That also plays into my thoughts of like what I
• 1:23:47
  Speaker 1: would have done too puff on that stage. Oh he
• 1:23:52
  Speaker 1: would have been more than just hit records. I'm saying,
• 1:23:55
  Speaker 1: I actually rapped you, Like I'm not like I've really
• 1:23:58
  Speaker 1: rapped He got versus nigga that wrote to him like
• 1:24:02
  Speaker 1: I'm gonna make sure you niggas start realizing this, like
• 1:24:05
  Speaker 1: you realize that, Like that's what I'm saying. I was
• 1:24:08
  Speaker 1: getting ready to go into a space where niggas was
• 1:24:10
  Speaker 1: gonna be like said, you got your lyrical wrap up here,
• 1:24:14
  Speaker 1: wrap up that I wasn't gonna go into like lyrical
• 1:24:16
  Speaker 1: miracle ass ride. I'm like, I was, I'm a hip
• 1:24:20
  Speaker 1: hop baby, like I'm gonna start acting like a nigga
• 1:24:23
  Speaker 1: that really make rap records, right, and I'm gonna start
• 1:24:26
  Speaker 1: talking shit about niggas who don't make rap records and
• 1:24:29
  Speaker 1: niggas don't then that nigga write your rap like I
• 1:24:33
  Speaker 1: was gonna. I was getting ready to.
• 1:24:34
  Speaker 2: Get that that I said that I don't write runds
• 1:24:37
  Speaker 2: out right, Yes, they ain't gonna do nothing for me.
• 1:24:40
  Speaker 2: Twenty records, right, twenty and twenty right, yeah, and this
• 1:24:43
  Speaker 2: is I sat with this for a while. I'm like,
• 1:24:46
  Speaker 2: you got so many like what would have been number twenty,
• 1:24:49
  Speaker 2: Like what would have been like the number one, you know,
• 1:24:51
  Speaker 2: number one, the Diamond choke that was not? Yeah, Like
• 1:24:56
  Speaker 2: I don't know, because I think that plays. I think
• 1:24:59
  Speaker 2: that's another thing.
• 1:24:59
  Speaker 1: I I wasn't gonna prepare my set like that, okay,
• 1:25:04
  Speaker 1: because I did this with Anthony Hamilton, our DJ for
• 1:25:07
  Speaker 1: Anthony Hamilton when he went up against music, I think, right,
• 1:25:10
  Speaker 1: and everybody was like preparing for a set like he
• 1:25:17
  Speaker 1: played this song, play this song, he played this song,
• 1:25:19
  Speaker 1: play this song. I wasn't going into it like that.
• 1:25:20
  Speaker 1: I was just gonna sit there and be like, Okay,
• 1:25:22
  Speaker 1: I'm gonna see what what you're gonna do, Like, okay,
• 1:25:28
  Speaker 1: if you play Carl Thomas all these tough I think
• 1:25:34
  Speaker 1: Benjamin's is the biggest record that they got on that side,
• 1:25:36
  Speaker 1: So no, no, you got I mean the thing about
• 1:25:41
  Speaker 1: it was, I just was like I just kept saying,
• 1:25:44
  Speaker 1: I just kept saying, you know, unfortunately big couldn't be there.
• 1:25:49
  Speaker 1: So it to me, it weakened the presence of what
• 1:25:54
  Speaker 1: we was doing because if you having a show, right
• 1:25:57
  Speaker 1: and I'm bringing artists, you bringing artists, but then you
• 1:26:00
  Speaker 1: play an artist song and they're not there, even though
• 1:26:03
  Speaker 1: it's big, it's still don't have the same impact as
• 1:26:07
  Speaker 1: people coming on the stage. I mean, like I said,
• 1:26:08
  Speaker 1: it was gonna be a fight. I wasn't getting ready,
• 1:26:10
  Speaker 1: Like I wasn't getting ready back down to hit punch.
• 1:26:13
  Speaker 1: You gotta get punched.
• 1:26:16
  Speaker 3: In the age of AI, we see a lot of producers.
• 1:26:19
  Speaker 2: I was actually watching Guru talk about some of the
• 1:26:22
  Speaker 2: new technology that they that is being presented for producers.
• 1:26:27
  Speaker 1: Us reading my phone, we just watching them. I seen
• 1:26:30
  Speaker 1: them say the same thing. Yeah, he was talking about
• 1:26:32
  Speaker 1: how they they making.
• 1:26:35
  Speaker 3: You can just take the strings and any string you want. Uh,
• 1:26:40
  Speaker 3: does it play a role in how you produce? Yet?
• 1:26:43
  Speaker 3: It will it?
• 1:26:44
  Speaker 2: No?
• 1:26:45
  Speaker 1: No, not going to I was in the studio last
• 1:26:47
  Speaker 1: night doing the Kelly Rowland and I had a guitar
• 1:26:50
  Speaker 1: player come to god to be doing the guitar solos
• 1:26:52
  Speaker 1: on the usher and when he finished, he was like, JD,
• 1:26:57
  Speaker 1: what you think about AI? And I was like, A,
• 1:27:00
  Speaker 1: I can't do what you just did, and you could
• 1:27:04
  Speaker 1: sit down and prompt it, but it's like, ultimately, you're
• 1:27:08
  Speaker 1: just telling AI to find something that somebody already did.
• 1:27:14
  Speaker 1: AI doesn't create something that they haven't heard that. They're
• 1:27:18
  Speaker 1: finding the best of the best, So therefore you're gonna
• 1:27:22
  Speaker 1: get like That's what he was saying. They're finding a
• 1:27:27
  Speaker 1: way to make samples that sound like samples, and producers
• 1:27:31
  Speaker 1: are using it.
• 1:27:32
  Speaker 3: Right.
• 1:27:33
  Speaker 1: Of course they are, because it sounds just like the
• 1:27:36
  Speaker 1: samples that we are trying to find. Right. The difference
• 1:27:40
  Speaker 1: is when we're digging in the crazy, we can't hear
• 1:27:43
  Speaker 1: what we're looking for. We have to be creative and
• 1:27:46
  Speaker 1: find this speeding record of this, that and the third.
• 1:27:48
  Speaker 1: The producers are going there saying, make this sound like motown,
• 1:27:53
  Speaker 1: but speed it up to like one hundred and fifteen,
• 1:27:56
  Speaker 1: so the vocals is sped up and it really starts
• 1:27:59
  Speaker 1: really sound in like a sample.
• 1:28:01
  Speaker 3: Right.
• 1:28:01
  Speaker 1: That's basically to me, that means that people's records are
• 1:28:06
  Speaker 1: gonna start sounding more and more alike because you're getting
• 1:28:10
  Speaker 1: something that's not you're not you're not actually creating something
• 1:28:14
  Speaker 1: the way that we actually find vinyl and have to
• 1:28:17
  Speaker 1: put songs together, like the way I mean, like I mean,
• 1:28:21
  Speaker 1: it might be the old guy in me, but at
• 1:28:23
  Speaker 1: the same time, I just believe that you still have
• 1:28:26
  Speaker 1: to put your hands on and be a little bit creative.
• 1:28:30
  Speaker 2: Does it make it more cost efficient, meaning that I
• 1:28:32
  Speaker 2: don't have to pay for the sample I could duplication
• 1:28:34
  Speaker 2: industry side it?
• 1:28:38
  Speaker 1: Course it does. But like I said, at the end
• 1:28:40
  Speaker 1: of the day, I never was had money to pay
• 1:28:43
  Speaker 1: for samples. I just had to make it or not
• 1:28:46
  Speaker 1: make it. And I think that that the the not
• 1:28:51
  Speaker 1: having that on your head makes a lazy person, right
• 1:28:55
  Speaker 1: you You if you know you have to make it
• 1:28:58
  Speaker 1: to eat, then you gonna do what you gotta do.
• 1:29:01
  Speaker 1: If you feel like you can slide around the side
• 1:29:04
  Speaker 1: and get some food, you ain't gonna really try to
• 1:29:08
  Speaker 1: press the buttons and do what you gotta do.
• 1:29:11
  Speaker 4: I appreciate it, my brother. That's been fun Lee telling
• 1:29:14
  Speaker 4: people on the new stuff that you're working on the
• 1:29:16
  Speaker 4: Division and the Magic City project and I'm not sure
• 1:29:19
  Speaker 4: what else, but yeah, let us know, man.
• 1:29:21
  Speaker 1: I'm just I mean, at this point, I'm just in
• 1:29:22
  Speaker 1: the studio. You know, Division Aubum coming a lot of
• 1:29:26
  Speaker 1: new artists. I'm men there doing Kelly Rowland alright, Lennox
• 1:29:32
  Speaker 1: out right now. Just you know, constantly making projects. You
• 1:29:37
  Speaker 1: know what I mean. Every day is somebody new call
• 1:29:39
  Speaker 1: me trying to work. So you know, there you have it,
• 1:29:41
  Speaker 1: my brother for once the game. Thank you, Bro. Appreciate it. Man.
• 1:29:45
  Speaker 1: You could do this all day. All right, guys, thank
• 1:29:47
  Speaker 1: you for rocking us. See you next week. Face face