"I released Junior H's first song ever" - DMG Bryan | Agushto Papa - Agushto Papá Podcast

Episode Transcript
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Speaker 1 (00:00):
An artist hits me up and I what's up?

Speaker 2 (00:01):
Bro?

Speaker 1 (00:01):
Like I want to start my my artist career. I
just don't know where to start. I'm like, what's your
what's your artist name? Oh yeah, my artist name is Junior.
This is Junior H's first song ever. I fucking cried
because this is my fucking dream and my dreams got
shattered right in front of me. And I don't blame
it on Junior at all. It was it was more
on like you false.

Speaker 2 (00:21):
Promises and like send me he like take this day.

Speaker 1 (00:25):
Was like they were mad at me because I remember,
like them going on podcast. I'm kind of like talking
mess about me, which I understand.

Speaker 3 (00:30):
Bro.

Speaker 1 (00:30):
I don't blame any of these guys. I've heard rumors
that their contract is about it and with the label
out there, I'll say no matter what you get offered
out there, truly. Brian Jeffrey Almighty, I promise you.

Speaker 2 (01:05):
Oh y, I'm a man. Okay, what's up? Guys? Welcome
back to another podcast. If you guys are new to
this channel, makes you guys like comment and subscribe, Listen
to us on the iHeartRadio or wherever you listen to
your podcast. Today, Guys, we have a special guest the
first time from Texas CEO of d MG, Brian.

Speaker 1 (01:26):
Guys. Hey, I want to say, first of all, thank
you guys for having me here Angel Diah Goo Jason.
I really appreciate it. I was talking to you guys earlier.
This is my second podcast, So thank you guys for opportunity.
I appreciate it, read.

Speaker 4 (01:42):
The honor to have you here. I think something that
we all have in common is that we love music. Obviously,
you know you you've been in the game for a
long time, and can you tell us, like, you know,
how do you feel about being in this movie scene
that kind of like recently blew up?

Speaker 1 (01:57):
Man? It feels good, and it also feels good that
I'm literally in a room that people like you guys
are literally my age, Like we're around the same age.
I'm twenty six, you're twenty twenty.

Speaker 2 (02:08):
Five, twenty five five.

Speaker 1 (02:10):
Yeah. I have a real question for you guys though, Like,
for real, what age you think is unk status? Like
what is the guys call us?

Speaker 3 (02:18):
Bro?

Speaker 1 (02:19):
Bro? I know That's what I'm saying, Like I think
that is like thirty, I think like five, say twenty eight.

Speaker 5 (02:23):
Bro, that's that's two more summers, buddy.

Speaker 1 (02:28):
But but yeah, maybe thirty. I don't know.

Speaker 5 (02:31):
Yeah, it just depends what you're talking to.

Speaker 6 (02:33):
Because my little cousins that are like eight, they probably
think I'm like fucking Santa Claus and the ship with the.

Speaker 2 (02:39):
Persons and ship that gives this man the caine. Damn.

Speaker 6 (02:44):
Yeah, but thank you so much for being here. I
think there's a few things that we got to talk about.
But I can put people that you know for the
people a lot of people know you for the people
that don't. You know you got mine to the name
where you're from and what did you start?

Speaker 1 (02:57):
All right, guys, souh name is DMG Brian. Well Brian.
Some people call me DMG Brian. Some people call me DMG,
some people call me Brian. And Mexically coming Bri. I
think that's like a thing over there, Mexicley coming Brie,
which I think like it sounds like a girl named
but I'll take it. I got started in music honestly
young as fuck.

Speaker 3 (03:18):
Bro.

Speaker 1 (03:18):
I got started music when I was realistically okay, So
my dad plays a bass. He started like bro since
he was since before he had me. BRO and I
started officially music in like twenty fourteen twenty fifteen when
I was like fourteen fifteen, and I started because my

(03:39):
dad he's like hey, like I mean, he's like hey,
getting And honestly, I was the mom's boy at the time,
so I'm like, no, I want to be with my mom.
And he's like the pavo. I'm like, oh word.

Speaker 4 (03:53):
Went away once hear cash.

Speaker 1 (03:55):
I'm like, oh word, and he's like the pav and
I'm like I said, he's like Solo Carrillo's courses a
lego to set up they keep them, and I'm like,
all right, but I'm down. So that's what I would do.
I'll go to Socallas and I'll just sit there. I'll
help him do all that. I wasn't fan of music,
but that's because I was only introducing to Cumbia's. It

(04:16):
was a Cumbia group or like people ring these music.
I mean, I don't I don't judge. Don't judge, you know,
like it's a music. I mean, it's not my it's
not my my bread and butter, it's not what I love.
I mean, I don't mind it. Well, not honestly. Now
that I get older and I listened to my damn,
now I know what my parents walk with the ship.

Speaker 5 (04:34):
It's not an it, it's a mindset.

Speaker 1 (04:37):
This yeah, bro, hey, and don't says look like I
would get bored. I was young as fuck. I told
you guys, I was like fourteen, maybe thirteen fourteen, And
then I would like so now that I was there,
I would grab the chairs. It was I didn't have
a phone back then, right I was. I mean, I
mean fourteen thirteen, but like it wasn't that common for

(04:57):
maybe I don't know, Maybe I just I don't know.
I just I don't a phone at that time. And
I mean I wouldn't. I would just have no choice
but to sit there and look at the group pos
actually playing. And so I got introduced into new genres
of music, like, for example, one of the groups is
called I don't know if you guys have heard of Norten.

(05:20):
I don't know if you guys are a second northena song.
And so I would be there and I heard it
and I see according I'm like, holy ship, this is
like corrido, this is like some nice like I don't know,
I fucked with it. And so I kept going and
he like they would fit. They would be like on
stage with a like it would be advent violist stuff
like that, Miguel. And that's when I got introduced into

(05:42):
the music that Miguel Miguel. And I'd be like, holy shit,
you know obviously the OJI songs and I'll be like, no,
Mom is like this is I love this? And that's
when I told like my dad, Dad, I like I
because he was already disappointed me because I told him
I didn't want to get into music, but I'm Dad,
honestly accordion. I wanna. I want an accordion. I want

(06:03):
to learn how to play according And he's like nah,
so like and so I'm like, all right, well, like
I'll buy me a cheap one, at least like a
thousand dollars one, which honestly it's a small loan of
a million dollars. No, it's it's a it's a it's accordion. Right.
There's like corners like the basic conors. Then there's like, uh,

(06:25):
there's is like the Big Dog with Honor pinches, I
think I don't know, whole bunch of brands, uh, which
is like the Angel the Baby version, which is like
literally used a thousand bucks, you'll get one used And
so Honestly, I really appreciate my dad for for this.

(06:46):
He he would pay for my classes to learn according
and so he bought me the according He helped me,
uh pay for the classes of course. Uh. This is
something that I always keep in mind even till now. Like, honestly,
if if it wasn't and there's a lot of things,
if it wasn't for my parents, a lot of things
I lined up. If it wasn't for God, I wouldn't
literally be where I'm at. And I'll tell you guys

(07:08):
more about that later. So, uh, he would pay for
my classes and he uh would take me to well,
my mom would take me to to my teacher. Yeah, yep,
in Aquodion, I will learn how to play the accordion,
poco poco and all that. Nowadays, people learn on YouTube
and they learn fast as fucks. Honestly, you don't even
need a fucking teacher. I heard like Ramon actually did that.
I saw one of his podcasts with her interviews with

(07:30):
a Pepe like who taught him. He's Stampini YouTube and
TikTok and okay, But in my days, I don't fucking know,
maybe there was there was titorials. So that's where I learned.
I'll learned some songs. Anyways, I learned, and then eventually
I started going to Los Ucas. I would go play

(07:52):
accordion and I'll go to Lascas. Right, I'll get paid
one hundred and fifty my my two hundred bucks, and
I'll be happy with that. And that's that's that's my
nichues that La Mosica right later on, eventually after doing
that when I was sixteen, and then when I was
doing seventeen at eighteen, at eighteen seventeen. So look, I

(08:15):
graduated high school in twenty seventeen. For I was like,
you know, and I want to tell you guys this,
So you're probably born in two thousand, right, two thousand
and two thousand. Bro, imagine fucking people asking me for
a little kid, right, a little kid, let's say five
six seven year old man. Even the teenagers now they're savages.
So let's say even tell them you're born, Like where
year were you born? You're like two thousands? Are like okay, cool, right, bro?

(08:37):
I tell him I was born in nineteen ninety nine,
Like I'm I'm like a nineties kid. So it's like
holy shit, Like I think I'm a next fuck.

Speaker 4 (08:44):
Yeah, that is honestly for him, he's a You're like, oh,
you're not part of our jenery. They're like damn, Like
I know, bro, that that's the cutting cause.

Speaker 1 (08:52):
Then I know, So that was okay. So seventeen, all right,
I graduated seventeen, and after high school I got a job. Well,
keep in mind, during this whole time before I got
into music, I think you guysould know what I would
do before. Like I said, playing bands is one of them.
I would also, I don't know. I've always been a hustler.
It's just something that I mean, Look, my dad came

(09:16):
here without papers, so did my mom. I don't know
about you guys. I'm pretty sure most of us have
the same stories. We have parents that come here without papers.
They're here scared for me, you know. Unfortunately people still
that still happens right now. So I look at my dad,
I look at my mom, and one thing is that
I know they went through. I know that they went

(09:37):
through hell. I know they went through a lot, especially
my dad telling me stories of being homeless, of him
having to gather up worms and selling them, of him
obviously like a lot of Hispanic parents, work in the fields.
That's something that's always hit me deep down. And I
look at him and I'm like, bro, I can't. I
can't let this shit go for granted, I have to.
I have to do something for myself. I have to.

(09:58):
I have no choice. They're else. My dad did all this,
my dad risked his life, my dad left my grandma.
It's too early on to be getting emotional. What the fuckna,
But it's because it's sorry. It's it's because like, no,
MoMA is like, think of all the fucking ship that
that our parents went through and and people. It's a disrespect.

(10:19):
It's like a it is a disrespect. I was gonna
say this grace. I know that's the right right word,
but it's like, literally a disrespect to your parents. They
they brought you here for the best life, and you're
literally she's gonna sit at home.

Speaker 6 (10:32):
Uh.

Speaker 1 (10:32):
I mean, I have nothing with smoking weed, But if
you're that's already gonna do. Be at home, smoke weed,
play video games and let your parents work their ass
off until they fucking die. I think that's a disgrace.
I think that's like, come on, man like and and
if it hates you, bro, I am sorry, like the
people watching, I'm sorry, and like, it's just you got
to think about it, man, our parents are going to
be here for a limited amount of time. I'm telling
you this because, like I said, I'm twenty six. Thank

(10:54):
god my parents are still alive. And and yeah, man,
like anyways, so that's why, that's why, that's that's why.
I was a hustler working in the fields right picking blueberries.
My best scene across the street when I was like sixteen.
She was so torta. So I'll go to her house
in the morning, I'll go make the tortas with her,
and then we'll go to the fields and we'll go

(11:15):
sell them. After we're done selling them, then we go
back into picking blueberries. It was usually blueberries. I worked
more than blueberries in Oregon. That's what we have a lot.
Oh yeah, for the people that don't know, shout out
to my Oregon people. Shout out to my five oh three. Honestly,
that's where I was born and Salem, Oregon, and that's
that's that's where I belong as throughout the years. Man,
I moved to Houston, and dude, thankfully, ever since I

(11:38):
first went in Houston, I'm gonna tell you guys this
all right. I don't think a lot of people know this.
Like I moved out here in Houston. When I moved
to Houston, literally, bro, I might sound like the same,
but for our girl, I got moved there because of
I know, I know, I moved there because of a girl.
And whenever anyone would ask me why did you go
to Houston, I'm like, Oh, because they have better text

(11:59):
benefit it. Oh because they don't have a stay tax,
you know, all these excuses. But no, that's it was
because of a fucking girl. Like it was because of
a girl. I flew there, and ever since I went there,
I met a couple of people like I met me
Compa Marvin, I met actually I did a deal out there, Kuana,
with another another record label out there, you know, Compa COMPANDIH.

(12:21):
We sold an artist over there, like in twenty twenty.
And I'm like, going back and forth in the time.
I don't know, that's cool what you guys were. So
we did deals over there, and ever since I got there,
people there have treated me like with so much love. Man,
I think I think, I think in organ it She's
like it's just so small. There's not really look so
before I actually went there, the Corrido Seine wasn't as
big as as as it is now, like even the

(12:42):
taquachi scene back in twenty twenty. That's because there was
nobody known. Oh there there was nobody, like, no non
groups groups. I said, let me fucking I got mixed
up with Spanish and English, but no, no, your group
post exact those English and tonsas like, I think the
only ones were literally in Oregon in my time, I
don't think there was anybody, bro but think again, this

(13:03):
was twenty sixteen, seventeeny eighteen. I still stop on pins
and where it is. But anyways, going back to me
working in the fields. Hey, by the way, I don't
know if you guys could tell, but I do have ADHD.
For the people that don't know what ADHD is, that
like you're kind of I want to consider a weakness
because thanks to that, it's like you get creative as fuck.

(13:24):
Like it's like you're basically so whenever some people say, oh,
I get creative when I smoke, and that's when I
that's when I know how to write music and all
that shit. I'm creative, like I think just by birth,
like in a good way and in a bad way.
Because that also means that like to focus. It's pretty hard, bro.
Like you, you you bounce from one thing to another.
So in the interview, if you guys are like, what

(13:45):
the fuck this guy's bouncing from one thing to another thing,
I'm not gonna blame it on it, but I think
it's like a it's like a curseon of blessing. Man,
I don't know that's a curson of blessing. I actually
read a book that was talking about how it's called fuck.
I gotta think of the name, something about how I suck,
how psychopaths think, and why they do what they do.
And in that book it actually said that like every

(14:09):
single thing like depression, anxiety, ADHD, those are yes, the
mount sound like they're like bad things, but they all
have a benefit to them. For example, one of the
things is anxiety. Back in the day's caveman, they would like, right,
you would have to run for a fucking dinosaurs or whatever.
I don't know, man, I don't know. I'm not a
history teacher or ship like that. You have to be

(14:33):
fighting always in fight or fight mode, right, So when
you had anxiety, these guys would make better decisions like
oh wait, maybe it's not good to go there because
you would overthink. You're like, oh shit, I might fucking
die either. So same thing with ADHD. With ADHD like yeah,
you might not be focused, Yeah you might be jittery,
but you're also more creative. So it comes with a
blessing man. And so that was just like a little

(14:55):
side note on top of what I was going to say. So,
like I said, for like the fifth time, I come
from a family or from family of immigrants. And before
I started the music, like I said, blueberries selling tortas,
and I remember selling tacos. A matter of fact, I
guys seeing the picture on my profile. So I would
sell tacos. That same lady, which was my neighbor, she

(15:17):
would take me to Horti Pels and I would go
with her and sell tacos withos Mango and you know
the caro. So I would work all that stuff. But honestly,
I would like to go work at Ta Keto or
the like with her, because that girl would work at
Hardipels and I will get in for free, and I'll
get in like right there. So I'm like okay. But

(15:39):
and one of those times I'm never gonna I'm never
gonna forget this. It's gonna be a memory that I'm
always gonna I'm always gonna keep. And actually I haven't
got in too told him I've already met him like
a couple times in person patrols Mario Daniels. I don't

(16:08):
know how I did it. Bro There was a group
going backstage right and I snuck in with that group
right like you know, like I think I was like
medio shift and I snuck it with that little group backstage,
you know, I think they were about to play, and
they let me. Nobody said nothing, and I saw the
r V that to kind of just like teachers finished
playing and they was right there. So I went up
to Uh, I went up to the security guard. He

(16:29):
just closed the door and I went up to him
or the driver and like he stop, and he said, well,
I gotta go ask them. So he went back inside
and keep in mind they were done playing, and he
went back inside and he came back out and he's liked, hey,
they said it coming and they let me in. Said
of the r V, I still have model everyone from
mostukanas man and they were so humble, like they let
me take a picture, and I'm like for them to
like still let me in the r V and still

(16:50):
let me commuted with them. That's a memory, man Like,
I'm never gonna forget the legends room.

Speaker 5 (16:55):
Yeah, legends.

Speaker 6 (16:58):
And I was like, oh, yeah, we had a we
had to just talk to Caesar about it, and he
was telling us how like he never leaves a person
without head. He goes all the way to the end
like everybody that wants to take a picture, and.

Speaker 1 (17:11):
That's what they said. Yeah, but they proved there right there.

Speaker 5 (17:13):
Yeah, I know, you're proving the stories that they were.

Speaker 1 (17:15):
Saying literally literally, And I'm never going to forget that,
man Like. I think that's one of the life changing
moments for me because at that time, I was already
getting introduced to careos. Like I said, Miguel Miguel located
at people. I don't I think those were like the
two main ones, Miguel Miguel number one always I don't
know them.

Speaker 6 (17:35):
And then right there, so you were learning to play
the accordion, and then that you decide you wanted to
be like an artist or what was or where did
you shift into hey, you know, like maybe or where
where ye like what the music do you want to
I want to take.

Speaker 1 (17:48):
The reason I got into music. So after I did
all those jobs, I had a last job, actually second
to last, which was working in an office job. Right,
I would whenever you go readishare business in Oregon, I
would be basically the one that registered registers Registra. That's
kind of where I learned a little bit on the
business side. And at the same time, like it was

(18:10):
only supposed to be like a summer job, like a
like an internship. Right, it was right after high school
and I would do that and like mid midway, I
started a channel on a SoundCloud. I feel like I'm
skipping out on a couple of things, but basically, yeah,
I started a channel on SoundCloud and on that channel
I only started it. It's so funny, man, because that

(18:32):
channel is the reason I got Like I found general
h or Mere Escape with right coredn't playing and all that,
and then there'd be music on I'd be a musica
and YouTube people I don't know for some reason, they
would not upload on platforms that much. And the guy

(18:55):
that would upload them Mexicano music and oh wait, Mexicano music.
Uh junior music. I think I don't know econom music.
Maybe I don't, but for sure with Junior music, Correo
j R. Music, those are like the O days if
you know about that, like you know, like those are
like the underground ship.

Speaker 2 (19:12):
I think the Mecano music was the one that put right,
like I think it was under econom music.

Speaker 1 (19:19):
I think I'm not sure.

Speaker 2 (19:20):
I'm not sure. I don't know. It was one of
those channels.

Speaker 1 (19:22):
Yeah, it was underground channel. It was an under ground channel.
So yeah, and I would hear this music and it
started with like small bands right, and I'm like, what
the fuck? I love this song? Like why is it
not on the platforms? And like whenever you lock your phone,
the music so I was playing right. But when I
would go cut the grass like my parents.

Speaker 2 (19:40):
The reason you move, that's great. I don't know.

Speaker 5 (19:43):
I know you you're get an add like no because
people might not really know about them.

Speaker 2 (19:49):
But I don't know.

Speaker 5 (19:51):
I feel like I don't even know about YouTube. I
mean I know about YouTube. I don't know about like
Apple music and all that.

Speaker 4 (19:55):
Like I feel like YouTube was like the main way
to listen to ship. But like you said, you couldn't
lock the phone and know, so I.

Speaker 6 (20:00):
Thought that you had to like pay for it, So
I was like, I don't even have money or a
card or anything, so had it be YouTube? And then
that was annoying because you would have to like keep
touching the screenpark And Yeah, I feel like a lot
of us were just so young that like we just
didn't have money from like so yeah yet sold.

Speaker 1 (20:12):
Yeah yeah, but we're definitely youngstatus. We're definitely ungstatus people.

Speaker 6 (20:18):
Everything that you're saying, like just are you like randomly
asked about dunk status, like it just comes back to
like proving we we might be that everybody.

Speaker 2 (20:25):
Is like what the fuck? Yeah, example music, because also
you might not even know about SoundCloud bro, no, no, no, they.

Speaker 6 (20:32):
Do a concept that you guys don't know people watching
is that artists. Now you see artists like they upload
the music to their own channels or and the channels
of the record labels are in. But back then it
was like different channels that just kind of had like
those views, those likes, that engagement. So if you were
an up and coming artist, then nobody knew about you and.

Speaker 2 (20:51):
You upload your those page.

Speaker 6 (20:53):
Yeah, you upload your song to your own thing, like
you might get a thousand views or whatever, but you
uploaded to one of these like big established channels, I
would get a lot more exposure. So that was like
a super common practice back in the day. I don't
think it is that much anymore.

Speaker 4 (21:05):
That was the way to promote the That was a
way to go back there.

Speaker 2 (21:08):
But I think it was so cool because it was
like those O G underground pages like Makano Music in
Junior and all of those, and then there was like, oh,
only the famous ones are going to get uploaded to,
like like Bettos.

Speaker 1 (21:21):
Yeah, far Bro. I totally forgot. I totally forgot about that.
But it's just such an important part of music.

Speaker 5 (21:31):
Wait, so so you need the you switch to sound,
so you said.

Speaker 1 (21:34):
Yeah, So I was in I was in soundclaud and
I would only I would hear like cord Music and
they would upload music and I'm like, why is it
not on like Apple Music or actually Spotify. I don't
know about Applemusic. I don't even know if it was
a thing, but why is it not on Spotify? Oh? Fuck? Actually,
I wanted to tell you guys something. I want to
tell them something. I asked him, something like for real,
for what age you guys think is anstatus like I

(21:57):
want to be like I want to hear you guys,
is like on the comments, I want to hear you guys.
What age is un status like twenty six plus forty
someone cooked it for nah yeah and thonesays. And I
started on SoundCloud and that's the only reason I would
upload it because I couldn't lock my phone and I'll

(22:19):
cut the grass or uh yeah, I think I think
I started. I started at the gym whatever it was.
I couldn't lock my phone, that's the point, so I
would lock it. It wouldn't play. So I'm like, you
know what, on SoundCloud, I can upload anything. So let
me upload a song that I want so I can
listen to it. Right, For some reason, it was public
and right i'll see like oh yeah, like two plays,

(22:40):
three plays. But I only did it for me at
the like to be started. I only did it because
I love music. I love that type of music, and
so I would upload music, right. And I think one
day came one day when like I just I was
like saying doing the same thing. I honestly didn't take
that many songs for me to upload. I think it
was like three four. I can texta no your Creo Querra, Corridos,

(23:07):
Junior Music, Creoa, Damaged Crew. Oh no, this is what
I don't know if you guys remember Damage Crew, that's
also another channel. Uh Anton says, this is no Serra
and Monstro one of those, and I'm like, fun with this,

(23:29):
let me put it to my channel. So that's what
I did. And honestly that she grew fucking fast as fuck.
So honestly, when I was on the channel, it wasn't
big yet. I think a lot of les maybe Ran
was getting there. But when I it was Montro and
then from there I falked with him a lot and guitar,
and then I kept uploading like uh fuck, I don't

(23:51):
even know. I don't even know how many songs it was,
but like I fought with him that much, and well,
as he started growing, like I don't know if it
was like because the YouTube or because of SoundCloud, but
it blew up on both sides on SoundCloud and YouTube,
and so he started blowing up, and that's when my
channel started blowing up. So it was weird because I
want to upload him, like none of said. I would

(24:13):
also upload am Buskiz obviously obviously we know you know
he's a he's a got so uploaded Abram Basquez before
he was like no, all these artists when they were
like still underground, I fucked with him. I'm like, bad,
let me let me upload it because I kind of
like my fucking phone and I needed to listen to
his music. And yeah, that's how my channel started growing

(24:35):
on SoundCloud. And at the time, I was already doing
like uh, like I said, I was working in office job,
so I'll do like that part time. And it got
My channel got so big. I think it was like
the second one or the first. I think it was
like the first biggest SoundCloud channel and regional Mexican at
the time. Like I said, YouTube and SoundCloud was a
ship back then, well at least SoundCloud. I don't know.

(24:57):
I think YouTube still is a shit.

Speaker 4 (24:58):
But wait, it was a SoundCloud playing paying for like
the streams, or.

Speaker 1 (25:03):
At first it wasn't so so it was it's kind
of like YouTube, you you kind of have to get monetized, okay.
So so once I got monetized, I was making a
little bit of money, like one hundred bucks, two hundred bucks, right,
but I never did it because they were paying I
only did it because genuinely for the love of music,
Like two hundred bucks is cool, and we'll get more

(25:27):
into that into like why say it's never been about
the money. I have a strong believer if you do
something and you're consistent with it that and you do
it for the passion and you truly like believe in it,
the money will eventually come.

Speaker 3 (25:40):
Bro.

Speaker 1 (25:41):
Like you gotta people go into ship like thinking, yeah,
I'm going this take it. I wanna make money right
fucking way, and going with that mentality already making money.

Speaker 4 (25:48):
It's a long journey before you make money.

Speaker 1 (25:50):
Yeah, yeah, yes, you obviously like when you do it
for fun and then you're doing it right, everyone starts it.
I don't know how did you guystart. Did you guys
start as a hobby or did you guys know what
you guys were gonna do?

Speaker 2 (25:58):
Oh, I feel like we can have like some of story.
So we started off as a group first like we
were in a band. Shit really, I think it was
like twenty sixteen. And then also have like a similar
story from you, like I forgot that I also uploaded
music that I wanted to listen to on SoundCloud. Oh fuck,
and that my page was actually growing I don't know
if I ever told you.

Speaker 1 (26:15):
They were probably my company. You were.

Speaker 2 (26:18):
The second biggest, like underground something. But I used to
upload music from Jade Tres, which was a I think
it was the first artist that sent to Streeteah. But
they were just on YouTube, so I would have run
to SoundCloud.

Speaker 1 (26:30):
Too, I didn't know that. So you guys were a
group and then eventually you guys are fucking like, let's
talk our ship, and then it started as like a hobby.

Speaker 4 (26:37):
We we actually try to make it like in the
music industry, like our dream was the guest signed by
fucking you name it, Rancho Del like all the big companies. Yeah,
it didn't work out because we just didn't work out.

Speaker 1 (26:48):
Its tent show that you guys did a for Dell.
I saw the picture.

Speaker 5 (26:51):
Puting that part off now kidding.

Speaker 2 (26:54):
But so yeah, we we started the group and I
felt like we were doing pretty good because I feel
like there wasn't so much competition yet you know. Yeah,
it was like in our area, like we would have
all the gigs like Friday, Saturday, Sunday, and like we
never really had like a real job. I mean we
did have real jobs, but most of the money came
from music. Yeah, but you know, like we fell off
with the singer. You know, obviously like the singers sometimes

(27:15):
it's like they think they're like the best ones. And
then we were like, fuck, I'm just the basicy just
that into like so I want time for like a
long time. But then he went to the point where
we're like, damn, we can't do this. And I was
like heyon like, let's sart a podcast, you know, like
kind of like the Pavost office office like in English.
And then from there we're just like.

Speaker 5 (27:31):
Yeah, there was no like, oh, you know, we're going
to get money off this.

Speaker 4 (27:35):
I mean, I think at that time people were still
being criticized for like listening.

Speaker 5 (27:39):
To the music.

Speaker 4 (27:40):
All right, guys, we're back from the break. So Brian
as we were saying, your SoundCloud channel blows up, how
do you get in contact with Junior Action?

Speaker 1 (27:49):
So my SoundCloud blew up? Right, A guy shout to
my boy. His name's Felix. He reached out to me.
He's like, hey, I have an artist that he's he
wants to start straight from zero, right super Americans in
Ton says I'm like, yeah, bro, send them away Instagram,
And then you know, an artist hits me up and

(28:11):
I had what's up?

Speaker 4 (28:12):
Bro?

Speaker 1 (28:12):
Like, what's up? Like he said, hey, I want to
I want to start his career, but I want to
start my my artist career. I just don't know where
to start. I'm like, yeah, bro, i'll help you, you know,
I'll help you promote and all that stuff. I'm like,
what's your what's your artist name? And said, oh yeah,
my artist name is Junior Ace And you know it's funny,
it was actually spelled h A c h e, so
it wasn't Junior. It's like little litteralmente, yeah, spelled with

(28:37):
So that's what happened, man, I'm like, yeah, let's do it.
And then we started working together. He actually the first
song that we actually released, Like like I said, we
I wouldn't work platforms back then. I would do like SoundCloud.
And then eventually came the the YouTube. So it was
a song Loos West Break. I don't know what that means,
but that's what that's what it was called. That song

(28:59):
was recorded I think was on his phone, bro, and.

Speaker 6 (29:01):
Then you said he can cut with a song. You said,
that's the song that you uploaded, the first one you
uploaded or was that the first song you can.

Speaker 1 (29:06):
That's that's the first song I helped him upload. So
it was the first song I helped him upload. And
that song like I think he recorded on his phone.
I think I still have it, but it was it
was so I'll show to you guys later. It was
so like I mean, I don't know if he recorded
on his phone or like he was just it was
like I P He's like, we we upload it for

(29:28):
a day and he's like no, no, He's like, let's
take it down. Let's stick it down. I don't like
the way it sounded, so we took it down and
then that's when we started uploading new like music. For example,
one of Nina is obviously like one of the golded
ones Lila Chevy when I was a moro no he yeah,
I don't think I got to upload, but it was

(29:50):
definitely La Chevy. And that's when I started uploading the
channel on YouTube. La Chevy there's a moro, but the
one I remember that day. Matter of fact, the I
remember I saw a picture on my snapchat. Bro I
would like I would like be like, uh, teking like
videos of me recording because I had to teach my

(30:11):
how self, how to record and all that stuff. I'll
tell you guys more about that later, but eventually I
remember when hit five hundred case streams on YouTube. Before that, though,
when I was working with like when I was like
Stone Socinios, He's like, hey, Compa, I like you, I
want you to be my manager. Like back, comp I'm down.

(30:33):
And then he's like, hey, bro, and that's where my
cover comings to play. I know you guys heard it.
I thought it's on his first album.

Speaker 5 (30:41):
That's one of my favorite songs.

Speaker 1 (30:43):
Really yeah, so it was it was it was uh,
and that's what happened. And then from there I became
I became his manager. And it came to the day
where he's like a label hit him up and then uh,
He's like, hey, deal was my manager. And so I
was his manager at the time, and it's like, hey, bro,
I want I want to sign him. I'm like, all right,

(31:03):
send me the contract and keep in mind, bro, I
was I was. I was only dealing with SoundCloud. I
was like, I was not honestly prepared to be a manager.
So like, that's just me being honest, bro. I mean
I was eighteen nineteen. But he's I'm like all right, Bete,
all right. So he's like, all right, I'm a fly
I want to I want to fly him to La.
I want to fly you guys to La. So that's

(31:25):
when he flew. I flew to Jeneral H's house and
he picked me up. You know, it's so funny, like
I flew there like a day before, maybe like two days.
Thing was like a day, day and a half before whatever.
It was like the day I landed like it was
almost like a day, bro. We literally went to like
Jack in the Box and we're about to clothes and
we got chacking about the pen Expres's one of those,
and we got like two footballs and then we went

(31:46):
to like a viewpoint. It's not what it seems, not
what it seems. So we went to a viewpoint and
we're just talking. I remember, like our way there FU,

(32:12):
that's crazy, all right, right, get get hopefully I'm hopefully
I'm not blushing anyways, So we went to I don't
know to say, we went to the viewpoint and we
talked and I remember like we were bumping music at
the time. You know what song was bumping, bro, It
was Markapee or throw STIPs like from that like from

(32:37):
that little like that time. It was that type of
music that we were bumping and uh yeah. So we
went and then I stayed over at his house. He
introduced me to his to his uh, to his dad.
I don't know if I met his mom. I met
his his sister, and we stayed in bunk beds and
in his room, and you know, it's so funny the

(32:58):
first time. I don't smoke weed, but like I never
smoked weed until like he's like a real let's uh
like you said or something like that, wax, I don't
Wally told me. I'm like, no, I'm never And I
remember like being on the bunk bed. I'm like top.
He's like, all right, it's gonna be it's gonna be
your first time. And I took a hit and I
actually remember so clearly. I took a hit and I
was like laying down. I'm like He's like, I'm like,

(33:23):
he's like what He's like yeah, I'm like, I'm like
all right, He's like and then he said he said
I had a closure closure eyes and I was closing
my eyes and I'm like just staring silence. He's just
watched me. He's like he's like, what the fuck? And yeah,
that was my first experience. I don't think I ever like,
I don't think I even thought anything.

Speaker 2 (33:44):
And where did he live? Because you you flew in from.

Speaker 1 (33:47):
From Oregon to where well, huh, to Utah? So I
flew into Utah to saw Lake and then from there
has he already said where he's from?

Speaker 2 (33:57):
Bro?

Speaker 1 (33:58):
So that's that's that's that's where he was. That's where
he was, That's where he was staying at the time.
I don't fucking know where he's staying. But like at
the time he picked me from the airport, we went
to Provo to his house. Like I said, I met
all his people viewpoint blah blah. The next day we
flew out and we went to meet with the rec label.
That's where kind of the thing comes in about my

(34:18):
record label. You know, at the time, I only wanted
to be a road manager. Why did I want to
be a road manager because my plan in my head
was to do events. So I wanted to host events.
I wanted to get all these like bud Row managers
so I can meet these people and eventually bring him
on events and eventually through my own events. So that's
that's that was that was that was what I initially wanted. Okay,

(34:41):
so I go over there and then this uh the
rec label. Basically, I made sure to ask him on
the phone call before we flew to it. Later I'm like, hey,
which honestly, now I don't have no beef with him.
I mean we talked, and now that I put myself
in a business perspective, I know why things played out
the way they did. So I'm like, I'm I'm so
thankful that everything happened the way he did, because honestly,

(35:03):
if I didn't, like, if I didn't, if things didn't
play out the way they did, DMG wouldn't have helped
these artists grow from the channel, from the artists from uh,
from both sides. So what happened is UH. Before I
went to LA, I made sure I got on the
call and I said, hey, I'm down. We're down to sign,
but on one condition. That condition is for me to

(35:25):
be the role manager. And he said, yeah, come BA
fuck it, blah blah blah. Yeah, no, BA won't make
it happen. I'm like, all right, I'm down for that.
And I'm like, all right, bet like I'm done a flight, LA.
It would have been nice. I would have been It
would have been nice if he would have got my
flight from Oregon straight to Proo and Utah. But I
mean everything that's me asking for too much. So even

(35:48):
though I had a little bit of money at the time,
I got my money, flew over there. Then we flew
he got my flight from uh Proo or from Salt
Lake to LA and then we met with the label
right and I remember getting there. He picked us up
from the airport, we went to go we we got
settled down at the hotel. I still have a video
uh that hotel where we're like like kind of like

(36:08):
stopping another way stopping and you know, we're doing our
thing because he had I show that night, so that
itinerary was and that late trip was to record Cuenta
and we heard that song the white background, Yeah, Cuenta.
The plan was also to sign actually before before anything,
and he also had to me with a trucking group

(36:31):
to do promo for his songs, and I think for
the event, but I think it was for the songs.
And then he had an event later that night. So
it was a real busy day. So we got to hotel,
then we went to the office, which this guy comes
into play later. You know, it's very important that we
keep in mind we went to some guy's office. We

(36:52):
went to some guy's office, and that's where he signed, right.
I went there, and you know, I made sure to
ask to ask, uh the guy, Hey, so all right,
I'm going to go to be his row manager.

Speaker 3 (37:05):
Right.

Speaker 1 (37:05):
He's like, yeah, you know, we're very good. All right,
he signs. Okay, he signs boom boom boom be.

Speaker 2 (37:10):
Sorry did he sign with the lawyer at the time
or was it just him?

Speaker 1 (37:14):
No, he he signed it was just him, you know.
And that's you know, when I get more into the
business side of of of this, uh this podcast, I
think it's very important. You got to have a lawyer, bro,
Like you always gotta have a fucking lawyer. I don't
I tell him when I sign an artist. Now, I'm like, hey,
I don't care how many times you gotta read that contract.
Read it one, two, three, four, five, six, seven, eight times.
I want you to give it to your mom, I
want to give it to your dad. I want you

(37:34):
to give it to your dog. And I want you
to get a fucking lawyer and that way. And I
tell him literally on a phone call. Now, I tell
him the phone call before we do anything, before there's
a contract involved. I'm like, hey, lesbianuna una kileto ma ma.
You know if they're young, let's say seventeen, eighteen ninety
whatever in Paso. Okay, I won't contrato nolo Lyn Legros.

(38:01):
You're looking to Clark los Amos? Is he not with

(38:23):
because that's fucking headed, bro. I fucking hate dealing with
that shot. Thankfully it hasn't happened recently. Uh and and
I'll kind of tell you why it hasn't so uh. Anyways,
going back to the story, is the right he signs
right with our lawyer. It was his dad, his DA
to his dad, me him the label and the guy

(38:45):
that prepared the contracts. Keep in mind, this guy's gonna
play into into the into the play later. I think
just by you're telling me like, I think, man, I'm
the fucking bad guy and everyone's eyes but they don't
know at a young age that what the fuck am
I gonna do being in a contract, But like, what
the fuck? I don't don't I barely if I saw
a comment. You know, I'm one of the I'm one

(39:06):
of the one of the videos. It said, Hey, they
were young, you know, so they signed that because they
don't know what they were signing, you know, Sindo uh
Gas said or something like that, and I'm like, bro,
what the fuck? I was like, I don't want to
like say that.

Speaker 2 (39:22):
Uh.

Speaker 1 (39:23):
I don't want to sound like a victim. I hate
somening lovic. I like taking responsibility because that's the only
way I'll feel I'll grow if I learned from mistakes.
I take responsibility and I do better in the future.
So anyways, going back to that, he signs, there's those
people in that room, he signs, and boom, we go
off to UH to go. I think that's where we
go to go to the event. I don't know what's

(39:45):
to the event. I think it was to go do
the music video. Oh no, not the music video. Sorry,
they did the song recording. They did the song recording,
and then we went to and UH to do the promo.
I'm trying to remember if it was like two days
that I stayed there one and we went to the event, right,
And I remember asking him before the event the label
guys now that he signed, I'm like, hey, so I

(40:08):
can't be his row manager, right, and he's like, well,
come pa, let's see how the event does later tonight.
You know, let's see how it does.

Speaker 2 (40:15):
These people you're talking about the label is Grand Record,
And then you said to someone preparing the contract, was
that George Bertin?

Speaker 1 (40:23):
No, I never said the label name first of all.

Speaker 2 (40:26):
No, No, you didn't say he was just like I
was just guess, yeah, I guess.

Speaker 1 (40:32):
It was him. But like I said, I don't blame him.
From a business side, when an artist is young, there's
so much budget you have to work with, right, because
at the end of the day, it's a risk you
can't you can't at the Let's say you have a
brand new artist, right, you don't know what's going to
happen with him, you don't have in the budget. It's like,
it's not like he needs a he's not gonna be touring.
Why would he need a row manager, right? Or why

(40:54):
would he need a PR if he's like barely starting.

Speaker 5 (40:56):
Do you feel it was kind of like dishonest because
like maybe, well maybe.

Speaker 6 (40:59):
I do like it was dishonest, But you thought it
was like super like sure that you know he was
gonna pop out, He's gonna go on tour, so of course,
and he's a tour manager. And then I don't know
where like after they see that signature, you know that's
the bag, maybe they're like, yeah, but I've almost Maybe
I had so much faith in this artist that I
already knew he was going to be big. That's why

(41:19):
I wanted to be a row manager. So you already knew, Like, no,
I already knew. I don't think he knew, though. I
don't know I knew it though. I know when when
whenever I signed an artist. I don't sign artists all
the time. I signed artist whenever I see the potential
in them, like I have to. That's why it's so
rare when I sign artists. But when I do, I
make sure it's a banger and I make sure I
go all in on that artist.

Speaker 1 (41:40):
Yeah. Anyways, going back to that, Yeah, so so we
were there. He was there, No, No, but he didn't
make the contracts or nothing like that. No, he wasn't involved,
at least in the time I was working with JR.
So yeah, he got he he signed, right, He's like
all right, I asked him, is it fine? Like I'm
still his row manager. He's like, well, let's see how
the event does gompa. We got to the event, and
I don't have videos, bro, and like I'm still like

(42:02):
this with Junior and all that, and and I remember
like being back like backstage, like, bro, it was like
a happy fucking father moment because it didn't sell out, right,
but his first event on a Friday, you don't know
how many people have got like win there, Bro. I
want to say it was crazy, but a good like
he filled up. He filled up like half the club
like on like on his first event, bro. And it

(42:23):
was like right after Cambel. I think Cabill probably at
the time was like a seven hundred K so he
already had like uh La Chevy and all those songs,
so he was known, you know, he was he was
already kind of he was going. He was an upcoming artist.

Speaker 6 (42:35):
And keeping in mind how like the music scene was
like you know, one hundred times smaller backway.

Speaker 1 (42:39):
Yeah, yeah, yeah. So it was impressive, Bro, It was
verly impressive. And I remember being there standing there like
like a hap like a proud dad.

Speaker 3 (42:46):
Bro.

Speaker 1 (42:46):
I felt so proud of that motherfucker. Like you know,
it's seeing him from zero to like him filling half
like a little club. I think it was like in
lancash or something like that, and it was a probably.
It was like a proud moment. I was proud, right,
let's say that. Then the event finished, okay, if we

(43:06):
go back, we go back to the hotel. And I
remember in the car ride, I'm like, I asked him.
I'm like, hey, so I'm going to be his row manager, right,
Van did all right, but I'm going to be his
role manager. He's like, up, I don't. I don't think
we can. I don't think I don't. I don't think
we're gonna need. You know, there's there's not enoughing to budget.
I don't know exact words. I don't want to put

(43:26):
false words, but basically it was a no. And I'm like, okay,
all right. So it was it was him. I think
his brother was next to him from the label, and
then it was Junior next to me, and then his
dad next to me. And in the truck, I think
it was like Colorado bro. I stn't remember, and I
remember when he said no, I I turned to the
left and like, I didn't tell him right, but I

(43:50):
turned to the left and as somebody that loves music
and somebody's stream was to be a role manager. I
turned to the left right because they were out to
the right. I look out the window was like two
three am, and a tier came out of my fucking
h my eye. I want to see a tear, A
couple of tears. I cried, why comment, pussy, I fucking
cried because this is my fucking dream and my dreams
got shattered right in front of me. And that was

(44:14):
the feel for me to start d MG. And I
don't blame it on Junior at all, right, Junior is
it was? It was more on like false words, you know,
false promises and.

Speaker 2 (44:24):
During this time, like in the car, well, like did
you understand what was going on between you?

Speaker 5 (44:29):
And like you tell anybody anything?

Speaker 2 (44:31):
Though, right, huh?

Speaker 5 (44:32):
Did I like you didn't say anything?

Speaker 2 (44:33):
Like did Younior know that this was going on? He wasn't.

Speaker 1 (44:36):
It was in the car, so he was in the car,
and and there was like later on like like almost
like Peve kind of came out later on. But it's
I don't know if it's really relevant because the day uh,
Junior did ask me to be a real manager again,
like when he took I think he was with Runch
already and I mean I was already doing DMG, and

(44:56):
I had an evail and I had a say. So
I sacrificed locus being Junior h'es row manager to focus
on these guys. And that's kind of we're about to
talk about. Actually, it's like I've gone through sacrifices, getting
kicked out of my house, taking risk on artists, taking
them out of positions where they don't want to be,
for example, not the lead singer in their group, and

(45:16):
for all of a sudden being come like for them
to come at me after I took after I said
no to Junior H. Like, I could have just said,
you know what, fuck these guys. I could have said,
fuck all these guys, let me go be juniors row manager,
fucking bitches, fucking money.

Speaker 2 (45:31):
I don't know, I don't know.

Speaker 1 (45:32):
I have to say the rock star life, bro.

Speaker 5 (45:39):
Sorry, do you mind telling me the artist that you
were that you had at the time again?

Speaker 1 (45:42):
Yeah? So the artist that I had at the time
was Jose had Vel before they changed your name, and
I had H. I think I had Tony Loyer at
the time. I don't remember. I would have to go back.
I do remember one time Junior che message me, He's like,
I don't remember I saw messages where he said that,

(46:02):
but yeah, So going back to the story, I turned
to the left and uh, a tear came out. And
you know, luckily though, I had a plan B. So
during that time I was already recording music. I taught
myself how to record music because I had a laptop.
I went to college for like one term fail I
failed bro and I never went back to college, but
at least had the laptop. So all I needed was

(46:23):
a recording equipment and I didn't have money. So my
last last last stop was at UPS. So I wrote
at UPS deliverent practices a whole bunch of stuff like
being on the passenger and the denmit packtages. So I
brought my equipment. I learned how to record, and the
only reason I recorded learned how to record because after
that happened, there was an artist that I liked, and

(46:46):
this is where he comes into play. The reason the
way I found him was compa Fernando Fertro, and I
was at a continuent. I had a friend, I think
her sister was her. I for ten I was like
I was eighteen at the time for whatever, and I
was cloking weird, but that she was different because we
were in a fifteen court when I was like sixteen fifteen,

(47:07):
so I knew her. And she's like, come to my Nina.
I'm like, all right, bet, I'll go. So I went,
and then that's when that comes out. He's like, hey, Brian,
I have a song. I want to show you. It's
semi compa. I'm like, Ben, let me hear it. He
goes out over the fuck he is, guitar twenty four
seven on him. He goes to his car, he gets
his guitar and tucci no no no no no no
no no no na Tucci. If you know, you know

(47:28):
that's very low key song.

Speaker 2 (47:30):
Uh.

Speaker 1 (47:30):
And I fucked with it and like no, mom is
king contest And he's like I was like kinness. He's
like ayes on compac and stay in stay in Oregon.
Hey Leg. I'm like all right, bet uho. And I
meet him and my, what's up? Bro? You're an artist?
He's like, no, Bro, I'm in a group. I'm saying
da bos you know, uh, brand new and same here

(47:51):
I was brand newto music. I'm like, all right, beat gumpa.
Then like, let me record you. I don't want to
sign him, keep him. I don't want to fucking sign him.
I wanted to grow him beause I wanted to do events, right,
I want to do events. So let me record you,
let me, let me, let me start off your career.
But on one condition, I want you to be the
lead voice. I want you to be your own artist. Like,

(48:11):
what's your name, Jose okay O? Say what? All right?
Up away? And that's what we did. We launched him
as an artist. I'm like, I'm like, well, I didn't
have money, bro, I'm like, I got to teach myself
how to record because I don't have money for a studio.
So I went to Guitar Guitar Center because that's how

(48:31):
I build my credit. That's my first credit line ever.
It was comin and I had the guitar and all
I needed was the equipment. So I got my Guitar
Center credit card and I got the Scarlett Interface where
you learn how to where you record music and all
that ship. I got the mics, got the cables. I
already had the laptop because I fucking failed college. I said,
I blame it on my ADHD. I couldn't focus.

Speaker 5 (48:53):
We have the same story on.

Speaker 4 (48:56):
Yeah.

Speaker 1 (48:58):
Oh, y'all dropped out all proud, type shit, proud, all proud.

Speaker 5 (49:05):
So proud.

Speaker 4 (49:06):
So you get your recording equipment, yeah, recording, You bring
the home and you start recording this.

Speaker 5 (49:11):
Yeah.

Speaker 1 (49:11):
I prepared myself two weeks and ahead of time, how
to record the music, how to do the plugins. They
didn't know how to master, but at least I know
how to capture the guitar. And I know a little
bit of the bass because my dad plays a bass.
And yeah, right, I taught myself and when the day came,
I'm like, hey, who say this record a song? Right?
I went to his house. The first song ISCI. We
recorded it literally, no, homo bro. All these stories sound

(49:32):
like stories by we recorded on top of it. Jesus, guys.
We were sitting down all right, cold thing was right here.
I was right here, and we were sitting on a bed.
And then he had like a little counter and we
put the laptop there and then connected the interface and
he was right here next to me recording the stuff
and all that stuff, recording all the all the we

(49:53):
record the gas and all the music, and then the
vocals were last. So we recorded the music and yeah,
and at that time, my YouTube was already growing, so
I would uh post it on YouTube, post it on YouTube,
posted on sound club where I was already freaking big
at So that comes the initials of the right and
then the generation comes into play. Right, So you remember

(50:16):
that back in the story, I told you about that
one guy that did the contracts right that we were
in that room whe Juneration signed. I remember, I think
I don't have had his business card. I think that
was Honestly, I think I got a business card. Why
did I get a fucking business card? I don't know,
but I don't know if I asked, if I asked
a recordable guy or asked him for it. I think
I asked him for it. I got it. I got
his card, and I'm like, hey, I want I have

(50:38):
an artist. Right here after this, after this stuff happened,
he I have an artist, And I heard your distributor.
Who's a distributor? That's the guy I'm talking about. I've
been artists that I want to I want to release.
I want all his music. Honestly, I think I just
for this because I was doing to music. I think
the reason I got his card was to make connects
going back to the end of the day. But honestly,
I want to like club connects. That's what I wanted

(50:59):
if even though he's not a clip connect, it was
the luck connect that I could have, and if I
was gonna get introduced into music, it was good for
me to know anybody. You know, you never know when
you're gonna need somebody. So I got his card, I
hit him up. I'm like, hey, I have an artist.
Blah blah blah. The other guy was supposed to help
me release his artist, but he took forever with the
contract blah blah blah. So I went straight to the guy.
I think we're gonna ptner up on what the fuck

(51:21):
he was gonna. I think he was gonna be my distributor.
I think I was gonna sign him to him. I
was gonna. I don't know what was gonna happen, But
the point is I talked to the guy like, hey,
I want you to have my disc. I want you
to to help me release this guy. I want to
I want to release his music. He's like, all right, bet,
you know what's an important part I left out of though,
I left out a part where I released his first album.
So and it's gonna come into play as well. I

(51:41):
released Junierate his first album and it was up on SoundCloud,
and then he got signed and then got transferred to
the other guy. So from that first album, like Ambago
or maybe sorry, I got a check. I think it
was like three thousand dollars, right. I think the check
overall was like Tony K and like a lot of
it went to label or I think I split it

(52:01):
with the label and a lot of it, well, most
of it went.

Speaker 5 (52:03):
To Junior and that twenty thousand was from SoundCloud.

Speaker 1 (52:06):
No, it was over because it was on the platforms.
That was when I uploaded the song the album. So
a check came out later, and it's like I think
it came like fucking April May around those days. Like
I said that money is going to come a lot
into play. So but I was basically saying, I fucking forget.
What the hell was I saying?

Speaker 2 (52:25):
What the money came in?

Speaker 5 (52:26):
And like, but you were saying that you forgot the
Oh yeah, check come in came in?

Speaker 1 (52:31):
Yeah, So right, I told no, I told the guy,
I want you to to help me release this guy's music.
And then this guy said, like, yeah, I got you
blah blah blah. All right, I'm like, okay, I need contracts, okay,
or he said he needs of whatever. It's any contract right,
We're gonna start a label with any contracts. He's like,
all right, I got you. I mean, look at the time,
when you're fucking broke, when you're young, you don't have

(52:52):
as much money, you don't have a lot to work with.
So I was come on me, and you know, like
I said, I take responsibility, like I'm not say I'm
not gonna say like I'm a victim. He came up
with the contract and that's the contracts that the artist signed.
So whenever they're like, oh yeah, check your contracts, so
I agree, yeah, thanks, So that ship I learned. Check
your fucking contract, Get a fucking lawyer, Tell your mom
to read it. If you don't understand it. If you
don't understand it, ask a friend that's in the music

(53:12):
industry nowadays, if your friend's not in the music industry,
his friend probably is, so like, make sure you always
have your contracts one hundred percent.

Speaker 5 (53:23):
Going the contract really bad.

Speaker 1 (53:26):
It wasn't bad, honestly, it was it was a It
was a it was like a basic contract, but at
the time it's just something that I wasn't familiar with.
It's it's something that I skimmed through it. And I'm like,
all right, I don't understand how to say nanguage, but
I mean we want to work. He wants to work.
List do it. But anyways, he signed, and then that's

(53:51):
when I started working with him, right, I start working
with him. We start I record like three songs in total,
and luckily I ended up getting him a like before
he signed, he did a corrido with Junior h. So
that's where Tracas Nevedan, which I recorded it all myself.
I recorded. I'm feel proud of that I recorded it,
and then he just sent his vocals. I put him
in and boom, Vedan came out. And then and we

(54:14):
recording to the novest maybe I don't know if it
was after before recorded it, and I don't know how
many billion place it is on on I'm freaking uh
on YouTube. And that's why I like the quality is
like that, because I know that recorded it, and then
other people came into the picture. Eventually Yellow came in.
So when equate Yellow came in and goes, we go

(54:34):
back to Mehicano music. I heard the songs and I
that was a song and I fucked with it heavy bro.
And I don't mean it to to to like make
myself up there. I think like in the label tolos
like the to to make something work the artist, right,
if the artist doesn't do ship, what does the label
had to work with? If the label doesn't do their ship, Like,

(54:56):
how are you gonna help the artists grow? So you
need to have both sides. Every single, every every single
tows a labels two cents and to make it a
successful project. That's when I found man, I get fucking sidetracked.
But that's when I found my horse solo. And I'm like,
you know what Kompa, I fun with your music or

(55:17):
what I was gonna say is that I've always been
good at finding music. I think it's a God gift
to be honest, and I don't mean it too like
I don't mean I don't mean to say like, oh yeah,
I'm like the best love and I know I think
it's just a gift from God. Uh Like every everybody
has their own and mio like the artists can contrallo
fucking some have signed with me. Some haven't because at

(55:39):
the time, like I said, a YouTube channel was just
like a promo page, so they get them from there.
And yeah. But anyways, I hear My Horse solo and
they were a brand new group of uh or at
least to the streaming platforms or two to YouTube, and
I'm like, fuck with your music, let's talk and he's like,
all right, bet So that's when I came on and
they didn't have like no music upload it at all.

(56:01):
They had no music. It was just a group they
wanted to start. I went into music, so I'm like, look,
I already have I want to grow him. All right,
Nell came into play. It's almost similar sounds it has
because back then was a ship and I'm like, yeah,
let me let me work them. I also got him
a collap with a funk that I'm trying to think of.

(56:23):
The song name e la I I guys, I heard
of Junior Junior Ah featuring h Right, so that's the
song that came. That was a club that they did,
and I mean from there, it's history, right. These artists
come into play like Tony Loya groups, but that was

(56:45):
just like the beginning of of Lokez d MG, right,
like I said, I if it wasn't, I can't. I
can't say like I've seen that, like like for example,
I've seen comments where they're like like yeah, d MG,
wouldn't be nothing without these bah blah blah. Bro, they
don't know that, like it takes two to make something word.

(57:05):
They don't know that only had one song on YouTube.
They don't know that who was say one that was
a group of a local group. So like let's say
I didn't Let's say I didn't get right, my heart broken.
I'll say like that. Let's say and I was to
continue as row manager. I don't know what would have
I don't know what would have happened. Bro, I don't know.
I don't know. Things might have been different, they might

(57:26):
have been I don't know, they might have been an
even I don't know.

Speaker 2 (57:28):
So yeah, I remember like this era was like the Taquachair,
the beginning of like music about it, like explode and
then I remember during this time, like you had Tony
Lawyer and Tony Loya was like you know, he was
a ship, he was a ship. And then you know,
you guys had the little fall off and then you
sold them to Mansana.

Speaker 1 (57:45):
Yeah, yeah, I sold them to Mana. Yeah, so yeah,
that that deo. The way it worked was we were
good with Tony Man. It's so weird, it's it's it's
it's so it's not weird, it's funny. But we had
the way we found him because it's a very important
important part of d MG. I had a business partner

(58:08):
and he's the one that found him right. He found
his music. He was already with another label. He was
like with like a beginner label, but his music wasn't
hitting and it was also like a different style. So uh,
he said, hey, like Brian, let's sign this guy. And
I'm not gonna lie. And he even says that he
even he made a post about it a couple days ago.

(58:29):
He's like, you didn't believe in me and what you
want to be? Like, fuck you, I believed in No,
I honestly didn't. And it's like it's not something that
I'll say like I'm happy or like that. I'm like
I flex cause look, I go in there knowing talent.
I know what's good was not but this was so unexpected.
It's not that I didn't fuck with him, it was
that he had the same voice as another artist he

(58:51):
had the same voice as I didn't say ba Thronis
and everybody told him that. So that was the main reason.
It's not that I didn't fuck with him. It was
literally because he had the same voice. And I'm like,
I wonder how it's to hit because I believe in
being unique. How do you want to hit and be
unique if you have the same voice the same style
as somebody else. And yeah, but he's like, you know what,

(59:11):
like I believe in him a lot, like let's sign him,
let's sign him, and you know what, I'm like, you
know what, I'm gonna take a risk. Fuck it, let's
do it. So even though he says I don't like
I never fuck with him or whatever, I didn't believe
in him. It takes it took my signature to actually
make something happen, you know, it took my investment to
make something happen. So I didn't believe him. Like I'll

(59:32):
be like, you know what, Junior, No, you know what,
I don't want nothing, you know what, now I don't
want him, but what No, So I definitely think there's
some misunderstandings there and you could get them, you know,
because even like I said, even two three days ago,
I stose actually, like four days ago, I still saw

(59:53):
that post, and like I said, that makes me feel unappreciated.
It makes me feel like fuck d MG Bryant, which,
like I said, it's okay, cool, but I'm never gonna
feel like that towards another artist or to someone else.
Why Because I love my piece. I know that everything
happens for a reason. I know God has my back
and at the end of the day, everything plays out

(01:00:14):
how it needs to be.

Speaker 2 (01:00:14):
Yeah. And then also I know, usually, like you know,
during this time, like Tony Loyal, he was like trending,
like he was like the ship. And uh, usually I
feel like a label is the type to not let
an artist go. What made you want to sew him
to Mantana? Was it just like I don't want to
deal with him or was it like to offer that
montana and.

Speaker 6 (01:00:31):
Gave you you don't you don't want him to be
somewhere where he said he didn't want to be, Like.

Speaker 1 (01:00:36):
Yeah, so the reason he didn't want to be there
And as man see, that's this where you live and learn.
You live and learn, you live and learn what to do,
what not to do? Uh, Jimmy's hits up Tony. He's like, hey, bro,
come over here, Let's have a meeting with that Antipa
thron Is because he he with Anti patron Is heavy
and and uh Junior my partner at the time. He

(01:00:56):
went to his house there Jimmy and he met with Jimmy,
Tony and him. Right, so they had a meeting and
I'm guessing said Chi, I don't know, like it was
his idol, right, just like at the time, I mean
still to this day, I look to I look up
to him a lot. I mean that's when I remember

(01:01:17):
before I started the label, I look up to that
guy and be like I want to be like him.
I want to be like him. Like fuckus, peace, say,
I know j Pie is fucking bad as a picking talents.
There's so many labels only like a hampful, like hand
picked labels that know like what to sign and we're
not to sign a lot of a lot of labels
just signed Kaya, but you gotta sign something that you

(01:01:41):
believe in, efy not that you're just wasting your time
and money and you're doing the same ship for the artists.
The artists, you're wasting their time and they could be
somewhere else instead of with you. So yeah, so we
see they go to Jimmy's house and they talk, right,
I don't know what they talked about. I wasn't there.
I wish I would have been there, but I lived
in Oregon, right, she maybe that's my son moved to

(01:02:01):
LA And yeah, so they talked. Tony's like he calls us,
or actually Junior calls me when day. He says, hey,
I have a problem with the with this artist. He's
acting up like he and I don't know what to do.
And I'm like, all right, I'll talk to him. What's up?
So I talked to the guy, uh Tony and he's like, hey, bro, like, uh,

(01:02:22):
I wanna, I wanna. I want to go with them.
I want to go with the HP Records. And I'm like, bro,
I don't think you want to do that. I don't
think you want to do that. And he starts like,
you know, doing doing it, doing what he does. I'll
see it like that because even to this day, I
would have said something different, but I from what I
saw four days ago, I don't think anything has changed.

(01:02:43):
I don't know, though, you know, I don't mean to
be disrespectful, nothing it's just like, like I said, I
think it's a type of I think there's something there
that he feels to.

Speaker 5 (01:02:51):
You said, Jilly, that's your business partner.

Speaker 1 (01:02:54):
Yeah, yeah, I was. That's my biness part for d MG.

Speaker 3 (01:02:58):
He was.

Speaker 1 (01:02:59):
But since we moved more like our operations, like I
have seventy five percent of our artists ninety eighty, but
they're all in Mexico, so we don't really do much
anything here in La anymore like we did back in
the Quatch of days. So now he has his own
thing going on, wishing gradulations to my boy that I
really wish him best luck. I'm also his partner on that.

(01:03:22):
So whatever he needs, any advice things like that, he
has me. But yeah, so Tony calls me and he says, yeah,
I want to go with them. I'm like, bro, you
don't want to do that. Bro, you don't want to
do that, like trust me, Like look, and I met it,
like I thought of it logically. Look, bro, he has
the same voice, says, you guys have the same voice.
You think he's going to let you out shine him. Like,

(01:03:43):
I don't know if that's what's intentioned or not, but
that's how I thought of it and and he's like, yeah,
la Princi flower he wanted off. Well, fucking goes to Instagram.
Fuck DMG, fuck this all this, Fuck DMG, Brian. I
gave him some hersagae classes at the time, fucking throws
it in the garbage. His clothes was DMG clothes throwing
fits right, And at the end of the day, all

(01:04:05):
I wanted was the best for him, right, Yeah, like
you're wrapping DMG, bro, Like you think I'm not gonna
want the best for you? What the fuck? It's not
that like if he would have told me. One thing
I don't remember is that he wanted a better a
better deal. I don't remember him saying anything like that.
He just wanted to be with HP. And so when
he actually like did all talking shit, blah blah blah,
he hung out with HP. Honestly, I don't know what happened.

(01:04:28):
Why he had nothing worked out over there, and I
never heard a phone call from from anybody on that side.
But I did get a phone call from Antigo Records,
and this was like, yeah, missus Squiz and he's like, hey, bro,
like what's up, Hey, I want to I want to
buy Tony from you. I'm like, yeah, bro, I'm down.
And one thing about me, Bro, I'm always willing to
let an artist go. You think I'm gonna let somebody

(01:04:48):
like freaking that doesn't Well, he did bring Vallet the time, right,
So if he wanted to, like I said, if he
wanted to sell or right, because he was gonna be happy,
I was gonna be happy. I'm like, bet. But whenever
an artist wants to go, which is rare nowadays, but
let's say they want to go, I'm like, look, bro,
let's work something out. I'm gonna say, fucking page as

(01:05:10):
you because usually they're not doing much in the label.
But that's how it's. That's when they're not doing anything
in the label. So to me, I'm like, you know what,
it's not worth my fucking peace of mind. It's not
worth my money, it's not worth my not worth my time,
my team's time. So it's not you're worth your time
to Poko, we're not doing much with you. Then I
agree one hundred percent. Let's work something out and let's
go peacefully. So at the time i'm Tigna hits me up.

(01:05:32):
He's like, hey, bro, I got two hundred K for
you I'm like, all right, bet fuck it, let's do it.
Sold him sold my sign up for two hundred K,
and yeah, and that's basically what it is.

Speaker 2 (01:05:41):
During this time, were you already making money through the
label or like what was your reaction with like those
two hundred k? Was like kind of how you said, like,
all right, but let's do it. Was it like, oh shit,
like a two hundred k?

Speaker 5 (01:05:50):
Was it like changing or was it just like, oh,
you know, that's a cool little like chunk of change.

Speaker 1 (01:05:55):
You guys remember that three thousand dollars or two thousand
dollars I mentioned earlier. So when I got the trick
from Junior Age, that was enough for me to invest
into the first videos and tool semi here I was.
It wasn't enough for plane flights for him and his
music goals and for me, So I had to get
the cheapest the guy at the time, the most aforda

(01:06:15):
I want to say cheapest because he had got quality,
the most affordable guy here in LA at the time.
I don't know about right now, my boy lunch I
don't know if you guys know lunch films, So Lunch films.
I hit him up and then uh, junior. He had
a spot to record at, so we had already things there.
I just didn't have the money for the flights. So
I had a rent a car, but it was going
to be cheaper, and my mom was under the name,

(01:06:35):
you know, I serve as the driver. So I rented
a car and I drove all the way from sale
Morrigan all the way to LA And that's my first time,
like I actually was in LA. And that's what I
spent my two key on, three key on and so on.
So it's not like I spent it out or like
fucking got new shoes or whatever, and not straight to
the artist. And that's what kept I kept on doing
whatever came in straight to the artists. So whenever that

(01:06:56):
two under Cake came in, it I would say life changing.
But it was definitely something like okay, like right, uh,
but it was something like all right, it's cool, let
me get myself a full little chain, right, full little
pendence rep d MG and that was about it. But
I want to say it was life changing. And then
a lot of it, I mean also invested back into uh,

(01:07:17):
to the to the other artists.

Speaker 4 (01:07:19):
Uh yeah, yeah, I think I think a lot of
people get confused or maybe like the artists that even
though there's like a lot of money coming in, there's
a lot of expenses and splits between the companies and
the artists, so you're.

Speaker 1 (01:07:31):
One hundred percent correct as a matter of fact. That's
that brings up the topic of, uh, why contracts are
the way they are? Right because a lot of people say,
pinch it. I told you guys earlier comment Okay, yeah,
a pincha. The MG A never sign to fucking DMG.
DMG bad bins is DMG ratas. But if you go
into the fucking comments, you're gonna see Tamen Rancho Yain,

(01:07:54):
You're gonna seein I see a little bit of it,
like a little bit of every fucking label. A pincha.
My look, people don't understand we find these artists from zero.
So like let's say, okay, I find these artists from zero.
But more importantly, we are the ones investing into these artists,
so we're putting money at risk. We don't know we're

(01:08:15):
going to see it, bro So that's why the contracts
are the percentages they are the way they are because
we're putting money into a new artist and you don't
know if you're going to see that back, right, But
let's say it's a bigger artist. Let's say it's like
a fuck and I don't know, right, they wouldn't get
the traditional contract. They'll get something more. Why because they're bigger,

(01:08:36):
there's less risk, they're already there.

Speaker 4 (01:08:38):
They really like build themselves up to get a bigger contract.

Speaker 6 (01:08:42):
I always wondered about that exactly if you know, not
not talking about your contract specifically, but what would a
traditional music contract be like for somebody just starting off?
Let's say, you know, I want to start singing tomorrow, Like,
what would be something that I get?

Speaker 1 (01:08:55):
So, look, a lot of a lot of people have
a bad impression of three sixty contracts. Three the contractors
that you're basically signed all around, you know, advans, you're
signing for merch, you're signing for all in anything that
has to do with your image. Yeah, there are also
contracts you can negotiate. So nowadays, I was talking to
to one of my boys, Ray from Downtown that now

(01:09:17):
contracts nowadays are a little bit more flexible. Now they
do different things. Some do EP deals, some do three
sixty deals.

Speaker 4 (01:09:24):
I was like, per project.

Speaker 1 (01:09:25):
Yeah, so so now you can negotiate what do you want?
So when I signed an artist, I asked them, look
at the way, what is what you want? And then
from there I kind of cater and then they're like, oh,
I want a better percentage, blah blah. I'm straight up
with them. I'm like, hey man, the reason the contra,
the reason the percentages are the way they are, is
because I have to put investment right. I have to

(01:09:46):
risk money that I'm not going to see you're a
starting artist. Okay, those are two main ones. But I
promise you way see if you blow up or I
see you know the returns coming BRO and ship square
on whatever, I will negotiate that contract. I'll give you
a better percentage. Whatever you want, WILL work on it.
So it's it's all about knowing who you're working with

(01:10:08):
them in BRO because there's a lot of labels that
were kind of like me when I was starting. You know,
they didn't know what the fuck they were doing, so
they just hand out whatever. So you got to make
sure you know who you're signing with. That's very important.
You know who you're signing with.

Speaker 6 (01:10:17):
So a lot to do a lot of like those
issues happen because the artists. I mean, I don't know
the percentage, you know, but I'm guessing it's not a
fifty to fifty, you know, and towards the artist does
it happen? Because like you know, let's say they blow
up and all of a sudden they see these like
massive amounts of money going towards the label, and then
they think that they deserve something a little better because

(01:10:38):
you know, it takes it takes two to make it happen.
You know, the artists did put their part as well.
So maybe like they get pissed off because they're not
down to negotiat because then that's the label pretty much
giving up the bag.

Speaker 1 (01:10:49):
Uh is that your question?

Speaker 6 (01:10:51):
Like that is that kind of like something that happens
a lot of course, because like you said, you know,
like you know, if if you blow up, well we'll
give you something better.

Speaker 1 (01:10:58):
See h. So you're asking basically they're not down to
do it.

Speaker 5 (01:11:02):
A lot of times artists, No, no, no, the labels
were to.

Speaker 1 (01:11:05):
Give the labels, don't. I don't know about other labels,
but I'm sure if they were to talk, or they
were to have a lawyer and the lawyer was to
present it to the label. Hey, like whatever it is,
blah blah, thank you guys for this. Uh, we love
working with you guys. We want to negotiate a better deal.
Then I would assume. I don't want to speak for everyone, man,
because I don't know most labels. I don't know how
they work. I'll tell you how I worked though one
of my artists. I'll give you an example. Eric b Right,

(01:11:28):
he's one of my artists. Uh. He's like, hey, Brian,
you know uh, he's I've seen the returns. I've seen
you know, I've seen the returns. He came at me like, yeah,
I want to resign with you. He signed with us
for another two years, two three years whatever. And I'm
like yeah, He's like, but I want a better deal.
You know what I did. I'm like, what do you want?
I want this? I want that, you know what I did? Look, bro,

(01:11:49):
I saw a return, you know, I I see what
you can do. Fuck it, I'm done.

Speaker 2 (01:11:55):
That's how it is.

Speaker 1 (01:11:55):
That's how it is with me, though I can't speak
for everyone. I don't know. That's just like I said,
I see so your way, see yo collections, and and
I see a return. I think it's I think it's
worth renegotiating the contract. Uh and like I said, yes,
like I'm DMG, right, or I want to say I'm
DMG because my team bro without them, shout out to
Jihan Carlo and shout out to Loraina Bro. They fucking

(01:12:16):
help so much. But like DMG, I represent DMG. And
I also was a most question point I played. According
I play guitar, I played bass, We're fading. I play
all these instruments. So I know what it is to
be an artist. I know that's been to las, coming
home at five in the morning, not being there on
Saturdays for your mom's birthday party, for being there on

(01:12:38):
your children and your not children's on your brother's birthday party.
So I understand both sides. And like, I don't know
who said who said it earlier, but it takes to
the tango bro to the tangle. So comment like I said,
you wouldn't be nothing with DMG love or no, DMG
would be nothing without them, But they kind of forget

(01:12:59):
it takes two people to make it work. You know,
it's a teamwork. It's everything is a teamwork. It's not
just me, you know, it's not just me. It's always artist,
the label and the labels team, well the label and
the artist.

Speaker 2 (01:13:12):
Yeah, yeah, so everyone in the label.

Speaker 6 (01:13:14):
So you know you're talking about all these like sacrifices,
you know, like missing these important days, and you know,
I'm sure a bunch of other things that don't come
to mind right now. Like and then you see comments
of you know, artists, whether publicly or not publicly, or
you heard from somebody that you know, they're not happier.
D MG, this is Brian, this is that, Like how
does that make you feel? And do you think that
at some point like maybe they are kind of right

(01:13:35):
or do you think like they're just like totally lost
and like they don't even know what's up, like talking
about you like that.

Speaker 1 (01:13:41):
I would like for them to understand me. I would
like for them to understand me. Just like the comments
said they were young, blah blah blah. I was also young, right,
I was nineteen at the time. I had somebody else,
basically that guy, the contract guy. He was doing like
the the contracts, and he was also doing like he
was like my mentor. So whatever he would say, I'll
kind of go with it. Like I said, I don't

(01:14:02):
want to take be a victim. I fucking I hate
the victim and tellity of like always blameing. I always
blame No, I don't do that, so I would take responsibility.
I should have uh done more of my research. I
should have got a lawyer even though I didn't have money.
You kind of like you kind of work with what
you have. And that's why everything played out the way
it did, which, like look at it now. If it
didn't play out the way they did, these artists wouldn't

(01:14:23):
have gained the knowledge that they have now, right, I
wouldn't have gained the knowledge that I have now. So
now they're willing to also negotiate better deals get whatever
they want. Basically, you know, they have, they have, they have.
They're built to the plate. They're built to the place
where they can ask for things, you know. And if
they got that and I'm you know, still working with
DMG and still building other artists, I think, honestly, I

(01:14:45):
think that is like whatever happened, I think it's the
best that could have happened. You learn and you go
and now they're doing good. So I'm really happy about that.
I feel proud to be part of their journey. Bro
Bro seeing a guy from saying I was to being
a fucking to my as a superstar obviously not super
select best plane, but like a star.

Speaker 3 (01:15:03):
Yeah.

Speaker 1 (01:15:03):
And then seeing me, well, you know, doing what they're doing,
what they're doing, I feel proud and I feel happy
and I wish him nothing but the fucking best bro
like I know, homo, no homo, but artists. Wait okay,
can I say wait? And to says yeah, really happy

(01:15:26):
for them, and and uh, you know, whatever happened happened
and that's what I want them to know, for them
to be doing good and yeah, yeah.

Speaker 2 (01:15:33):
And then now that we bring up Nivea like kind
of wanted to ask, like, well, I mean, first of all,
like how did it happen that they first left DMG,
Like did the contract then or was it like hey
let us go like the loom?

Speaker 1 (01:15:45):
Okay, yeah, so this guy that was having the contracts,
he was also in charge of handling the money side.
So I don't know what the fuck happened with this guy.
And like I said, I'm not gonna say his name.
I'm not nothing like that. I think that should be
you know, I don't I don't want to stay away
and they get away either, and I think it Uh

(01:16:08):
Elean counting, so he'll do the counting, I l and
Ton says, which now is not like that. Now I
work with a with Downtown, so it was Downtown. Shout
out to fucking Downtown, shout out to Bend, shout out
to Ray. They actually took me out of that contract
that I was with with that guy, so there was

(01:16:33):
I don't know what happened Temple, and they weren't getting paid.
So whenever they were excuse me when they were in
the in the podcast, somebody like, yeah, we weren't getting
paid whatever, Like they weren't. But it's not because it
was my fault. It was because they wouldn't pay up.
I wouldn't get paid either distributor at the time exactly

(01:16:54):
Distribute at the time, which was a third party, so
it was one to all my people watching that on
the L I told me take it da Yeah, a
third party distributor, because then it's like fucking messy and
there's more percentages involved. So I say, I recommend you
go straight to who you can. If not, bro, if
you're just starting, go with Dishal Kid. Like, just go

(01:17:17):
with Dishal Kid. And then as you grow start seeing
start scouting, people start scouting if you can get into downstairs, downtown,
orchard whatever it is, but don't do no third party distributor. Man.

Speaker 2 (01:17:28):
So anyways, how long did you guys go without getting paid?

Speaker 1 (01:17:31):
Yeah, so we went a couple of months. I don't
know exactly the time frame. This was in twenty twenty two.
And I wouldn't get paid either, but I would get
paid like like maybe like a little bit, like I'll
say like ten k fifteen k at a time. But
like every Catago's message a way can tell me. Way,
they don't have all these crews behind me. I haven't
even I fucking Josse and I can't even pay them.

(01:17:54):
So everything that I would make, because it was he'll
send it to me instead of them, like those fifteen
k whatever it was ten k, so it was my navayos.
So there was for twenty twenty two was fucking hell
to me. I've it was a good learning experience. But
sufi muchos Anuel, I don't think they know that. I
don't think I ever told them that. But like everything
that would come in, I would have to like pay

(01:18:15):
them in payments, you know, So I would have to
pay them in payments just because the money that was
coming in it wouldn't be enough to even cover what
they were owed. So whenever the contract ended, they were
still owed a certain amount of money that I had
to sacrifice, well not sacrifice, just give it to them
because it's the heirs. What the fuck am I gonna
do with their money? I'm not a person to fucking
uh be like you know what me first, lower youth

(01:18:37):
the space. No. So I really thought I had a
house at that time. I'll go me limb nothing crazy.
I really thought I was gonna lose my house at
that time. I got to the point where I had
my girl. At that time, I had a girl at
that time, and I would ask her like jokingly, jokingly,
hey what would you do if, like, like I can't
pay the rent? And she was like she was a
real one for this. She was like, well, I'll get

(01:18:58):
to work. You know what, do we need help you? Yeah?
So anyways, it got to that point and well eventually
everyone got paid and Downtown came to me and they're like, hey,
we want to help, we want to we want to
take you out of this contract. We want to We
see that it's going to end. And the person that
hit me up is Ray, He's like, we see this
country's gonna end, so we want to renew it or

(01:19:19):
we want to do something else with you. And I'm like, bet,
I'm done. This is my situation. Can you guys help me?
They're like yeah, and they're the ones that help me. Know.
They came to the rescue. And since then, that's why
things have been so different. So that guy's not involved
no more. We don't do no third party distribution. Now
we do straight to the guy, straight to the source.
And it's amazing man.

Speaker 2 (01:19:36):
And then during this semon, like sorry, during the semon
twenty twenty two, how did nivelle? And like I was
send me he had like take this? Was it like oh,
like were they mad at you? Or did were they
understanding that?

Speaker 1 (01:19:47):
It was like, no, they were mad at me because
I remember like them going on a podcast. I'm kind
of like talking mess about me, which I understand. Bro,
I don't blame any of these guys because.

Speaker 2 (01:19:54):
Did you look at it?

Speaker 6 (01:19:55):
Blame to them or what are you telling them? I
want to tell them five thousand dollars and you know
I only got one thousand.

Speaker 1 (01:20:00):
I would excou yeah, I would explain to them. But
when I'm the head of a label. You know, you're
you're going to take all the responsibility, so I'm not
going to be the one to blame.

Speaker 5 (01:20:10):
Like what would you tell him or like what was
going on or what were you talking to the guy.

Speaker 1 (01:20:12):
Like I did? I told him, Hey, this guy's not
paying up, Like I don't know what's up. He said this,
I don't know something about fucking taxes. I don't know,
but he says that, you know, there's not money. He
can't pay you guys yet yet, So I wouldn't want
to keep him waiting.

Speaker 5 (01:20:26):
You weren't getting paid either, I was.

Speaker 1 (01:20:27):
It was so totally. It was like the amount of
money that would come in and I would take like
maybe like two K, three K whatever it was to
pay all my bills and the rest in it to them,
so I wouldn't have like money to spurge. I knew
no clothes. I was like, okay, just enough for my
rent and I was happy with that rant and food.

Speaker 6 (01:20:43):
So and were you trying at that time, like actively
trying to figure it out what the guy or like
or like did you know like was the guy did
you see him like like a bad guy or or
you like believe them.

Speaker 1 (01:20:53):
Or I didn't, or what he said was what I
thought about him. No, it ended up what he said
was actually true, like Palos is away. I don't know.
I think it was like something with Taxidna paloes. So
there was like the money was just there and that's
why he couldn't send it. So I didn't at the time,
I didn't think of that. I was like, no, this

(01:21:13):
guy's doing some shady ship. But no, he was actually
telling the truth. At the end of the day, I
don't think he's a person like a bad guy, because
I mean, eventually this guy did come through with it,
Paget and now that I have hid everyone right, so
I finally did come through. We had we did have
to like get hold on We did have to get

(01:21:35):
lawyers involved in that one, but it didn't get to
nothing more because we re solved it and we fixed
the issue, so everyone was good and we left it
at time. And I don't think I mean Mesalolo like
I don't know when like last year something like that.
It's like Salulos, you know, I see what you're doing
with a Negartia and I think you ver I appreciate it,

(01:21:55):
So it's like, no, blood, no bad blood at all.

Speaker 2 (01:21:58):
You know, so after you were able to pay them,
after the contract, then there was novel right.

Speaker 1 (01:22:04):
Uh yeah, I would say, Man, I don't know, but
they got paid all the way, like it was, it
was complete. It was just during that time just took long.
It did take long. It took payments. Yeah, I took
payments because I couldn't. Mama said the play and like me,
it was like my rent exactly was three thousand, three
hundred and yeah, I obviously had a get like three

(01:22:25):
thousand from there and do the rest in payments.

Speaker 6 (01:22:27):
We're back from the break. We've learned a lot of
stuff so far. But I do want to ask you,
like just straight to it. And part of the reason
why you know you came on the podcast is because
we did cover that. There's a TikTok out there of Novelle.
You know, they're Pania, you know, they're they're working, doing
their thing. You know, they seem happy. And then one
of the comments, you know, it's even bringing up the
comments like oh you know, like where is that? Well,

(01:22:50):
you know what goes without saying, but they did ask that,
and then right away he's like, oh, well have you
seen her?

Speaker 2 (01:22:55):
Own label.

Speaker 5 (01:22:57):
Yes, So then then they're like, you know there was
like no, is there something wrong there?

Speaker 1 (01:23:02):
You know? Yeah? No, yeah and a and everyone has
their way of looking at things, right. It's all about perspective.

Speaker 5 (01:23:13):
So like like do they what do they feel like
they've been wrong there?

Speaker 2 (01:23:17):
Yeah?

Speaker 1 (01:23:17):
So let me tell you guys, there are different types
of royalties, right, And not a lot of people know this, right, Uh,
not the people that the people that are artists know,
but not the people like fans. So there are different
types of royalties, right. One of them is like, for example,
when you play a song on Apple Music on Spotify
that generates royalty, right, Whenever you play a song on

(01:23:38):
the radio that produces a royalty.

Speaker 3 (01:23:40):
Right.

Speaker 1 (01:23:40):
Whenever you write a song all right and somebody else
sings it makes it cover on it, you get a royalty.
So with that being said right now, and uh, in
their contract that the guy wrote is basically saying that
all right, label's gonna keep this part of the royalties.
And what's not including the contract is that they are

(01:24:02):
which I mean it's not clear, but they it's theirs, right,
They own all the publishing and other writers. So whenever,
for example, it's that not Che You guys remember that, Yeah,
it's a cover, it's that not Che. So the writer
I think it was Brian, right, Brian, the writer from novel.
He's getting all the royalties from that song on the
writer's side, right, and also on their publishing. I don't

(01:24:24):
know who they have as a publish or whatever it is,
or they're doing it themselves, but they're also getting paid
over there from those songs. Also from all the other
music that we have on DMG. They're also getting paid
on the polishing and the writers on that side. So
I think it's just a little bit more of clarifying
things up. You know that there are different types of royalties.
It's not that the lay I was like fucking keeping
every single fucking thing, you know, pinche. No, it's not

(01:24:48):
like that.

Speaker 6 (01:24:48):
So at this point on NIVA's not with you anymore.
What what royalties do you get or what income do
you get from novel?

Speaker 1 (01:24:55):
So the only royalties I get is basically okay, Spotify
and okay it's Apple, but streaming realties.

Speaker 2 (01:25:02):
Right.

Speaker 1 (01:25:03):
But like I said, they're keeping looks publishing and they're
keeping writers, So they.

Speaker 6 (01:25:07):
Kept one hundred percent of like writers in publishing, and
you kept one hundred percent of the streamers.

Speaker 1 (01:25:11):
Exactly exactly, you know, and and I think it is
pretty fair like that. And it's just very important for
the people to know definitely that there are different types
of royalties. Uh, Like I said, and India, you can

(01:25:32):
negotiate anything. So make sure you always check your contracts.
Whatever you want. If you like it, you don't, you
can always negotiate. Make sure that you go in with
the label and you tell them exactly what you want.
You get what you want, you know. I mean, I
don't want the labels to hate me. But like I said,
I'm also an artist. I'm also come from learning accordion
from my dad being in a band. I'm not gonna

(01:25:53):
lie even right now, whenever they still have gigs and
I'm an organ i still go play with them. So yeah,
but I love it. Though I love it, I don't
know it for the money. It's literally because I love
it so.

Speaker 6 (01:26:04):
The so the day that like, yeah, the contracts over
the day that they left, you know, you after there
was a few payments because you weren't able to kind
of like to the money. So the money that they
wrote for like the work that they did up to
that point, like they already.

Speaker 5 (01:26:16):
Been one hundred percent paid. Yeah, and then of course
like after they're.

Speaker 6 (01:26:19):
Done or there's still no the royalties, like let's see
kind of they kept the writers in publishing.

Speaker 1 (01:26:24):
Publishing, and I'm keeping the meaning that you're still getting
paid for they are still getting exactly, they're still getting paid.
But even though they said don't don't get don't play
these songs instead, I saw that I didn't see it.
It's funny. I don't know why he did it, but
he blocked me from his seeing story. So when I
saw that, I was actually at the gym and I
saw that video, Like what the fuck they got out
at the gym? Because you know, I went a little

(01:26:44):
bit harder, a little bit harder.

Speaker 6 (01:26:46):
And did they ever like reach out after like after
they maybe at the time when they signed it, they didn't,
like you said, you don't know what was on it?
Like they they didn't either. At some point they like
reach out and they were like a yo, like, you know,
we see you keep one hundred percent of this. Can
we negotiate something or did they just take it?

Speaker 1 (01:27:02):
Let me tell you something, Angel, thank you for bringing
that up. I love to work like I said, not
just because it's something that I love, but also because
I'm a mosical too. I understand the artist side. So
if they were to come back to me and they
were to say, hey, we want to see what we
can do, maybe something where we can lead something a

(01:27:25):
new project, or maybe where we can do something with
the old works. Bro, I'm always on to fucking work.
I'm not I'm not here and in I ask for
a little short cash. No, I'm in it for the
long run. I see DMG as an next runial media.
I wouldn't say replacing them, I'll see next to them.
You know, Jamie's my idol or a guy I look
up to. So I'm in it for the long run.

(01:27:47):
Matter of fact, I'll tell you something. And they said
before I before I was saying that he took me
off of his being a story. I saw everything there right.
I saw that he said that you post that. He said, uh,
go stream if you fuck with let's go stream these
versions instead. I would tell every single email fan, every
single person out there, please go do that. Please go

(01:28:07):
do that. You know it is if if you really
fuck with an artist that much, please go do it.
Like at the end, of the day. They're the guys
that I started with. You know, like I said, DMG
wouldn't be to where it is if DMG and Evel
didn't find each other, if Jose and this guy didn't
find each other, if Junior and Brian didn't find each other,
if freaking Tony, you know, all this stuff, everything is,

(01:28:30):
Everything is happened like it needs to be. I don't
know if God made it like that, whatever it is,
we all learned. But I fuck with these guys so much.
I would tell them, bro, please go stream there all
of their stuff, like don't even I mean, if you
fuck with like our versions more obviously listen to what
you like, but respectfully, like, yeah, go go for it,
like go stream this stuff. It's cool.

Speaker 5 (01:28:50):
And when was the last time you talked to him
or like or like them specifically?

Speaker 1 (01:28:54):
Which way I think I talked to him like a
couple months ago. A couple months ago, he wanted to
give me some songs for Daniel. So we have an artist,
so so we haven't got anything yet, but he did
offer it. He's like, hey, bro, whenever you need some
songs for him, let me know. So it's not like there,
it's like Yeah.

Speaker 2 (01:29:15):
They just find out that they weren't getting royalties from
the streaming or they like they always know about it,
and like I just had to know where they were,
Like hey, you know what, Like this is kind of
messed up.

Speaker 1 (01:29:25):
It happened in twenty twenty two, whenever like their contract ended,
But like I said, it's something that whenever they first
signed in twenty nineteen. It is something that we were
all new to the music. They were new to the music,
and I was into the music. So it's like those
which is honestly pretty fucking ballsy of them to trust uh,
to trust me, And I'm almost I'm alsoys gonna be
grateful for that. Like going in not knowing something and

(01:29:47):
then going in with someone that doesn't know anything. You
guys are both learning together. I think it's a pretty
ballsy movement and I respect that shit, you know.

Speaker 3 (01:29:53):
What I mean?

Speaker 6 (01:29:54):
And we respect it too, you know, coming on here
and you know, telling yourself the story. Of course, you
know everybody are you know careful Noel or knows DMG
or anything like that is going to Yeah, and of
course Novella as well. You know, their teams are what
would you tell them? You know, you haven't talked to
them in a few months. You know, there's been a
few developments and you as a story, what would you
tell them.

Speaker 1 (01:30:13):
I've heard there, I've heard rumors. I'll say this, I've
heard rumors that their contract is about to end with
a label out there. I'll say, no, matter what you
get offered out there, Joy Brian Jeffrey, almighty, I promise you,
I will give you something better. Like that's all I

(01:30:34):
can say. Like, I'm here if you want to come
back to DMG and if you want to own your
Masters by let me know. I'm here to work at
the end the day. I don't do this ship for
the Masters, whatever it is. I do this shit because
in the long run, because at the end the day,
I see DMG, that's one of the top dogs. That's
all I have to say.

Speaker 5 (01:30:49):
You would love to work with them again, I'll love
to d MG for president twenty.

Speaker 4 (01:30:56):
President.

Speaker 2 (01:30:58):
And I feel like that's pretty good too, that you
gave you know, they're publishing. I feel like there's a
lot of labels that we see that like they take
from everything that got home.

Speaker 5 (01:31:06):
You know, we're taking a cut.

Speaker 1 (01:31:07):
Yeah, yeah, and uh, but that goes back to the
to the thing where like because they also put a
lot of risk into it also, like it's an artist
from zero. But like I said, whenever they're built up,
for example, I want my matches, I want fifty percent
of my mashes, whatever it is. You know, you have
the flexibility to do that.

Speaker 5 (01:31:28):
Yeah, maybe just in this case that happened.

Speaker 6 (01:31:30):
You know, maybe some other people it's like, oh, you know,
we're taking you know, the labels taking fifty percent of
the streaming and also fifty percent of the publishing and
the writers, and you know, we're just going fifty all
the way through. In this case, it was like, you know,
fifty of the streaming, I mean a hundred percent of
the streaming and one hundred percent use the writers.

Speaker 5 (01:31:47):
And that's just kind of how I went in this case.

Speaker 2 (01:31:49):
You know, I feel like it was pretty good one
hundred percent of the publishing because all the covers that
came out after, you know, the Yadita one and then
the one so like you temple.

Speaker 6 (01:31:57):
So yeah, that's good. I think you you said very well,
and I think it was good. You know that you
gave your side too, and you just didn't like take
the comments. No, maybe at some point they also want
to come on.

Speaker 5 (01:32:09):
I don't know. I'm sure they'll have something to say
after this too worse.

Speaker 4 (01:32:12):
Yeah, oh, more than anything. You want to give you
your props for you know, taking the risks to start
the label, you know, investing in these artists from zero.
I think a lot of people wouldn't do that because
of the stress. But what's next for you? What's next
for your label and your team?

Speaker 1 (01:32:26):
No, thank you for asking that, Jason. So, And let
me tell you guys something I don't know. You know, actually, yeah,
I saw.

Speaker 2 (01:32:35):
Him in No sorry because you brought it up.

Speaker 1 (01:32:39):
It was just so random.

Speaker 6 (01:32:40):
He was in the thing I went to Inmosile. He
was on the on the lineup or something like that. Yeah,
they were talking about him.

Speaker 1 (01:32:47):
Yeah. So that's the new artist that we have. And
I'm gonna tell you guys something. I love working with
Mexico artists because so in Mexico they're not as fortunates
as us. Right. Letting know pokemonas Vaz our parents have
worked a lot, I mean, yeah, Pokemon mass not as good.
So I took this guy to a steakhouse and Montre

(01:33:09):
to celebrate. He got like ten million views at that day.
He got ten million views on his TikTok, right, I
think it's like at thirteen mil, almost fourteen thirteen point
five whatever, And I wanted to like give him like
a taste, like, hey, bro's a look at this better.
Oh okay, okay, look Stasi in the way, you're gonna
You're gonna hit that shit soon. And and at the
dinner he's like, Bro, I've never been to a steakhouse.
Like it's catching on. And he was like a little

(01:33:30):
kid at a steakhouse. And it made me feel good
knowing that these kids in Mexico are chasing their dreams,
and you know, they're they're chasing their dreams and they're
actually like learning and they're experiencing new stuff in life
that they never would have experienced. And I think, what
that's what life is about. I think it should be
about both sides winning. It should never be one sided.
So whenever they say, I repeated again, whenever they said, man,

(01:33:53):
DMGs DMG takes all the credit whatever who it is,
this guy wouldn't be this without that blah blah. Now,
ex definitely two sides two to make a legacy. So yeah,
my folks, right now, he's a guy that's upcoming, and
we just released Cumbia from him with Yeah, and then
we have you guys know, oh yeah, so that guy

(01:34:20):
and then we have he met with yesterday. So we're
we have a couple of stuff coming. But all I
know is at the end of the day, d MG
ranch So I see it. I see it.

Speaker 2 (01:34:34):
Nice damn.

Speaker 4 (01:34:35):
I think this is a lot of inspiration for anybody
that's starting out a label, you know, you know, I
think for musicians too that that want to be signed
to the best label as well. I think you prove
yourself and we want to congratulate.

Speaker 1 (01:34:46):
You for that.

Speaker 2 (01:34:56):
Not going to break.

Speaker 6 (01:34:59):
So noticia clip clip clip clip American escribo and maybe
I gotta ready to do that.

Speaker 5 (01:35:11):
Okay. So this so this was the first song that
he that he made or he released.

Speaker 1 (01:35:15):
So this is Junior H's first song ever ever like
E V E R super American and a sound clatter
on the media, right and it was just sound clad.
I'm gonna play a little bit, Junior. If you're watching this,
please don't hate me. Bro I love it. I love
you baby.

Speaker 2 (01:35:31):
What's this?

Speaker 1 (01:35:31):
One? Called it a west Break? West Break?

Speaker 4 (01:35:34):
I want and.

Speaker 3 (01:36:00):
Quadriya in West Side class Ba Bolas frequency Yari Semi

(01:36:26):
ra loosadra los Corettia, Yes, yes, Sasa kala sonar.

Speaker 2 (01:36:51):
You guys started here first.

Speaker 5 (01:36:52):
Probably that is Junior age his first song ever.

Speaker 1 (01:36:57):
It's like, no, he made me take it down literally
a day after he uploaded. He's like, I can do better,
all right, Yeah, I want to. I want to.

Speaker 2 (01:37:04):
Sorry, I wanted to ask, so, like, what's your relationship
right now with Junior?

Speaker 1 (01:37:07):
Actually I'm not, like we haven't talked in a while,
but like I said, after that, the whole thing the
row manager the first time, like I said, he did
ask me to be his row manager again, but just
at that time, I was like, I'm really focused on
the label thing and I want to make this, you know,
work with the label. And so ever since then, we've
talked here and there, like when we had Tony away

(01:37:28):
I was back then, but I mean I would love
to catch up with him.

Speaker 2 (01:37:32):
Yeah.

Speaker 6 (01:37:33):
Well, I'm like one hundred percent sure that he's watching
this uh Yao's clips and taking on.

Speaker 1 (01:37:41):
As uh it doesn't and and way uh there's whenever
you learn how to record player music and all that
same From Roselos West Break to Camillo to La Chevy
Way to a Moro, Houston, Megawa and Camas allow them, bro,

(01:38:10):
I fucking love you, no, homo.

Speaker 2 (01:38:12):
That's right. Wait sorry.

Speaker 5 (01:38:16):
Celebrator, Like have you what was the lesson we saw him?

Speaker 1 (01:38:20):
Like? Or have you gone to his concerts like recently?
Like I haven't, but we we got invited. So when Evail,
when they were with MG, we got invited to like
their tour. So it was like I think, I don't
I don't know if it was a Sad Boys for
I don't know what it was called. But he invited
us to like a couple events, like I don't like
a whole tour Anvail Generate and he had like one
more group. I think it was uh Porte Los Texas

(01:38:40):
content different port different exactly. So it was and it
was since since then that we haven't uh we haven't spoke, man,
it's been a while, Like it's been a while. He
sent me his you know, I think last time we
talked was like twenty twenty two, twenty twenty two, and
I think, honestly, one of the main reasons that we
didn't talk is because he saw like all this bullshit
that's like that's happened that happened that uh maybe he

(01:39:00):
didn't know the details of until today. So I want
to thank you guys for giving me the opportunity to
clean everything up, to finally say things how it is.
Uh he puss. You know I've always win in this business.

(01:39:23):
I'm sixty thinking my career. I have a whole life
about in front of me, and it's like it's not
worth it for me. So thank you guys for giving
me the opportunity, for giving me the platform. I will
forever be grateful. I promise you, guys, whenever I find
the next best Aloma, because it will happen, you guys
will get from road tickets to every single show. I'll
make that.

Speaker 2 (01:39:40):
Hey look Backsta coming front.

Speaker 5 (01:39:54):
No, I didn't come here to talk showing anybody either.

Speaker 4 (01:39:57):
Well, once again, we want to say thank you, Thank
you to everybody tuned into this episode. You know vemos
on the next episode. Yes,

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"I released Junior H's first song ever" - DMG Bryan | Agushto Papa

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}"I released Junior H's first song ever" - DMG Bryan | Agushto Papa