March 6, 2024 • 61 mins
Steve Stoute and Shannon Sharpe continue on by diving into why artists like Taylor Swift should hold on to their masters rather than sell them for massive payouts. Steve recounts the hilarious story of Kanye West's unexpected freestyle at Steve’s wedding, which may have been a precursor to what happened at the 2009 VMAs. Shannon and Steve explore the business side of the NFL’s partnership with Apple and the Super Bowl Halftime Show, Steve's groundbreaking triumphs with AT&T and a hard-of-hearing football team, and break down the transformative power of a strategic rebrand. From discussing the significance of shared values in brand-influencer partnerships to unraveling the cultural tapestry of Giannis Antetokounmpo's film, the episode weaves together threads of music, sports, and business. Steve's Mount Rushmore of hip-hop, Shannon's heartfelt tribute to LL Cool J, and reflections on the rise of hip-hop as a global phenomenon add layers of depth to this entertaining and enlightening conversation. As Steve Stoute seamlessly transitions from the music industry to broader business landscapes, the episode serves as a masterclass in embracing evolution while keeping the essence of all things legendary intact. Don't miss out on the laughter, insights, and legendary tales shared in this Club Shay Shay rendezvous with the one and only Steve Stoute. #Volume
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Thank you for what you're coming back. Part two is underway.
Speaker 2 (00:04):
The seeming of the new thing now is people seem
to be unloading their catalogs. Taylor Swift did something very unique.
She released her entire catalog and now she got new masters.
And the record companies are trying to say now.
Speaker 1 (00:20):
They're training to change agreements. Yeah. Yeah. There's two types
of catalogs you can sell.
Speaker 3 (00:26):
One is your publishing catalog, which is your share of writing, right,
which are most artists can sell their version their portion
of writing.
Speaker 1 (00:37):
Assault.
Speaker 3 (00:39):
Then there's another side of the catalog, which is the
master side.
Speaker 1 (00:43):
Most artists don't own that to sell. They don't own
that to see.
Speaker 3 (00:47):
Tailor didn't own that to sell, right, Okay, that's the
reason why she was mad because somebody they sold it to.
Speaker 1 (00:53):
Somebody else and she wouldn't chance.
Speaker 3 (00:56):
Well that's and and I'm gonna tell you something about
that that nobody talked about. Her father owned piece of
that company, So I don't know why her father didn't
tell her her father owned piece of the company that
sold it. So I don't know how she didn't know
any of that, to be frank with you, and I
got no horse in this race. It was just to me,
it was just very odd that the beef was so
(01:19):
loud that they sold that. Nobody ever told her about it,
And I'm thinking your father benefited from the sellers number one.
Number two, most artists don't have that, which is the
reason why I fight for that about ownership of masters,
because that's the thing that has all of the long
term value that you could, you know, your family could
benefit from for years to come, which is the reason
(01:40):
why you should maintain and own your master rights. The
multiples that are being paid for these things are really high,
very very high, and for those who can benefit from it,
it's great, which is the reason why again.
Speaker 1 (01:53):
The artist should hold it.
Speaker 3 (01:55):
To me, it's one of those things that I personally,
if I was an artist, I wouldn't sell it. If
I owned my catalog. You can get a loan against it,
right bar against it. Whatever, it's it's very valuable. You
can license it, but I wouldn't sell it. It's because
what's happening is as technology changes, it keeps.
Speaker 1 (02:18):
Unlocking new value.
Speaker 3 (02:19):
So it was worth one thing then when there was vinyl,
and then all of a sudden when CDs came, it
became exponentially more valuable because then everybody started rebuying it again. Right,
all of a sudden, you started buying Bob Marley's Greatest
hits or you know whoever, Barry White's greatest hits.
Speaker 1 (02:37):
So you name the act that you like.
Speaker 3 (02:40):
Every time new technology comes out, the catalog becomes much
more valuable again because people are, you know, reformatting the
music in which they have it on or buying that
new format.
Speaker 1 (02:53):
So it's very hard.
Speaker 3 (02:54):
The guy who's buying it is betting that the that
the new format change is going to only lead to
more value over time.
Speaker 1 (03:00):
The person selling it thinking it's not. If you can
afford to.
Speaker 3 (03:05):
Get a loan against it or license it, you can
still get some money without necessarily selling it again, That's
what I would do, but with the kids to own it.
If you don't own it, you're not even in this conversation.
You can sit here and ask artists what do you
feel about selling catalog and they'll sit there and tell you,
(03:25):
I have no idea what you're talking about. I don't
have any catalog to sell, which is again fucked up?
Speaker 4 (03:33):
Is it?
Speaker 1 (03:33):
Truth? At your wedding, Kanye took the mic from Maxwell Man.
How do you know this, man, that happened for real? Man?
Shut up? Who told you that the night has a
thousand eyes? Almost?
Speaker 2 (03:50):
Not? No, man, who told you this? I'm just asked, Steve.
I'm just asking the question. I just want to know.
I think my audience want to know. Maxwell was performing,
Kanye got up there and started freestyling.
Speaker 1 (04:03):
Yes or no? That happening.
Speaker 2 (04:04):
That's so wild that you know that? Man, I'm telling
you Anthony, who would tell you that?
Speaker 3 (04:14):
Yes, Kanye grabbed the mic and started freestyling, and it was.
Speaker 2 (04:24):
Craziness. That's all I can say. It was crazy. So
what is about wedding? Your wedding night? So what are
you thinking?
Speaker 1 (04:30):
You got Max?
Speaker 2 (04:30):
Well, he's saying this woman's work silently fortunate, fortunate, Yeah,
Urban hanksweet the whole album. Yes, you help the NFL
secure two hundred fifty million dollars deal with Apple. How
(04:52):
is Steve Stout able to walk in any building, get
a meeting and can close a deal?
Speaker 1 (04:58):
Man? You could? Man, you could? Hey, you can have
a chicken to be security at the hen How How.
Speaker 3 (05:07):
I'm good man, I'm good at what I do. Man,
I see it. It's the it's the halftime show. It's
it's the NFL halftime show. It's all about music. Why
wouldn't Apple Music have that? Why wouldn't a music company
be there? Pepsi's fine and Bridgestone before Pepsi, But like,
(05:30):
why is it a tire company and Pepsi? Why wouldn't
it be Apple Music? I mean, why isn't that obvious
to everybody?
Speaker 2 (05:41):
I don't even understand what The only thing genius about
that is that nobody else seen it, but it was obvious.
So being able to speak to you know, EDDIEQ and
the guys over at Apple, from Tim Cook to Eddie
Q and Oliver, those guys, they love the idea, and
the NFL, of course, would prefer to.
Speaker 3 (06:01):
Be in business with a company like Apple. Who doesn't
want to be in business with Apple Apple Music? And
we did that deal and it was you know, Rihanna,
year one, and you know, we know it's usher this year.
Speaker 1 (06:12):
I'm sure you're going to be there.
Speaker 2 (06:14):
You're damn right you be there, So you know, it's fantastic.
Speaker 3 (06:20):
I love doing deals and doing business that makes significant impact.
And I love the idea more than I care about
my own personal what I personally stand the game seriously.
Speaker 1 (06:36):
It's like.
Speaker 3 (06:38):
Bono said something to me a long time ago. You
can get anything done as long as you're willing to
not take credit. Wow, the idea, As long as you
remove who gets credit for it, then the politics around
what makes a great idea come together become much easier
to see.
Speaker 1 (06:57):
Yeah, And that was one of those types of things.
Speaker 3 (06:59):
I think, get in deep enough to get it done,
and then I got out of it once I knew
we had a deal, but I didn't run around talking
about I did this deal and for what what you
see where the prices are going for these commercials.
Speaker 1 (07:13):
Seven eight million dollars for thirty second spots.
Speaker 2 (07:16):
Yeah, where we steve, where we're headed. We had a
team fifteen million dollars for a thirty four to thirty
second spot. Yeah. You see where these teams are valued. Yeah, right,
where these teams are valued. The fact of the matter is, Man,
the top one hundred shows on television, ninety of them
in the NFL advance.
Speaker 1 (07:36):
Yeah.
Speaker 3 (07:37):
And the more it becomes rare to get that level
of audience around something, the more they can charge because
there's nothing else that get us that level of attention. Yeah,
at one period of time, if you break it down.
It's probably the best money spent.
Speaker 2 (07:52):
Yeah, you got one hundred million, You got one hundred
million people watching for three hours?
Speaker 1 (07:57):
How about this? And oddly enough wanting to see the commercials.
Speaker 2 (08:03):
That one event is the only event where people go,
I can't wait to see the commercial.
Speaker 1 (08:08):
There's nothing else.
Speaker 2 (08:09):
Every every other thing you're trying to skip the commercial,
get around the commercial. Which is the perfect time to
use the bathroom, not the end, not the super Bowl.
Speaker 1 (08:18):
That's when people want to watch commercials.
Speaker 2 (08:20):
So e seven eight million dollars whatever, and and and
I think that, I think the NBA Finals and NBA
playoffs people want to watch these things. Man, I would
I would charge more. It's the only game in town.
It's the only thing live sports dominate television. Yes, they
(08:40):
can charge whatever they want. And it's worth it. I
mean it's worth it because the the attention that you
get is very hard to cobble.
Speaker 1 (08:50):
Putting together a bunch of other different media, it's just
very difficult to get. Have you ever com created a
Super Bowl commercial? Is that something you liked it?
Speaker 2 (08:58):
Hell?
Speaker 3 (08:58):
Yeah, man, I did it super Bowl commercials so long ago.
And the ship blew up and I didn't even realize
how big it was. Terry Tate office linebacker. Yeah yeah,
hell yeah.
Speaker 2 (09:12):
Do you remember that he just started tackling people in
I did that for Reebok.
Speaker 3 (09:17):
Man, I did that for Reebok. This guy was running
around with a film of this guy tackling people in
the office.
Speaker 1 (09:24):
Uh.
Speaker 3 (09:24):
He's a famous director now, ross In Thurber, and he
had this young guy showing this film. I've seen it
and we're represented Rebok. We pitched it to Reebok and
literally was a Rebok dot com commercial. Go to reebok
dot com and that thing went crazy. Terry Tate office linebacker,
I remember that. Where the agency, the Creative Solutions Company
(09:48):
h AS I like to call us because that's what
we do. We solve bigger problems for Uh. The NBA
has been a client of ours for many years. State Farm,
all those State Farm commercials that you know, Aaron Rodgers
and Chris On, Cliff Paul like, we've done all that
work for years and now AT and T is one
of our clients, has been our clients for five years.
Speaker 1 (10:08):
But I want to talk to you about because we
talk about special. What makes this helm special? Yeah? What
we did here man, which I'm very proud of.
Speaker 3 (10:17):
Is a lot of times people talk about advertising and
it's like selling stuff, But I like to really think
about how do you use the power of advertising to
tell a story or solve problems. And we found out
about the story about Galley Debt, which.
Speaker 2 (10:32):
Is a school for death or hard hear hearing impaired.
There was a time where hearing appeared players actually made
it to the pros. There were few of them made
it to the pros. But as technology.
Speaker 1 (10:43):
When my second year Kenny Walker went to the University
of Nebraska, he was hearing the paired, So then perfect.
Speaker 3 (10:49):
So now what happens is as you start putting in
technology and the helmets, now you can call audibles and
if you're playing quarterback or lineback, you can't even compete.
If you're hearing a paid you can't. So we've seen
this problem. We took it to the AT and T
and the great team over there. They actually wanted to
see how can we help solve this problem using five
(11:10):
G technology. Okay, so what we did was we worked
on this for three years. Share this helmet has a
special chip here, and this chip allows players who are
harder hearing to actually see the play versus just hearing
right right. So the coach takes this and literally, I
(11:32):
can put the play in here flex.
Speaker 1 (11:37):
Where play action Pittsburgh, right, So that's the play.
Speaker 3 (11:41):
The coach calls and I can just put in the
audible right here, and the audible comes up on this
visual so the player gets to see this. This is
a game change. We put this on these players. It
changed their lives. Man, This player saying I got the speed,
I got the vision, I got the ice, I got everything.
Speaker 1 (12:01):
As a professional lefting, I just can't hear. I'm hearing impaired.
So they're using this. They're using this right now, man,
they're using this right now.
Speaker 3 (12:10):
It's one of the most things I'm most proud of
that we did that, and we're changing people's lives. So
you know when I say that we are a creative
solutions company that's not advertising, man, that's coming up with
new ideas that's going to help change people's lives.
Speaker 1 (12:24):
It's much bigger than advertised. Right. So you're the consultant
for the next You did some work for to make
the next.
Speaker 3 (12:31):
Cool, Well move the next from from Newark to Brooklyn, right,
So we did that very early. I'm also the we
also represent the Big Twelve, yes, yeah, to make them cool. Yeah,
well the Big Twelve. What's going on in college sports
is so crazy now because the game the rules have changed, bro,
I mean between nil deals, between the relocation of the
(12:53):
relocations of every team. It used to be regional, right, yes,
like you if you play for Big East and you
were in the Big East store, man, you could go
from there and be there. The regions don't even matter
a lot of it. I still think I have a
problem because of what it does to the student athlete.
The fact that you got to travel across the country.
(13:14):
How could you even study? How could you actually get
your schooling together? If you're playing different.
Speaker 2 (13:19):
Time zones like us USC and UCLA coming to the
big team.
Speaker 1 (13:24):
Yeah, how yeah that's a lot, right.
Speaker 3 (13:28):
But anyhow, between nil deals and the fact that these
teams are changing conferences so fast, recruiting materials around recruiting,
how you market your teams, how you market your team
and your program changes dramatically.
Speaker 1 (13:41):
Look, man, we at the Big Twelve.
Speaker 3 (13:43):
We we just got Colorado, right, you want to have Colorado,
and I'm sure everybody was pitching Colorado, the Ady and Colorado.
Speaker 1 (13:52):
To get them.
Speaker 3 (13:52):
You know, we put together the materials to help make
them more, make them very successful. And I'm you know,
I work with brett Or Mark who the commission of
the Big Twelve. I worked with him when he was
at the Brooklyn Nets when we moved him from Brooklyn
from Newark, New Jersey to Brooklyn, and I work with
him now for the Big Twelve. And love working with
Jim Dolan, very very misunderstood man, talented as hell, loyal
(14:14):
as hell.
Speaker 1 (14:15):
How do you go about rebranding?
Speaker 2 (14:16):
Because the rebrand something people have an idea or perception
of what it is.
Speaker 3 (14:22):
How do you change that perception. There's a lot of
different things that go into it. How it sounds, you know,
the sonics of the brand. Like you know when we
did Unloving It for McDonald's. You remember those butuolso remember.
Speaker 1 (14:40):
Right?
Speaker 3 (14:41):
So sonically those are branding elements that you have to
deal with. The texture and tone when you sometimes you
will watch a TV commercial and because it has a
white background already, you kind of know what it is
before it comes on.
Speaker 1 (14:55):
There's certain colors that you can tell.
Speaker 3 (14:57):
Colors play a very important role in so sometimes when
you're rebranding, you play with colors you play with sounds.
It's not just casting like, oh, let's just use this
famous person, unless you know, put two white guys and
one black guy and make it different than it like
things like that. It's really understanding the totality of what
(15:18):
leaves an impression with somebody, breaking that down and figuring
out what aspects of that story that you're going to
pull together in order to retell that story.
Speaker 1 (15:30):
It's a crass, it's very it's it's craftsmanship.
Speaker 3 (15:33):
And you know, most people unfortunately think that just throw
a famous person against this and close your eyes and
they'll fix.
Speaker 1 (15:40):
It some hope. Yeah.
Speaker 3 (15:43):
You know a lot of times putting famous people against brands,
two things happen.
Speaker 1 (15:49):
You don't believe it.
Speaker 3 (15:50):
Right, So there's a celebrity and the brand have shared values,
shared values, what do we have in comments so that
when people see us together they go, oh, that makes
perfect sense because that's how they rock.
Speaker 1 (16:02):
Right.
Speaker 3 (16:05):
So that's successful partnerships around your values or you put
them together and they're just expensive ideas that nobody ever believes.
Like you put I used to always use like you know,
back in the days, like who believed that Tagger Woods
drove a buick?
Speaker 2 (16:20):
You know, like how do we gonna get how we
gonna get this off? Like how were we gonna figure
this one out?
Speaker 1 (16:24):
You know?
Speaker 3 (16:25):
And so there's there's a lot of bad ideas like
that right now to this verrea where you look at
it and you're like, are you serious. The other thing
I tell a lot of you know, guys in the
music business specifically because all us brand money is coming
at them, is you gotta be careful who you choose
as a partner, because when they sign the deal, it's
(16:47):
one thing. You get a check, you feel good. But
when they fire you for lyrics or fire you from
behavior that you was actually doing when they hired you. Correct,
but it's really loud now because getting fired is a
loud thing. You famous you fired, You got to let
go be careful about those people, man. Not every check
is a good check, right, And make sure you are
(17:07):
going into a partnership with somebody because these brands, I
will tell you, man, they will sign you and as
soon as they feel any temperature, they cut bait. And
they will cut bait and it will be loud and
you will look as if you did something that they
were completely unaware of, which is the exact same thing
that made you famous is why they got in business
(17:27):
with you.
Speaker 2 (17:28):
Choosing a brand partner is almost as important as choosing
a life partner.
Speaker 3 (17:33):
Oh yeah, because the brand partner can't affect your reputation
when they let you go or they say something about
you because they parted ways with you. And however, you
know eloquently they decide to say that you guys parted ways,
there's a stinch on your name is if you're not,
(17:54):
because what do you think the other brands do? Don't
mess with that person, right right? As a result of that,
so again that becomes contentious. So you have to be
very careful who you partner with because some of them
they're not in it for the partnership. They're just in
it for the quick burn of fame. How many followers
you got, how many likes you got?
Speaker 1 (18:10):
This? That?
Speaker 3 (18:11):
And the third day that they're not really invested in you.
They don't give a shit about you. They care about that.
And as soon as that gets a little bit tainted,
a little bit uneasy because you said a word that
they didn't know, well, somebody didn't.
Speaker 1 (18:23):
Those are in your lyrics already, man.
Speaker 3 (18:25):
Right, you know, so I always give that advice and
anybody watching this as a musician or looking or influencer,
make sure you pick your partners correctly.
Speaker 2 (18:36):
Make sure they're really your partners. How do you strike
the how do you strike a balance? Because you said
you left the music injury in industry to get into advertising,
So how do you strike the balance between athlete and brand?
Because you have a vested interest on both sides because
a lot of these athletes you have a relationship with,
and obviously a lot of these brands you have a
(18:57):
relationship with, and you want to continue faster that on
both sides.
Speaker 3 (19:01):
Because there's because there is there actually is a true
sweet spot between athletes and brands.
Speaker 1 (19:07):
There is a great relationship.
Speaker 3 (19:09):
If you you look at TV, you see some of
these commercials and just like, what about this story that
they're telling. It's actually gonna help make this athlete look aspirational, important,
like they're doing something that really matters. Sometimes they actually
use the athlete and make them look like dumb jocks.
(19:32):
Sad enough to say, they make them look like that
versus somebody who you should look at as a rare, unique,
special talented individual who's more than an athlete. Okay, to
quote Lebron and what they do it to bring up
like you. But if you work with people who are
not willing to get deeper past the surface to help
(19:52):
tell those stories, then you're gonna end up with commercials
where the athlete says two words are trying not to
let them talk too much and just put everything around
them and this cut around them.
Speaker 1 (20:04):
That's not that's not buzz. They're not making that much
money off of that anyway. Why are you even doing it?
Speaker 2 (20:09):
Right? You got ten million dollars, fifteen million dollars twenty
million dollar guaranteed contracts. They're not paying you that much
money to do to commercial So only do it if
it's doing something to help manage up your image. And
you asked, You asked Chris Paul, you asked Lebron, you
axed Jason Tatum.
Speaker 1 (20:24):
You asked anybody who works with me.
Speaker 3 (20:28):
There's nothing that I do unless I could look at
it and go did we do something to elevate your image?
Did we do something to tell a story that you
always wanted to tell? But this is the greatest outlet
to tell that story. If we're not doing that, we're
not doing no business. That's that's I don't work that way.
Speaker 2 (20:46):
I'm looking at some of the athletes that you work
with and entertainers Yianni's Little Baby, Ja Morant, Clay meg.
Speaker 1 (20:51):
Gianni's man Giannis.
Speaker 2 (20:53):
We told the story, and we shold a film going
back Nope, when he talked really intimately about the fact.
Speaker 3 (21:01):
That he'd go to Greece Greek because he's Greek. He'd
go to Greece, go home, and they'd look at him
like he was a black guy. So there was a
certain level of race tension around that racist tent. And
then he'd be in Africa and they looked at him
like he was white guy from Greece, and how he
had to live within the balance of that and the
power he found in growing up in those two worlds.
Speaker 1 (21:23):
We told a beautiful story about that with his partners
at WhatsApp.
Speaker 2 (21:30):
WhatsApp is the global communications company and very few artists
athletes are as global as yo, honest, and we told
that story through that. Lens Man, I mean, that's the
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Speaker 3 (22:34):
I watched you for the last two and a half years.
I'll just watch on the FS one show. How long
you've been on that show for a year? I was
on that show for seven years. Yeah, we came in together,
skip started. We started the show in twenty sixteen. It
was a great run. I watched you on the show,
and I watched you get better over time, and when
(22:58):
you started getting comfortable and bringing in your all of
your natural self to it at the table, it was.
Speaker 1 (23:03):
A game changer. Yeah, it was a game changer.
Speaker 3 (23:05):
Well, that's the thing when you were sneaking in those
lines with the the brag and miles and all that,
and then social media started to pick it up. Yeah,
and you know the right delicate balance, which is very hard.
The producer Craig Barry is a friend of mine who
produces Inside the NBA, Inside that show.
Speaker 1 (23:22):
Yeah, and it's that's the magic.
Speaker 3 (23:25):
How do you get that talk off while still being
an expert at the core thing.
Speaker 1 (23:30):
Which is sports? Correct? Correct? Did you think that fifty
years what it started? Fifty years ago? Hip hop?
Speaker 2 (23:38):
And you said it was in his empasy when when
all was doing with you know, you could go to
the mall and you could see Al and you could
see run demc hanging out in the mall and you
could see the battles.
Speaker 1 (23:47):
Did you think it would be what it is today?
Speaker 3 (23:51):
I mean, you're a great born think no, no, no, no, no,
not I knew what I I never thought the music
would be this big. I knew that the other things
around it would be big, the clothing, the style.
Speaker 1 (24:07):
I never thought the music.
Speaker 3 (24:08):
I never thought at any point in time it was
going to be the number one music in the world.
Speaker 1 (24:12):
I didn't think that.
Speaker 3 (24:14):
I remember I used to go to France. If you
do your thing out there, you have no idea what happened.
So I went to can and I seen graffiti and
I was like, when I see graffiti.
Speaker 1 (24:29):
Every time I see graffiti, it makes me think the
culture has touched this place.
Speaker 3 (24:35):
I get comfortable around graffiti because I know as people
who are trying to say something and they're looking for
a candambas to say it.
Speaker 1 (24:48):
I love that. I love that. I've always loved that.
You say alf from Queens. I mean we go LLL
with the first.
Speaker 2 (24:56):
I mean the guy that now what you like when
you get man L was there, you know, look I
love with al and Kumo d Battle.
Speaker 1 (25:05):
I grew up on how old are you? Fifty five?
Fifty three?
Speaker 2 (25:08):
All right, so we used to go but rules, yeah,
how are you getting the music? I grew up about
sixty five miles from Savannah, and they would come to
the civic center. Uh coumo d uh the Fat Boys,
run DMC, Houdini you went, of course, yes, yes, because
(25:29):
L L L and I about the same age.
Speaker 1 (25:31):
Yeah, And so.
Speaker 2 (25:34):
Anytime that they were coming to Savannah, we were there
and they had a show. They had Houdini, they had LLL,
they had run DMC. I mean it's like seven groups
and it was unbelievable.
Speaker 1 (25:47):
And everybody knew all the words, every last one of them.
Speaker 3 (25:52):
Hello cool J was A was A was A. I
mean it is a star. I mean he I don't
think you get the credit he deserved though.
Speaker 1 (26:00):
Wow, he's a Yeah.
Speaker 2 (26:03):
I know I'm talking about the commercial, but I'm saying,
when you talk about Gray rappers, don't nobody mentioned al.
Speaker 1 (26:09):
You know what? L Yeah? He is funny man? Would
he be in sports? I have an argument all the time.
This is.
Speaker 3 (26:23):
Everybody like there's a certain style that people appreciate more
so they don't give a different version of that approach
the same amount of credits. So oh, was he as
great as a lyricist as rock him or Kin?
Speaker 1 (26:41):
No?
Speaker 3 (26:42):
No, was he a better total package? Absolutely? Yet why
he still has a career to this day. He made
bad albums, he made bad albums, he made really good albums,
then he'd made batter He used to go through this
pattern where he would experiment and make bad albums. He'd
probably tell you you that what was considered a quote
unquote bad album was learnings for the album that came
(27:04):
after that that was great, but he was willing to
take chances to make big records as a result of it.
So he doesn't get the credit for that. But a
lot of the guys that do get a lot of credit,
you realize had really short careers. Yeah, really short careers.
Yeah in sports, I use this analogy, like, you know,
everybody thinks, you know Mike Tyson is I mean, obviously
(27:26):
Mike Tyson is a larger than life figure. Mike Tyson
was probably great for four years, yes, yes, yes, four
you know what I'm saying. Four where you couldn't even
touch them, you know, and then after that he became
whatever affected his life, right, it all changed, trick. You
know a lot of these guys who get more credit
than Loco Jays rappers really get short career that if
(27:48):
you think about it, Big and Tupac short careers.
Speaker 1 (27:51):
What was twopac? Five years big and five years?
Speaker 3 (27:54):
If that that's listen, man, you ain't gotta tell me.
That's why there should be statues of z for sure,
these guys who endured the entire they were there.
Speaker 1 (28:08):
Before and after.
Speaker 2 (28:10):
Yes, you know, yes, to go to go through the
gauntlet of what it was, whether it's East coast, West
coast of beef, or drugs or drug dealers or just
whatever the issues were that comes with being a young
man in your twenties and millions of dollars in attention,
media attention, global attention.
Speaker 3 (28:28):
You know, people want to kill you whatever it may be.
To avoid all of that, to get to the other side,
they should have a monument. Well, I'll tell you what.
Speaker 2 (28:37):
Since you're you're close to my age, and you you
like I said, big Daddy came k R S one.
Speaker 1 (28:42):
You know Marley ma, I mean you you know them?
You know them all. M hoole wheezy nas.
Speaker 2 (28:49):
Give your four goals. If we had a mound rushmore.
Who do you do this all the time? I sure do,
I sure do. Let me see if I have to
throw your list at the wind, I'm winning down this.
Throw your list at the window.
Speaker 3 (29:05):
Well, let me even before let me just ask you
this question before we get to the list. Okay, are
we factoring in tenure? Because if I just took everybody's
best album and to base it off of that, that'd
be different than if.
Speaker 2 (29:18):
Yeah, but I don't think. I don't I don't think
you can say, I say who's the best running backs
of all time?
Speaker 4 (29:22):
Right?
Speaker 2 (29:22):
Well, you can't say whoever had the best year because
there are a lot of There are a lot of
running backs that had better years than had a better
year than Emmett, had a better year than than Jim Brown,
had a better year than Walter Payton.
Speaker 1 (29:32):
But that doesn't make but it goes into the longeem.
Speaker 3 (29:35):
Yeah, but if people know who the best running back
of all time is, they don't immediately go to Emmett,
who is No.
Speaker 1 (29:39):
No, no, no, no, They're probably none of them probably gonna
say Emitt.
Speaker 2 (29:41):
They're probably say Barry Sanders, they'll say Walter Payton, they'll
say Jim. You know, I think it's it's all Barry,
even though Barry never won a championship and we'll lose
a lot of yards and a lot of carriers.
Speaker 1 (29:54):
But it was the style. He was so elect like
that style that he was so electric.
Speaker 2 (29:59):
Uh. Jim was was was a man amongst men. I
mean he led the league in rushing like eight times
and nine years. He's one of the MVP. As a rookie,
Walter Pagan was sweetness, bad offensive line, but he still
gave people that work.
Speaker 1 (30:14):
So people people like.
Speaker 2 (30:16):
That for like I said, uh, as far as lyricists,
Kris is one of my favorites. But and for the
longest time I was on this thing like it was
Tupac for me. But after like the last two weeks
of just listening to Wayne and I love him. Yeah,
(30:39):
Wayne Wayne, Wayne Is, Wayne is ridiculously talented.
Speaker 1 (30:43):
I for me, it would be.
Speaker 3 (30:47):
Just ability, superb ability, Marksman Chip, It's nas j Biggie rock.
Speaker 1 (30:56):
Him Yeah, rock him. Was like yeah.
Speaker 3 (30:59):
And then that other spot, you don't got them all,
you ain't got them fall for those. I would take
those four. And I love Eminem is nice. Eminem has
a unique gift about him, the way he is Cadence,
how he wraps and puts words together around that cadence
is special.
Speaker 1 (31:16):
Wayne is.
Speaker 3 (31:18):
As good as anybody, Wayne Wayne and his career is amazing.
You talk about longevity, I mean year old Wayne is
Wayne Is. Wayne is a special dude.
Speaker 1 (31:30):
Man. Wayne is a special dude.
Speaker 3 (31:31):
For me, he just reasonable doubt and illmatic. I mean,
Jane has more albums, Nas has a couple more albums,
but that body of work is just so strong and
it hits me right here where Wayne does that to, Like,
if I ask Rich Paul's question, Rich Paul would immediately
(31:53):
have Wayne, like jay z Wayne, He'd have Wayne right there.
Speaker 2 (31:57):
Yeah, because it's just younger. And he spoke to him.
What about Kane. People don't get Kane to credit. Yeah,
Kin Cain had k Kine was tight. Kin was tight.
Speaker 1 (32:08):
His career was short. Gotta be the problem with you.
Speaker 2 (32:11):
But you know, money, But if you go back and
look at it, if you think about it, guys didn't
have ten fifteen year career.
Speaker 1 (32:17):
You gotta have. You gotta have more than two albums.
Speaker 2 (32:19):
Yeah, but al all of the anomaly to be able
to do what he did in the eighties, the area
is doing doing what he's doing right now.
Speaker 3 (32:27):
No, but you gotta be able. You gotta you gotta
stick to your craft, man. You gotta do like you
gotta make two, three, four, five, six albums.
Speaker 2 (32:37):
You gotta make. You gotta keep making music so so
you want so you got a lot of guys. You
know how hard it is for these guys. Uh, Shannon,
you grew up in the projects. Fine, you go to
the projects.
Speaker 3 (32:51):
And you're writing your first album based off of everything
you went through your entire life, correct, right, So you
have eighteen years, twenty years of material.
Speaker 1 (33:01):
However to make this first album.
Speaker 3 (33:04):
When you make your second and third albums, now you're
using the material that happened between when you put out
the first album and that second could album, but not
as money.
Speaker 1 (33:15):
There's women's access.
Speaker 3 (33:18):
So now all of a sudden, your material starts to
fade because you start you're indulging in all this other stuff.
Even now you move to la now you're writing about
something else. So a lot of times it's very hard
to write that second third. Second you can still get
away with off the fumes of the first album.
Speaker 1 (33:39):
The third album becomes really hard. Oh you get it.
Speaker 3 (33:43):
Look, most artists who write there, who had a great
first and second album, feel miserably on the third album.
It's so hard to draw from the grit that you
had before you made the first album and then and
then now, okay, fine, can you get back to it
now a lot of times they can't get back to
(34:05):
it and it just slowly, it slowly falls off.
Speaker 1 (34:09):
I all went back to it. I love made.
Speaker 3 (34:11):
Mama said knock you outright, he made all that shit made.
This went like this and then boom, Mama said knock
you out. He came back.
Speaker 1 (34:21):
Kin didn't make.
Speaker 3 (34:21):
Mama said knock you out. Honestly, Rock Kim didn't make.
Mama said knock you out. They couldn't make it. They
couldn't find that record. Seven years later.
Speaker 1 (34:32):
He said he made. Mama said knock you out. And
round the way girl. Yeah.
Speaker 2 (34:37):
Oh, and that when he had uh and then he
made after years after that Jingling Baby, Jingling Baby remix,
and then he made Love You Better after that. He
has a phenomenal for the Hay Lover. Yea, yeah, I
worked on that album that was ninety five, Yes, hay
Lover and doing it well. I was ninety five, man,
(34:58):
But that's ninety five. He was dropping records in eighty seven, correct,
But ninety five came around.
Speaker 1 (35:06):
I don't even know where Cainan rock him was. I'm bad.
Speaker 2 (35:12):
I'm bad with now don't do that, don't do that,
don't do that, don't do that. I'm gonna let you
do that. Now come on Now.
Speaker 3 (35:19):
Listen, I'm an LJ fan too, the dance routine and
I'm bad when he did the shark fan was doing.
Speaker 1 (35:26):
Yeah, that wasn't.
Speaker 3 (35:27):
The real thing, right there does a little too much
and I'm going back to Cali by the way, huge record.
That's a risk that artists wouldn't take. Listen to that beat.
That's a risk that artists wouldn't take. That was on
the Lesson zero soundtrack. That was that was look at
the video arts seed black and white, very very avant
(35:50):
garde like.
Speaker 1 (35:51):
That was way ahead of its time.
Speaker 3 (35:53):
Those are the risks that those guys wouldn't make that
he was willing to make. He's a true artist and
he deserve He does deserve way more credit than he
deserves as That's all.
Speaker 1 (36:04):
I wanted you to say. Now we can move on
to the conversation. See.
Speaker 2 (36:08):
But he's one of the first also to have commercial
appeal outside of the rap game doing fooboo. He had
the gap stuff. Yeah, the gap stuff.
Speaker 3 (36:17):
I don't know if he did something in the Gap
commercial is one of the most gangster ships I've ever
seen before. He's in the Gap commercial and he is
a food who had on yep, do you remember the rep.
I don't remember, but I remember. Let me tell you
the rap.
Speaker 1 (36:32):
Forget.
Speaker 3 (36:33):
It wasn't that he had to hat on like damn,
this nigga's in a gap commercial what food?
Speaker 1 (36:36):
Who had on? God?
Speaker 3 (36:39):
People didn't even know what that was, whatever that thing
was in the commercial he raps and says for us
by us on the low. That's in the rap. They
don't even know that's what he said. He said for
us by us on the low.
Speaker 1 (36:59):
Game got. They don't even know what on the low means.
They don't even know what for us by us mean?
Speaker 4 (37:06):
Right?
Speaker 1 (37:06):
They think he's the saying for us by us?
Speaker 3 (37:08):
Right, I don't know some rapper shit, right, because I
had Damien john on and he was he was telling
he was telling me that story about uh L shooting
commercial and doing the rap and had it on. One
of the guys from Queens who started who started football
with Damon, is a guy named Keith. He we went
to kindergarten through third grade together. So there was also
(37:30):
some great entrepreneurs obviously from Queens as well who helped
start uh start start football. I mean, y'all mean look
queen ting Like I said, you guys y'all get overshadowed
because obviously you know Brooklyn has some of the names.
But if you look at what you guys were able
to do as far as not only just music culture
(37:51):
and the clothing and merchandise, would you consider that Run
DMC brought fashion into hip hop.
Speaker 1 (37:59):
Because that the little.
Speaker 2 (38:02):
Pants, leather pan or the shell toward dess with the
fat strew shoes strand they were big ropes.
Speaker 1 (38:08):
Yeah.
Speaker 3 (38:09):
Prior to Run DMC, guys were looking like if you
look at some of the early even even kind of
like sugar Hill Gang. But after sugar Hill Gang, if
you look at Africa Bembada, they were dressing more like
earth winding Fire, like a lot of costume. Yes, yes,
And then Run DMC, because of God blessed jam Master
(38:32):
J said let's dress like those d boys. So they
dressed like the way street guys dressed, drug dealers were dressed.
And that's and when they put that look on.
Speaker 2 (38:42):
Can't go sheltere leather blazer this that the third then
they looked like they was just getting that money.
Speaker 1 (38:49):
It wasn't about that costume.
Speaker 3 (38:51):
It was a complete uh left turn from what those
guys are doing. And that was that was huge. How
big was Supreme the name at all? Man, I mean,
Supreme Team was Queens. They ran the streets of Queens
and there was a they were a presence to not
to be fucked with, right And you know, to me,
(39:14):
I never I actually never met Supreme I've seen him before,
but he was, you know, a big, larger than life
figure that had a you know, a big organization that
were street guys that liked the party, you know, and
they were like part of the business, you know. So yeah,
they were big. I mean they were big. Supreme Team
(39:35):
was big. Then years later, you know BMF was big.
You know, coming out of Atlanta.
Speaker 2 (39:42):
What is it about D boys and rap and rapping
D boys that seemed to be so interwoven.
Speaker 3 (39:50):
Well, the kids come from the artists are coming from
the street. So as a result of the artists coming
from the street, the guys that are around them and the
guys they idolized, they probably at some point worked for
with the street guys, and sometimes the street guys were
the first guys to give them money. There was the
startup money, go make this music, going to the studio,
what have you. And that's a lot what led to
(40:13):
you know, what got them going. So that's the that's
the connection. But the truth of the matter is, even
prior to the fact that that was the guys they
looked up to and give the money, that's what the
fans wanted. So you were emulating the street guy. So
a lot of these guys, very few of them really
are street guys rappers.
Speaker 1 (40:33):
They were more.
Speaker 3 (40:35):
Emulating street guys because that worked with the fans.
Speaker 1 (40:41):
How have you.
Speaker 2 (40:42):
Been able to create the music the advertising with some
of the most successful companies in the world. You started
in the music business, you transition to the advertising and
you work with a lot of these Fortune five hundred companies.
How have you been able to transition and parlay that
you're music, you're advertising and with some of these Fortune
five hundred companies, How have you been able to do
(41:04):
that so successfully?
Speaker 3 (41:06):
Early on it was hard. It was hard for two reasons.
I wasn't necessarily good at it. I didn't go to
college and I dropped out of college, so I didn't
have any formal training and the credibility that comes with
that formalized training to go into Fortune five hundred companies
and be like, this is what you should do. And
(41:27):
then the second thing is the thing I was trying
to recommend them doing was really tapping into culture, and
the culture that I was leaning on was hip hop culture,
and that was tainted with gangsters and all kinds of
reputational issues. So you got me coming in with no
formal training and talking about something that is related to
something that they don't even think is brand friendly. And
(41:50):
then I would say, you know, to the CEO, because
I'm really good at talking to people, so I to
meet to the CEO and I'm like, ask your seventeen
year old at home about this, because if they had
a teenage at home, I'm gonna win. And I would
speak to them about things that I knew was not
necessarily on Narradar screen, but it was the next generation's concern,
(42:13):
next generations something they celebrated, and I call that future proof.
If you want a future proof your business so that
the next generation is excited and you're relevant to them,
then you should listen to what I'm saying because I'm
talking about something that may not necessarily relate to you,
but it relates to the next person coming down the line.
And CEOs who are open minded to listening to that
(42:35):
were the ones I've had the most successful.
Speaker 1 (42:36):
With and their business has benefited.
Speaker 3 (42:41):
And the first thing I the first thing I did,
I mean it's written about what was the rebox work man?
I mean you got Rebok, I told the CEO, Paul Fireman,
founder of Rebok. I said, I don't care. This is
a two two thousand and two maybe, I said to Paul,
I said, Paul, there's nothing you can do to make
(43:02):
kids believe they can jump higher or run faster in
a pair of Rebox over a pair knights. There's no
chance that take that idea that you're going to beat
them at that game completely out of your mind.
Speaker 1 (43:15):
So then he started talking further.
Speaker 3 (43:17):
He was intrigued by that, by the certainty I had
with that belief, and he started talking about brown shoes.
I'm like, why do you say brown shoes? He goes
because people wear brown shoes to work, I said, pull
home on.
Speaker 1 (43:28):
They don't. Kids are wearing sneakers to work right.
Speaker 3 (43:32):
In fact, they're not even wearing a sneak is because
they wanted them to perform well. They wear him because
they like the color in it, because it matches their shirt,
it matches their hat. So we need to actually go
and play and pay that play that game and pay
attention to that consumer.
Speaker 1 (43:50):
And that's what led to Rebok RBK.
Speaker 3 (43:53):
And then we started thinking about, like, who are some
of the people that you could work with that would
fit and sort of be the cohort. The cohort is
the prototype for this thing. And it was jay Z.
I'm like this guy. He don't like to move a
lot at all, he don't like to sweat, you know,
and he's the perfect person to be the lifestyle ambassador.
(44:14):
And we created not an ambassadorship, but we actually created
a brand called the es Carter, which was the first
of its kind, an original sneaker that was Rebok powered
and made it and that was successful. And then we
did the g units and then the ice creams by
far raland we built the business around Reebok.
Speaker 1 (44:34):
That changed the brand.
Speaker 3 (44:35):
It made them go from a brand that was relegated
to like third fourth place to something that was aspirational
because they were tapping into the culture more by you know,
tapping into.
Speaker 1 (44:48):
These artists and what these artists represented.
Speaker 2 (44:50):
So how do you go about building a strong, lasting,
valuable relationship.
Speaker 1 (44:57):
In business?
Speaker 3 (44:58):
Yes, yeah, you know, I think it's the fundamentals of anything. Man,
you gotta do what you say. You gotta always do
what you say. You can't say anything that you don't mean.
And people you under promise and overdelivered. No, No, I
over promise and overdeliver it. So you over Probably you
(45:28):
tell people you're gonna do something, yeah, and then you
times it yeah.
Speaker 1 (45:33):
Yeah.
Speaker 3 (45:34):
It's the same thing you push yourself. If I tell
you I'm gonna do something, it means so much to
me to live up to my word. I'll ask somebody
when I hire them six months later, eight months later,
did I tell you anything in that interview process that
I haven't done.
Speaker 1 (45:50):
I want to check myself on that.
Speaker 3 (45:52):
I want to hold the mirror up to myself specifically
on that topic, because I don't want to use my
brain as a weapon and tell you something and be
convinced to you and actually have no intent or don't
follow throughing it. I just think that that's a terrible
use of talent. So I do talk about my stretch goals,
which is the over promise I'm gonna do this, so
(46:13):
we're gonna do this and wenna do that. But I'm
an entrepreneur, I'm a visionary. As a visionary Your job
is to see things before other people see it.
Speaker 1 (46:20):
Correct.
Speaker 3 (46:20):
I'm used to being in that uncomfortable place of seeing
something early. So I make those promises and I do
everything I can to over deliver against that. The funniest
thing is that you guys don't get penalized for being wrong.
Speaker 1 (46:35):
You're wrong. He is no problem. Or you guys should
have don jailing herds, but he had it.
Speaker 2 (46:40):
But you don't think he's improved, Like he did lose
his job at Alabama because he couldn't broke consistently.
Speaker 1 (46:45):
That's why two got the job. Yeah, but they thought.
Speaker 2 (46:48):
But even in the pros, if you look at him
from his rookie year to where.
Speaker 1 (46:53):
He is now, he's increased the throw up percentage by
ten percent.
Speaker 2 (46:56):
That's huge his accuracy, Yes, yes he said ten percent.
Ten he was he was barely a He's like in
the high sixties as opposed to the low sixties. Fiftieth
You don't think that has an Antonio Brown AJJ. Yeah,
of course, of course, but you have to understand what
did he have? What think about what he had in
(47:17):
Alabama and then what he had in Oklahoma. So yeah,
giving him giving him back, But he improved he put
the work in. I don't want to short change him
and just say it's aj he put the work in.
He put a lot of work in, because you can
see him get exponentially better and his confidence crows.
Speaker 1 (47:33):
There's not that many basketball players that came from Queens.
Speaker 3 (47:36):
There's some, but not Kenny Anderson, Kenny Anderson, probably Kenny Smith.
Speaker 1 (47:40):
Kenny Smith is from.
Speaker 2 (47:41):
Right over here, and Kenny's from Luffrack, which is right
over here, right, Kenny Anderson's from overhead.
Speaker 1 (47:47):
There's a couple not like but not like all the
way right all the way.
Speaker 3 (47:51):
What place you think is more overrated where football talent
comes from him?
Speaker 2 (47:57):
Well, we know, well, we know, we know Texas and Florida.
Texas is Florida, California. Georgia is right there, Georgia, Florida.
California is the southern states where the weather is nice
the majority of the time. Losing, Amma, you mean where
people are working, where people are running in He say,
if that's what you call it needs it needs to
(48:17):
be warm.
Speaker 1 (48:19):
New York, New York, New York. Who are is hot?
Is hot? Okay?
Speaker 2 (48:24):
Warm more time than it is cold. You're not gonna
get You might get one or two from New York
or something.
Speaker 1 (48:32):
Like quans from New Jersey.
Speaker 2 (48:33):
Yeah, mikaws from uh from from from Pennsylvania any No.
Speaker 1 (48:40):
Yeah, Pennsylvania. I'm sorry.
Speaker 2 (48:43):
That's not the South. No, but I'm saying, you know
what I'm saying about the South. I was talking about
the New York. I'm talking about this area. And that's
saying y'all ain't got no b y'all. Yeah, it's from
New Jersey, from Halfsburg, Hassburg. Brother, you do the weather.
Weather is not nice in these places. You let you
just mean two places whether it's not nice. I'm trying
to figure out y'all got like four people in the NFL,
(49:04):
Georgia got like thirty, California, Texas got like. The last
thing I'm doing is compared to New York football.
Speaker 1 (49:12):
We get, y'all.
Speaker 2 (49:12):
We give y'all little basketball problem, but no, no, not a
little I mean New York basketball.
Speaker 1 (49:17):
No, no, no, no, no.
Speaker 2 (49:17):
That y'all used to have that when y'all had Doctor
J Kareem and all those guys.
Speaker 1 (49:21):
It ain't the same. No, where does Kyrie come from?
It ain't the same.
Speaker 3 (49:24):
No one, where does Kyrie come from? Where does Kyrie
come from I mean, it ain't the same. No, it
ain't the same.
Speaker 1 (49:33):
It ain't the same. It's not the same.
Speaker 2 (49:37):
But y'all, you know because now guys with the guys
go they go to other they go. I mean they
might be born from here, but you know they go.
Now they go play the Mount Verdier or they go
to Oak Hill and they go to things like that. Yeah,
and finish your IMG Academy and things like that. Nature
guys are not being from an area playing in a
high school like okay and moving on that.
Speaker 1 (49:58):
That ain't happening no more.
Speaker 3 (50:01):
What do you think about the transfer portal and what
it's going to do to college sports?
Speaker 2 (50:08):
Mad?
Speaker 1 (50:08):
I don't know. And what do you think right next
to that is.
Speaker 3 (50:15):
As much as I'm so for college athletes getting their
fair share, and Lebron and I and Maverick did a
documentary on this, did a shut thing on it called
The Student Athlete. We followed four student athletes. Man one
of them got hurt. No health care fucked up the
whole thing. But guy walking around campus for five million dollars.
Speaker 2 (50:39):
Yeah, for sure, because there's no guarantee, like you said,
he get hurt and then he can't play in the
NFL or he can't play in the NBA. Yeah, well
he got five million dollars. He got a great head
start on life.
Speaker 1 (50:51):
Get it.
Speaker 2 (50:52):
I wish didn't get ten million. But I just saw
the quarterback from Ohio and Ohio State and Oklahoma is
in the portal right now? Yes, why the starting quarterback,
starting quarterback of Ohio State, starting quarterback from Oklahoma or
in the port.
Speaker 1 (51:11):
Looking to get better deals? Yep? Oh.
Speaker 3 (51:16):
I thought guys were going into portal because they were
not gonna start. So they were like, oh, let me
go into the portal because I can get a better
opportunity somewhere else.
Speaker 2 (51:24):
But if you already started at Ohio State, you started
at Oklahoma, where you're going.
Speaker 1 (51:29):
That's what I'm trying to figure out. What are they doing? Money?
Somebody go give me an opportunity like Caleb.
Speaker 2 (51:34):
You don't think Caleb Williams had an opportunity to make
money in Oklahoma, but think about what he got at USC.
What do you think about him right now? I think
you gonna be a number one pick, can make every throw.
He's athletic, great improvisationals. I have not trying to figure
out his head on right. I think the thing is
(51:56):
what they're gonna ask is like broh I mean, I
think his defense was terrible, but they're gonna ask bro
you that good. I mean, you couldn't win like none
of these shootouts.
Speaker 1 (52:07):
But I like him.
Speaker 2 (52:08):
I think he's good. I think you're gonna really be good.
I think there's a lot of quarterbacks in this draft.
But it's like anything, man, you don't really know. I mean,
brock Perty was a seventh round draft pick.
Speaker 3 (52:19):
These guys in the NFL are really not as good
as they think they are picking talent.
Speaker 2 (52:24):
No, no, no, no, because it's like anything. It's just
like you. You you're picking horses. They don't guarantee your
horse gonna win the Derby or Piker's or a Bell
knocks a Santa Nita.
Speaker 1 (52:34):
You don't know.
Speaker 3 (52:35):
What do you think about this whole idea of not
even giving these guys a chance to warm up, to
get that game together, just throwing them out there like
that because you think that's the right thing to do.
Speaker 1 (52:45):
Because here's the thing. I know they can pay them
short money and they can find out.
Speaker 2 (52:48):
But see, the thing is is because I need to
know abody that third year before I give a guy
three hundred million dollar contra bat you mean to tell
mem I got to give a guy three on a million.
Speaker 1 (52:56):
I don't know if you can play. They don't know.
If the Giants don't know if the quarterback can pay,
they pay him. They do.
Speaker 2 (53:00):
He didn't play, but whether it didn't have no options,
they have to pay Daniel Jones. What are they gonna
go go with Tommy de Vito? Now before we even
know Tommy DeVito? They could have, you know, they won't.
They didn't have to pay that man one hundred and
sixty million dollars, but they paid him based on last year.
They disregarded all the things that they had done up
until that point, and it says, we know what, we believe,
(53:22):
this is the guy we're gonna get moving forward.
Speaker 1 (53:27):
And did the same thing with Crushing Wentz.
Speaker 2 (53:29):
Yeah, but Carson Carson had you know, Carson was about
to be the MVP until he tore his me up
in week thirteen.
Speaker 1 (53:37):
He's gonna be the MVP.
Speaker 2 (53:39):
And but it's a special type of quarterback that's good,
get paid and they get better. You look at the Brady's,
the Mannings, and now you look at the Patrick Mahomes
you look at those guys, uh, the Rogers. Did those
(54:02):
guys that Roger Aaron Rodgers? Yeah, when he was in
Green Bay? Get paid, excuse me, and get better. Dak yeah, Dak.
Dak has been very impressive this year. He's been very
impressive this year. But are you watching the games?
Speaker 1 (54:19):
Yeah? I am watching the game. Have you watched every
single play? Okay? So you watched it for seven eight years? Right? Yeah?
So okay, so you know the history, right? Yeah? Okay?
I I yeah, I have not he in big games.
Speaker 3 (54:36):
I have not seen him Okay, against the forty nine
ers two years ago, against the forty nine ers last year,
and the year before that. I said two years ago,
two years ago they played day forty nine and beat
him twice back to back.
Speaker 2 (54:47):
Year. I just said two years, last year and the
year before. Okay, what about this year the regular season?
Did you see that game forty two ten?
Speaker 1 (54:54):
Did you watch the game?
Speaker 2 (54:56):
Yeah?
Speaker 1 (54:56):
I don't know that. I understand why you would turn
it off. I didn't understan in that game. What took?
What did you understand? You understand?
Speaker 3 (55:04):
Good old fashioned ass whip me. I don't understand why
the defense could not slow him down. I don't know
why the defen Dallas defense got well, why your offense
couldn't score but ten points? You just talked that you
just know. I know, I know, I know, I know
you just told me about Dak. The Dak seeding thing
(55:27):
wasn't working back then. It's on fire right now. Okay,
so you don't see him in the playoffs, but that
we now that was that. That's listen, I'm not I
don't disagree with you. Dak makes really bad mistake. It's
shocking to me sometimes he's been shocking though. You don't
(55:47):
even like brock Berdy.
Speaker 2 (55:49):
It's not about like a dislike I gottavaluate a guy
on what I've seen. Kind of like now I need
I need to see more consistency.
Speaker 1 (55:59):
You make it. He's you. You're making.
Speaker 2 (56:01):
You're making, You're making a check your girl after after
a couple of dates. You want to see you want
some way.
Speaker 1 (56:07):
Okay, that's what I'm saying.
Speaker 2 (56:11):
You think justin fields they can get a third round
pick for him, Yeah, I think they get more than
a third and.
Speaker 1 (56:17):
Check them then great check Would you trade him? I would?
I don't believe.
Speaker 2 (56:21):
I don't believe me personally, I don't believe they're gonna
pass up the chap Well, yeah, I don't think they're
gonna they would pass up because it looks like they're
gonna get Carolina. They have Carolina, yeah, and they're gonna
have their own. So and with Justin Fields, if I
can get me a qu a top notch veteran player,
(56:46):
because there are a lot of teams that's gonna need quarterbacks.
I just think Justin Fields needs a change of scenery.
I don't think he's a bad quarterback. I just think
he needs a change of scenor. In Chicago, ND they
got where they just drafted a Richardson with the fourth thinking.
Speaker 1 (57:04):
That's right, that's right. He was playing good too.
Speaker 2 (57:07):
But uh, let me see who who the Raiders could
use a quarterback. You don't think the Raiders can use
a quarterback. Pittsburgh could use a quarterback. They don't want
to agree with anything yet there's some denial about that kid.
Oh picket man, please the fans about to start picketing.
Speaker 1 (57:28):
I'm ask you a question that's separate the topic.
Speaker 2 (57:31):
When you got to Baltimore, yes, and you've seen Ed
and ray Ed wasn't there when I was there.
Speaker 1 (57:44):
He came out there. He came after me. He came
after I had went back to Denver. Oh, so you
never got a chance to play with it, got play
I played against him, I didn't played with him. You
paid him, agains him when you were in Denver. Yes,
have you ever seen anybody like that? No? No, He's
the greatest Saint Travis. I played the games, took off
the VM. He's phenomenon.
Speaker 3 (58:07):
Payne Manny tells stories. He told the story on the
the that the many casts. He told the story on
when the NFL did the hundred Greatest Food. He told
the story. But him, he added, Ed hid in the
shadows of Lucas Stadium, in the Oil and Lucas Oil Stadium,
(58:30):
that he couldn't count him.
Speaker 1 (58:31):
He couldn't he couldn't find him.
Speaker 3 (58:32):
On he couldn't find him in a priest and that
breed and that was he told me that story live,
that he couldn't find him.
Speaker 1 (58:39):
And he he he couldn't find him in a pre
wasn't the other safety white when Ed was there? It
was a white safety. It was bad he.
Speaker 3 (58:48):
Because he told the story that he could see that guy,
but he couldn't find d He couldn't know where ed
was that Edwards squatting in the shadows, almost like he
knew where the shadow was and he couldn't fucking find him.
Speaker 1 (58:57):
Then he told the story where Eddie he fell at
fooled them up.
Speaker 2 (59:02):
That was in Baltimore and ed ed what he did
it was that Peyton looked him off and ed pretend
like he was gonna drop one side and turn yeah,
and took a line and picked the ball out from
uh Ridgie Wayne.
Speaker 1 (59:15):
Yeah.
Speaker 2 (59:16):
Yes, It's one of the greatest plays that you'll ever see.
And you have to understand what he did and how
he did it to fool that guy because Peyton just
knew he had him dead.
Speaker 1 (59:27):
Write like I got him and probably I saw the play.
Speaker 2 (59:33):
I saw the play at the time that it happened,
and it was like, I'm like, how why.
Speaker 1 (59:39):
There was no there was no indication that he should
have done what he did. And how about Ray?
Speaker 2 (59:48):
Ray was a student of the game. He was ferocious.
He loved the game of football. He put time in
it to be great. He worked hard, he was a student.
He's very disciplined.
Speaker 1 (59:58):
I spent time with him. I love hanging out with it.
Speaker 3 (01:00:01):
Yeah, yeah, I'm actually going to I'm going to Nigeria
next week. Yeah, we are opening up United Masters in
a lot of thos Nigeria. I can't wait to go.
I can't wait to go. I'm really excited about it.
Speaker 2 (01:00:16):
Uh.
Speaker 3 (01:00:16):
The independent music scene in Nigeria and South America, specifically
Colombia and Argentina is going crazy. Wow because all these
people they don't know of record companies. They just know
make music, get it out and writing. They're writing monster hits. Yeah,
(01:00:37):
but except these songs are becoming number one records. They're not.
They're not. They're not just like regional songs. They're becoming global, impactful,
monster number of records. Jay mentioned you in a song,
then you get Jaya to put me on a song.
I want to be a song man. I ain't never
been no song, been no video. I ain't been nothing.
Speaker 1 (01:00:57):
Man. You hot olbody life now you already you're crazy.
Speaker 3 (01:01:01):
You don't need to be in no song on Shannon
Shall won Wayne somebody reference.
Speaker 1 (01:01:05):
Somebody said Shannon Shop and something.
Speaker 2 (01:01:06):
I'm sure if I google Shannon Shop in the song,
I'll find some shit.
Speaker 1 (01:01:10):
I hat to this song, Bro, Steve.
Speaker 2 (01:01:11):
I want to thank you for bringing me to your
office showing me around Queens. I really appreciate it. Continued success, yeah,
Steve Stout, Ladies and gentlemen.
Speaker 4 (01:01:20):
All my life, grinding all my life, sacrifice, hustle, bad
to price, Want a slice? Got the brother diyce Swap
all my life. I've been grinding all my life. All
my life, grinding all my life, sacrifice, hustle, bad to
price in one slice, Got the brother diyce Swap all
my life. I've been grinding all my life.
Thank you for what you're coming back. Part two is underway.
Speaker 2 (00:04):
The seeming of the new thing now is people seem
to be unloading their catalogs. Taylor Swift did something very unique.
She released her entire catalog and now she got new masters.
And the record companies are trying to say now.
Speaker 1 (00:20):
They're training to change agreements. Yeah. Yeah. There's two types
of catalogs you can sell.
Speaker 3 (00:26):
One is your publishing catalog, which is your share of writing, right,
which are most artists can sell their version their portion
of writing.
Speaker 1 (00:37):
Assault.
Speaker 3 (00:39):
Then there's another side of the catalog, which is the
master side.
Speaker 1 (00:43):
Most artists don't own that to sell. They don't own
that to see.
Speaker 3 (00:47):
Tailor didn't own that to sell, right, Okay, that's the
reason why she was mad because somebody they sold it to.
Speaker 1 (00:53):
Somebody else and she wouldn't chance.
Speaker 3 (00:56):
Well that's and and I'm gonna tell you something about
that that nobody talked about. Her father owned piece of
that company, So I don't know why her father didn't
tell her her father owned piece of the company that
sold it. So I don't know how she didn't know
any of that, to be frank with you, and I
got no horse in this race. It was just to me,
it was just very odd that the beef was so
(01:19):
loud that they sold that. Nobody ever told her about it,
And I'm thinking your father benefited from the sellers number one.
Number two, most artists don't have that, which is the
reason why I fight for that about ownership of masters,
because that's the thing that has all of the long
term value that you could, you know, your family could
benefit from for years to come, which is the reason
(01:40):
why you should maintain and own your master rights. The
multiples that are being paid for these things are really high,
very very high, and for those who can benefit from it,
it's great, which is the reason why again.
Speaker 1 (01:53):
The artist should hold it.
Speaker 3 (01:55):
To me, it's one of those things that I personally,
if I was an artist, I wouldn't sell it. If
I owned my catalog. You can get a loan against it,
right bar against it. Whatever, it's it's very valuable. You
can license it, but I wouldn't sell it. It's because
what's happening is as technology changes, it keeps.
Speaker 1 (02:18):
Unlocking new value.
Speaker 3 (02:19):
So it was worth one thing then when there was vinyl,
and then all of a sudden when CDs came, it
became exponentially more valuable because then everybody started rebuying it again. Right,
all of a sudden, you started buying Bob Marley's Greatest
hits or you know whoever, Barry White's greatest hits.
Speaker 1 (02:37):
So you name the act that you like.
Speaker 3 (02:40):
Every time new technology comes out, the catalog becomes much
more valuable again because people are, you know, reformatting the
music in which they have it on or buying that
new format.
Speaker 1 (02:53):
So it's very hard.
Speaker 3 (02:54):
The guy who's buying it is betting that the that
the new format change is going to only lead to
more value over time.
Speaker 1 (03:00):
The person selling it thinking it's not. If you can
afford to.
Speaker 3 (03:05):
Get a loan against it or license it, you can
still get some money without necessarily selling it again, That's
what I would do, but with the kids to own it.
If you don't own it, you're not even in this conversation.
You can sit here and ask artists what do you
feel about selling catalog and they'll sit there and tell you,
(03:25):
I have no idea what you're talking about. I don't
have any catalog to sell, which is again fucked up?
Speaker 4 (03:33):
Is it?
Speaker 1 (03:33):
Truth? At your wedding, Kanye took the mic from Maxwell Man.
How do you know this, man, that happened for real? Man?
Shut up? Who told you that the night has a
thousand eyes? Almost?
Speaker 2 (03:50):
Not? No, man, who told you this? I'm just asked, Steve.
I'm just asking the question. I just want to know.
I think my audience want to know. Maxwell was performing,
Kanye got up there and started freestyling.
Speaker 1 (04:03):
Yes or no? That happening.
Speaker 2 (04:04):
That's so wild that you know that? Man, I'm telling
you Anthony, who would tell you that?
Speaker 3 (04:14):
Yes, Kanye grabbed the mic and started freestyling, and it was.
Speaker 2 (04:24):
Craziness. That's all I can say. It was crazy. So
what is about wedding? Your wedding night? So what are
you thinking?
Speaker 1 (04:30):
You got Max?
Speaker 2 (04:30):
Well, he's saying this woman's work silently fortunate, fortunate, Yeah,
Urban hanksweet the whole album. Yes, you help the NFL
secure two hundred fifty million dollars deal with Apple. How
(04:52):
is Steve Stout able to walk in any building, get
a meeting and can close a deal?
Speaker 1 (04:58):
Man? You could? Man, you could? Hey, you can have
a chicken to be security at the hen How How.
Speaker 3 (05:07):
I'm good man, I'm good at what I do. Man,
I see it. It's the it's the halftime show. It's
it's the NFL halftime show. It's all about music. Why
wouldn't Apple Music have that? Why wouldn't a music company
be there? Pepsi's fine and Bridgestone before Pepsi, But like,
(05:30):
why is it a tire company and Pepsi? Why wouldn't
it be Apple Music? I mean, why isn't that obvious
to everybody?
Speaker 2 (05:41):
I don't even understand what The only thing genius about
that is that nobody else seen it, but it was obvious.
So being able to speak to you know, EDDIEQ and
the guys over at Apple, from Tim Cook to Eddie
Q and Oliver, those guys, they love the idea, and
the NFL, of course, would prefer to.
Speaker 3 (06:01):
Be in business with a company like Apple. Who doesn't
want to be in business with Apple Apple Music? And
we did that deal and it was you know, Rihanna,
year one, and you know, we know it's usher this year.
Speaker 1 (06:12):
I'm sure you're going to be there.
Speaker 2 (06:14):
You're damn right you be there, So you know, it's fantastic.
Speaker 3 (06:20):
I love doing deals and doing business that makes significant impact.
And I love the idea more than I care about
my own personal what I personally stand the game seriously.
Speaker 1 (06:36):
It's like.
Speaker 3 (06:38):
Bono said something to me a long time ago. You
can get anything done as long as you're willing to
not take credit. Wow, the idea, As long as you
remove who gets credit for it, then the politics around
what makes a great idea come together become much easier
to see.
Speaker 1 (06:57):
Yeah, And that was one of those types of things.
Speaker 3 (06:59):
I think, get in deep enough to get it done,
and then I got out of it once I knew
we had a deal, but I didn't run around talking
about I did this deal and for what what you
see where the prices are going for these commercials.
Speaker 1 (07:13):
Seven eight million dollars for thirty second spots.
Speaker 2 (07:16):
Yeah, where we steve, where we're headed. We had a
team fifteen million dollars for a thirty four to thirty
second spot. Yeah. You see where these teams are valued. Yeah, right,
where these teams are valued. The fact of the matter is, Man,
the top one hundred shows on television, ninety of them
in the NFL advance.
Speaker 1 (07:36):
Yeah.
Speaker 3 (07:37):
And the more it becomes rare to get that level
of audience around something, the more they can charge because
there's nothing else that get us that level of attention. Yeah,
at one period of time, if you break it down.
It's probably the best money spent.
Speaker 2 (07:52):
Yeah, you got one hundred million, You got one hundred
million people watching for three hours?
Speaker 1 (07:57):
How about this? And oddly enough wanting to see the commercials.
Speaker 2 (08:03):
That one event is the only event where people go,
I can't wait to see the commercial.
Speaker 1 (08:08):
There's nothing else.
Speaker 2 (08:09):
Every every other thing you're trying to skip the commercial,
get around the commercial. Which is the perfect time to
use the bathroom, not the end, not the super Bowl.
Speaker 1 (08:18):
That's when people want to watch commercials.
Speaker 2 (08:20):
So e seven eight million dollars whatever, and and and
I think that, I think the NBA Finals and NBA
playoffs people want to watch these things. Man, I would
I would charge more. It's the only game in town.
It's the only thing live sports dominate television. Yes, they
(08:40):
can charge whatever they want. And it's worth it. I
mean it's worth it because the the attention that you
get is very hard to cobble.
Speaker 1 (08:50):
Putting together a bunch of other different media, it's just
very difficult to get. Have you ever com created a
Super Bowl commercial? Is that something you liked it?
Speaker 2 (08:58):
Hell?
Speaker 3 (08:58):
Yeah, man, I did it super Bowl commercials so long ago.
And the ship blew up and I didn't even realize
how big it was. Terry Tate office linebacker. Yeah yeah,
hell yeah.
Speaker 2 (09:12):
Do you remember that he just started tackling people in
I did that for Reebok.
Speaker 3 (09:17):
Man, I did that for Reebok. This guy was running
around with a film of this guy tackling people in
the office.
Speaker 1 (09:24):
Uh.
Speaker 3 (09:24):
He's a famous director now, ross In Thurber, and he
had this young guy showing this film. I've seen it
and we're represented Rebok. We pitched it to Reebok and
literally was a Rebok dot com commercial. Go to reebok
dot com and that thing went crazy. Terry Tate office linebacker,
I remember that. Where the agency, the Creative Solutions Company
(09:48):
h AS I like to call us because that's what
we do. We solve bigger problems for Uh. The NBA
has been a client of ours for many years. State Farm,
all those State Farm commercials that you know, Aaron Rodgers
and Chris On, Cliff Paul like, we've done all that
work for years and now AT and T is one
of our clients, has been our clients for five years.
Speaker 1 (10:08):
But I want to talk to you about because we
talk about special. What makes this helm special? Yeah? What
we did here man, which I'm very proud of.
Speaker 3 (10:17):
Is a lot of times people talk about advertising and
it's like selling stuff, But I like to really think
about how do you use the power of advertising to
tell a story or solve problems. And we found out
about the story about Galley Debt, which.
Speaker 2 (10:32):
Is a school for death or hard hear hearing impaired.
There was a time where hearing appeared players actually made
it to the pros. There were few of them made
it to the pros. But as technology.
Speaker 1 (10:43):
When my second year Kenny Walker went to the University
of Nebraska, he was hearing the paired, So then perfect.
Speaker 3 (10:49):
So now what happens is as you start putting in
technology and the helmets, now you can call audibles and
if you're playing quarterback or lineback, you can't even compete.
If you're hearing a paid you can't. So we've seen
this problem. We took it to the AT and T
and the great team over there. They actually wanted to
see how can we help solve this problem using five
(11:10):
G technology. Okay, so what we did was we worked
on this for three years. Share this helmet has a
special chip here, and this chip allows players who are
harder hearing to actually see the play versus just hearing
right right. So the coach takes this and literally, I
(11:32):
can put the play in here flex.
Speaker 1 (11:37):
Where play action Pittsburgh, right, So that's the play.
Speaker 3 (11:41):
The coach calls and I can just put in the
audible right here, and the audible comes up on this
visual so the player gets to see this. This is
a game change. We put this on these players. It
changed their lives. Man, This player saying I got the speed,
I got the vision, I got the ice, I got everything.
Speaker 1 (12:01):
As a professional lefting, I just can't hear. I'm hearing impaired.
So they're using this. They're using this right now, man,
they're using this right now.
Speaker 3 (12:10):
It's one of the most things I'm most proud of
that we did that, and we're changing people's lives. So
you know when I say that we are a creative
solutions company that's not advertising, man, that's coming up with
new ideas that's going to help change people's lives.
Speaker 1 (12:24):
It's much bigger than advertised. Right. So you're the consultant
for the next You did some work for to make
the next.
Speaker 3 (12:31):
Cool, Well move the next from from Newark to Brooklyn, right,
So we did that very early. I'm also the we
also represent the Big Twelve, yes, yeah, to make them cool. Yeah,
well the Big Twelve. What's going on in college sports
is so crazy now because the game the rules have changed, bro,
I mean between nil deals, between the relocation of the
(12:53):
relocations of every team. It used to be regional, right, yes,
like you if you play for Big East and you
were in the Big East store, man, you could go
from there and be there. The regions don't even matter
a lot of it. I still think I have a
problem because of what it does to the student athlete.
The fact that you got to travel across the country.
(13:14):
How could you even study? How could you actually get
your schooling together? If you're playing different.
Speaker 2 (13:19):
Time zones like us USC and UCLA coming to the
big team.
Speaker 1 (13:24):
Yeah, how yeah that's a lot, right.
Speaker 3 (13:28):
But anyhow, between nil deals and the fact that these
teams are changing conferences so fast, recruiting materials around recruiting,
how you market your teams, how you market your team
and your program changes dramatically.
Speaker 1 (13:41):
Look, man, we at the Big Twelve.
Speaker 3 (13:43):
We we just got Colorado, right, you want to have Colorado,
and I'm sure everybody was pitching Colorado, the Ady and Colorado.
Speaker 1 (13:52):
To get them.
Speaker 3 (13:52):
You know, we put together the materials to help make
them more, make them very successful. And I'm you know,
I work with brett Or Mark who the commission of
the Big Twelve. I worked with him when he was
at the Brooklyn Nets when we moved him from Brooklyn
from Newark, New Jersey to Brooklyn, and I work with
him now for the Big Twelve. And love working with
Jim Dolan, very very misunderstood man, talented as hell, loyal
(14:14):
as hell.
Speaker 1 (14:15):
How do you go about rebranding?
Speaker 2 (14:16):
Because the rebrand something people have an idea or perception
of what it is.
Speaker 3 (14:22):
How do you change that perception. There's a lot of
different things that go into it. How it sounds, you know,
the sonics of the brand. Like you know when we
did Unloving It for McDonald's. You remember those butuolso remember.
Speaker 1 (14:40):
Right?
Speaker 3 (14:41):
So sonically those are branding elements that you have to
deal with. The texture and tone when you sometimes you
will watch a TV commercial and because it has a
white background already, you kind of know what it is
before it comes on.
Speaker 1 (14:55):
There's certain colors that you can tell.
Speaker 3 (14:57):
Colors play a very important role in so sometimes when
you're rebranding, you play with colors you play with sounds.
It's not just casting like, oh, let's just use this
famous person, unless you know, put two white guys and
one black guy and make it different than it like
things like that. It's really understanding the totality of what
(15:18):
leaves an impression with somebody, breaking that down and figuring
out what aspects of that story that you're going to
pull together in order to retell that story.
Speaker 1 (15:30):
It's a crass, it's very it's it's craftsmanship.
Speaker 3 (15:33):
And you know, most people unfortunately think that just throw
a famous person against this and close your eyes and
they'll fix.
Speaker 1 (15:40):
It some hope. Yeah.
Speaker 3 (15:43):
You know a lot of times putting famous people against brands,
two things happen.
Speaker 1 (15:49):
You don't believe it.
Speaker 3 (15:50):
Right, So there's a celebrity and the brand have shared values,
shared values, what do we have in comments so that
when people see us together they go, oh, that makes
perfect sense because that's how they rock.
Speaker 1 (16:02):
Right.
Speaker 3 (16:05):
So that's successful partnerships around your values or you put
them together and they're just expensive ideas that nobody ever believes.
Like you put I used to always use like you know,
back in the days, like who believed that Tagger Woods
drove a buick?
Speaker 2 (16:20):
You know, like how do we gonna get how we
gonna get this off? Like how were we gonna figure
this one out?
Speaker 1 (16:24):
You know?
Speaker 3 (16:25):
And so there's there's a lot of bad ideas like
that right now to this verrea where you look at
it and you're like, are you serious. The other thing
I tell a lot of you know, guys in the
music business specifically because all us brand money is coming
at them, is you gotta be careful who you choose
as a partner, because when they sign the deal, it's
(16:47):
one thing. You get a check, you feel good. But
when they fire you for lyrics or fire you from
behavior that you was actually doing when they hired you. Correct,
but it's really loud now because getting fired is a
loud thing. You famous you fired, You got to let
go be careful about those people, man. Not every check
is a good check, right, And make sure you are
(17:07):
going into a partnership with somebody because these brands, I
will tell you, man, they will sign you and as
soon as they feel any temperature, they cut bait. And
they will cut bait and it will be loud and
you will look as if you did something that they
were completely unaware of, which is the exact same thing
that made you famous is why they got in business
(17:27):
with you.
Speaker 2 (17:28):
Choosing a brand partner is almost as important as choosing
a life partner.
Speaker 3 (17:33):
Oh yeah, because the brand partner can't affect your reputation
when they let you go or they say something about
you because they parted ways with you. And however, you
know eloquently they decide to say that you guys parted ways,
there's a stinch on your name is if you're not,
(17:54):
because what do you think the other brands do? Don't
mess with that person, right right? As a result of that,
so again that becomes contentious. So you have to be
very careful who you partner with because some of them
they're not in it for the partnership. They're just in
it for the quick burn of fame. How many followers
you got, how many likes you got?
Speaker 1 (18:10):
This? That?
Speaker 3 (18:11):
And the third day that they're not really invested in you.
They don't give a shit about you. They care about that.
And as soon as that gets a little bit tainted,
a little bit uneasy because you said a word that
they didn't know, well, somebody didn't.
Speaker 1 (18:23):
Those are in your lyrics already, man.
Speaker 3 (18:25):
Right, you know, so I always give that advice and
anybody watching this as a musician or looking or influencer,
make sure you pick your partners correctly.
Speaker 2 (18:36):
Make sure they're really your partners. How do you strike
the how do you strike a balance? Because you said
you left the music injury in industry to get into advertising,
So how do you strike the balance between athlete and brand?
Because you have a vested interest on both sides because
a lot of these athletes you have a relationship with,
and obviously a lot of these brands you have a
(18:57):
relationship with, and you want to continue faster that on
both sides.
Speaker 3 (19:01):
Because there's because there is there actually is a true
sweet spot between athletes and brands.
Speaker 1 (19:07):
There is a great relationship.
Speaker 3 (19:09):
If you you look at TV, you see some of
these commercials and just like, what about this story that
they're telling. It's actually gonna help make this athlete look aspirational, important,
like they're doing something that really matters. Sometimes they actually
use the athlete and make them look like dumb jocks.
(19:32):
Sad enough to say, they make them look like that
versus somebody who you should look at as a rare, unique,
special talented individual who's more than an athlete. Okay, to
quote Lebron and what they do it to bring up
like you. But if you work with people who are
not willing to get deeper past the surface to help
(19:52):
tell those stories, then you're gonna end up with commercials
where the athlete says two words are trying not to
let them talk too much and just put everything around
them and this cut around them.
Speaker 1 (20:04):
That's not that's not buzz. They're not making that much
money off of that anyway. Why are you even doing it?
Speaker 2 (20:09):
Right? You got ten million dollars, fifteen million dollars twenty
million dollar guaranteed contracts. They're not paying you that much
money to do to commercial So only do it if
it's doing something to help manage up your image. And
you asked, You asked Chris Paul, you asked Lebron, you
axed Jason Tatum.
Speaker 1 (20:24):
You asked anybody who works with me.
Speaker 3 (20:28):
There's nothing that I do unless I could look at
it and go did we do something to elevate your image?
Did we do something to tell a story that you
always wanted to tell? But this is the greatest outlet
to tell that story. If we're not doing that, we're
not doing no business. That's that's I don't work that way.
Speaker 2 (20:46):
I'm looking at some of the athletes that you work
with and entertainers Yianni's Little Baby, Ja Morant, Clay meg.
Speaker 1 (20:51):
Gianni's man Giannis.
Speaker 2 (20:53):
We told the story, and we shold a film going
back Nope, when he talked really intimately about the fact.
Speaker 3 (21:01):
That he'd go to Greece Greek because he's Greek. He'd
go to Greece, go home, and they'd look at him
like he was a black guy. So there was a
certain level of race tension around that racist tent. And
then he'd be in Africa and they looked at him
like he was white guy from Greece, and how he
had to live within the balance of that and the
power he found in growing up in those two worlds.
Speaker 1 (21:23):
We told a beautiful story about that with his partners
at WhatsApp.
Speaker 2 (21:30):
WhatsApp is the global communications company and very few artists
athletes are as global as yo, honest, and we told
that story through that. Lens Man, I mean, that's the
kind of stuff I love doing. You shouldn't have to
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Speaker 3 (22:34):
I watched you for the last two and a half years.
I'll just watch on the FS one show. How long
you've been on that show for a year? I was
on that show for seven years. Yeah, we came in together,
skip started. We started the show in twenty sixteen. It
was a great run. I watched you on the show,
and I watched you get better over time, and when
(22:58):
you started getting comfortable and bringing in your all of
your natural self to it at the table, it was.
Speaker 1 (23:03):
A game changer. Yeah, it was a game changer.
Speaker 3 (23:05):
Well, that's the thing when you were sneaking in those
lines with the the brag and miles and all that,
and then social media started to pick it up. Yeah,
and you know the right delicate balance, which is very hard.
The producer Craig Barry is a friend of mine who
produces Inside the NBA, Inside that show.
Speaker 1 (23:22):
Yeah, and it's that's the magic.
Speaker 3 (23:25):
How do you get that talk off while still being
an expert at the core thing.
Speaker 1 (23:30):
Which is sports? Correct? Correct? Did you think that fifty
years what it started? Fifty years ago? Hip hop?
Speaker 2 (23:38):
And you said it was in his empasy when when
all was doing with you know, you could go to
the mall and you could see Al and you could
see run demc hanging out in the mall and you
could see the battles.
Speaker 1 (23:47):
Did you think it would be what it is today?
Speaker 3 (23:51):
I mean, you're a great born think no, no, no, no, no,
not I knew what I I never thought the music
would be this big. I knew that the other things
around it would be big, the clothing, the style.
Speaker 1 (24:07):
I never thought the music.
Speaker 3 (24:08):
I never thought at any point in time it was
going to be the number one music in the world.
Speaker 1 (24:12):
I didn't think that.
Speaker 3 (24:14):
I remember I used to go to France. If you
do your thing out there, you have no idea what happened.
So I went to can and I seen graffiti and
I was like, when I see graffiti.
Speaker 1 (24:29):
Every time I see graffiti, it makes me think the
culture has touched this place.
Speaker 3 (24:35):
I get comfortable around graffiti because I know as people
who are trying to say something and they're looking for
a candambas to say it.
Speaker 1 (24:48):
I love that. I love that. I've always loved that.
You say alf from Queens. I mean we go LLL
with the first.
Speaker 2 (24:56):
I mean the guy that now what you like when
you get man L was there, you know, look I
love with al and Kumo d Battle.
Speaker 1 (25:05):
I grew up on how old are you? Fifty five?
Fifty three?
Speaker 2 (25:08):
All right, so we used to go but rules, yeah,
how are you getting the music? I grew up about
sixty five miles from Savannah, and they would come to
the civic center. Uh coumo d uh the Fat Boys,
run DMC, Houdini you went, of course, yes, yes, because
(25:29):
L L L and I about the same age.
Speaker 1 (25:31):
Yeah, And so.
Speaker 2 (25:34):
Anytime that they were coming to Savannah, we were there
and they had a show. They had Houdini, they had LLL,
they had run DMC. I mean it's like seven groups
and it was unbelievable.
Speaker 1 (25:47):
And everybody knew all the words, every last one of them.
Speaker 3 (25:52):
Hello cool J was A was A was A. I
mean it is a star. I mean he I don't
think you get the credit he deserved though.
Speaker 1 (26:00):
Wow, he's a Yeah.
Speaker 2 (26:03):
I know I'm talking about the commercial, but I'm saying,
when you talk about Gray rappers, don't nobody mentioned al.
Speaker 1 (26:09):
You know what? L Yeah? He is funny man? Would
he be in sports? I have an argument all the time.
This is.
Speaker 3 (26:23):
Everybody like there's a certain style that people appreciate more
so they don't give a different version of that approach
the same amount of credits. So oh, was he as
great as a lyricist as rock him or Kin?
Speaker 1 (26:41):
No?
Speaker 3 (26:42):
No, was he a better total package? Absolutely? Yet why
he still has a career to this day. He made
bad albums, he made bad albums, he made really good albums,
then he'd made batter He used to go through this
pattern where he would experiment and make bad albums. He'd
probably tell you you that what was considered a quote
unquote bad album was learnings for the album that came
(27:04):
after that that was great, but he was willing to
take chances to make big records as a result of it.
So he doesn't get the credit for that. But a
lot of the guys that do get a lot of credit,
you realize had really short careers. Yeah, really short careers.
Yeah in sports, I use this analogy, like, you know,
everybody thinks, you know Mike Tyson is I mean, obviously
(27:26):
Mike Tyson is a larger than life figure. Mike Tyson
was probably great for four years, yes, yes, yes, four
you know what I'm saying. Four where you couldn't even
touch them, you know, and then after that he became
whatever affected his life, right, it all changed, trick. You
know a lot of these guys who get more credit
than Loco Jays rappers really get short career that if
(27:48):
you think about it, Big and Tupac short careers.
Speaker 1 (27:51):
What was twopac? Five years big and five years?
Speaker 3 (27:54):
If that that's listen, man, you ain't gotta tell me.
That's why there should be statues of z for sure,
these guys who endured the entire they were there.
Speaker 1 (28:08):
Before and after.
Speaker 2 (28:10):
Yes, you know, yes, to go to go through the
gauntlet of what it was, whether it's East coast, West
coast of beef, or drugs or drug dealers or just
whatever the issues were that comes with being a young
man in your twenties and millions of dollars in attention,
media attention, global attention.
Speaker 3 (28:28):
You know, people want to kill you whatever it may be.
To avoid all of that, to get to the other side,
they should have a monument. Well, I'll tell you what.
Speaker 2 (28:37):
Since you're you're close to my age, and you you
like I said, big Daddy came k R S one.
Speaker 1 (28:42):
You know Marley ma, I mean you you know them?
You know them all. M hoole wheezy nas.
Speaker 2 (28:49):
Give your four goals. If we had a mound rushmore.
Who do you do this all the time? I sure do,
I sure do. Let me see if I have to
throw your list at the wind, I'm winning down this.
Throw your list at the window.
Speaker 3 (29:05):
Well, let me even before let me just ask you
this question before we get to the list. Okay, are
we factoring in tenure? Because if I just took everybody's
best album and to base it off of that, that'd
be different than if.
Speaker 2 (29:18):
Yeah, but I don't think. I don't I don't think
you can say, I say who's the best running backs
of all time?
Speaker 4 (29:22):
Right?
Speaker 2 (29:22):
Well, you can't say whoever had the best year because
there are a lot of There are a lot of
running backs that had better years than had a better
year than Emmett, had a better year than than Jim Brown,
had a better year than Walter Payton.
Speaker 1 (29:32):
But that doesn't make but it goes into the longeem.
Speaker 3 (29:35):
Yeah, but if people know who the best running back
of all time is, they don't immediately go to Emmett,
who is No.
Speaker 1 (29:39):
No, no, no, no, They're probably none of them probably gonna
say Emitt.
Speaker 2 (29:41):
They're probably say Barry Sanders, they'll say Walter Payton, they'll
say Jim. You know, I think it's it's all Barry,
even though Barry never won a championship and we'll lose
a lot of yards and a lot of carriers.
Speaker 1 (29:54):
But it was the style. He was so elect like
that style that he was so electric.
Speaker 2 (29:59):
Uh. Jim was was was a man amongst men. I
mean he led the league in rushing like eight times
and nine years. He's one of the MVP. As a rookie,
Walter Pagan was sweetness, bad offensive line, but he still
gave people that work.
Speaker 1 (30:14):
So people people like.
Speaker 2 (30:16):
That for like I said, uh, as far as lyricists,
Kris is one of my favorites. But and for the
longest time I was on this thing like it was
Tupac for me. But after like the last two weeks
of just listening to Wayne and I love him. Yeah,
(30:39):
Wayne Wayne, Wayne Is, Wayne is ridiculously talented.
Speaker 1 (30:43):
I for me, it would be.
Speaker 3 (30:47):
Just ability, superb ability, Marksman Chip, It's nas j Biggie rock.
Speaker 1 (30:56):
Him Yeah, rock him. Was like yeah.
Speaker 3 (30:59):
And then that other spot, you don't got them all,
you ain't got them fall for those. I would take
those four. And I love Eminem is nice. Eminem has
a unique gift about him, the way he is Cadence,
how he wraps and puts words together around that cadence
is special.
Speaker 1 (31:16):
Wayne is.
Speaker 3 (31:18):
As good as anybody, Wayne Wayne and his career is amazing.
You talk about longevity, I mean year old Wayne is
Wayne Is. Wayne is a special dude.
Speaker 1 (31:30):
Man. Wayne is a special dude.
Speaker 3 (31:31):
For me, he just reasonable doubt and illmatic. I mean,
Jane has more albums, Nas has a couple more albums,
but that body of work is just so strong and
it hits me right here where Wayne does that to, Like,
if I ask Rich Paul's question, Rich Paul would immediately
(31:53):
have Wayne, like jay z Wayne, He'd have Wayne right there.
Speaker 2 (31:57):
Yeah, because it's just younger. And he spoke to him.
What about Kane. People don't get Kane to credit. Yeah,
Kin Cain had k Kine was tight. Kin was tight.
Speaker 1 (32:08):
His career was short. Gotta be the problem with you.
Speaker 2 (32:11):
But you know, money, But if you go back and
look at it, if you think about it, guys didn't
have ten fifteen year career.
Speaker 1 (32:17):
You gotta have. You gotta have more than two albums.
Speaker 2 (32:19):
Yeah, but al all of the anomaly to be able
to do what he did in the eighties, the area
is doing doing what he's doing right now.
Speaker 3 (32:27):
No, but you gotta be able. You gotta you gotta
stick to your craft, man. You gotta do like you
gotta make two, three, four, five, six albums.
Speaker 2 (32:37):
You gotta make. You gotta keep making music so so
you want so you got a lot of guys. You
know how hard it is for these guys. Uh, Shannon,
you grew up in the projects. Fine, you go to
the projects.
Speaker 3 (32:51):
And you're writing your first album based off of everything
you went through your entire life, correct, right, So you
have eighteen years, twenty years of material.
Speaker 1 (33:01):
However to make this first album.
Speaker 3 (33:04):
When you make your second and third albums, now you're
using the material that happened between when you put out
the first album and that second could album, but not
as money.
Speaker 1 (33:15):
There's women's access.
Speaker 3 (33:18):
So now all of a sudden, your material starts to
fade because you start you're indulging in all this other stuff.
Even now you move to la now you're writing about
something else. So a lot of times it's very hard
to write that second third. Second you can still get
away with off the fumes of the first album.
Speaker 1 (33:39):
The third album becomes really hard. Oh you get it.
Speaker 3 (33:43):
Look, most artists who write there, who had a great
first and second album, feel miserably on the third album.
It's so hard to draw from the grit that you
had before you made the first album and then and
then now, okay, fine, can you get back to it
now a lot of times they can't get back to
(34:05):
it and it just slowly, it slowly falls off.
Speaker 1 (34:09):
I all went back to it. I love made.
Speaker 3 (34:11):
Mama said knock you outright, he made all that shit made.
This went like this and then boom, Mama said knock
you out. He came back.
Speaker 1 (34:21):
Kin didn't make.
Speaker 3 (34:21):
Mama said knock you out. Honestly, Rock Kim didn't make.
Mama said knock you out. They couldn't make it. They
couldn't find that record. Seven years later.
Speaker 1 (34:32):
He said he made. Mama said knock you out. And
round the way girl. Yeah.
Speaker 2 (34:37):
Oh, and that when he had uh and then he
made after years after that Jingling Baby, Jingling Baby remix,
and then he made Love You Better after that. He
has a phenomenal for the Hay Lover. Yea, yeah, I
worked on that album that was ninety five, Yes, hay
Lover and doing it well. I was ninety five, man,
(34:58):
But that's ninety five. He was dropping records in eighty seven, correct,
But ninety five came around.
Speaker 1 (35:06):
I don't even know where Cainan rock him was. I'm bad.
Speaker 2 (35:12):
I'm bad with now don't do that, don't do that,
don't do that, don't do that. I'm gonna let you
do that. Now come on Now.
Speaker 3 (35:19):
Listen, I'm an LJ fan too, the dance routine and
I'm bad when he did the shark fan was doing.
Speaker 1 (35:26):
Yeah, that wasn't.
Speaker 3 (35:27):
The real thing, right there does a little too much
and I'm going back to Cali by the way, huge record.
That's a risk that artists wouldn't take. Listen to that beat.
That's a risk that artists wouldn't take. That was on
the Lesson zero soundtrack. That was that was look at
the video arts seed black and white, very very avant
(35:50):
garde like.
Speaker 1 (35:51):
That was way ahead of its time.
Speaker 3 (35:53):
Those are the risks that those guys wouldn't make that
he was willing to make. He's a true artist and
he deserve He does deserve way more credit than he
deserves as That's all.
Speaker 1 (36:04):
I wanted you to say. Now we can move on
to the conversation. See.
Speaker 2 (36:08):
But he's one of the first also to have commercial
appeal outside of the rap game doing fooboo. He had
the gap stuff. Yeah, the gap stuff.
Speaker 3 (36:17):
I don't know if he did something in the Gap
commercial is one of the most gangster ships I've ever
seen before. He's in the Gap commercial and he is
a food who had on yep, do you remember the rep.
I don't remember, but I remember. Let me tell you
the rap.
Speaker 1 (36:32):
Forget.
Speaker 3 (36:33):
It wasn't that he had to hat on like damn,
this nigga's in a gap commercial what food?
Speaker 1 (36:36):
Who had on? God?
Speaker 3 (36:39):
People didn't even know what that was, whatever that thing
was in the commercial he raps and says for us
by us on the low. That's in the rap. They
don't even know that's what he said. He said for
us by us on the low.
Speaker 1 (36:59):
Game got. They don't even know what on the low means.
They don't even know what for us by us mean?
Speaker 4 (37:06):
Right?
Speaker 1 (37:06):
They think he's the saying for us by us?
Speaker 3 (37:08):
Right, I don't know some rapper shit, right, because I
had Damien john on and he was he was telling
he was telling me that story about uh L shooting
commercial and doing the rap and had it on. One
of the guys from Queens who started who started football
with Damon, is a guy named Keith. He we went
to kindergarten through third grade together. So there was also
(37:30):
some great entrepreneurs obviously from Queens as well who helped
start uh start start football. I mean, y'all mean look
queen ting Like I said, you guys y'all get overshadowed
because obviously you know Brooklyn has some of the names.
But if you look at what you guys were able
to do as far as not only just music culture
(37:51):
and the clothing and merchandise, would you consider that Run
DMC brought fashion into hip hop.
Speaker 1 (37:59):
Because that the little.
Speaker 2 (38:02):
Pants, leather pan or the shell toward dess with the
fat strew shoes strand they were big ropes.
Speaker 1 (38:08):
Yeah.
Speaker 3 (38:09):
Prior to Run DMC, guys were looking like if you
look at some of the early even even kind of
like sugar Hill Gang. But after sugar Hill Gang, if
you look at Africa Bembada, they were dressing more like
earth winding Fire, like a lot of costume. Yes, yes,
And then Run DMC, because of God blessed jam Master
(38:32):
J said let's dress like those d boys. So they
dressed like the way street guys dressed, drug dealers were dressed.
And that's and when they put that look on.
Speaker 2 (38:42):
Can't go sheltere leather blazer this that the third then
they looked like they was just getting that money.
Speaker 1 (38:49):
It wasn't about that costume.
Speaker 3 (38:51):
It was a complete uh left turn from what those
guys are doing. And that was that was huge. How
big was Supreme the name at all? Man, I mean,
Supreme Team was Queens. They ran the streets of Queens
and there was a they were a presence to not
to be fucked with, right And you know, to me,
(39:14):
I never I actually never met Supreme I've seen him before,
but he was, you know, a big, larger than life
figure that had a you know, a big organization that
were street guys that liked the party, you know, and
they were like part of the business, you know. So yeah,
they were big. I mean they were big. Supreme Team
(39:35):
was big. Then years later, you know BMF was big.
You know, coming out of Atlanta.
Speaker 2 (39:42):
What is it about D boys and rap and rapping
D boys that seemed to be so interwoven.
Speaker 3 (39:50):
Well, the kids come from the artists are coming from
the street. So as a result of the artists coming
from the street, the guys that are around them and the
guys they idolized, they probably at some point worked for
with the street guys, and sometimes the street guys were
the first guys to give them money. There was the
startup money, go make this music, going to the studio,
what have you. And that's a lot what led to
(40:13):
you know, what got them going. So that's the that's
the connection. But the truth of the matter is, even
prior to the fact that that was the guys they
looked up to and give the money, that's what the
fans wanted. So you were emulating the street guy. So
a lot of these guys, very few of them really
are street guys rappers.
Speaker 1 (40:33):
They were more.
Speaker 3 (40:35):
Emulating street guys because that worked with the fans.
Speaker 1 (40:41):
How have you.
Speaker 2 (40:42):
Been able to create the music the advertising with some
of the most successful companies in the world. You started
in the music business, you transition to the advertising and
you work with a lot of these Fortune five hundred companies.
How have you been able to transition and parlay that
you're music, you're advertising and with some of these Fortune
five hundred companies, How have you been able to do
(41:04):
that so successfully?
Speaker 3 (41:06):
Early on it was hard. It was hard for two reasons.
I wasn't necessarily good at it. I didn't go to
college and I dropped out of college, so I didn't
have any formal training and the credibility that comes with
that formalized training to go into Fortune five hundred companies
and be like, this is what you should do. And
(41:27):
then the second thing is the thing I was trying
to recommend them doing was really tapping into culture, and
the culture that I was leaning on was hip hop culture,
and that was tainted with gangsters and all kinds of
reputational issues. So you got me coming in with no
formal training and talking about something that is related to
something that they don't even think is brand friendly. And
(41:50):
then I would say, you know, to the CEO, because
I'm really good at talking to people, so I to
meet to the CEO and I'm like, ask your seventeen
year old at home about this, because if they had
a teenage at home, I'm gonna win. And I would
speak to them about things that I knew was not
necessarily on Narradar screen, but it was the next generation's concern,
(42:13):
next generations something they celebrated, and I call that future proof.
If you want a future proof your business so that
the next generation is excited and you're relevant to them,
then you should listen to what I'm saying because I'm
talking about something that may not necessarily relate to you,
but it relates to the next person coming down the line.
And CEOs who are open minded to listening to that
(42:35):
were the ones I've had the most successful.
Speaker 1 (42:36):
With and their business has benefited.
Speaker 3 (42:41):
And the first thing I the first thing I did,
I mean it's written about what was the rebox work man?
I mean you got Rebok, I told the CEO, Paul Fireman,
founder of Rebok. I said, I don't care. This is
a two two thousand and two maybe, I said to Paul,
I said, Paul, there's nothing you can do to make
(43:02):
kids believe they can jump higher or run faster in
a pair of Rebox over a pair knights. There's no
chance that take that idea that you're going to beat
them at that game completely out of your mind.
Speaker 1 (43:15):
So then he started talking further.
Speaker 3 (43:17):
He was intrigued by that, by the certainty I had
with that belief, and he started talking about brown shoes.
I'm like, why do you say brown shoes? He goes
because people wear brown shoes to work, I said, pull
home on.
Speaker 1 (43:28):
They don't. Kids are wearing sneakers to work right.
Speaker 3 (43:32):
In fact, they're not even wearing a sneak is because
they wanted them to perform well. They wear him because
they like the color in it, because it matches their shirt,
it matches their hat. So we need to actually go
and play and pay that play that game and pay
attention to that consumer.
Speaker 1 (43:50):
And that's what led to Rebok RBK.
Speaker 3 (43:53):
And then we started thinking about, like, who are some
of the people that you could work with that would
fit and sort of be the cohort. The cohort is
the prototype for this thing. And it was jay Z.
I'm like this guy. He don't like to move a
lot at all, he don't like to sweat, you know,
and he's the perfect person to be the lifestyle ambassador.
(44:14):
And we created not an ambassadorship, but we actually created
a brand called the es Carter, which was the first
of its kind, an original sneaker that was Rebok powered
and made it and that was successful. And then we
did the g units and then the ice creams by
far raland we built the business around Reebok.
Speaker 1 (44:34):
That changed the brand.
Speaker 3 (44:35):
It made them go from a brand that was relegated
to like third fourth place to something that was aspirational
because they were tapping into the culture more by you know,
tapping into.
Speaker 1 (44:48):
These artists and what these artists represented.
Speaker 2 (44:50):
So how do you go about building a strong, lasting,
valuable relationship.
Speaker 1 (44:57):
In business?
Speaker 3 (44:58):
Yes, yeah, you know, I think it's the fundamentals of anything. Man,
you gotta do what you say. You gotta always do
what you say. You can't say anything that you don't mean.
And people you under promise and overdelivered. No, No, I
over promise and overdeliver it. So you over Probably you
(45:28):
tell people you're gonna do something, yeah, and then you
times it yeah.
Speaker 1 (45:33):
Yeah.
Speaker 3 (45:34):
It's the same thing you push yourself. If I tell
you I'm gonna do something, it means so much to
me to live up to my word. I'll ask somebody
when I hire them six months later, eight months later,
did I tell you anything in that interview process that
I haven't done.
Speaker 1 (45:50):
I want to check myself on that.
Speaker 3 (45:52):
I want to hold the mirror up to myself specifically
on that topic, because I don't want to use my
brain as a weapon and tell you something and be
convinced to you and actually have no intent or don't
follow throughing it. I just think that that's a terrible
use of talent. So I do talk about my stretch goals,
which is the over promise I'm gonna do this, so
(46:13):
we're gonna do this and wenna do that. But I'm
an entrepreneur, I'm a visionary. As a visionary Your job
is to see things before other people see it.
Speaker 1 (46:20):
Correct.
Speaker 3 (46:20):
I'm used to being in that uncomfortable place of seeing
something early. So I make those promises and I do
everything I can to over deliver against that. The funniest
thing is that you guys don't get penalized for being wrong.
Speaker 1 (46:35):
You're wrong. He is no problem. Or you guys should
have don jailing herds, but he had it.
Speaker 2 (46:40):
But you don't think he's improved, Like he did lose
his job at Alabama because he couldn't broke consistently.
Speaker 1 (46:45):
That's why two got the job. Yeah, but they thought.
Speaker 2 (46:48):
But even in the pros, if you look at him
from his rookie year to where.
Speaker 1 (46:53):
He is now, he's increased the throw up percentage by
ten percent.
Speaker 2 (46:56):
That's huge his accuracy, Yes, yes he said ten percent.
Ten he was he was barely a He's like in
the high sixties as opposed to the low sixties. Fiftieth
You don't think that has an Antonio Brown AJJ. Yeah,
of course, of course, but you have to understand what
did he have? What think about what he had in
(47:17):
Alabama and then what he had in Oklahoma. So yeah,
giving him giving him back, But he improved he put
the work in. I don't want to short change him
and just say it's aj he put the work in.
He put a lot of work in, because you can
see him get exponentially better and his confidence crows.
Speaker 1 (47:33):
There's not that many basketball players that came from Queens.
Speaker 3 (47:36):
There's some, but not Kenny Anderson, Kenny Anderson, probably Kenny Smith.
Speaker 1 (47:40):
Kenny Smith is from.
Speaker 2 (47:41):
Right over here, and Kenny's from Luffrack, which is right
over here, right, Kenny Anderson's from overhead.
Speaker 1 (47:47):
There's a couple not like but not like all the
way right all the way.
Speaker 3 (47:51):
What place you think is more overrated where football talent
comes from him?
Speaker 2 (47:57):
Well, we know, well, we know, we know Texas and Florida.
Texas is Florida, California. Georgia is right there, Georgia, Florida.
California is the southern states where the weather is nice
the majority of the time. Losing, Amma, you mean where
people are working, where people are running in He say,
if that's what you call it needs it needs to
(48:17):
be warm.
Speaker 1 (48:19):
New York, New York, New York. Who are is hot?
Is hot? Okay?
Speaker 2 (48:24):
Warm more time than it is cold. You're not gonna
get You might get one or two from New York
or something.
Speaker 1 (48:32):
Like quans from New Jersey.
Speaker 2 (48:33):
Yeah, mikaws from uh from from from Pennsylvania any No.
Speaker 1 (48:40):
Yeah, Pennsylvania. I'm sorry.
Speaker 2 (48:43):
That's not the South. No, but I'm saying, you know
what I'm saying about the South. I was talking about
the New York. I'm talking about this area. And that's
saying y'all ain't got no b y'all. Yeah, it's from
New Jersey, from Halfsburg, Hassburg. Brother, you do the weather.
Weather is not nice in these places. You let you
just mean two places whether it's not nice. I'm trying
to figure out y'all got like four people in the NFL,
(49:04):
Georgia got like thirty, California, Texas got like. The last
thing I'm doing is compared to New York football.
Speaker 1 (49:12):
We get, y'all.
Speaker 2 (49:12):
We give y'all little basketball problem, but no, no, not a
little I mean New York basketball.
Speaker 1 (49:17):
No, no, no, no, no.
Speaker 2 (49:17):
That y'all used to have that when y'all had Doctor
J Kareem and all those guys.
Speaker 1 (49:21):
It ain't the same. No, where does Kyrie come from?
It ain't the same.
Speaker 3 (49:24):
No one, where does Kyrie come from? Where does Kyrie
come from I mean, it ain't the same. No, it
ain't the same.
Speaker 1 (49:33):
It ain't the same. It's not the same.
Speaker 2 (49:37):
But y'all, you know because now guys with the guys
go they go to other they go. I mean they
might be born from here, but you know they go.
Now they go play the Mount Verdier or they go
to Oak Hill and they go to things like that. Yeah,
and finish your IMG Academy and things like that. Nature
guys are not being from an area playing in a
high school like okay and moving on that.
Speaker 1 (49:58):
That ain't happening no more.
Speaker 3 (50:01):
What do you think about the transfer portal and what
it's going to do to college sports?
Speaker 2 (50:08):
Mad?
Speaker 1 (50:08):
I don't know. And what do you think right next
to that is.
Speaker 3 (50:15):
As much as I'm so for college athletes getting their
fair share, and Lebron and I and Maverick did a
documentary on this, did a shut thing on it called
The Student Athlete. We followed four student athletes. Man one
of them got hurt. No health care fucked up the
whole thing. But guy walking around campus for five million dollars.
Speaker 2 (50:39):
Yeah, for sure, because there's no guarantee, like you said,
he get hurt and then he can't play in the
NFL or he can't play in the NBA. Yeah, well
he got five million dollars. He got a great head
start on life.
Speaker 1 (50:51):
Get it.
Speaker 2 (50:52):
I wish didn't get ten million. But I just saw
the quarterback from Ohio and Ohio State and Oklahoma is
in the portal right now? Yes, why the starting quarterback,
starting quarterback of Ohio State, starting quarterback from Oklahoma or
in the port.
Speaker 1 (51:11):
Looking to get better deals? Yep? Oh.
Speaker 3 (51:16):
I thought guys were going into portal because they were
not gonna start. So they were like, oh, let me
go into the portal because I can get a better
opportunity somewhere else.
Speaker 2 (51:24):
But if you already started at Ohio State, you started
at Oklahoma, where you're going.
Speaker 1 (51:29):
That's what I'm trying to figure out. What are they doing? Money?
Somebody go give me an opportunity like Caleb.
Speaker 2 (51:34):
You don't think Caleb Williams had an opportunity to make
money in Oklahoma, but think about what he got at USC.
What do you think about him right now? I think
you gonna be a number one pick, can make every throw.
He's athletic, great improvisationals. I have not trying to figure
out his head on right. I think the thing is
(51:56):
what they're gonna ask is like broh I mean, I
think his defense was terrible, but they're gonna ask bro
you that good. I mean, you couldn't win like none
of these shootouts.
Speaker 1 (52:07):
But I like him.
Speaker 2 (52:08):
I think he's good. I think you're gonna really be good.
I think there's a lot of quarterbacks in this draft.
But it's like anything, man, you don't really know. I mean,
brock Perty was a seventh round draft pick.
Speaker 3 (52:19):
These guys in the NFL are really not as good
as they think they are picking talent.
Speaker 2 (52:24):
No, no, no, no, because it's like anything. It's just
like you. You you're picking horses. They don't guarantee your
horse gonna win the Derby or Piker's or a Bell
knocks a Santa Nita.
Speaker 1 (52:34):
You don't know.
Speaker 3 (52:35):
What do you think about this whole idea of not
even giving these guys a chance to warm up, to
get that game together, just throwing them out there like
that because you think that's the right thing to do.
Speaker 1 (52:45):
Because here's the thing. I know they can pay them
short money and they can find out.
Speaker 2 (52:48):
But see, the thing is is because I need to
know abody that third year before I give a guy
three hundred million dollar contra bat you mean to tell
mem I got to give a guy three on a million.
Speaker 1 (52:56):
I don't know if you can play. They don't know.
If the Giants don't know if the quarterback can pay,
they pay him. They do.
Speaker 2 (53:00):
He didn't play, but whether it didn't have no options,
they have to pay Daniel Jones. What are they gonna
go go with Tommy de Vito? Now before we even
know Tommy DeVito? They could have, you know, they won't.
They didn't have to pay that man one hundred and
sixty million dollars, but they paid him based on last year.
They disregarded all the things that they had done up
until that point, and it says, we know what, we believe,
(53:22):
this is the guy we're gonna get moving forward.
Speaker 1 (53:27):
And did the same thing with Crushing Wentz.
Speaker 2 (53:29):
Yeah, but Carson Carson had you know, Carson was about
to be the MVP until he tore his me up
in week thirteen.
Speaker 1 (53:37):
He's gonna be the MVP.
Speaker 2 (53:39):
And but it's a special type of quarterback that's good,
get paid and they get better. You look at the Brady's,
the Mannings, and now you look at the Patrick Mahomes
you look at those guys, uh, the Rogers. Did those
(54:02):
guys that Roger Aaron Rodgers? Yeah, when he was in
Green Bay? Get paid, excuse me, and get better. Dak yeah, Dak.
Dak has been very impressive this year. He's been very
impressive this year. But are you watching the games?
Speaker 1 (54:19):
Yeah? I am watching the game. Have you watched every
single play? Okay? So you watched it for seven eight years? Right? Yeah?
So okay, so you know the history, right? Yeah? Okay?
I I yeah, I have not he in big games.
Speaker 3 (54:36):
I have not seen him Okay, against the forty nine
ers two years ago, against the forty nine ers last year,
and the year before that. I said two years ago,
two years ago they played day forty nine and beat
him twice back to back.
Speaker 2 (54:47):
Year. I just said two years, last year and the
year before. Okay, what about this year the regular season?
Did you see that game forty two ten?
Speaker 1 (54:54):
Did you watch the game?
Speaker 2 (54:56):
Yeah?
Speaker 1 (54:56):
I don't know that. I understand why you would turn
it off. I didn't understan in that game. What took?
What did you understand? You understand?
Speaker 3 (55:04):
Good old fashioned ass whip me. I don't understand why
the defense could not slow him down. I don't know
why the defen Dallas defense got well, why your offense
couldn't score but ten points? You just talked that you
just know. I know, I know, I know, I know
you just told me about Dak. The Dak seeding thing
(55:27):
wasn't working back then. It's on fire right now. Okay,
so you don't see him in the playoffs, but that
we now that was that. That's listen, I'm not I
don't disagree with you. Dak makes really bad mistake. It's
shocking to me sometimes he's been shocking though. You don't
(55:47):
even like brock Berdy.
Speaker 2 (55:49):
It's not about like a dislike I gottavaluate a guy
on what I've seen. Kind of like now I need
I need to see more consistency.
Speaker 1 (55:59):
You make it. He's you. You're making.
Speaker 2 (56:01):
You're making, You're making a check your girl after after
a couple of dates. You want to see you want
some way.
Speaker 1 (56:07):
Okay, that's what I'm saying.
Speaker 2 (56:11):
You think justin fields they can get a third round
pick for him, Yeah, I think they get more than
a third and.
Speaker 1 (56:17):
Check them then great check Would you trade him? I would?
I don't believe.
Speaker 2 (56:21):
I don't believe me personally, I don't believe they're gonna
pass up the chap Well, yeah, I don't think they're
gonna they would pass up because it looks like they're
gonna get Carolina. They have Carolina, yeah, and they're gonna
have their own. So and with Justin Fields, if I
can get me a qu a top notch veteran player,
(56:46):
because there are a lot of teams that's gonna need quarterbacks.
I just think Justin Fields needs a change of scenery.
I don't think he's a bad quarterback. I just think
he needs a change of scenor. In Chicago, ND they
got where they just drafted a Richardson with the fourth thinking.
Speaker 1 (57:04):
That's right, that's right. He was playing good too.
Speaker 2 (57:07):
But uh, let me see who who the Raiders could
use a quarterback. You don't think the Raiders can use
a quarterback. Pittsburgh could use a quarterback. They don't want
to agree with anything yet there's some denial about that kid.
Oh picket man, please the fans about to start picketing.
Speaker 1 (57:28):
I'm ask you a question that's separate the topic.
Speaker 2 (57:31):
When you got to Baltimore, yes, and you've seen Ed
and ray Ed wasn't there when I was there.
Speaker 1 (57:44):
He came out there. He came after me. He came
after I had went back to Denver. Oh, so you
never got a chance to play with it, got play
I played against him, I didn't played with him. You
paid him, agains him when you were in Denver. Yes,
have you ever seen anybody like that? No? No, He's
the greatest Saint Travis. I played the games, took off
the VM. He's phenomenon.
Speaker 3 (58:07):
Payne Manny tells stories. He told the story on the
the that the many casts. He told the story on
when the NFL did the hundred Greatest Food. He told
the story. But him, he added, Ed hid in the
shadows of Lucas Stadium, in the Oil and Lucas Oil Stadium,
(58:30):
that he couldn't count him.
Speaker 1 (58:31):
He couldn't he couldn't find him.
Speaker 3 (58:32):
On he couldn't find him in a priest and that
breed and that was he told me that story live,
that he couldn't find him.
Speaker 1 (58:39):
And he he he couldn't find him in a pre
wasn't the other safety white when Ed was there? It
was a white safety. It was bad he.
Speaker 3 (58:48):
Because he told the story that he could see that guy,
but he couldn't find d He couldn't know where ed
was that Edwards squatting in the shadows, almost like he
knew where the shadow was and he couldn't fucking find him.
Speaker 1 (58:57):
Then he told the story where Eddie he fell at
fooled them up.
Speaker 2 (59:02):
That was in Baltimore and ed ed what he did
it was that Peyton looked him off and ed pretend
like he was gonna drop one side and turn yeah,
and took a line and picked the ball out from
uh Ridgie Wayne.
Speaker 1 (59:15):
Yeah.
Speaker 2 (59:16):
Yes, It's one of the greatest plays that you'll ever see.
And you have to understand what he did and how
he did it to fool that guy because Peyton just
knew he had him dead.
Speaker 1 (59:27):
Write like I got him and probably I saw the play.
Speaker 2 (59:33):
I saw the play at the time that it happened,
and it was like, I'm like, how why.
Speaker 1 (59:39):
There was no there was no indication that he should
have done what he did. And how about Ray?
Speaker 2 (59:48):
Ray was a student of the game. He was ferocious.
He loved the game of football. He put time in
it to be great. He worked hard, he was a student.
He's very disciplined.
Speaker 1 (59:58):
I spent time with him. I love hanging out with it.
Speaker 3 (01:00:01):
Yeah, yeah, I'm actually going to I'm going to Nigeria
next week. Yeah, we are opening up United Masters in
a lot of thos Nigeria. I can't wait to go.
I can't wait to go. I'm really excited about it.
Speaker 2 (01:00:16):
Uh.
Speaker 3 (01:00:16):
The independent music scene in Nigeria and South America, specifically
Colombia and Argentina is going crazy. Wow because all these
people they don't know of record companies. They just know
make music, get it out and writing. They're writing monster hits. Yeah,
(01:00:37):
but except these songs are becoming number one records. They're not.
They're not. They're not just like regional songs. They're becoming global, impactful,
monster number of records. Jay mentioned you in a song,
then you get Jaya to put me on a song.
I want to be a song man. I ain't never
been no song, been no video. I ain't been nothing.
Speaker 1 (01:00:57):
Man. You hot olbody life now you already you're crazy.
Speaker 3 (01:01:01):
You don't need to be in no song on Shannon
Shall won Wayne somebody reference.
Speaker 1 (01:01:05):
Somebody said Shannon Shop and something.
Speaker 2 (01:01:06):
I'm sure if I google Shannon Shop in the song,
I'll find some shit.
Speaker 1 (01:01:10):
I hat to this song, Bro, Steve.
Speaker 2 (01:01:11):
I want to thank you for bringing me to your
office showing me around Queens. I really appreciate it. Continued success, yeah,
Steve Stout, Ladies and gentlemen.
Speaker 4 (01:01:20):
All my life, grinding all my life, sacrifice, hustle, bad
to price, Want a slice? Got the brother diyce Swap
all my life. I've been grinding all my life. All
my life, grinding all my life, sacrifice, hustle, bad to
price in one slice, Got the brother diyce Swap all
my life. I've been grinding all my life.
Host
Shannon Sharpe
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