Latest / Earn Your Leisure / EYL #179 Jax Jones on Artists Selling Their Catalogs, The Music Business, & The UK

Transcript

EYL #179 Jax Jones on Artists Selling Their Catalogs, The Music Business, & The UK · Earn Your Leisure

• 0:00
  Speaker 1: Coach, the energy out there felt different. What changed for
• 0:03
  Speaker 1: the team today?
• 0:03
  Speaker 2: It was the new game day scratchers from the California
• 0:06
  Speaker 2: Lottery players everything. Those games sent the team's energy through
• 0:09
  Speaker 2: the roof.
• 0:09
  Speaker 1: Are you saying it was the off field play that
• 0:11
  Speaker 1: made the difference on the field.
• 0:13
  Speaker 2: Hey, little play makes your day, and today it made
• 0:15
  Speaker 2: the game. That's all for now, coach, one more question.
• 0:18
  Speaker 3: Play the new Los Angeles Chargers, San Francisco forty nine
• 0:21
  Speaker 3: ers and Los Angeles Rams scratchers from the California Lottery.
• 0:25
  Speaker 3: A little play can make your day. Peace made responsibily.
• 0:28
  Speaker 3: It must be eighteen years or older to purchase late
• 0:29
  Speaker 3: or claim.
• 0:30
  Speaker 4: Most people get rich from a liquidation event, multiple liquidation events,
• 0:36
  Speaker 4: and then it's what you do with that money to
• 0:38
  Speaker 4: create more liquidation events. That's from my experience of the
• 0:41
  Speaker 4: super rich people I met over the years, or the billionaires,
• 0:45
  Speaker 4: they just they've been able to hit liquidation events many,
• 0:47
  Speaker 4: many times. So if you collect the money, now, what
• 0:50
  Speaker 4: would you do with it? Then across twenty years, only
• 0:54
  Speaker 4: the person that's doing that deal can answer it.
• 0:57
  Speaker 5: You know.
• 0:57
  Speaker 4: It's easy to say, oh yeah, like generational wealth you
• 0:59
  Speaker 4: can hand out over. But if you're taking a hundred
• 1:02
  Speaker 4: million and you know what you're gonna do with it,
• 1:04
  Speaker 4: Perhaps perhaps with some other opportunities that you know you're
• 1:07
  Speaker 4: looking at that could create more for you. Then I
• 1:10
  Speaker 4: would take the d.
• 1:13
  Speaker 6: My graduates from my school being forced back drop b drop, Mike.
• 1:19
  Speaker 7: Drop back drop drop.
• 1:31
  Speaker 8: All right, guys, welcome e y l We are live
• 1:35
  Speaker 8: from the UK, United Kingdom. London's amazing vie. We just
• 1:42
  Speaker 8: came off of our legendary networking.
• 1:45
  Speaker 5: That's an understanding. Shaddy Man.
• 1:48
  Speaker 7: Was around the corner five blocks long.
• 1:51
  Speaker 5: Much love in the UK, two thousand people. Man.
• 1:55
  Speaker 8: Shout out to everybody that came out last night, tape shout.
• 2:00
  Speaker 8: We're in the tape house right now. So this is
• 2:02
  Speaker 8: actually a full circus moment because the one of the
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  Speaker 8: first people that I actually connected with online in the
• 2:10
  Speaker 8: UK is my man Jack Jones, so legendary DJ, would.
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  Speaker 9: You say d M and techno No it's not house
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  Speaker 9: house house yeah, house house so so.
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  Speaker 8: Big following, big influence out here. And he actually hit
• 2:33
  Speaker 8: me up probably like three years ago, early early, and
• 2:38
  Speaker 8: we connected. You know, I had a few questions about
• 2:40
  Speaker 8: you know, some business stuff, and we spoke on the
• 2:43
  Speaker 8: phone and you know, just kind of been following his journey.
• 2:47
  Speaker 5: He's been following our journey.
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  Speaker 8: So when we was coming here, we connected and actually
• 2:53
  Speaker 8: met in person for the first time a few days ago,
• 2:56
  Speaker 8: and just good vibes, like we want to shoot some
• 2:59
  Speaker 8: content out here, would be interested in doing an interview,
• 3:02
  Speaker 8: and he's like yeah, So you know, it just makes
• 3:04
  Speaker 8: sense because, like I said, from a music standpoint, killing
• 3:07
  Speaker 8: the game, but also from a business standpoint, you know,
• 3:11
  Speaker 8: has a label being in the game for a long time,
• 3:15
  Speaker 8: travels the world d Jay and has a residency.
• 3:19
  Speaker 5: We'll get there, We'll get we'll get there, and we'll
• 3:22
  Speaker 5: get there.
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  Speaker 8: Yeah yeah, yes, and one of the most luxurious places
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  Speaker 8: in the world. We'll talk about that. But a real
• 3:30
  Speaker 8: superstar in the game. So first and foremost, thank you
• 3:32
  Speaker 8: for joining us.
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  Speaker 5: Appreciate it.
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  Speaker 4: My absolute pleasure, man, Thanks for having me on.
• 3:35
  Speaker 5: No problem. No problem will be a legendary situation.
• 3:38
  Speaker 4: Legendary. I mean, you guys are tearing it out. Were
• 3:40
  Speaker 4: at tape last night and you guys are it's like
• 3:43
  Speaker 4: the big m season in town, the Q, the qqlock
• 3:50
  Speaker 4: very serious. I was like, Wow, i'might have to put
• 3:52
  Speaker 4: on a show with these guys. To the DJ sing you.
• 3:57
  Speaker 5: Stay on stage for two minutes, no sound.
• 4:01
  Speaker 4: I like it, man, doing good things. Man, I appreciate it.
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  Speaker 4: And I actually one of the reasons why I've reached
• 4:06
  Speaker 4: out to Rashard all those years ago was because of
• 4:09
  Speaker 4: the content, Like, you know, I think it's a really
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  Speaker 4: important message and there's not a lot of information presented
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  Speaker 4: in this way. And how you guys did it so
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  Speaker 4: relatable but with that entertainment behind it as well, it's sick.
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  Speaker 5: I appreciate it. Thank you, brother.
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  Speaker 8: So let's get into this car. So all right, so
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  Speaker 8: obviously you know well known DJ now, but where did
• 4:31
  Speaker 8: it start? Like, how do you actually get your start
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  Speaker 8: to scale? Because a lot of times I feel like,
• 4:36
  Speaker 8: especially people in the music business DJs, it's hard for
• 4:39
  Speaker 8: them to really scale. Like they might start off doing
• 4:41
  Speaker 8: parties or working with, you know, artists, but they never
• 4:45
  Speaker 8: actually take it to the next level. Very few people
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  Speaker 8: actually be able to be successful to have a career,
• 4:50
  Speaker 8: have a career like you have.
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  Speaker 5: So how was you able to scale it?
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  Speaker 4: I mean, I wouldn't. My main job title, I would
• 4:58
  Speaker 4: say is like a producer songwriter who DJs like? Because
• 5:04
  Speaker 4: that's the bit that I relishes the creating aspect of
• 5:06
  Speaker 4: it and my journey to now you know, people see
• 5:11
  Speaker 4: you know, we took about like the residencies and people
• 5:14
  Speaker 4: see the successful aspects of it. Like today right now,
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  Speaker 4: I think I sold something like I don't know, like
• 5:20
  Speaker 4: forty five million records across my career now, but I
• 5:23
  Speaker 4: feel like that's a bit before that, the route wasn't
• 5:27
  Speaker 4: always clear, you know what I mean, Like I didn't
• 5:29
  Speaker 4: grow up on dance music. Like my entrance to music
• 5:33
  Speaker 4: was why my stepdad, who was Nigerian, which is why
• 5:36
  Speaker 4: I relate so much to black culture because he was
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  Speaker 4: in my life since I was eight years old, and
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  Speaker 4: it was confusing, like do you know what I'm saying?
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  Speaker 4: Because I'm Chinese and Turkish but growing up with a
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  Speaker 4: Nigerian dad and my diet musically was fella.
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  Speaker 5: You know.
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  Speaker 4: My first tape he gave me was KRS one and
• 5:56
  Speaker 4: the Criss Cross. That's what I was, dude, Like I was,
• 6:02
  Speaker 4: I would have been like ten years old in the
• 6:06
  Speaker 4: primary school. Do you know about primary school? Like the
• 6:08
  Speaker 4: first school, like I remember just got magging the mac
• 6:13
  Speaker 4: right so like and then it was big R and
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  Speaker 4: B influences, dance hall, So initially I wanted to just
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  Speaker 4: be uh. I was very academic, like I was good
• 6:25
  Speaker 4: in school, like for those if you know about GCSS,
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  Speaker 4: like I was a straight aid student, had interviews to
• 6:32
  Speaker 4: Oxford and all that kind of stuff. But I pursued
• 6:35
  Speaker 4: music because that was what was on offer, you know,
• 6:38
  Speaker 4: like we would grabbing my environment. You know. It was
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  Speaker 4: just that classic story, you know, I mean, didn't have
• 6:44
  Speaker 4: much and you just wanted to get wealthy because that's
• 6:48
  Speaker 4: you feel like, that's how you can buy your way out,
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  Speaker 4: Like you can buy your self esteem that way, you
• 6:53
  Speaker 4: can buy your identity that way. So like it was
• 6:57
  Speaker 4: either that finance. So I was reading all the stop
• 7:00
  Speaker 4: books early, but I didn't have no money to put
• 7:01
  Speaker 4: into it. I remember reading rich that poor Dad at
• 7:04
  Speaker 4: like fifty and I didn't. I was like, okay, cool,
• 7:07
  Speaker 4: this is all good, but I need funds, right. So
• 7:09
  Speaker 4: music is where you saw the successful people, you know
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  Speaker 4: what I'm saying, Like at the time, it was the
• 7:15
  Speaker 4: American rappers. And then I just wanted to do that
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  Speaker 4: and so I just chased it and it was like
• 7:22
  Speaker 4: every door was closing, you know. My parents, I got
• 7:25
  Speaker 4: booted out of the house for it. You know, like
• 7:28
  Speaker 4: it was very turbulent at home. So you know, I
• 7:32
  Speaker 4: started off literally in a shed that was where I
• 7:36
  Speaker 4: was living at the time, with a little mouse running
• 7:39
  Speaker 4: across the I called him Ben after the Michael Jackson
• 7:42
  Speaker 4: song named it. You have to get to be comfortable
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  Speaker 4: with the mouse. Literally, it was just sprinting across the room,
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  Speaker 4: you know, And that's kind of that was the hustle,
• 7:52
  Speaker 4: and it's never left. Like I was playing guitar for
• 7:54
  Speaker 4: other artists and I was in a band. I was
• 7:57
  Speaker 4: signed to Atlantic for a few years, and I wrote
• 8:00
  Speaker 4: a lot of songs, produced a lot of music, and
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  Speaker 4: then I just started Jack Jones maybe about seven years ago,
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  Speaker 4: and the rest is history.
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  Speaker 10: So it's interesting because you said that I obviously feel
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  Speaker 10: a cool ta was what you were listening to care
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  Speaker 10: Riss One, But even like k Arrest wasn't I mean,
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  Speaker 10: we grew up. I grew up on that, but it
• 8:19
  Speaker 10: wasn't like that's the guy as far as like a financial.
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  Speaker 5: Dream to be. So who was it. Who was the
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  Speaker 5: American artist that you said, that's who I need to be.
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  Speaker 5: They have the world. He's the person or she's the
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  Speaker 5: person that we need to emulate.
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  Speaker 4: It was the era of the Neptunes. If I'm being
• 8:35
  Speaker 4: honest with you, Pharrell and that jay Z run that
• 8:40
  Speaker 4: whole time, Like that's why you know we talk about watches.
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  Speaker 4: I've got the gold Presidential. It's the least valuable Rolex
• 8:47
  Speaker 4: out there in terms of investment, Like everyone's getting the
• 8:50
  Speaker 4: sports watches and stuff like. But this is what jay
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  Speaker 4: Z was wearing at that time, and it was just
• 8:57
  Speaker 4: they were like father figures at the time, you know
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  Speaker 4: what I'm saying, because you cup to these guys. Jay
• 9:01
  Speaker 4: Z would talk about financial literacy at that time in
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  Speaker 4: his music, you know, and then for real, I just
• 9:08
  Speaker 4: like the fashion and the club and then just the
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  Speaker 4: way he was able to just create music that was
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  Speaker 4: so memorable at the time. That was who I followed, Like, so,
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  Speaker 4: I don't know that I always stay close to that mentally,
• 9:21
  Speaker 4: and I guess the modern sense of that was Kanye,
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  Speaker 4: Now do you know what I mean?
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  Speaker 5: Yeah? For sure.
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  Speaker 8: So you said you started producing, Did you start DJing first?
• 9:32
  Speaker 5: Or producing songwriting first?
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  Speaker 4: Producing songwriters?
• 9:35
  Speaker 5: So first, So what point did you transition to start DJing?
• 9:39
  Speaker 4: That was around the SoundCloud revolution, So like at the
• 9:42
  Speaker 4: time SoundCloud was just going crazy in like twenty twelve,
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  Speaker 4: and I remember I've been dropped by Atlantic. I was
• 9:49
  Speaker 4: in a band, and it's what kind of makes me
• 9:52
  Speaker 4: believe that. Oh, sometimes when you're kind of on the
• 9:58
  Speaker 4: come up, you never know all all those experiences you had,
• 10:01
  Speaker 4: how they're going to influence what your actual destination is
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  Speaker 4: going to be. So, you know, I started off making
• 10:09
  Speaker 4: hip hop and R and B, but there wasn't real
• 10:12
  Speaker 4: a real scene for that over here at the time.
• 10:14
  Speaker 4: Obviously you've got Drill now where there's a huge black
• 10:17
  Speaker 4: music scene over here, but before about ten years ago,
• 10:20
  Speaker 4: you had to make hot records to sell out as
• 10:23
  Speaker 4: a black artist over here. So they all go to America,
• 10:26
  Speaker 4: do you. I mean there was a lot of British
• 10:28
  Speaker 4: producers that were going there, like h Money. In the States.
• 10:30
  Speaker 4: You did like some Arian and Grande records and stuff
• 10:32
  Speaker 4: like that. Alex the Kid as well, But so you
• 10:37
  Speaker 4: just had to do other stuff. So I remember I
• 10:39
  Speaker 4: was signed to Atlantic for a few years. I wrote
• 10:42
  Speaker 4: a lot of songs with some of the best songwriters
• 10:44
  Speaker 4: around the world, and that really just hold my craft.
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  Speaker 4: And then when we got dropped, I had like my
• 10:48
  Speaker 4: last five thousand in the account, still trying to act
• 10:52
  Speaker 4: like a big guy, but literally I was just trying
• 10:54
  Speaker 4: to figure it out. And then SoundCloud you had like
• 10:57
  Speaker 4: the trap kind of EDM cross over happening. I was like, okay,
• 11:02
  Speaker 4: Like I was trying to write song to other people,
• 11:05
  Speaker 4: but I didn't enjoy the idea that I could put
• 11:08
  Speaker 4: all this heart and soul into something musically and then
• 11:11
  Speaker 4: the artists will just hold it forever and you don't
• 11:14
  Speaker 4: know what's going to happen to it and you're not
• 11:15
  Speaker 4: in control of that process. The only way that I
• 11:17
  Speaker 4: could do that was to be my own person, and
• 11:20
  Speaker 4: that was where DJing come into it. Like it's it's
• 11:23
  Speaker 4: something that isn't relying on what I look like. I
• 11:25
  Speaker 4: don't have to like it's a bit more timeless that
• 11:28
  Speaker 4: I have less of an expiry date. I just need
• 11:30
  Speaker 4: to make music and I could control all of it
• 11:32
  Speaker 4: and I can perform in this way. And that's where
• 11:36
  Speaker 4: that decision came. It was I was literally just sitting
• 11:38
  Speaker 4: in a dining room thinking, yeah, I might do this
• 11:42
  Speaker 4: DJing thing, and then it started.
• 11:45
  Speaker 5: Yeah, so that was I remember the soundtoud era.
• 11:48
  Speaker 10: Twenty thirteen, but twenty fourteen, yeahs like a life changing
• 11:53
  Speaker 10: year for you.
• 11:54
  Speaker 5: So the duke do my I Got you goes to
• 11:57
  Speaker 5: number one? Yeah? Big song? Yeah. I actually was listening
• 12:01
  Speaker 5: to a pretty good song.
• 12:02
  Speaker 4: Do you like it? Do you recognize the sample? I don't.
• 12:06
  Speaker 4: It's Whitney Houston My Love is Your Love? Beautiful song?
• 12:14
  Speaker 5: That a classic.
• 12:17
  Speaker 10: How was that process because now obviously you were trying
• 12:19
  Speaker 10: to figure things out, right, you dropped from Atlantic and
• 12:23
  Speaker 10: now you've got a number one, so like, where are
• 12:25
  Speaker 10: we at mentally now?
• 12:28
  Speaker 4: It's like I could probably only answer this now looking back,
• 12:31
  Speaker 4: because at the time, my desire to just be something
• 12:34
  Speaker 4: was so strong, like that's all I cared about, Like
• 12:38
  Speaker 4: I would wake up every day and just think about
• 12:42
  Speaker 4: how could I prove everyone wrong? That was I had
• 12:45
  Speaker 4: the biggest chip on my shoulder, Like, you know, I've
• 12:49
  Speaker 4: been dropped, I think, And I know a lot of
• 12:51
  Speaker 4: people can relate to this, Like when it's not going well,
• 12:53
  Speaker 4: you become a bit of a loner. So what I'm
• 12:55
  Speaker 4: saying you perhaps not talking to your family as much.
• 12:57
  Speaker 4: You're kind of, yeah, just a bit of a hermit.
• 13:02
  Speaker 4: I don't know if you ever heard that. I remember
• 13:10
  Speaker 4: when that song kicked off, it was just like, oh
• 13:13
  Speaker 4: my god, like I mean something, and it came about
• 13:16
  Speaker 4: in the most surreal way, like I made the song
• 13:20
  Speaker 4: the morning of my birthday. And actually it's an interesting
• 13:25
  Speaker 4: idea in this because I never grew up listening to
• 13:28
  Speaker 4: house music, and I got into it via Jete Theamont.
• 13:32
  Speaker 4: I was working for him as a musician and he
• 13:35
  Speaker 4: was playing me a lot of underground records and I
• 13:38
  Speaker 4: was like, okay, cool. I didn't get it, but I
• 13:40
  Speaker 4: thought but because I came from an outside the perspective
• 13:43
  Speaker 4: applying it to house music, it came with a new vibe.
• 13:47
  Speaker 4: And that was the first second ever house record that
• 13:50
  Speaker 4: ever made was I Got You Just One Morning, And
• 13:54
  Speaker 4: it ended up being a number one Grammy nominated, brit nominated.
• 14:00
  Speaker 4: We never won the Grammy, which I'm pretty pissed about it.
• 14:02
  Speaker 4: I deserved it, no, no, I feel and then and
• 14:11
  Speaker 4: I remember just at the time like man like I
• 14:14
  Speaker 4: mean something, but it wasn't. It still wasn't perfect because
• 14:19
  Speaker 4: it was it was associated with Duke, so it was
• 14:21
  Speaker 4: more his record, and I remember at the time, you know,
• 14:25
  Speaker 4: there was confusion over who I was, so it was
• 14:27
  Speaker 4: still I started to see a bit of money, but
• 14:30
  Speaker 4: it was still like like super early, so I still
• 14:32
  Speaker 4: felt like bottom of the barrel a little bit.
• 14:35
  Speaker 5: Did you write and produce the record? I did?
• 14:37
  Speaker 4: Yeah, yeah, Like there's a big talk about ghost production
• 14:40
  Speaker 4: in dance music and stuff like that, Like you know,
• 14:45
  Speaker 4: I wrote that record, but you know, and then Juke
• 14:49
  Speaker 4: put his vibe on it as well. But you know,
• 14:52
  Speaker 4: I definitely it was my track, like for sure.
• 14:57
  Speaker 8: So at what point do you transition to the business
• 15:00
  Speaker 8: actually get the label?
• 15:01
  Speaker 4: So that's more like I mean the journey up till
• 15:04
  Speaker 4: now to do. I only started the label, which is
• 15:07
  Speaker 4: called Woo Good in the last year. And that's more
• 15:11
  Speaker 4: so because now over here just had so much experience
• 15:16
  Speaker 4: and had some amount of success that I feel like
• 15:20
  Speaker 4: I can offer platform to up and coming artists, like
• 15:24
  Speaker 4: you know, the want at the time if people didn't
• 15:28
  Speaker 4: believe in me, if I didn't get put in the
• 15:29
  Speaker 4: rooms with certain people or taking interest in my life,
• 15:32
  Speaker 4: like I know, you guys are talking Big Nasty over here,
• 15:35
  Speaker 4: Like I was making records of Big Nasty when I
• 15:37
  Speaker 4: was sixteen seventeen, you know, getting in those kind of rooms.
• 15:41
  Speaker 4: I was working music soul child like when I was
• 15:44
  Speaker 4: twenty two, or like just taking those chances, do you know,
• 15:49
  Speaker 4: what I'm saying and the kind of I want to
• 15:52
  Speaker 4: try to offer that back to artists over here. So
• 15:54
  Speaker 4: I did the JV with Polydor a Universal, and I
• 15:59
  Speaker 4: just feel like I can create an environment where artists
• 16:02
  Speaker 4: can come in and do their thing, and I kind
• 16:03
  Speaker 4: of understand how to make that a good experience for them,
• 16:06
  Speaker 4: you know what I mean?
• 16:09
  Speaker 8: So, how do you feel about like the music scene
• 16:13
  Speaker 8: here as opposed to over in America, like specifically like
• 16:17
  Speaker 8: artists going independent, owning their masters, talking about the publishing.
• 16:22
  Speaker 8: Is it the same type of vibe but people are
• 16:24
  Speaker 8: talking about that here or is it more just like.
• 16:27
  Speaker 4: Yeah, we got it over here, Like I still think
• 16:31
  Speaker 4: you want the thing about music, My favorite bit about
• 16:35
  Speaker 4: it is I feel like every artist is like a
• 16:36
  Speaker 4: little entrepreneur, especially now, do you know what I'm saying,
• 16:39
  Speaker 4: You have the best of the best, Like they're figuring
• 16:42
  Speaker 4: out how to engage their fans. They're having to figure
• 16:44
  Speaker 4: out how to make something that a banger, like you know,
• 16:49
  Speaker 4: the big the artists that are consistently putting out big
• 16:52
  Speaker 4: records like remember like the fifty cent era or like
• 16:55
  Speaker 4: there's just you get people like that now, Like we've
• 16:58
  Speaker 4: got artists over here on Central Seed, Like he's making
• 17:00
  Speaker 4: records that are relevant to his to his audience, but
• 17:03
  Speaker 4: they're big every time. And there's an art phoneto that, like,
• 17:06
  Speaker 4: you have to know how to translate your creativity in
• 17:09
  Speaker 4: a way that people are just gonna go your audience
• 17:11
  Speaker 4: are gonna go crazy for it. And I've done that
• 17:13
  Speaker 4: for myself as well. So I feel like the with
• 17:17
  Speaker 4: that comes all these ancillary incomes, like and now's my
• 17:21
  Speaker 4: vib decided to become an artist because you get the
• 17:23
  Speaker 4: brand deals, you can work on building your catalog, you
• 17:26
  Speaker 4: get obviously, you get your show money, and you can
• 17:29
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• 18:59
  Speaker 4: Overhead. There is a tussle between being independent and people
• 19:02
  Speaker 4: fly it like a flag, and there's pros and cons
• 19:05
  Speaker 4: to it. If I'm being honest with you, I personally
• 19:09
  Speaker 4: wouldn't go independent me because I rely on collaborations. So
• 19:14
  Speaker 4: like the best scenario for someone like me, which I
• 19:17
  Speaker 4: know Marsh I read about Marsh Mellow doing, which I
• 19:20
  Speaker 4: think is super cool, is where you be your own person,
• 19:24
  Speaker 4: but you do deals with different labels depending on who
• 19:27
  Speaker 4: you're working with on the label. So if the label,
• 19:30
  Speaker 4: because say like you want to do a song with
• 19:31
  Speaker 4: Ed Sheeron, Ed Sheeron will have he signed to Atlantic
• 19:37
  Speaker 4: or Warner, They're more likely to allow you to do
• 19:40
  Speaker 4: the song with him if they owe more of the record.
• 19:42
  Speaker 4: So if you're a free agent, you could do those deals.
• 19:45
  Speaker 4: So that's something that I'm kind of interested in. And
• 19:47
  Speaker 4: then in terms of the catalog, like the every song
• 19:52
  Speaker 4: is like a little company. So if you're you know you,
• 19:57
  Speaker 4: when you write a song with someone and say you're
• 19:59
  Speaker 4: fifty f you've got fifty percent of that song. So
• 20:02
  Speaker 4: if it goes and gets played around the world, that's
• 20:05
  Speaker 4: earning in your sleep, anywhere, it gets played on the radio,
• 20:08
  Speaker 4: anytime it gets streamed, you're owning. And that all builds
• 20:12
  Speaker 4: up and then I know you've seen in the news
• 20:14
  Speaker 4: recently like artists selling their catalog. That's kind of like
• 20:18
  Speaker 4: the big liquidation event that you could work towards. After
• 20:21
  Speaker 4: you've earned all, after you kind of build up all
• 20:24
  Speaker 4: this catalog and your money over the years, you can
• 20:26
  Speaker 4: sell it. And I just think that's a fantastic opportunity.
• 20:30
  Speaker 4: And then you can put that into other things. So
• 20:32
  Speaker 4: people should be writing their own stuff, perfecting their songwriting craft,
• 20:35
  Speaker 4: and then in terms of earning their masters, like like
• 20:40
  Speaker 4: favorite stories, like prints like and those kind of things,
• 20:43
  Speaker 4: and their companies that I know Troy Carter has a
• 20:47
  Speaker 4: company where they artists are able to own their own
• 20:50
  Speaker 4: masters and stuff like that, so he starts got one
• 20:53
  Speaker 4: as well. It's tricky that well, because the machine you
• 20:58
  Speaker 4: need to get that going, you have to be really
• 21:02
  Speaker 4: on point. Because the majors exist for a reason is
• 21:05
  Speaker 4: because just the monopoly that they have on all the institutions.
• 21:08
  Speaker 4: Like if you if you plug in like Drake's still
• 21:12
  Speaker 4: on a major, like you just increase your profit share
• 21:15
  Speaker 4: with them, but let them do all the work, you
• 21:17
  Speaker 4: know what I'm saying, Because you just plug into their
• 21:19
  Speaker 4: system and there's an army of people that are built
• 21:24
  Speaker 4: to exploit your record when it's successful, whereas if you're independent,
• 21:28
  Speaker 4: the bit that it's like being I would compare it
• 21:31
  Speaker 4: to being like, you know, like how everyone glamorizes being
• 21:34
  Speaker 4: in the trap house right by it's gutta Like, being
• 21:38
  Speaker 4: independent's tricky because you have to pay for everything, and
• 21:41
  Speaker 4: you have to build the teams and you got to
• 21:42
  Speaker 4: run that like, whereas being on a major you can
• 21:47
  Speaker 4: just plug in and it's there, and then if you
• 21:50
  Speaker 4: build a team around it, it just amplifies it, you
• 21:52
  Speaker 4: know what I'm saying. So I've hired a lot of
• 21:54
  Speaker 4: my own people to take over certain of the roles
• 21:57
  Speaker 4: that the labels do, but just more from a creative
• 22:00
  Speaker 4: V perspective.
• 22:01
  Speaker 5: I mean, so this is.
• 22:02
  Speaker 10: The part, because you mentioned it, I want to about
• 22:04
  Speaker 10: the power of collaboration because it didn't always start like that.
• 22:07
  Speaker 5: Well, you had some artists that were known and then
• 22:10
  Speaker 5: you gots some really big artists Charlie X Yeah yeah, Sweetie,
• 22:13
  Speaker 5: yeah yeah yeah me. How did that come about?
• 22:16
  Speaker 10: Was that one of those situations where you're like, all right,
• 22:18
  Speaker 10: I might work with this label because they have that artist.
• 22:20
  Speaker 5: It's gonna be easy for me to collaborate. Has that
• 22:22
  Speaker 5: been the process the entire time?
• 22:24
  Speaker 4: I mean sweet the Sweete collab, like she that was
• 22:27
  Speaker 4: the easiest money she ever in her life. She's just
• 22:31
  Speaker 4: collecting bands for like dropping. I think on that record
• 22:34
  Speaker 4: she did an eight bar like sweet E's business model
• 22:38
  Speaker 4: is how much did she charged for her I mean
• 22:40
  Speaker 4: the number she she tried for that, I don't even
• 22:43
  Speaker 4: it's like upper just below six figures.
• 22:48
  Speaker 5: So like.
• 22:50
  Speaker 4: For eight bars. She's a g like and it popped
• 22:54
  Speaker 4: on the record. It's sounded great. So like the the
• 22:58
  Speaker 4: kind of it works in different ways, so like you
• 23:01
  Speaker 4: can reach out by the record label or like you
• 23:05
  Speaker 4: might be able to just meet them and then you
• 23:07
  Speaker 4: kind of get in the studio together and it's kind
• 23:09
  Speaker 4: of based on what you've done before, whether they like
• 23:13
  Speaker 4: your vibe. It's, you know, it's quite organic like that.
• 23:15
  Speaker 4: You know what I'm saying. My ideal scenarios to kind
• 23:17
  Speaker 4: of write the song with the person in the studio
• 23:20
  Speaker 4: because you kind of get that personality out on the
• 23:22
  Speaker 4: record and get their film.
• 23:24
  Speaker 5: So let me ask you this.
• 23:25
  Speaker 8: As far as you spoke about artists selling their catalog,
• 23:29
  Speaker 8: we saw it happened with Lil Wayne. Think he sold
• 23:31
  Speaker 8: of like one hundred million dollars something like that. John
• 23:33
  Speaker 8: Legend recently Soldiers catalog. I actually posted it on our
• 23:36
  Speaker 8: page and a lot of you know, a lot of
• 23:38
  Speaker 8: people thought it was a bad idea, like, well, you're
• 23:41
  Speaker 8: giving away your generational wealth. That's money that's going to
• 23:43
  Speaker 8: last forever. But like you said, it is a way
• 23:45
  Speaker 8: to have an infusion of capital, So you think that
• 23:51
  Speaker 8: that is potentially a good idea. Why do you think
• 23:54
  Speaker 8: that that's a good idea? Can you expand on that
• 23:56
  Speaker 8: for people that might not fully understand why that could
• 23:58
  Speaker 8: be a good idea. How they looking at it is
• 24:00
  Speaker 8: like you work so hard to build this up and
• 24:03
  Speaker 8: you just you're selling it, but you're missing money on
• 24:06
  Speaker 8: the back end.
• 24:07
  Speaker 4: Yeah, it depends where you're at in your life. The
• 24:10
  Speaker 4: thing about being a musician is you're not always hot,
• 24:14
  Speaker 4: and your priorities might change, so you might not want
• 24:18
  Speaker 4: to go as hard on creating. You're in a different space,
• 24:21
  Speaker 4: you might have other interests, you know what I'm saying.
• 24:23
  Speaker 4: So there's various reasons why people do stuff. Me personally,
• 24:27
  Speaker 4: is if you're gonna take I think even when what
• 24:30
  Speaker 4: we were talking about before, well, like that was also
• 24:34
  Speaker 4: a liquidation event I was looking at, and I feel
• 24:38
  Speaker 4: like the main thing most people get rich from a
• 24:42
  Speaker 4: liquidation event, multiple liquidation events, and then it's what you
• 24:47
  Speaker 4: do with that money to create more liquidation events. That's
• 24:50
  Speaker 4: from my experience of the super rich people I met
• 24:52
  Speaker 4: over the years, or the billionaires, they just they've been
• 24:55
  Speaker 4: able to hit liquidation events many many times. It's not
• 24:58
  Speaker 4: like they have some sort of rolling income. But the
• 25:03
  Speaker 4: big lifts in lifestyle is a liquidation event, right, And
• 25:08
  Speaker 4: that's what you're looking at to me is opportunity costs.
• 25:11
  Speaker 5: Right.
• 25:11
  Speaker 4: So if you collect the money, now, what would you
• 25:13
  Speaker 4: do with it then across twenty years? And that's the
• 25:18
  Speaker 4: question you gotta ask yourself, like and only the person
• 25:21
  Speaker 4: that's doing that deal can answer it. You know, it's
• 25:23
  Speaker 4: easy to say, oh yeah, like generational wealth, you could
• 25:26
  Speaker 4: hand that over. But if you're taking one hundred million
• 25:29
  Speaker 4: and you know what you're gonna do with it, and
• 25:31
  Speaker 4: you know what, perhaps perhaps there's some other opportunities that
• 25:34
  Speaker 4: you know you're looking at that could create more for you,
• 25:38
  Speaker 4: then I would take to do the deal.
• 25:39
  Speaker 8: You bring up a good point, because I know what
• 25:42
  Speaker 8: they thought about it like that, But yeah, most most
• 25:45
  Speaker 8: people they sell, they build their companies sell it. Yeah,
• 25:48
  Speaker 8: that's like Elon musk As he sold his first company
• 25:51
  Speaker 8: then flipped it to SpaceX and Tesla, right, and that's
• 25:55
  Speaker 8: happened with a lot of different people, and nobody really
• 25:58
  Speaker 8: questions that.
• 26:00
  Speaker 5: Pretty normal.
• 26:00
  Speaker 8: Like it's like you wouldn't questioning a business owner if
• 26:03
  Speaker 8: they sold their company for one hundred million dollars after
• 26:05
  Speaker 8: they built it up, right, this is it so an
• 26:08
  Speaker 8: artist And it's kind of similar.
• 26:11
  Speaker 5: Right, you built up a catalog and you're.
• 26:13
  Speaker 8: Selling it for one hundred that'shit exit one hundred and
• 26:15
  Speaker 8: two hundred and fifty whatever. And now, like you said,
• 26:18
  Speaker 8: you use that money to maybe start another business or
• 26:21
  Speaker 8: to you know, expand, And it's like, yeah, you could
• 26:24
  Speaker 8: potentially get It's a calculated decision, right, It's like, Okay,
• 26:28
  Speaker 8: one hundred million today or one hundred and forty million
• 26:32
  Speaker 8: over the course of fifty years.
• 26:34
  Speaker 11: Yeah, what's going to be more for exactly as you
• 26:38
  Speaker 11: were saying it, because I never even thought of them
• 26:40
  Speaker 11: as liquidation events, but you said Jay, So I'm thinking
• 26:42
  Speaker 11: about Jay, I'm thinking about the Rockaway deal.
• 26:45
  Speaker 5: I'm thinking about what.
• 26:46
  Speaker 10: He just deal with these spades I'm thinking about what
• 26:48
  Speaker 10: he did with title All these were liquid large liquidation
• 26:51
  Speaker 10: events on top of the catalog of music.
• 26:54
  Speaker 5: But is so, like you said, the catalog.
• 26:56
  Speaker 10: So I'm interested in knowing, like, is there a formula
• 26:59
  Speaker 10: of how these songs I need to have? How many
• 27:02
  Speaker 10: big records I need to have before I can consider that?
• 27:04
  Speaker 5: Right? Do you have a formula for it?
• 27:06
  Speaker 4: A little bit like my favorite thing about having experience
• 27:11
  Speaker 4: with building money now and seeing that journey, like where
• 27:14
  Speaker 4: no one's handed it to you, is you if you
• 27:17
  Speaker 4: able to reflect on it, you can you can literally
• 27:20
  Speaker 4: do a step by step to how you're going to
• 27:21
  Speaker 4: get to a certain number. So say like your objective
• 27:25
  Speaker 4: is to get one hundred grand by the end of
• 27:27
  Speaker 4: the year, right.
• 27:28
  Speaker 5: You can.
• 27:28
  Speaker 4: If you've got something in place you can work, you
• 27:31
  Speaker 4: can figure out the steps to build value. So let's
• 27:34
  Speaker 4: take my world. I know how much my catalog is
• 27:38
  Speaker 4: worth now, and on average, the the catalog sales from
• 27:44
  Speaker 4: my experience are about a ten times multiplier on your yearly.
• 27:47
  Speaker 4: So if your royalty for the year is a million
• 27:50
  Speaker 4: dollars million pounds to buy your for a company who's
• 27:53
  Speaker 4: interested to buy your catalog will offer you ten million
• 27:57
  Speaker 4: to perpetuity. It's not nothing. Sneeze at what I'm saying.
• 28:01
  Speaker 4: And I know a lot of my friends have done
• 28:03
  Speaker 4: those type of deals and then they just start again,
• 28:06
  Speaker 4: you know what I'm saying, because they're still working, they're
• 28:08
  Speaker 4: still active. Obviously it was posted, right, so everything up
• 28:11
  Speaker 4: until this date stops, and then you can go off
• 28:13
  Speaker 4: and write some more.
• 28:14
  Speaker 7: And you can you can still get paid for performing.
• 28:16
  Speaker 4: Oh, it's just your just your songwriting catalog, right, so
• 28:21
  Speaker 4: the you can and it's not like you know, I
• 28:26
  Speaker 4: mean before over here they had something called entrepreneurs Relief,
• 28:29
  Speaker 4: which is like the crazy one where basically you could sell,
• 28:35
  Speaker 4: you could have a liquidation event like that, and then
• 28:38
  Speaker 4: you could you only get taxed ten percent on the
• 28:40
  Speaker 4: whole thing up to ten mil. So like they still
• 28:42
  Speaker 4: have that now they got rid of it. It's I
• 28:44
  Speaker 4: think it's capped at a mill.
• 28:46
  Speaker 7: Now explain that a little bit.
• 28:49
  Speaker 4: So the idea is if you have if you sell
• 28:54
  Speaker 4: your business, so you could package up your catalog sale
• 28:56
  Speaker 4: with some form of sale. Yeah, and especially if you're
• 29:00
  Speaker 4: running it as a separate company. So say like you've
• 29:02
  Speaker 4: got your touring businesses under I don't know, Jack Joe's
• 29:05
  Speaker 4: touring and then you've got your songwriting. It's under Jack
• 29:07
  Speaker 4: Jones songs. You sell Jack Jones songs. It's essentially a merge, right,
• 29:12
  Speaker 4: So yeah, you sell, it's not yours anymore. So it's
• 29:15
  Speaker 4: considering a cease of trading. And the government used to
• 29:18
  Speaker 4: have a scheme called entrepreneurs Relief that if you sell
• 29:22
  Speaker 4: you only get tax ten percent, but you can't trade
• 29:25
  Speaker 4: for two years to show that you've stopped working. But
• 29:28
  Speaker 4: if you depending on your age, Like, that's cool, do
• 29:30
  Speaker 4: you know what I'm saying? So, but that's gone now
• 29:34
  Speaker 4: that was like, get they're not they're not showing love
• 29:37
  Speaker 4: to those kinds of things, if I'm being honest with you.
• 29:40
  Speaker 4: But the like, so, it's a ten time multiplier. So
• 29:44
  Speaker 4: if you're earning a million a year from your royalty,
• 29:48
  Speaker 4: you're getting ten mil and et cetera. So the way
• 29:50
  Speaker 4: I work, I call it a pipeline. And you have
• 29:54
  Speaker 4: your target and you have your stretch target. So let's
• 29:57
  Speaker 4: say I have one hit a year. Yeah, and I
• 30:01
  Speaker 4: know on average I'm getting thirty to forty, thirty to
• 30:04
  Speaker 4: fifty percent of a publishing show on those records. If
• 30:07
  Speaker 4: I want to increase my bottom line for that sale,
• 30:11
  Speaker 4: I need to increase that quantity of records and either
• 30:14
  Speaker 4: maintain that success or grow it, you know what I'm saying.
• 30:18
  Speaker 4: So I then get down to like, this is the
• 30:21
  Speaker 4: problem solving that perhaps some creatives don't want to think about.
• 30:25
  Speaker 4: But I think all the best artists that we've seen
• 30:30
  Speaker 4: take over the Nicki Minaj's, the Kanyes or you know,
• 30:34
  Speaker 4: jay Z's, they think about these things and they solve
• 30:36
  Speaker 4: these problems, you know what I'm saying.
• 30:38
  Speaker 5: So like the.
• 30:41
  Speaker 4: You know, you can say, Okay, how am I going
• 30:43
  Speaker 4: to increase my songs?
• 30:44
  Speaker 5: Do?
• 30:44
  Speaker 4: I work with more people?
• 30:45
  Speaker 5: Do?
• 30:45
  Speaker 4: But that's going to dilute me slightly. Like how do
• 30:48
  Speaker 4: I create that? How do I get the relationships to
• 30:50
  Speaker 4: create that kind of factory effect? You know what I'm
• 30:52
  Speaker 4: saying that just to have more chances of having hits
• 30:57
  Speaker 4: like and you save some of my stre target now
• 31:00
  Speaker 4: is like, Okay, if I can get five records out
• 31:03
  Speaker 4: a year of a fairly consistent success, that's going to
• 31:07
  Speaker 4: add to my bottom line. And I know that my
• 31:09
  Speaker 4: multiplier is going to grow. So I told you about
• 31:11
  Speaker 4: my magic number the other day. I was like, I
• 31:13
  Speaker 4: want to get to this. That's how I can build it.
• 31:15
  Speaker 4: It's literally just stuck in you know what I'm saying,
• 31:18
  Speaker 4: Like uh, And I love that aspect of it because
• 31:22
  Speaker 4: it's like it's less of a kind of a pipe dream,
• 31:27
  Speaker 4: you know. You're like, oh, I just need to hit
• 31:29
  Speaker 4: a ridge, you know what I mean, I just need
• 31:30
  Speaker 4: to hit like something lucky needs to happen or No.
• 31:33
  Speaker 4: I can literally just tell you the steps that I'm
• 31:35
  Speaker 4: going to take and I just need to build it,
• 31:37
  Speaker 4: I mean.
• 31:38
  Speaker 10: And it's different from like a traditional artist where they're like,
• 31:41
  Speaker 10: I got to put out this album, this album has
• 31:43
  Speaker 10: to break and we have to have a big record
• 31:45
  Speaker 10: on it. Your focus is let me just get five,
• 31:48
  Speaker 10: maybe three or four songs a year a year.
• 31:52
  Speaker 5: Totally different, like concept.
• 31:53
  Speaker 4: Totally obviously you can. One of my favorite phrases is
• 31:57
  Speaker 4: the many ways to skin a cat. Yeah, it's probably
• 32:00
  Speaker 4: a good phrase to me. Sorry, it's an old phrase.
• 32:03
  Speaker 4: I don't even where it come from, but it's one
• 32:04
  Speaker 4: of my friends that says it. But it just obviously
• 32:07
  Speaker 4: means like there are loads of roots to get to
• 32:10
  Speaker 4: places and you have to work with what you've got, right.
• 32:13
  Speaker 4: So in the dance community, no one wants an album
• 32:16
  Speaker 4: for you, bro, unless you're darf Bunk or something like that.
• 32:20
  Speaker 4: So and in dance as well, like you're fading if
• 32:24
  Speaker 4: you aren't dropping like which I feel like Raps be
• 32:26
  Speaker 4: coming a bit like that, Like you have to just
• 32:28
  Speaker 4: keep dropping projects and then there's some spaces reserved for
• 32:32
  Speaker 4: the Kendricks of this world that can drop a project
• 32:35
  Speaker 4: every three years and everyone rushes to go and listen
• 32:38
  Speaker 4: to it. But that's what he's working with is you
• 32:41
  Speaker 4: can only do you know what I'm saying. So for me,
• 32:45
  Speaker 4: the best way is to just keep dropping songs. But
• 32:47
  Speaker 4: if you're more of an album artist and you're able
• 32:49
  Speaker 4: to captivate your audience like that, then that'll be fine too.
• 32:53
  Speaker 4: You just got to work with what you've got, you
• 32:54
  Speaker 4: know what I'm saying.
• 32:55
  Speaker 8: So you're the first person, actually I actually ever heard
• 32:58
  Speaker 8: about this. You're speaking about it like in VC terms,
• 33:01
  Speaker 8: and you're speaking of like a startup company where it
• 33:03
  Speaker 8: was like a ten times multiplier.
• 33:05
  Speaker 5: Yeah, Erners, what's up?
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• 34:57
  Speaker 1: Coach, the energy out there felt different. What changed for
• 35:00
  Speaker 1: the team today?
• 35:01
  Speaker 2: It was the new game Day Scratchers from the California
• 35:03
  Speaker 2: Lottery players everything. Those games sent the team's energy through
• 35:06
  Speaker 2: the roof.
• 35:07
  Speaker 1: Are you saying it was the off field play that
• 35:09
  Speaker 1: made the difference on the field.
• 35:10
  Speaker 2: Hey, little play makes your day, and today it made
• 35:13
  Speaker 2: the game. That's all for now, Coach. One more question.
• 35:16
  Speaker 3: Played the new Los Angeles Chargers, San Francisco forty nine
• 35:19
  Speaker 3: Ers and Los Angeles Ram Scratchers from the California Lottery.
• 35:22
  Speaker 3: A little play can make your day. Peace, pay responsibly.
• 35:25
  Speaker 3: It must be eighteen years or older to purchase plate
• 35:27
  Speaker 3: or claim.
• 35:29
  Speaker 7: An exis strategy a buyout liquidation.
• 35:33
  Speaker 8: It's interesting because, like I said, I've never heard any
• 35:36
  Speaker 8: I've never heard any musician talk about multiples. Only people
• 35:40
  Speaker 8: I heard talking about multiples is startup companies or in
• 35:43
  Speaker 8: the VC world.
• 35:44
  Speaker 5: Yeah, how did.
• 35:47
  Speaker 7: You start thinking about like music in that sense?
• 35:51
  Speaker 4: It started? My grandfather was a classic. He lived in
• 35:57
  Speaker 4: Malaysia and he was that class come millionaire next door
• 36:03
  Speaker 4: in Malaysian ring it so obviously when you bring that back,
• 36:06
  Speaker 4: but like you know, he had a job and he
• 36:08
  Speaker 4: saved and then he invested and then he built up
• 36:12
  Speaker 4: his retirement fund.
• 36:13
  Speaker 5: Right.
• 36:14
  Speaker 4: But that's what got me interested in financial literacy, what
• 36:18
  Speaker 4: I'm saying, And it was just always there. But I
• 36:22
  Speaker 4: never had the confidence, but I just always kept my
• 36:24
  Speaker 4: eye on the business world. And that's why always related
• 36:26
  Speaker 4: to artists like jay Z. They would do these deals
• 36:29
  Speaker 4: and that's when I start when I started to meet
• 36:31
  Speaker 4: other like minded people. And then the blessing about music
• 36:36
  Speaker 4: is you meet there's a fantasy around music, right, Like
• 36:40
  Speaker 4: the finance guys want to hang out with the music
• 36:42
  Speaker 4: dudes because with the fun ones, right that like do
• 36:46
  Speaker 4: you always get this right? You go, I'll talk to
• 36:48
  Speaker 4: someone who's running a hedge trying to go, oh it's
• 36:50
  Speaker 4: cool man, like you moving a lot of capital, like, oh,
• 36:53
  Speaker 4: you must be a bus he goes, yeah, but I'm
• 36:54
  Speaker 4: not as good as you like, you know, there's that thing, right,
• 36:58
  Speaker 4: And but the beauty of that is you meet these
• 37:01
  Speaker 4: individuals that teach you their way of thinking. And then
• 37:04
  Speaker 4: when I took a step back and actually you talk
• 37:06
  Speaker 4: about jay Z with the rock aware aspects of it
• 37:10
  Speaker 4: and like he's selling these mini these assets, and then
• 37:13
  Speaker 4: I've started thinking about in terms of business and being entrepreneurial.
• 37:17
  Speaker 4: It just started to click. And I think one of
• 37:20
  Speaker 4: the biggest responsibilities you have if you want to make money.
• 37:24
  Speaker 4: When you have money, you got to understand it. So
• 37:26
  Speaker 4: that was just all of that process of educating myself
• 37:29
  Speaker 4: and how to grow. And if I'm you know, if
• 37:33
  Speaker 4: you're going to learn about money, you got to learn
• 37:36
  Speaker 4: from the money men the money women out there rather
• 37:39
  Speaker 4: than the perhaps the other musicians. I'm saying that in
• 37:42
  Speaker 4: my opinion, like and then you apply it. So like
• 37:45
  Speaker 4: the other thing I think about is an asset, building
• 37:48
  Speaker 4: assets within what you do, and that's something I'm still
• 37:51
  Speaker 4: working on. Like so for example, the song if you
• 37:54
  Speaker 4: any startup, you build asset classes within your stuff up
• 38:00
  Speaker 4: outside of just like your revenue, right, people often focus
• 38:04
  Speaker 4: a lot on that. But if you can build asset classes.
• 38:06
  Speaker 4: What asset classes like patterns, databases of information like data,
• 38:14
  Speaker 4: you know, your brand name, your your merch like you.
• 38:18
  Speaker 7: Guys have it right, different businesses with different.
• 38:20
  Speaker 4: Businesses, and it all adds to your multiplier rather than
• 38:23
  Speaker 4: just your actual turnover and profit. Right, and that when
• 38:28
  Speaker 4: we think about jay Z, that's what he's doing. That's
• 38:30
  Speaker 4: what he did, Like he had Rockaway Rockefeller, he had
• 38:34
  Speaker 4: his own catalog, then he bought drinks like he understood
• 38:38
  Speaker 4: the idea. And French Montana feels a little bit like
• 38:41
  Speaker 4: that at times, like with some of what he does,
• 38:43
  Speaker 4: and I mean the other.
• 38:44
  Speaker 7: Person in comparison, it's.
• 38:47
  Speaker 4: Funny like he does not Yeah, shout out to the French.
• 38:50
  Speaker 4: I was reading an article about how he doesn't get
• 38:52
  Speaker 4: the love but he whatever it is about his music
• 38:57
  Speaker 4: worth your opinions on it is like he's working what he's.
• 38:59
  Speaker 8: Got and like he's making he's actually a legend and
• 39:05
  Speaker 8: he's done a lot with like a little if that
• 39:10
  Speaker 8: makes sense, Like you know, no disrespect, but he's not
• 39:12
  Speaker 8: obviously the most talented person, but he's like a cultural icon.
• 39:16
  Speaker 4: Yeah, and then he's making the Cookie Stretch, Like he's
• 39:20
  Speaker 4: using those relationships to learn and like figuring out how
• 39:26
  Speaker 4: to double his money, triple his money. Who can I
• 39:29
  Speaker 4: talk to like? You know, when I found the Troy
• 39:31
  Speaker 4: Carr interview, you guys did so enlightening because this is
• 39:36
  Speaker 4: this is a guy that was managing Lady Gargar took
• 39:38
  Speaker 4: her from zero to I think the third album you
• 39:42
  Speaker 4: know changed like and it was huge, right And I
• 39:46
  Speaker 4: love that story because even like the song I got
• 39:49
  Speaker 4: out right now at school, where did you go? Check
• 39:51
  Speaker 4: it out?
• 39:53
  Speaker 7: You know?
• 39:55
  Speaker 4: I had everyone apart from my manager, my family like
• 40:00
  Speaker 4: love the song. I had everyone telling me that what
• 40:02
  Speaker 4: you're doing we don't understand, don't do it. And now
• 40:04
  Speaker 4: it's becoming one of the biggest records in the country
• 40:07
  Speaker 4: right now. And that was I heard that was the
• 40:09
  Speaker 4: same for Gaga and then Troy carried on that journey
• 40:13
  Speaker 4: and now he's gone off to invest I know he
• 40:15
  Speaker 4: was in on Uber early. All of that that comes
• 40:18
  Speaker 4: from building those relationships, and that's I feel like probably
• 40:22
  Speaker 4: that's what I'm kind of looking at now. I'm like, yo,
• 40:24
  Speaker 4: how can I how can I expand?
• 40:26
  Speaker 5: I mean, yeah, so what was the.
• 40:28
  Speaker 8: Deal with you working with the label for your for
• 40:31
  Speaker 8: working with the so you're on interscope for your.
• 40:33
  Speaker 4: Label, No, I'm on a universal polydor.
• 40:36
  Speaker 8: So how is that As far as the negotiation and
• 40:39
  Speaker 8: actually working out that deal, as far as being a
• 40:42
  Speaker 8: label owner.
• 40:43
  Speaker 4: See, negotiation is so interesting because uh, I've now getting
• 40:50
  Speaker 4: I went through my first like M and A process
• 40:52
  Speaker 4: a few years ago, so I learned a few things
• 40:54
  Speaker 4: like that, and it's it's there with the acquisitions. Yeah,
• 41:03
  Speaker 4: And like, I find negotiations so interesting because there's such
• 41:09
  Speaker 4: you have to controlling your momentum and what you want
• 41:13
  Speaker 4: and where you want to end up and all that
• 41:14
  Speaker 4: kind of stuff. But with the label, for me, I'm
• 41:21
  Speaker 4: keeping up. I try to organize it in a way
• 41:25
  Speaker 4: where it's an environment where the deal isn't too long.
• 41:31
  Speaker 4: So if it's not the right place, we can leave.
• 41:33
  Speaker 4: We own the brand at the end, so we can
• 41:35
  Speaker 4: take it wherever we want. The length of time in
• 41:38
  Speaker 4: terms of what we're doing with the label, we get
• 41:43
  Speaker 4: the masters back after a certain period of time reverts back.
• 41:47
  Speaker 5: How long is it reverse?
• 41:49
  Speaker 4: I think I can't remember the exact number, but it's
• 41:51
  Speaker 4: kind of like your It's like an average terms, nothing exceptional.
• 41:55
  Speaker 4: The problem is we don't have the leverage at that point.
• 41:57
  Speaker 4: So sometimes this is a quote from Get you have
• 42:01
  Speaker 4: to eat shit at the beginning, and you probably never
• 42:03
  Speaker 4: stop eating shit, to be honest with you, Like everyone's
• 42:05
  Speaker 4: eating shit at some point, but you have to like
• 42:07
  Speaker 4: until you're at a certain point. You can then start
• 42:09
  Speaker 4: to combine. They'll have like the power to get your
• 42:13
  Speaker 4: master's back super early.
• 42:15
  Speaker 10: Can you explain that that process, because we've seen that
• 42:17
  Speaker 10: and we've heard it, like there's a thirty year term
• 42:19
  Speaker 10: and it comes back.
• 42:20
  Speaker 5: Yeah.
• 42:21
  Speaker 10: I think some of the ours even had a perpetuity,
• 42:23
  Speaker 10: so they never really.
• 42:23
  Speaker 4: Get it, never get it back. Yeah, you explain what
• 42:25
  Speaker 4: that process is like? So you have nowadays with streaming,
• 42:29
  Speaker 4: it's kind of you're going back into some form of
• 42:32
  Speaker 4: golden era for music ownership. Yeah, because people can listen
• 42:38
  Speaker 4: to your song to perpetuity, so you know, it's not
• 42:41
  Speaker 4: like before where it's a one time sale of a
• 42:43
  Speaker 4: CD and then you've got to figure out what else
• 42:45
  Speaker 4: you're selling to your customer. Your people can go and
• 42:47
  Speaker 4: listen to records billions of times, Like we look at
• 42:50
  Speaker 4: ensuring on the weekend, you know what I mean, Like
• 42:52
  Speaker 4: the numbers are on one platform, you're hitting like three
• 42:55
  Speaker 4: almost three billion streams. Like that's a lot of money.
• 42:58
  Speaker 4: And even if you just do the simple math he's made,
• 43:00
  Speaker 4: is that company a lot of money? Right, So for
• 43:03
  Speaker 4: a label, it's within their interest to own the master
• 43:06
  Speaker 4: to perpetuity. It's a huge asset class it is all
• 43:10
  Speaker 4: they care about. Like I've seen emails from the lawyers
• 43:14
  Speaker 4: and obviously the view about being a labels. I can
• 43:16
  Speaker 4: see how they work, Like on the I'm dealing with
• 43:18
  Speaker 4: the legal team as a partner from the major, so
• 43:21
  Speaker 4: I can see how it works. And what they can
• 43:24
  Speaker 4: mostly considered about is perpetuity, Like I want the masters
• 43:27
  Speaker 4: to perpetuity, and if you you need the way the
• 43:31
  Speaker 4: other ways that can work is just reducing that term
• 43:33
  Speaker 4: so like ten years, fifteen years, thirty years, et cetera.
• 43:37
  Speaker 4: And they often have a sunset clause so you get
• 43:40
  Speaker 4: a part of it back, but then there's a little
• 43:42
  Speaker 4: bit extra as well. The way you get around that
• 43:46
  Speaker 4: is you need to figure out what's going to give
• 43:48
  Speaker 4: you leverage. So if you've got a fan base going
• 43:50
  Speaker 4: into your deal, if you've got some success already, so
• 43:55
  Speaker 4: all the label are doing are amplifying you, you can
• 43:57
  Speaker 4: then negotiate pretty hard, like you've got no you are,
• 44:00
  Speaker 4: like it's easy sometimes like to throw headlines out. It's like, yeah,
• 44:04
  Speaker 4: you don't want to do that deal, but if that's
• 44:06
  Speaker 4: the deal that you need to get on and that's
• 44:08
  Speaker 4: what you're working with, then play that card and then
• 44:11
  Speaker 4: just keep it as short as possible and you're you know,
• 44:15
  Speaker 4: as a creative, you've got many seasons in you, so
• 44:18
  Speaker 4: just trusting that. Do you know what I'm saying?
• 44:19
  Speaker 5: Or you hope any what's the sunset clause?
• 44:23
  Speaker 4: So sunset clause is this these periods where once you're
• 44:26
  Speaker 4: out of term, how long they keep keep the masters.
• 44:30
  Speaker 4: It's called sunset. Yeah, you have that in publishing deals
• 44:33
  Speaker 4: as well.
• 44:33
  Speaker 5: So like.
• 44:36
  Speaker 4: A lot of people don't talk about publishing deals, but
• 44:38
  Speaker 4: like publishing deals are what we're talking about selling your catalog, right,
• 44:41
  Speaker 4: so they give you a check to own your catalog
• 44:45
  Speaker 4: or a portion of your catalog for a period of time,
• 44:47
  Speaker 4: and then you have a sunset afterwards and what you
• 44:50
  Speaker 4: write in that time as well.
• 44:51
  Speaker 10: You're in a unique position, right because you are an artist.
• 44:54
  Speaker 10: Now you run the label. So now are you are
• 44:57
  Speaker 10: you educating the artists or are you saying like, hey,
• 45:01
  Speaker 10: I'm there's still a business here. We still want to
• 45:02
  Speaker 10: have these masters for thirty years. Are you saying like, hey,
• 45:05
  Speaker 10: this is what you can do.
• 45:06
  Speaker 5: Are you? Are you the person that's doing that?
• 45:08
  Speaker 4: Yeah? Essentially, like I try to take on a mental
• 45:11
  Speaker 4: ship role with a lot of the artists because I
• 45:13
  Speaker 4: think it's so important, Like I've got mentors now to
• 45:15
  Speaker 4: this day, like people in tech. Do you know what
• 45:19
  Speaker 4: I'm saying? And it's interesting to hear how they describe
• 45:22
  Speaker 4: my business because that, you know, you can make connections
• 45:26
  Speaker 4: and then come up with new ideas. So I treat
• 45:28
  Speaker 4: my artists the same way. You know, we have conversations
• 45:30
  Speaker 4: and the negotiations. You know, their managers are talking to
• 45:33
  Speaker 4: our lawyers and all that kind of stuff. But I
• 45:36
  Speaker 4: do also break it down, like you know, even when
• 45:39
  Speaker 4: an artist comes in asking for big advance, like that's
• 45:42
  Speaker 4: probably not a good idea because that's going to make
• 45:45
  Speaker 4: me cautious because then I'm worried about I'm worried about
• 45:50
  Speaker 4: what you're putting out because if it don't make me
• 45:52
  Speaker 4: what I need to make on it, you might never
• 45:54
  Speaker 4: get out the gate because I don't want to commit
• 45:57
  Speaker 4: these are it's better to do a deal that's like
• 45:59
  Speaker 4: a nice easy deal where you know what it's like,
• 46:02
  Speaker 4: you pay a lot of money for something you need
• 46:04
  Speaker 4: it to go, so then that fucks the creativity up.
• 46:07
  Speaker 4: Whereas if I don't, I feel invested enough where Okay,
• 46:10
  Speaker 4: I've paid a decent amount of money for this song,
• 46:14
  Speaker 4: but I'm also happy to let it see what happens.
• 46:16
  Speaker 4: You know what I'm saying, Then I'm giving you freedom
• 46:18
  Speaker 4: to do it, to be who you are. And that's
• 46:20
  Speaker 4: the type of conversations that I have because I've just
• 46:23
  Speaker 4: been through those experiences, like I've done the deals where
• 46:26
  Speaker 4: it's like we need to go for as much fucking
• 46:28
  Speaker 4: money as possible. I need to get paid from this deal,
• 46:32
  Speaker 4: and then everyone's scared to do anything because they put
• 46:35
  Speaker 4: too much money on the line, so they they walter
• 46:37
  Speaker 4: down the r And that's there's a there's an interest.
• 46:40
  Speaker 4: I'm sure someone's done it McKinsey, or someone has done
• 46:43
  Speaker 4: some curve between like the influence on capital and art
• 46:47
  Speaker 4: and where that becomes counterproductive, do you know what I'm saying? Like,
• 46:50
  Speaker 4: because majors are essentially just vcs themselves, they're just jumping
• 46:53
  Speaker 4: on like something that they think is lit. Do you
• 46:56
  Speaker 4: know what I'm saying? And they throw their resources in it?
• 46:59
  Speaker 4: Do you know what I mean? So like it that
• 47:00
  Speaker 4: I have those conversations and some people don't get it,
• 47:03
  Speaker 4: some people aren't willing to hear it. But I think
• 47:06
  Speaker 4: you just perhaps they're not who I want to work with,
• 47:09
  Speaker 4: you know what I'm saying, like, and we'll kind of
• 47:11
  Speaker 4: take that time.
• 47:12
  Speaker 5: I mean, So to.
• 47:13
  Speaker 8: Sell your carelog back to selling catalog thing, I guess
• 47:18
  Speaker 8: you would have to you have to own your masters
• 47:19
  Speaker 8: to even sell your catalog, right, or do you have
• 47:21
  Speaker 8: to own your publishing, like to even be able in
• 47:24
  Speaker 8: a position to actually even sell your catalog, you have
• 47:27
  Speaker 8: to own your masters or no?
• 47:28
  Speaker 4: So when I'm talking about catalog sales, I'm talking about publishing.
• 47:31
  Speaker 4: So publishing, yeah, yeah, So get Us just done a
• 47:36
  Speaker 4: famous one for a hundred million as well, David Getta, Yeah, yeah,
• 47:39
  Speaker 4: he did one for a hundred million.
• 47:41
  Speaker 5: Bruce Springs.
• 47:42
  Speaker 4: Bruce Springsteen did five hundred million or something.
• 47:44
  Speaker 5: I call it.
• 47:46
  Speaker 4: Tima Turner, does she just do hers.
• 47:50
  Speaker 5: Turner? Yeah?
• 47:51
  Speaker 4: I mean obviously, you know, part of it is the
• 47:55
  Speaker 4: perception of your music as well, Like if you an
• 47:58
  Speaker 4: artist that feels like the music collected globally or in
• 48:03
  Speaker 4: enough territories where someone who's going to buy the catalog
• 48:07
  Speaker 4: feels like they're gonna get money period of time. Yeah,
• 48:10
  Speaker 4: when you can buy songs like I think Hypnosis is
• 48:14
  Speaker 4: one of these companies they trade like.
• 48:17
  Speaker 5: Wasn't vert a muck?
• 48:20
  Speaker 8: Yeah, I think I think that that's one of the
• 48:21
  Speaker 8: companies too, where you can actually buy it.
• 48:23
  Speaker 4: You could actually buy it like you could buy someone's Yeah, I.
• 48:27
  Speaker 10: Think some of the there was a gentleman who actually
• 48:30
  Speaker 10: did that with Pordak Yellow yeah, early like yeah, for
• 48:36
  Speaker 10: like maybe a couple like maybe ten thousand.
• 48:38
  Speaker 4: It's amazing with Diamond. So thinking about the good investment,
• 48:44
  Speaker 4: right like.
• 48:45
  Speaker 10: This this this younger out the Bronx that he believed
• 48:47
  Speaker 10: in and he heard the record like this is going
• 48:49
  Speaker 10: to go and it went.
• 48:51
  Speaker 8: Shout out to Cardi. Let's talk about before we wrap,
• 48:53
  Speaker 8: we got to talk about a Beza. So a Biza.
• 48:56
  Speaker 8: You have a twelve week residency.
• 48:59
  Speaker 4: Yeah me Visa, Yeah, I don't announced it, but yeah.
• 49:03
  Speaker 7: Can you can you talk about this?
• 49:05
  Speaker 5: All right?
• 49:06
  Speaker 8: So breaking news alert, So that's a vibe if anybody's
• 49:10
  Speaker 8: not familiar, Visa is in Spain, right, Yeah, it's in Spain.
• 49:14
  Speaker 8: It's like a beach town in Spain, very famous in Europe.
• 49:19
  Speaker 8: Party vibes, think of like Central Pei kind of.
• 49:23
  Speaker 4: Yeah, I might say that, Yeah, it's just like all
• 49:27
  Speaker 4: the best clubs, and I would say it's one of
• 49:30
  Speaker 4: the best places in the world.
• 49:33
  Speaker 10: If you're not, don't worry. In a few months, you
• 49:35
  Speaker 10: could just watch us be there.
• 49:36
  Speaker 4: Just what just living that life.
• 49:39
  Speaker 5: You're gonna be there.
• 49:40
  Speaker 4: I had to. I had to tell the guys, like,
• 49:42
  Speaker 4: you know, there aren't any hip hop or R and
• 49:44
  Speaker 4: B clubs out there.
• 49:45
  Speaker 7: Like, yeah, that's gonna be a little tough.
• 49:49
  Speaker 5: I guess we're standing in the DJ booth.
• 49:51
  Speaker 4: Yeah, you just be living that life, like yeah, Jack
• 49:54
  Speaker 4: put some just for one record.
• 49:58
  Speaker 7: Yeah, But how did I come about?
• 50:01
  Speaker 4: Man? Like, it's a BEEFA is a really interesting pronounce it.
• 50:06
  Speaker 4: I call it a beef beef if so we're saying
• 50:10
  Speaker 4: we're saying it wrong. Now you're saying it correctly because
• 50:12
  Speaker 4: with a Z. But being in South London, I've changed
• 50:15
  Speaker 4: it to an F I B for But like it
• 50:20
  Speaker 4: came about through my agent and it's on David Getter's
• 50:24
  Speaker 4: Night and I've got relationship with Dave I'm sharing the
• 50:26
  Speaker 4: residency with Idris Elba.
• 50:28
  Speaker 5: Oh yeah, d DJs.
• 50:31
  Speaker 7: He's nice man, so he's gonna be out there for
• 50:34
  Speaker 7: a long time, so.
• 50:34
  Speaker 4: He'll be with So it's like, I don't know how
• 50:37
  Speaker 4: long exactly the season is. So we're doing one month
• 50:39
  Speaker 4: each essentially, and it's in highb ib for basically, which
• 50:45
  Speaker 4: is an amazing club. There's even a DJ in a toilet,
• 50:49
  Speaker 4: like in the bathroom. In the bathroom. Yeah, so like
• 50:53
  Speaker 4: they have a mixed mixed gender bathroom and someone DJ's
• 50:55
  Speaker 4: in the middle and the fat boy Slim, who is
• 50:57
  Speaker 4: one of our big DJs over here, like he loves
• 51:00
  Speaker 4: to play in that room. It's just a sick vibe.
• 51:03
  Speaker 4: I'll be there June September, and I think there's some
• 51:06
  Speaker 4: other bits.
• 51:07
  Speaker 10: In between, so it's just like he'll do like August
• 51:11
  Speaker 10: and then he'll September.
• 51:12
  Speaker 4: That's what's working, yeah exactly. And yeah, the way I
• 51:16
  Speaker 4: got it is through I've got a relationship with David
• 51:18
  Speaker 4: Gretta and then my agent as well. But you know,
• 51:23
  Speaker 4: I'm I love the place because Jabiita has just got
• 51:26
  Speaker 4: a real community spirit to it despite it having such
• 51:29
  Speaker 4: an influx of people coming to it. It's run by
• 51:31
  Speaker 4: a small amount of people that just are passionate about music,
• 51:33
  Speaker 4: and they're passionate about nightclub culture and bringing those experiences
• 51:37
  Speaker 4: for people. So I'm looking to get stuck in.
• 51:39
  Speaker 11: Man.
• 51:39
  Speaker 4: We're going to be getting a villa there, bringing my
• 51:41
  Speaker 4: whole family out, bring my whole team. We're just gonna
• 51:43
  Speaker 4: post up doing some dinners, going and supporting everyone and
• 51:47
  Speaker 4: just making the most of it, man, because you know
• 51:49
  Speaker 4: it's a big look.
• 51:51
  Speaker 10: You brought up the family, so I guess we plan
• 51:54
  Speaker 10: with the family. I want to about the song I
• 51:58
  Speaker 10: Miss You. Yeah, happened during the pandemic. Yeah, inspired by
• 52:02
  Speaker 10: the family. Yeah, it turned out to be a pretty
• 52:05
  Speaker 10: big record. Yeah, how did it? Where were you at
• 52:09
  Speaker 10: in the process of creating?
• 52:10
  Speaker 4: As all I mean with that, it's just you know,
• 52:16
  Speaker 4: I just I always write lyrics from the heart, you
• 52:19
  Speaker 4: know what I'm saying, And perhaps this is what I
• 52:22
  Speaker 4: was saying earlier about you don't know your journey, Like
• 52:24
  Speaker 4: because of my last deal, where I was writing essentially
• 52:27
  Speaker 4: rock music, rock pop, I bring that honesty in my
• 52:31
  Speaker 4: lyrics to dance music and you can kind of feel that. So, like,
• 52:35
  Speaker 4: you know, I always just drawing those influences, and I
• 52:39
  Speaker 4: just wanted to make a record that was a little
• 52:41
  Speaker 4: bit deeper and so that that was kind of where
• 52:43
  Speaker 4: that song come about. But family is a big influence
• 52:46
  Speaker 4: on me, Like you know, I'm not really It's probably
• 52:50
  Speaker 4: what keeps me kind of always wanting to grow and
• 52:52
  Speaker 4: just kind of grounded. Is because I don't really get
• 52:55
  Speaker 4: caught up in the life. I'm not even trying to
• 52:56
  Speaker 4: compete in that way. I'm competitive, don't get twisted like
• 53:01
  Speaker 4: I want to be in the ring punching with the
• 53:04
  Speaker 4: big boys in the charts. You know what I'm saying.
• 53:06
  Speaker 4: I love playing that game. I love seeing all my stats,
• 53:08
  Speaker 4: like all of that, Like like it sure needs to
• 53:11
  Speaker 4: take a break, like this needs to chill out for a.
• 53:13
  Speaker 5: Second, let up, you know what I'm saying.
• 53:15
  Speaker 4: But for me, the you know, family just allows me
• 53:21
  Speaker 4: to not get to like cool up in it, you
• 53:23
  Speaker 4: know what I'm saying. It gives you a reason to
• 53:25
  Speaker 4: get up and keep doing it, you know what I mean. So,
• 53:27
  Speaker 4: like it's family is super important to me.
• 53:29
  Speaker 7: Let me ask you a few minutes a question before
• 53:30
  Speaker 7: you rap.
• 53:32
  Speaker 5: Djying.
• 53:33
  Speaker 8: So DJing has become huge in your world, not really.
• 53:38
  Speaker 5: So much the hip hop world. Yeah, but the house
• 53:42
  Speaker 5: music medium techno.
• 53:44
  Speaker 8: Where like you see the Forbes list of the highest
• 53:46
  Speaker 8: paid DJ yeah, and these guys is making like fifty
• 53:49
  Speaker 8: million dollars a year and they're doing shows with like
• 53:52
  Speaker 8: thirty thousand people and there's no performer, Like the DJ
• 53:55
  Speaker 8: is the performer.
• 53:56
  Speaker 7: So how is that? How you've seen that?
• 54:00
  Speaker 8: Probably like you've seen the evolution of that and you're
• 54:03
  Speaker 8: in this space, So how do you feel about that?
• 54:06
  Speaker 8: And like what actually made that become so popular as
• 54:10
  Speaker 8: far as like celebrity DJs.
• 54:13
  Speaker 4: I mean the big shift was edim culture in the States,
• 54:16
  Speaker 4: like that whole time, Calvin Harris, theyd get a Vichy
• 54:24
  Speaker 4: Rest in Peace, Like these guys would have started off
• 54:28
  Speaker 4: just making music that they love and then the money
• 54:31
  Speaker 4: got involved and it just made it go crazy. Like
• 54:34
  Speaker 4: in Vegas, that's just what it is, right, It's dance
• 54:36
  Speaker 4: music now, and it's really interesting to watch. Like the
• 54:40
  Speaker 4: numbers that you hear are crazy, like people getting paid
• 54:43
  Speaker 4: up to a million just to turn up and play records.
• 54:47
  Speaker 4: But the work is done in the studio, Like you
• 54:51
  Speaker 4: get to have those fees because your music has reached
• 54:55
  Speaker 4: that many people, like you know it the DJing bit
• 54:59
  Speaker 4: is just like the final output, you know what I'm saying,
• 55:02
  Speaker 4: and then you can make it what you want. Like
• 55:05
  Speaker 4: I know David Ghetta, he works meticulously hard to make
• 55:09
  Speaker 4: sure his set is unique to the point that you
• 55:12
  Speaker 4: can't get anything he's playing unless you would come to
• 55:14
  Speaker 4: the show, even though he's playing his hits, but he'll
• 55:17
  Speaker 4: play it in a way that you've never heard it before.
• 55:19
  Speaker 4: So there's a lot of work, even though the actual
• 55:22
  Speaker 4: process for that type of artist on the stage is
• 55:26
  Speaker 4: on the surface will look easy, but it's all the
• 55:28
  Speaker 4: work that goes into it. And I just think, like
• 55:31
  Speaker 4: people just love the excitement of it, do you know
• 55:35
  Speaker 4: what I mean. But again there's different artists like me personally,
• 55:38
  Speaker 4: like I play differently I mean, and a lot more
• 55:41
  Speaker 4: groovy and a little less like hype, do you know
• 55:43
  Speaker 4: what I'm saying. So it just kind of because I
• 55:46
  Speaker 4: kind of come up with it more from a hip
• 55:48
  Speaker 4: hop perspective, which is like like slamming mixes, I mean,
• 55:51
  Speaker 4: rather than long mixes and stuff like that. So it's
• 55:53
  Speaker 4: just like different ways to do it, you know what
• 55:55
  Speaker 4: I mean. But again, it's whether you know, you get
• 56:00
  Speaker 4: people get greedy, so perhaps it stops the art form
• 56:02
  Speaker 4: from progressing a little bit at the times, you know
• 56:04
  Speaker 4: what I mean.
• 56:05
  Speaker 5: We talked about the especially in music.
• 56:07
  Speaker 10: There was a time where you said that you looked
• 56:10
  Speaker 10: to America to hear the sound in the influence. And
• 56:14
  Speaker 10: now that there's so much talent here, you really don't
• 56:17
  Speaker 10: even have to look across. Now we got so much
• 56:19
  Speaker 10: stuff that you're can here. What has that transition been
• 56:21
  Speaker 10: like for you?
• 56:22
  Speaker 4: It's been tricky, if I'm being honest with you, because
• 56:25
  Speaker 4: you think because of the Internet that you know, it
• 56:29
  Speaker 4: is in some parts easier to reach the world, but
• 56:32
  Speaker 4: people are also becoming more regionalized. So you know, over
• 56:37
  Speaker 4: here a lot of people aren't listening to any American
• 56:40
  Speaker 4: music really, like you know, they just listening to British
• 56:43
  Speaker 4: drill and rap and what's popping here because the scene's
• 56:47
  Speaker 4: becoming so engulfing, and the same with other places like
• 56:50
  Speaker 4: Italy and Germany and and like when I look at
• 56:54
  Speaker 4: what's popping in the States, when I look at Shazam
• 56:56
  Speaker 4: or look at the top fifty on Spotify or whatever,
• 56:59
  Speaker 4: so I'm of the records I've ever heard of, And like,
• 57:02
  Speaker 4: that's tricky, man, because it's hard now to like be
• 57:05
  Speaker 4: a global have a global record because the markets just
• 57:09
  Speaker 4: aren't engaged, do you know what I'm saying. So I
• 57:11
  Speaker 4: think the Yeah, it's an interesting time. And my personal
• 57:17
  Speaker 4: thought as well is like the we're fighting for art
• 57:23
  Speaker 4: at the moment a little bit. Like there's a lot
• 57:24
  Speaker 4: of information out there now, so like there are a
• 57:27
  Speaker 4: lot more people that are like pretty good at making music.
• 57:30
  Speaker 4: So there's a lot of artists, Like there's fucking sixty
• 57:33
  Speaker 4: thousand songs coming up every day, and that's a lot
• 57:37
  Speaker 4: of competition for people's attention. So I think it's tricky, man,
• 57:41
  Speaker 4: if I'm being honest with you, like for artists now
• 57:44
  Speaker 4: and being able to stand out and even make noise
• 57:48
  Speaker 4: in America in that way, you know what I mean.
• 57:50
  Speaker 4: And American radio it feels like it's only playing certain
• 57:54
  Speaker 4: stuff nowadays, like as a dance record is almost impossible
• 57:58
  Speaker 4: to get on like high up America and daytime radio
• 58:01
  Speaker 4: and stuff like that.
• 58:02
  Speaker 8: Songs. Let me ask you the last question. Let's talk
• 58:06
  Speaker 8: to drill music. Yeah, because I know it's not something
• 58:11
  Speaker 8: that you do, but this is observing it. It's really happening, yeah,
• 58:15
  Speaker 8: in the UK. So the interesting thing that I find
• 58:17
  Speaker 8: with drill is that it starts in Chicago, comes to London,
• 58:23
  Speaker 8: and then it's like the wave in New York. Right now,
• 58:27
  Speaker 8: all the young rappers that's like the most popular. All
• 58:30
  Speaker 8: the kids like they're listening to drill music. So when
• 58:33
  Speaker 8: I'm analyzing this, Chicago drill doesn't really sound like New
• 58:37
  Speaker 8: New York drill. It's a little different, but New York
• 58:40
  Speaker 8: drill sounds very much similar to London. So as I
• 58:44
  Speaker 8: was in London, I was asking a few people and
• 58:46
  Speaker 8: they said, well, one of the reasons is that a
• 58:49
  Speaker 8: lot of the producers in London actually produced records well America.
• 58:54
  Speaker 7: Yeah, so what's your thoughts on that?
• 58:58
  Speaker 8: Like, because I know the drill music, it's just it's
• 59:01
  Speaker 8: like a title wave like and it's just so popular.
• 59:04
  Speaker 8: It's kind of dangerous because there's a lot of there's
• 59:07
  Speaker 8: a lot of violence that's attached to it, right But
• 59:10
  Speaker 8: like you've seen the scene change in London, and we're
• 59:13
  Speaker 8: seeing the scene change in New York. And it's crazy
• 59:16
  Speaker 8: because it's almost identical. Like I said, even like I'm
• 59:19
  Speaker 8: listening to it, I'm like, they sound like they're from
• 59:20
  Speaker 8: New York. Yeah, it's like very very similar. So what's
• 59:25
  Speaker 8: your thoughts on the evolution of drill music out here
• 59:28
  Speaker 8: and the popularity of it.
• 59:29
  Speaker 4: I mean, I can only speak purely as an observer.
• 59:32
  Speaker 4: It's like I'm not making drill, you know what I'm saying,
• 59:36
  Speaker 4: But I'm a fan and I feel like I mean,
• 59:41
  Speaker 4: the first thing to be said is that drill, although
• 59:43
  Speaker 4: it sounds violent, like, it doesn't create violence. But the
• 59:46
  Speaker 4: bit that creates violence is like the people who are
• 59:49
  Speaker 4: making it perhaps talking about real life events for themselves
• 59:53
  Speaker 4: and that creates the violence for the other people involved.
• 59:56
  Speaker 4: But listen to drill don't make you violent, Like it's
• 59:59
  Speaker 4: a bubble like I think what's so intoxicating about is
• 1:00:03
  Speaker 4: the flows. Like it you can dance to a drill
• 1:00:06
  Speaker 4: flow like on its own. It's like a different groove.
• 1:00:09
  Speaker 4: Reminds me of dance all man. You know what I'm saying,
• 1:00:11
  Speaker 4: It's very captivating. Super and I rate all the British
• 1:00:15
  Speaker 4: producers that are doing bits in the in the States
• 1:00:19
  Speaker 4: for drill because that's what I was talking to you about.
• 1:00:21
  Speaker 4: Like where when I was first starting out to be
• 1:00:24
  Speaker 4: in black music, you have to be in the States,
• 1:00:26
  Speaker 4: basically there was no scene over here. So like that's
• 1:00:28
  Speaker 4: the beauty of the Internet that they can just send
• 1:00:30
  Speaker 4: beats out. I know a lot of the uh rest
• 1:00:35
  Speaker 4: in peace to Oh my God, I've forgotten his name.
• 1:00:38
  Speaker 4: The biggest jew artists in the world pop Smoke. It
• 1:00:43
  Speaker 4: was done by a lot of It was done by
• 1:00:45
  Speaker 4: a British producer, right, so.
• 1:00:47
  Speaker 7: Like, yeah, I just found that out recently.
• 1:00:49
  Speaker 4: Yeah, Like so it's sick man like I think also
• 1:00:52
  Speaker 4: because it comes we've got like a it reminds me
• 1:00:55
  Speaker 4: a lot of grime in the sense that do you
• 1:00:56
  Speaker 4: guys know about grime?
• 1:00:58
  Speaker 7: I got to put on to that yesterday.
• 1:00:59
  Speaker 8: I got a whole education, my guy, he gave me
• 1:01:03
  Speaker 8: a whole ever and then there's another thing that came
• 1:01:04
  Speaker 8: after that, right or something before that.
• 1:01:06
  Speaker 4: You had like grime, like grime kind of crime.
• 1:01:12
  Speaker 7: More of a like a vibe, like a party type
• 1:01:14
  Speaker 7: of vibe.
• 1:01:14
  Speaker 4: No, that grime is like pure industrial street music, like
• 1:01:20
  Speaker 4: it's got it's meant to sound like twash.
• 1:01:22
  Speaker 5: The artists the biggest artists at the time, it.
• 1:01:24
  Speaker 4: Would be like Skeptic and then old crews like Roll Deep,
• 1:01:27
  Speaker 4: Uh you know, d W e H. Bruiser, Like these
• 1:01:33
  Speaker 4: are old artists on back in the day, and it's
• 1:01:36
  Speaker 4: like the history of it is well documented in books
• 1:01:39
  Speaker 4: by there's a DJ called Target who written a book
• 1:01:44
  Speaker 4: about it. It's like it's probably one of uh, you
• 1:01:47
  Speaker 4: know when you come up with genres. So we had
• 1:01:49
  Speaker 4: drum and bass as well. It's it's something that we created,
• 1:01:53
  Speaker 4: like and I started out making grime as well. And
• 1:01:57
  Speaker 4: the reason wy Joe reminds me of it is just
• 1:01:59
  Speaker 4: got that old vibe to it. It's quite a cold
• 1:02:02
  Speaker 4: sound in music, do you know what I'm saying? Like
• 1:02:04
  Speaker 4: very digital, do you know what I mean? And so
• 1:02:06
  Speaker 4: that I feel like that's why we're very The British
• 1:02:09
  Speaker 4: producers over here just have that in our soul, man like,
• 1:02:12
  Speaker 4: so it's very natural for them to make drill music.
• 1:02:15
  Speaker 5: Where does Gigs feeling there?
• 1:02:17
  Speaker 4: Nice rap?
• 1:02:18
  Speaker 5: Yeah, that's that's Gigs calling.
• 1:02:23
  Speaker 4: Are you getting gigs on the pont hopefully?
• 1:02:27
  Speaker 5: Hopefully gigs is the dude? Great?
• 1:02:29
  Speaker 4: I could do a Gigs impression on camera.
• 1:02:36
  Speaker 8: Yeah, I said to see you know the similarities in
• 1:02:39
  Speaker 8: the music and the cultures blending together fashion and all.
• 1:02:42
  Speaker 4: That's very One thing about traveling the world though, is
• 1:02:45
  Speaker 4: you see how people's environments shape the culture of what
• 1:02:51
  Speaker 4: they like. So like our music over here. As I
• 1:02:54
  Speaker 4: was just saying, a lot is colder. It's a bit
• 1:02:57
  Speaker 4: more like low fight. It's a little bit more like
• 1:03:00
  Speaker 4: less shiny. When I go to America and I'm cruising
• 1:03:03
  Speaker 4: around in La it's so sunny and slow.
• 1:03:08
  Speaker 8: I get it, I'm saying, because you're in l as
• 1:03:12
  Speaker 8: it's you know, palm trees and palm trees.
• 1:03:14
  Speaker 7: It's like that's that was even like that's.
• 1:03:17
  Speaker 8: Their vibe, like you know what I'm saying, Like even
• 1:03:19
  Speaker 8: going back to Snoop Dre even before, like that's the vibe.
• 1:03:23
  Speaker 8: And then New York has always been gritty because like
• 1:03:26
  Speaker 8: that's the city, Like you know what I'm saying, it's
• 1:03:28
  Speaker 8: a gritty city. And I can understand why London would
• 1:03:32
  Speaker 8: be like that because you know, it rains a lot,
• 1:03:34
  Speaker 8: it's overcast, it's cold, so it's like like you said,
• 1:03:37
  Speaker 8: your environment dictates, like in Houston.
• 1:03:40
  Speaker 7: It's spread out so like they real slow.
• 1:03:42
  Speaker 5: It's like the accents.
• 1:03:45
  Speaker 4: It's so interesting that when you get into the culture
• 1:03:49
  Speaker 4: behind what drives the art geographically and geographic differences like
• 1:03:54
  Speaker 4: even the UH and I be for the kind of
• 1:03:59
  Speaker 4: rise of certain genres that got popular is due to
• 1:04:03
  Speaker 4: economic influences, so like more low cost flights started operating,
• 1:04:08
  Speaker 4: so like a different class of people were going there,
• 1:04:12
  Speaker 4: and so as more the travel routes opened up, then
• 1:04:15
  Speaker 4: their tastes would change, so then the DJs would have
• 1:04:17
  Speaker 4: to cater to that, and then the culture takes a stand.
• 1:04:20
  Speaker 4: It's like the balance of economy. The economy and those
• 1:04:23
  Speaker 4: shifts in business and how it effects the art is
• 1:04:26
  Speaker 4: so interesting.
• 1:04:27
  Speaker 8: Man, who's Who's who was the top artist in the
• 1:04:29
  Speaker 8: UK right now? For a couple for Wrap, a couple
• 1:04:33
  Speaker 8: for R and B, maybe a couple of day. It's
• 1:04:35
  Speaker 8: like just you know, for me, I love Central Sea
• 1:04:38
  Speaker 8: and Dull, Like yeah, Like I just think as far
• 1:04:43
  Speaker 8: as I know, he's independent. The way the amount, the
• 1:04:48
  Speaker 8: work rate.
• 1:04:50
  Speaker 4: The just it's so consistent and he just knows what
• 1:04:54
  Speaker 4: he's doing and just doesn't look like he's selling out
• 1:04:55
  Speaker 4: anytime soon. Like really good and he's got something to say.
• 1:05:00
  Speaker 4: And I would say, this doesn't get I mean, he
• 1:05:04
  Speaker 4: gets his flowers. But like I just think Ed Sheeran
• 1:05:06
  Speaker 4: is just a mammoth. I mean he's absolutely no but
• 1:05:10
  Speaker 4: he this guy is actually probably the most productive musician
• 1:05:16
  Speaker 4: like right now, like he's just knocking out songs for
• 1:05:19
  Speaker 4: everybody and then just hitting hard himself as well, like
• 1:05:23
  Speaker 4: whilst being a dad. Like he's actually insane. I mean
• 1:05:28
  Speaker 4: that's one thing though, like I would say, is what
• 1:05:33
  Speaker 4: I notice about Ed in terms of what he does.
• 1:05:35
  Speaker 4: He sticks to it and he just hammers it. Like
• 1:05:37
  Speaker 4: he writes songs and that's what he concentrates on. I know,
• 1:05:40
  Speaker 4: he's got his own investments that he's doing, which if
• 1:05:43
  Speaker 4: you ever talk to him, I let him speak on that.
• 1:05:45
  Speaker 4: Like but like you know, he's worked his money well.
• 1:05:48
  Speaker 4: But he gets up and he just knocks out what
• 1:05:53
  Speaker 4: he's really good at. And that sometimes that one dimensional,
• 1:05:56
  Speaker 4: like narrow kind of scope. He's not trying to go
• 1:05:58
  Speaker 4: off and do crazy brand deals. Not Sometimes that is
• 1:06:01
  Speaker 4: the most productive thing to do, man, Jemmy, So I
• 1:06:04
  Speaker 4: really respect it.
• 1:06:07
  Speaker 5: Well, it was a pleasure, my brother.
• 1:06:09
  Speaker 8: Thank you, Thank you for joining us, man, I really
• 1:06:11
  Speaker 8: appreciate it for sure.
• 1:06:13
  Speaker 7: What would you like to tell the people? I know
• 1:06:14
  Speaker 7: you got you know, a new song out?
• 1:06:17
  Speaker 8: Yeah, so I guess let them know that social media,
• 1:06:20
  Speaker 8: any information projects or anything like that to come.
• 1:06:23
  Speaker 5: Yeah.
• 1:06:23
  Speaker 4: Yeah, yeah, what's up? I'm Jack Jones and you can
• 1:06:26
  Speaker 4: check me out if you wants any advice whatever it is,
• 1:06:29
  Speaker 4: just hit me off by Jack Jones on all my socials.
• 1:06:32
  Speaker 4: I've gotta new something out with em and where did
• 1:06:34
  Speaker 4: you go?
• 1:06:35
  Speaker 8: It's a babba lah Troy housekeeping items.
• 1:06:40
  Speaker 5: Yeah, shout out to the UK nases man.
• 1:06:42
  Speaker 10: This has been an incredible trip, something that we will
• 1:06:45
  Speaker 10: remember forever. But we're going to be back to make
• 1:06:47
  Speaker 10: more memories. So shout out to all y'all. Shout out
• 1:06:49
  Speaker 10: to Jackson. This is a real This is a real
• 1:06:52
  Speaker 10: one right here, y'all, So shout out to him and
• 1:06:54
  Speaker 10: his old team, and shout out to all the ernest
• 1:06:56
  Speaker 10: that showed up last night and that we got to
• 1:06:59
  Speaker 10: meet and talk to.
• 1:07:01
  Speaker 5: And shout out to our UK.
• 1:07:02
  Speaker 10: Our UK team out here has been incredible. Uh, and
• 1:07:04
  Speaker 10: shout out to everybody that support the merch and thanks
• 1:07:07
  Speaker 10: for rocks.
• 1:07:08
  Speaker 8: Yeah, and definitely more UK content to come. EU y
• 1:07:12
  Speaker 8: l U K division soon come. It only makes sense.
• 1:07:18
  Speaker 4: Yeah, euro well we know in Europe no more to
• 1:07:21
  Speaker 4: be fair, so.
• 1:07:27
  Speaker 8: Yeah, more more content to come for all different parts
• 1:07:30
  Speaker 8: of the continent of Europe.
• 1:07:32
  Speaker 5: But right now we're in London, so we.
• 1:07:34
  Speaker 8: Focusing on the London massive So once again, thank you
• 1:07:37
  Speaker 8: for the hospitality.
• 1:07:38
  Speaker 5: We appreciate it. Thank you guys for rocking with us
• 1:07:41
  Speaker 5: next week.
• 1:07:41
  Speaker 6: Peace, my graduates from my school being forced back drop drop, Mike,
• 1:07:50
  Speaker 6: drop back drop, Coach.
• 1:08:03
  Speaker 1: The energy out there felt different. What changed for the
• 1:08:06
  Speaker 1: team today?
• 1:08:06
  Speaker 2: It was the new game day scratches from the California Lottery.
• 1:08:09
  Speaker 7: Play is everything.
• 1:08:10
  Speaker 2: Those games sent the team's energy through the roof.
• 1:08:12
  Speaker 1: Are you saying it was the off field play that
• 1:08:14
  Speaker 1: made the difference on the field.
• 1:08:16
  Speaker 2: Hey, little play makes your day, and today it made
• 1:08:18
  Speaker 2: the game. That's all for now, Coach. One more question.
• 1:08:22
  Speaker 3: Play the new Los Angeles Chargers, San Francisco forty nine
• 1:08:24
  Speaker 3: Ers and Los Angeles Ram Scratchers from the California Lottery.
• 1:08:28
  Speaker 3: A little play can make your day. Peace, pay responsibly.
• 1:08:31
  Speaker 3: Must be eighteen years or older to purchase play or
• 1:08:32
  Speaker 3: claim