Terry "TR" Ross

In Episode 147 of the R&B Money Podcast, join Tank and J. Valentine as they sit down with Terry "TR" Ross, a trailblazer in artist management and music production. Known for his strategic vision and deep industry connections, Terry has played a pivotal role in launching and sustaining the careers of some of the biggest names in music. Dive into Terry’s journey through the music industry, his philosophy on artist development, and his insider's take on navigating the complexities of the modern music landscape.

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Episode Transcript

Speaker 1 (00:00):
Speaks to the planet.

Speaker 2 (00:01):
I go by the name of Charlamagne Tha God and
guess what, I can't wait to see y'all at the
third annual Black Effect Podcast Festival. That's right, We're coming
back to Atlanta, Georgia, Saturday, April twenty six at Poeman
Yards and it's hosted by none other than Decisions Decisions,
Mandy B and Weezy. Okay, we got the R and
B Money podcast, were taking Jay Valentine. We got the
Woman of All podcasts with Sarah Jake Roberts. We got

(00:22):
Good Mom's Bad Choices. Carrie Champion will be there with
her next sports podcast and the Trap Nerds podcast with
more to be announced. And of course it's bigger than podcasts.
We're bringing the Black Effect marketplace with black owned businesses plus.

Speaker 1 (00:34):
The food truck court to keep you fed while you
visit us. All right, listen, you don't want to miss this.

Speaker 2 (00:40):
Tap in and grab your tickets now at Black Effect
dot Com Flash Podcast Festival.

Speaker 3 (00:47):
R and B Money, we second take balance out. We
are the authority.

Speaker 4 (01:01):
Ladies and gentleman Mon him his tank Valentine and this
is the only funny podcast Tell what it is Aday
on Days al, I'm in the motherfucking building.

Speaker 3 (01:17):
I'm talking family m Burn.

Speaker 4 (01:20):
Yes, sir, I'm talking day one, dear o'donal, I go
to place.

Speaker 1 (01:27):
Baby when I already read it. Let's go, Tank, I
talk about it.

Speaker 4 (01:32):
May who saw my doughs and my gish fron.

Speaker 3 (01:36):
Of me game and so I love that guy. Yeah,
real executive.

Speaker 5 (01:40):
I put money in that guy's broken. Yes, I take
this guy. Freach Man Pratis since the new time day. Yes,
man preaching, Mandy.

Speaker 1 (01:58):
Man. Yes, let's go man, let's go. Man, don't know,
they don't know. They don't have nigga trenches, trenches.

Speaker 4 (02:09):
Nig like like y'all what y'all had when I when
I first met you at noon time, it wasn't a trench,
but it was trench mentality, trench mentality one hundred. It
was sun up, sundown, getting here.

Speaker 3 (02:29):
And get to it. Made the best man win.

Speaker 1 (02:32):
That's it. That's it.

Speaker 3 (02:35):
I walked in there like that's how you get cracking. Oh,
these niggas is monstros That's.

Speaker 1 (02:41):
How that's how we that's how we made it happen.
That's how that's what we did.

Speaker 3 (02:45):
Teddy, Bishop.

Speaker 4 (02:48):
Jazzy Faye, Brian Michael Brian Michael Cox, Jada Dent, Donnie Skants,
that was it, John Tea Austin, Yes, the Twins, Yeah, Jagged, Yeah,
nigga only they're like, what the fuck is going every room?

Speaker 1 (03:13):
I'm gonna tell I'm gonna tell y'all some ship real quick.
And I was at a party. I was at Sal's
house the weekend, the weekends manager, and Mike Karen walks
over to me and he says, I'm gonna tell you
something I never told anybody. He was like, I patterned
my whole company afternoon time, he said, when I came

(03:34):
down to Atlanta and saw what y'all had, and how
y'all had those producers in each room, and them niggas
was always competing against each other because they leave their
doors open. So if Jazzy's in there making the beat,
Teddy hit at me like, oh ship, nigg I gotta
make it. I gotta make a fire beating Jade up here.
You know what I'm saying. And that's how, that's how

(03:56):
the competitive spirit with between all of them made them
better than you know, Iron Shopping's iron. So they was
all competing against each other and they knew people we
I mean dude, you gotta understand not want every artist
R and B artists came through, came to noontime, absolutely
came through time. You had to come through that. You
had to come through there, you know what I'm saying.

(04:18):
So that was it, man, it was And and you
came through there, you saw it. Mike came through there,
he saw it, and it was just like yo. And
the good thing about us was we weren't never wanted
to be in front of the camera, so we were
we were always in the back and we were doing
the business part aspect of it. So a lot of times,

(04:38):
you know, like the Puffs and the JDS, and they
were in front of the camera. So it's different that
when you when you and those kind of camps. So
when you were in the camp, niggas just handling your business.
So we just handled the business and that was it.
And they appreciated it because we weren't trying to take
their shine. We let them do their thing, the producers,
you know what I'm saying. So that was it. That's
why it weren't for how however long it worked. That's

(05:01):
why it worked.

Speaker 3 (05:02):
It was good competition too.

Speaker 1 (05:05):
Competition.

Speaker 3 (05:05):
It wasn't like a hateful competition.

Speaker 6 (05:07):
What was the setup of now time as far as
just the partners in it?

Speaker 3 (05:13):
Who were the people? I mean, you know for people
who So.

Speaker 1 (05:16):
Let me give you the backstory on that. So I'm
born and raised in DC. My partners Chris and Ryan,
they from Oakland, right, so they came down. They were
going to school at Howard HM from from Oakland, so
they came to d C. So this is this is

(05:39):
this is a crazy story. So the reason how we
really hooked up was because Chris has some cousins out
here that was heavy in the game, like deep deep
in the game, and we can uh, my mom lived
in Oakland. My mom lived in Oakland, Nolan Parks Ship

(06:00):
you know, yeah gas station, yeah right there, yeah, yeah, yeah, yeah.
So I used to come out to Oakland all the time.

Speaker 3 (06:06):
But you didn't know them at this point. No.

Speaker 1 (06:08):
I knew Chris. I knew I knew Chris. My mom
and Chris's mom were like friends. So I've known Chris
my whole life. So one day, you know, I was
and it's it's crazy. My mom was like, you need
to meet Chris's cousins, his cousins, and in LA I
was like okay, So I met I hadn't seen Christ

(06:30):
in years, went up to his high school, said Chris,
I need to meet your cousins in Oakland. Man. Somebody
told me I need to meet them. So I went
to went to go meet them, went to go talk
to Chris and in the school and they was like, well,
you know, we'll we'll connect with you. Make sure you
take care of Chris when he comes up to d
c embrace him, put him, put him under your wing.

(06:52):
I was like, no problem. So Chris came, Ryan was
Ryan King came up there. So we started this this company,
a booking agency. So during that time too short, Luke juvenile,
not but he was juvenile, but the trick daddy. So

(07:14):
we used to book shows at the College at Howard
for for for you know, going around the city booking
these shows with these with these artists. So we started
this company. It was called Ivory Coast. It was me
and Chris and Ryan. So we did these shows and
then Cassine went to Howard. It was like, yo, you

(07:36):
guys need to come down to Cassin reed. Yeah, he
went to Howard. He was like, you guys need to
come down to this thing in Atlanta. Called Freaknick. It
was like Freaknick. Fuck is that? What is that? So
so we said, all right, So we did this show

(07:59):
and Atlanta. I mean, dog we had I mean we
had the big This was actually the biggest show in
the history of Freak Nick. We had too short Luke
outcasts before our casts even came out. Uh, what's the
other groups? It was a bunch of groups. I have

(08:19):
the flyer, show it to you. But we did this
show and we made we made. We made a good
amount of money. Right. So Nooney was already in Atlanta
because he grew up in Oakland too. You know, he
grew up in Oakland too. He was already in Atlanta
trying to do some music things. So when we got
to Atlanta, I'm like, Yo, this ship is sexy. Like
you you black, you can move around to police, don't

(08:41):
pull you over. I'm like this, saint, how we function
in DC? Like nigga, you got a nice car, nigga.
That said, So we moved down. We moved down to
Atlanta and we're here. Yeah. See, but when we came
down there, niggas was already getting money in DC like

(09:04):
heavy Like niggas an' sayd how heavy. I wasn't any
game like it. Yes, So when we moved to Atlanta,
we already had. When I moved to Atlanta, let me
tell you, I had a brand new the eight fifties
before anybody had. I had a Black One. I had
a three hundred z X Turbo. I had a McLaren. Listen,

(09:27):
I had a McLaren and I had the brand new
SEC four hundred. Remember the joints, the convertible joints, the
lexus when they came out. I had. I had all
of that. You shipped all that to Atlanta. Ship all
of that to Atlanta, right, Chris had the range rover
Ryan had. I think Ryan had a range Rover. So

(09:47):
when we get down there, niggas was like, who is niggas?
These niggas ain't playing no ball, they ain't they ain't
no artists, Like, who is these niggas like? So that
kind of attracted all of the the Jazzy's and the
Brian's and the Teddies too to what we were doing
because we weren't. We weren't we weren't. We weren't in
the you know, we weren't in the game like that.

(10:09):
As far as as far as artists and you know,
being that ballplayer or you know that kind of that
kind of thing. So we just set up shop. We
set up shop. We figured out how to do it,
and the reason why we really got put on where
we really what really set us off was how we

(10:29):
parlayed the play. So what happened with that was we
had a group called Absolutely. I don't even remember, y'all remember.

Speaker 3 (10:36):
Don't tell me, don't don't do that, don't act like that.

Speaker 1 (10:39):
We had a group called Absolute, so we remember Absolute.
That was our first group we had. So we were
trying to shop Absolute. We were shopping them to the
labels and Puff Puff. Kevin Wells, my Man Wells took
us to Puff and we he Puff loved the group.

(11:02):
He was like, Yo, I want to sign him, blah
blah blah, let's go. So we was like, fuck, bro,
we don't want, we want. We're trying to be were
trying to be our own back. Yah, fucking what you come.
So we took them. We did it. We had another
deal on the table with with le or Death Jam,
so he was like, we're gonna go to death. Tina Davis, Yeah,

(11:26):
yeah girl. She signed and she was like I love
this group. Let's signed the group. So we said, all right,
let's do it. So we said we're gonna take the
group to Death Jam, and we took the group to
Death Jam. But Puff kind of got he was a
little salty about it because we didn't bring the group
over him. So he was like, yo, who the fuck
is who produced the records? Like who are the producers

(11:48):
on the records? And we was like it was at
that time it was just Jade up and Death had
produced the records on Absolute and Teddy too. So he
was like, man, let me, let me, let me sign
and then let me sign the producers. We was like,
all right. So what we did was we said, listen,
we're gonna let him sign the producers, but every time

(12:12):
it has to say read produced by Bad Boy Slash Noontime, right.

Speaker 3 (12:18):
Because at this point, Nooney is part of Yeah.

Speaker 1 (12:20):
Yeah, yeah, we came together. Yeah, we came together. We
all came together. We knew he he originally had the
name Noontime.

Speaker 4 (12:27):
Okay, y'all meet, if we can back if we can
back track for once, you and you and Nooney, you
already you, Chris.

Speaker 1 (12:33):
Me and Chris already already. But then when we came
to freak. Nick knew he was already in Atlanta, he
was already moved there. He was the first one to
move there. So we came down. He had he was
trying to do music. He was doing his music thing.
So we just when we came down, we was like, yo,
we know a lot of people. Let's just start. Let's
just do the record label together. So we all we all,

(12:54):
all four of us came together. So Nooney had money.
He was getting money in the streets. He had money.
We had money, so we just put it together. We
bought a building. You remember that we bought a building.
We bought the little thing was on Walker Street and
then we moved to We paid let me tell you something,

(13:15):
you know King Cloud, right, that's what you probably came
King Plod was the was the building that we bought.
We paid three fifty.

Speaker 3 (13:22):
Four on the railroad track.

Speaker 1 (13:25):
Yes, yes, okay, that's the one you came to. But
we had one, we had one before that was on
Walker Street and when he came to was the one
we bought. We paid three fifty four for a building,
a building, ten thousand square foot building, ten thousand square
foot building on King like this is plant prime real
estate right now in Atlanta. That's how much the building

(13:45):
is working now, three million, three million. They going for
three million over there's prime real estate three fifty and
we sold it. We sold it with.

Speaker 3 (13:59):
Yeah whatever whatever.

Speaker 1 (14:02):
So Puff wants to producers, so we said, long as
it is produced by Bad Boy slash Noontime. I mean yeah, yeah,
bad Boy slash New Time. So in that run we
were on everything. Jada Up and Den were on all
the stuff over a bad Boy, the Faiths, Biggie Mace,

(14:22):
all those records, all those records, and it was Jada
Up produced by Bad Boy Noontime. So people started noticing,
like who the fuck is these noontime niggas? Like where
they come from? So I'll tell you a funny story.
So we had we can't meet. Let me tell you
this story. Me and Shakira came out here to start

(14:44):
Noontime West. Okay, So Shakira was a part of Noontime
in the beginning as well.

Speaker 6 (14:49):
I didn't know that, like he was. I don't know
how involved he was, but he was supposed to be
the fifth fifth guy.

Speaker 1 (14:57):
Him and Neony. I don't know what happened they whatever,
something happened. I don't know the dynamic that happened between them,
but something happened Shaki. We didn't, we didn't become a part,
but me and him came out here at to start
Noontoime West. So we were just going off to all
the labels.

Speaker 6 (15:12):
Yeah Young, remember Yah yab Young and.

Speaker 1 (15:15):
We went to Yeah. Erica Grayson was over a Sony
music publisher, right remember her. So Erica was one of
the first people out here to embrace us. So she
so we did a deal, and this is we did.
Jada didn't have not one record out. He did a

(15:36):
seven hundred and fifty thousand dollars publishing deal with no records,
zero records out. All she had was the shit that
was coming out. No, this ship that was supposed to
be coming out on bad Boy.

Speaker 7 (15:49):
That was it.

Speaker 1 (15:50):
This is coming out on bad Boy. Seven hundred and
fifty thousand dollars publishing deal with no records in the marketplace.
And then goes and does Survivor and gets he gets Shape,
gave him a five hundred thousand dollars publis publishing deal.

Speaker 6 (16:09):
Oh yeah, I was just getting money off of one record.

Speaker 1 (16:14):
So yeah, So then b Cox comes, Jazzy comes, you know,
what I mean. This is after j and Dent, but
Jazzy comes, b Cox comes, and b Cox's story is
crazy like he he used to he came. He was
coming as like an engineer, like you know most producers coming.
He came in as an engineer. Think it's passing out.

(16:35):
We were passing our flyers on the clock Atlanta campus
and niggas like we was looking for engineers. So b
Cox came and he used to come over there engineer.
So I one day you know how you were in
a student remember late late at night and Jay you
remember this too, Like you would be in the studio
and NIGGASO just be sitting around kicking and talking and talking.

(16:56):
And this is the time we had dat's So b
Cox was real slick. So he would just put his
dats in while we're sitting around talking. Yo. That ship
yeah yeah, I produce Okay, ship sounds good. And that's

(17:20):
how he got to be, you know, came on as
a producer. Yeah, just being in the studio he wasn't
you know. And then Jazzy came on and Jazz you
know how flamboyant Jackue he was.

Speaker 6 (17:31):
You know what I mean, he's a physical so him
and noone he had a relationship, and then that's how
that develops.

Speaker 1 (17:40):
Nestles they all came in.

Speaker 3 (17:43):
How was it set up though? Okay, so because you're
saying y'all signed them two other entities though, right, Like
you what did you share in man?

Speaker 6 (17:57):
Yeah, we had the we owned the publishing Okay, well
you got that a publishing company.

Speaker 3 (18:02):
Yeah, okay, we got over.

Speaker 6 (18:04):
And you and you managed nine hundred copyrights and you
managed them as producers.

Speaker 3 (18:09):
Yeah okay, and.

Speaker 1 (18:10):
We managed them as producers. So the same thing with
JD we did with b Cos Okay, same thing we
did with Puff we did would be.

Speaker 3 (18:17):
I was there when y'all did that, and.

Speaker 1 (18:19):
You know how that developed was because somehow, I don't
know remember Jagged Edge, right, So b Cox started working
with them after nobody really wanted was really messing with
jacket Is. So they came up with these incredible records
and j D heard him and was like, oh this

(18:41):
ship is he's as fire. And that's how b Cox
got on with the Jacket Edge. That's what put him
on on the map with some jacket Is because they
was working together.

Speaker 3 (18:50):
Yeah.

Speaker 4 (18:51):
Yeah, I used to go over there with him and
he used to first go over there with them with
uh with Jacket Elk and Jacket Edge.

Speaker 1 (19:00):
Yeah.

Speaker 3 (19:00):
So they used to be over there working of course
at New Time.

Speaker 4 (19:03):
Yeah, yes, and it will be it would be be
Cox Beats or whatever that they actually wrote a song
for me that's not really how I see you. Not
cool with them, yes, And then they were like, we're
going over to j D's and I was like, Jermaine
the pre JD. Yeah, it's like yeah. I was like
I want to go. So Donny was like, yeah, let's go.

Speaker 3 (19:24):
Let's go.

Speaker 4 (19:24):
Donnie's CAAs, let's go. And I was like, cool, let's go.
We go over to the studio and that's where I'm
seeing b Cox and j D kind of developed.

Speaker 3 (19:37):
And I'm watching him.

Speaker 4 (19:38):
You know, I don't want to say specifically that he
coached be Cox into DJing, but that's where I first
saw b Cox getting behind the turntables, that's probably and
learning how to DJ.

Speaker 1 (19:51):
That's probably.

Speaker 3 (19:51):
That's probably, know what I'm saying. Yes, And I was like,
what are you doing?

Speaker 4 (19:54):
He said, yeah, you know, JD DJ, I got to
learn how to DJ. And I was like, oh, okay, Ship,
I'm in there just watching this nigga funk up the
DJ equipment.

Speaker 3 (20:02):
But I'm like, all right, niggas, don't go with that record.
That's that's where.

Speaker 1 (20:07):
He yeah, that's where he prove round.

Speaker 4 (20:09):
And then Jacket is like, yeah, nigga we hoop. I
was like, Nigga, I don't hoop and nigga we do hoop.
And I was like, well, let's go hoop. And there
was a nigga j got a gym. I was like,
gym a little bat.

Speaker 3 (20:23):
Right down the hallway. I was like, down the hallway.
Get it showed. This time I was at that studio.
This niggas has oh this is everything.

Speaker 1 (20:31):
Is park Nigga.

Speaker 3 (20:33):
It was niggas so crazy. You know, when we bring
him on the go, they gotta validated this is it's
real or not? Tank?

Speaker 1 (20:43):
I mean, I mean Tank been dunking for you.

Speaker 3 (20:47):
Like the fifth grade nigga was flying.

Speaker 1 (20:50):
I didn't think you because I couldn't think you can.
Nobody ever did. I didn't think I ever did. I've
seen the nigga. We played one day and I said,
this niggas jumping out of the gym doing all these
crazy I you.

Speaker 6 (21:01):
Know, the nigga will dunk off Burt nah, I ain't
no way.

Speaker 1 (21:09):
Yeah.

Speaker 3 (21:10):
So that all was pivotal, yeah for me, all of that, and.

Speaker 1 (21:16):
Pivotal for us too, because that's how LaToya came in
to play, because you know, she was dating one of
the guys, okay, and that's how we met. That's how
Toya came to us. It was from that, From that, that.

Speaker 4 (21:27):
Relationship, it's I got I got so many questions. I mean,
I know you too, you my friends, but it's still like,
I got so many questions, you know what I'm saying,
because getting into the inner workings of like your business
is a different type of conversation, you know what I'm saying,

(21:49):
Because there comes a point where for us outside looking
in noontime is it right? Noon time is a real
one stop shot where you can get.

Speaker 1 (22:01):
Your good And that's what that's that's what we were,
you know.

Speaker 3 (22:03):
What I'm saying.

Speaker 4 (22:04):
And and then there comes a point in time where
it's not anymore. It dissolves and and the bosses are
kind of going in different directions.

Speaker 1 (22:20):
And that's exactly what happened.

Speaker 3 (22:22):
And what is.

Speaker 4 (22:24):
If if not too much too much into it, how
does how does that happen?

Speaker 1 (22:32):
Because you know the downfall of black men. Ro it's
two things that that kill us. It's our egos and
we don't share resources.

Speaker 3 (22:40):
Mhm.

Speaker 1 (22:41):
So it was egos. It was egos. It was it
was it was the egos man, like you know, and
and that that was our downfall and had we had
we stuck it out and like you said, like you said,
all other people people admire what we did, like they
like this, that nobody did it like that and in

(23:03):
that fashion. And yeah, it was the egos man. It
was just egos.

Speaker 4 (23:08):
It became like the it became a model. It was
a it was a we need somebody.

Speaker 1 (23:14):
Had producers at one studio this studio, that studio, that studio,
and you know puff did with gar of our guys,
but they weren't I don't, I don't. I don't know
how that he had. I think he had like one
or two rooms maybe, and Daddy House we had.

Speaker 3 (23:34):
Four or five rooms, so continuously.

Speaker 1 (23:37):
Going, continuously going with the producers had their own room.
You know what I'm saying. We built the rooms specifically
for them to have their own rooms.

Speaker 4 (23:47):
It's because I watched you all individually. I watched the
things that you all have have have moved into and
accomplished individually, and I'm thinking about all of that being
under one run Jesus.

Speaker 1 (23:58):
And it's not like the amount of executives that we
that we that we put out, like Jaha used to
work for us, Secure used to work April used to
work for us. Wow, Seante Page used to work for us.
Know what I mean? All came through noon time. Yeah,

(24:20):
they all came through.

Speaker 3 (24:21):
How long did you guys have the company?

Speaker 1 (24:25):
We started two thousand now, nineteen ninety probably ninety seven,
because we moved ninety seven to about I would say
two thousand and seven late about ten years, yeah, about
ten And then Nooney and Jazzy started showing up, which

(24:46):
was yeah, which was Sierra and yeah Sierra. What was
the other group they had Cherish?

Speaker 6 (24:55):
Yeah, yeah, Cherishes with the sisters tw Yeah they were
yeah yeah wait so because that was what I was
going to ask you about noontime.

Speaker 3 (25:05):
So you have all these producers Polo was a part
of about to say, yeah, Polo absolute.

Speaker 1 (25:13):
Same as him, nobody really respect Yes, he was in
a group.

Speaker 3 (25:17):
Called Jim's in Jim Crow. He was in Jim Crow.

Speaker 6 (25:22):
We got to deal with Jimmy Ivan and and DJ
and that was a noon time DJ.

Speaker 1 (25:28):
Yes, DJ was just coming out of he was in
college in Boston College. He was in Boston College. We
met up there with Jimmy. DJ brought us to meet
with Jimmy to sign jim Crow right, and Jimmy was like, Yo,
hey guys, I love this group. This group is fantastic.

(25:51):
We're going to sign them, but I want you to
listen to something. Can you please take a listen to
something and tell me what you think.

Speaker 3 (25:56):
Always want you to listen, Always want you to.

Speaker 1 (25:59):
Said, he said, take a listen to something. Hi, my
name is. Hi, my name is. He was like, guys,
what do you think about this guy?

Speaker 3 (26:13):
Like who is that?

Speaker 1 (26:14):
He was like, this kid was about to sign eminem
It's like, oh, I mean the record was it was.
It was a record. You can hear that from the beginning.
As soon as you heard that record, you know.

Speaker 3 (26:25):
What that was.

Speaker 1 (26:27):
And uh yeah, so he signed, So he signed the group.
Polo was a part of that group. But Polo was like,
you like, nobody like he used to produce, but nobody
we wouldn't take him seriously, you know what I mean?
But Polo was a really fucking dope producer, saying super.

Speaker 6 (26:44):
Dumb, because that's what I was going to ask as
far as like the transition of having.

Speaker 3 (26:51):
All these producers, when did the artist come?

Speaker 6 (26:55):
You know what I'm saying, because obviously that is that
is the pivot, right that you have the you got
the music, you got.

Speaker 1 (27:01):
The people don't know this, but we was. We signed
to Shanty when she was sixteen.

Speaker 3 (27:06):
Ship.

Speaker 1 (27:06):
Yes, Ashanti was signing the noon time. Yes, Kendall Mintor,
you remember Kendall Mentor, the attorney Kendall Mentor was introduced
us to her. We signed her, did a bunch of
crazy that. Yeah, we did a bunch of crazy records
on her, and then we got we got our first deal.

(27:31):
We got our first deal with Sony uh Ron uh Ron,
what's his name, Dave Sweeney? You know remember day day
Sweeney was over there? Ron what was that? No, not
Ron Gillyard attorney, He was an attorney, but he ran Sony.
But anyway, so we shined Ashanti and we did all

(27:52):
of these like huge, big record I mean, like really
dope records, and we went over to Sony and Dave
McPherson was like, I don't know about her. We was
like really, so when I tell you this other name,
you're gonna be like, damn, I forgot about that, remember.
Of course, So we had a female rapper, right, so

(28:19):
they was like, we like her, y'all need to put
all your money behind her. Let's put let's put the
bag behind her. And that's what they did. They we
had trick Daddy, we had Juvenile, we had jar Rule.
Went to go pay jay Z five hundred thousand dollars cash,

(28:40):
we'll get on her record. Yes, yes, on cha's record
cash cash you no, No, I don't know what happened.
He was going to do it. He wanted to do it.
I'm gonna tell you he wanted to do it. But
when I tell you, she had absolutely everybody who was

(29:02):
hot at that time on her record. And Sony was like, yo,
this is the artist. We want to get behind it.
We we you know, we knew in the game. We
just this is our first role. Were just like, fuck it, man,
y'all gonna put the money behind her. So what happened
was Ashanti we still had her sign and you know

(29:22):
how you know how artists you feel like you're not
paying attention to yes man, and let me out yes, yes, yes,
so and I remember this like like like yesterday. So
the straw with the shanty was she had got into
a car accident right down in Atlanta, and they were

(29:46):
her and her mom were calling the guys down in
Atlanta about about you know, trying to get her help
or helping her out or whatever, trying to you know
what I'm saying. So I guess they didn't nobody return
the calls of you know, talk to the mom or whatever.
So they called I was out here and now like
I had already like relocated out here. They called me

(30:08):
and they were like, Terry, Ashanti's just got into an accident.
She's crying, she's upset. You guys, you guys are not
You're not You're not doing right by her. We want
to get out of the contract. So talk to the guys.
We had a meeting about it. Talk to the guys.
We had a meeting and we were just like, yo,
we're just going We just hated to let her go,

(30:30):
and we let her go and her picked her up history,
but we had her signed to sixteen.

Speaker 4 (30:39):
Absolute absolutely crow Ashanti. Yeah, Sierra, Sierra.

Speaker 6 (30:46):
Oh, he got another guy, he got another like hiding Jim.

Speaker 1 (30:51):
I got that.

Speaker 4 (30:51):
That didn't turn out to be an artist. Who tell
us about the groups you signed? Oh they got they
got a certain famous, super famous actor in it.

Speaker 1 (31:05):
Oh so so the first group. So the first group
I signed. This is a crazy story too. The first
group I signed was this group group called Quatro Quatro.
Everybody out of DC group qua Quatro. I didn't know
anything about music, dang. I just know growing up I
love music. My grandmother used to play the records and

(31:28):
I just to listen to him. I just love R
and B. So I just I always wanted to be so,
you know, doing the street shit I was doing. I
was like, yo, I want to be an entrepreneur. I
don't want to be. I don't want to be. You
can't do wrong, fab, It's not gonna happen. So you
told you this, old you to have king Pin dreams.

Speaker 3 (31:44):
No doing this to get to something.

Speaker 1 (31:47):
I'm doing this to get to something because the old
man told me. One time I sat down with him,
so dude, hustling dude. He was like, yo, bro, let
me tell you something. You ever heard the law of averages?
And I was like, what is that? He was like,
a lot of averages. Mean, at some point, at some time,
something's going to catch up to you. It's called a

(32:07):
lot of averages. Can you do something enough, it's going
to catch it. And he said, you can't. You can't.
You have to have a mentality. You have a hustle's mentality,
but you got to channel that in another in another way.
So that's what I was doing. So that's how we
started the music. And then you know, once the new
music executive, the new drug dealer was the new music.

(32:30):
The new music exactly became the new that was a
sexy You was sexy if you was you had the music.
He was doing music. So that's what that's what I did.
So I had this. I started. I was like, y'all,
I want to do something. Man let me put so
schante page. I never knew. I didn't anything about studio,
never been to a studio, never been anywhere. She's like,

(32:51):
I got this group. She's like, Terry. She called me
one day and was like, YO, you got all this money.
What are you doing with it? And I was like,
I don't know. Shante. She was like, she's like, why
don't you help me manage this group? Why don't you
pay for some of this stuff and help me manage
this group. I was like, all right, so we go manager.
I started managing the group with her, started, you know,

(33:12):
buying records, sold my first record, first time I ever
went to a studio. Ever. I go into the studio,
chante WeGo. I'm like, damn this shit sixty like this
is this is a vibe right now, this is a
hell of a vibe studio music. And we go get
a beat from this producer. Two hundred and fifty dollars

(33:38):
for the beat. Guess who the producer was, Checkie Thompson.

Speaker 3 (33:42):
Get the fuck out of his Nigga bought.

Speaker 6 (33:43):
A Checkie Thompson beat for two hundred and fifty fucking dollars.

Speaker 3 (33:49):
No way, I.

Speaker 1 (33:50):
Swear to god, two hundred and fifty dollars. Two hundred
and fifty dollars. So going back to what he says,
one of the dudes in the group was Michael Eeley.

Speaker 4 (34:02):
Get the fuck out here about get the fuck out
of here, Michael.

Speaker 1 (34:10):
I'll show you the picture.

Speaker 3 (34:11):
Michael, we need you on the crib.

Speaker 1 (34:13):
Hold on.

Speaker 3 (34:14):
I didn't know what you'd be saying.

Speaker 1 (34:15):
Can I show the table?

Speaker 3 (34:17):
Blue eyes?

Speaker 1 (34:20):
He got the kid.

Speaker 3 (34:23):
Nigga said, he.

Speaker 1 (34:25):
Who is that?

Speaker 4 (34:26):
Who's that in that picture. That was my first group nigga.
That is crazy.

Speaker 3 (34:33):
That's crazy. That's crazy.

Speaker 1 (34:36):
So did you were you able to get them moving
at all?

Speaker 3 (34:38):
I didn't nothing.

Speaker 1 (34:39):
We actually actually kind disorder, kind disorder, you know who
we fuck with? What's the dude they used to manage
Teddy Teddy? Uh? Yes, okay, we was gonna sign him
to Jane Griffy with some backdoor deal. I don't even know.
I you know, I didn't have no clue what the

(35:05):
contract looked like.

Speaker 3 (35:06):
It was ugly.

Speaker 1 (35:07):
It was gonna be ugly, you know what I'm saying.
So j Griffy because he lived in DC, he lived
actually lived up the street. He know, he was actually
messing with this chick that lived up the street the
neighborhood I grew up in, and I used to see
this red this range rover and like in the neighbor
I'm like, who is this thing? Who's who is this dude?
And then Shauntey told me she was like, yeah, Dan

(35:28):
Dream Griffy, he's being being back and forth in DC.
So yeah, we were, we were going to do a
situation with him.

Speaker 3 (35:36):
He used to be messing with Cliff and Jerry and
him out.

Speaker 1 (35:38):
There yes, that was your first That was my first
interest interest in music, music business?

Speaker 3 (35:43):
How old are you at this point?

Speaker 1 (35:45):
I was probably like this was it probably like twenty three,
twenty four.

Speaker 6 (35:52):
Yeah, so by this time you're like, listen, I'm the
money's going somewhere.

Speaker 1 (35:56):
Yes, it's going somewhere else. I can't know because I've
seen so many people locked up there, like you know
what I'm saying. Like I had to, I had that
wherewithal to know that you can't you can't keep doing
this because it's going to lead to something crazy.

Speaker 3 (36:10):
And how long were you in.

Speaker 6 (36:11):
It before you guys leave to Atlanta? Like so you
had already been trying to figure the music thing out.

Speaker 1 (36:22):
I had a video store, opened up, a video store.
Tank did I have a lot? I had a video store.
I had a carrier service, and then you know it
was a crazy I had a video store.

Speaker 4 (36:35):
I bought a video So you mean video store videos.

Speaker 1 (36:38):
Like Blockbuster the corner. Blockbuster had a corner block List
on ninth streak ninth and uh was it s ninth
and s get the.

Speaker 3 (36:51):
Out of yo was getting money?

Speaker 1 (36:54):
Yeah, listen, so listen, let me tell you some crazy.
So I had a video store so they had a
base spend in the video store. Right, I had never
I bought the store, never been down in the basement
in the store.

Speaker 3 (37:06):
You never knew it had a basement.

Speaker 1 (37:08):
Never knew it had a basement. But guess what was
in the basement All X rated videos. That's where they
kept it. That's where the X rated ship was down
in the basement. And I didn't even know it. So
one of the employees that was working there said, Yo,
do you know there's a downstairs and do you know
what's down there? And I'm like, no, what is down there?

(37:29):
She's like, extra, that's where the X rated videos are
naked is? That's what the butt naked is.

Speaker 4 (37:34):
That's why I spent a lot of my time. I
hate when I look back on myself back in the
video store times and I st.

Speaker 1 (37:51):
To no, I snig.

Speaker 3 (37:54):
I just had to get up the nerve because there's
too many people in here.

Speaker 4 (37:58):
Walk into the black door, because that that door was
always a different color, and niggas knew when you walk
back there, what you was going to do was going
to get that and these people to serve myself so
that you.

Speaker 1 (38:15):
Know what I'm saying, they had Hey, that video store
down the street. Oh yeah, that's a nice one.

Speaker 3 (38:24):
Man. How long you had a video store?

Speaker 1 (38:26):
Probably like nine months? Just trying to figure it out.
I'm just trying to figure it out. I'm trying to
figure it out. I know, Like I said, I know,
I can't keep doing this.

Speaker 3 (38:34):
I got to figure it out.

Speaker 1 (38:36):
You know what I mean?

Speaker 6 (38:38):
How much money did you blow initially in the music
business because people be thinking like, Okay, I'm gonna just
take this money from overwherever, getting it from.

Speaker 3 (38:51):
From my income tax, and I'm gonna.

Speaker 1 (38:52):
Be cracking a music in a week. You know what
it was? It was it was kind of like the
money that we did was we put the good use
because we bought a building. We had a building. But
even before that, the throw it was okay, it wasn't

(39:14):
It wasn't that. It wasn't that much. I wasn't spending
a whole bunch of mo like that on that. I
was spending money on Goofy ship, but not that in
the beginning, because I was just I was like, okay,
this is this is cool. Like but you know, niggas
was flying in Vegas and doing all the Goofy ship,
buying the cars and all that ship that we do
go to Vegas. You know, you know what I mean,

(39:37):
taking trips, broads, you know what I mean, not the.

Speaker 4 (39:44):
Don't you do it, don't do it, don't do it.
We're all beautiful and we are the Lord made somebody
for somebody at a certain level. Stop it, stop you stop,
cut it out.

Speaker 7 (39:59):
Well yeah, so let me ask you a question.

Speaker 3 (40:15):
The history, because first of all, it's crazy. Yeah.

Speaker 1 (40:17):
I got another one though that nobody really knows about it.
I signed her when she was thirteen, Tory Kelly.

Speaker 3 (40:25):
You signed her?

Speaker 1 (40:26):
Yes, I signed Tory Kelly. She was signed to my
production company. What yes, thirteen and what was going on?
So I signed her to geffin huge deal they gave.
Let me tell you at this time they gave us.
You know, back then people was getting thirteen fourteen points.

(40:47):
I got a twenty eight point deal with Tory Kelly.
Shit back then, Yeah, because back then it was thirteen
fourteen points and twenty eight points twenty eight points. Got
a consultant deal out of it. And you know who
and you you probably remember her. You know who signed
was Polyanthony. Yeah, yeah, Polyanthony Signeder was like, Terry, this

(41:10):
is I've never heard.

Speaker 3 (41:11):
This before Jojo comes out?

Speaker 6 (41:14):
Or is it this is after right, we've seen the
success yes of what Jojo is, Yes, cooking an R
and B doing her thing, young girl.

Speaker 1 (41:25):
I don't know what's Jojo in a minute.

Speaker 3 (41:26):
Because Jojo came out in like two thousand and five, four, Yeah,
something like that.

Speaker 1 (41:34):
Okay, yeah, then it might have been. It might have been,
it might have been. Yeah, well Toy was only thirteen.

Speaker 4 (41:41):
So y'all do so you signed her? Y'all do a
major level deal the whole thing.

Speaker 1 (41:45):
Yes, I did it that well, they gave me this.
They gave like I said, they gave me a consultant deal.
They gave us twenty eight points. And back then, you know,
like I said, fourteen points, do you get that's for
the artist and the fucking like production cartopped up. Yeah,
everybody got to chop that up. So I got twenty
eight points and Polly was like, Terry, we're going to
put the money behind this man. We love her. Guess

(42:09):
what happened, You know what happens in the industry. Somebody
knew comes in.

Speaker 3 (42:14):
Oh, the new new regime.

Speaker 1 (42:15):
Yeah, the new regimes.

Speaker 3 (42:17):
I used to hate that. That was that was the
worst of the day. That's the worst thing I can
have it.

Speaker 1 (42:21):
Yeah, the new regime turnover was feeling the new regime
a coach.

Speaker 3 (42:25):
It's a new coach.

Speaker 1 (42:26):
The new regime comes in. Guess who the new regime
is Ron Fair?

Speaker 3 (42:31):
Mm hmm.

Speaker 1 (42:32):
And he said, hey, guess what. I don't want to
drop her. Immediately they dropped her.

Speaker 7 (42:39):
He dropped it.

Speaker 3 (42:39):
Ron Fair dropped her.

Speaker 1 (42:40):
Dropped her.

Speaker 3 (42:41):
Yeah, she that lines up with him.

Speaker 1 (42:45):
Yeah, he dropped her.

Speaker 3 (42:46):
Big voice. Oh yeah, he dropped her.

Speaker 1 (42:49):
Wow, he dropped her. So I'm in a dilemma now
Ron Fair dropped her. Now I have the opportunity to
go and get her another deal, because you know, you
only got a certain time. They go get her another deal.
So I'm searching to I'm not even searching to get
another deal. Actually, somebody called me from MTV and they

(43:13):
wanted to do this. Has been when MTV when they
were doing the backstories on artists and they you know,
they were doing these like reality things. They first started
doing this kind of shows. They were like, Yo, we
want to do we want to do we want to
do a story on Toy. We want to follow her
and her family and her journey and I'm like, yo, okay,

(43:35):
now we can get some traction. So I said, all right,
So I called her mom and dad and by this time,
Toy was she was fifteen going on sixteen. And by
this time I called her mom and I said, hey,
I got these people from MTV. They want to fly
out and talk to you guys, and what they want
to do a show. They want to do a show

(43:56):
on Toy called the Toy Diaries or something did something.
It was really dope, right, and she they flew out,
they met the parents and then after that, I was like, okay,
what are we doing? Like are we going to do this?
So the mom said to me, she was like, Terry,
We're we have a dilimma. I'm like, what's the problem.

(44:18):
She's like, Toy wants to Toy wants to do American Idol.
She'll be sixteen. She can go on there. Now. I'm
like what. I'm like, no, no, no, no, can't. I can't.
And then I called my attorney and I'm like, yo,
he was like, she signed to you. You know you
have the opportunity to go get her another deal. So

(44:39):
I contemplated and contemplated. Man and her mom, you know,
she she was crying one day on the phone and
she was just like, we don't know what to do.
She really wants to be on American Idol, and they
gave me this story. Like you know, she's been ever
since she's been an artist, we've been giving her, we've

(44:59):
been telling her what to do. Now that she's sixteen,
she wants to do something that she wants to, you
know what I mean. And I remember this like it
was yesterday. Man. I was. I was in DC, and
she had she had she had went the idol. But
once you go past a certain thing, that's when they started. Yeah,

(45:23):
so she was I guess she had got past a
certain thing. And the mom called me and was like, Terry,
this is this is the last day that we can
move forward being under your contract. And I'm driving in DC.
I'm down on down in Chinatown and I'm driving and

(45:45):
I'm like, damn, man. I'm like, man, this girl is
fucking amazing, Like she's incredible, Like you can't let her go.
I was like, I contemplated, contemplating, and I drove and
I said, I saw a fed AX. I pulled over
and told her mom to faxed me the papers to

(46:06):
the FED ax and I signed the release at the
fed X in DC. Wow, and let her out. I
was like, you know what, it'll come back somehow, you
know what I mean. This is something she want to follow,
her dreams. She want to be on American Night. And
I told her, I was like that, like man who
runs on I knowed the people that win, I don't really,
like really really like a lot of them don't really

(46:28):
do anything. There's only a couple of them that really
really really made yeah, really take it. Then say you
sure you wanted to be on idol? Well, this is
you know, this is something she wants to do. So
that was it, and I let her out and that
was it.

Speaker 3 (46:45):
People don't know how many of those.

Speaker 6 (46:50):
How many of those situations that we all come around,
are come across where we have to make human decisions
of an artist is in front of you or signed
to you, or whatever this case may be, when you're
doing business and there's another opportunity for them that you
don't want to stand in front of right that you

(47:12):
want to give them that opportunity right to go. Because
there are a lot of people in this business that
would have said, oh, you signing me, I don't care yeah, okay,
what level. And I was at that point, but you know,
like I.

Speaker 1 (47:23):
Don't, I don't.

Speaker 6 (47:24):
I don't like the function like that. Like I don't
like the function like that. And as I know, it's
gonna come back to me. Absolutely it has and it has.

Speaker 1 (47:31):
You know what I mean. And like we had LaToya
like and the this was around the same time LaToya
was was was taken off, you know what I mean.
We got LaToya and I remember this too when we
when we signed LaToya, we made her album out here.
I don't even know you remember Molly of.

Speaker 3 (47:50):
Course I remember Molly after in the valley.

Speaker 4 (47:52):
Yes, yes, yes, you don't remember. I can't think of
the name of that street studio. It's hung off the time.
That's my studio, man. Yeahs.

Speaker 1 (48:02):
Molly was this little white girl. She had a studio, studio,
fire studio upstairs, yeah, compound studio. Right. So that's what
we recorded La Toya's album. We recorded the day we
did Torn. We did it there, we did Torn, and
we did it there and got Toyo Dalic Capital.

Speaker 3 (48:25):
You guys did Torn before you ever did the deal.

Speaker 1 (48:28):
Yes, okay, yeah, yeah, okay, So what the Toya we
was like listen, you gotta be so far from that's
the child thing. Like you your ship gotta be you
gotta be doing some ghetto ship like. Your ship gotta
be straight, ghetto like damn near rat beats. So it

(48:49):
won't be no confusion. You ain't trying to do this,
You ain't trying to do that. This is what you're
gonna do. And that's what we did. We like, that's
that's a sample that that that torn right, you know
what I mean. So we made sure we did so
R and B, so R and B so they won't
be no confusion. And came out first week she had

(49:11):
the number one self. She was numb one. Number one's
the number one sevend when she sold three hundred thousand
records her first week. Wow, her first week.

Speaker 3 (49:22):
And that's the thing though, because people had they had
written her off. Yeah, they had.

Speaker 1 (49:26):
Written off right, completely written her off, completely written her off. Man.
But that's why we like, you gotta be anti whatever
they were. You gotta be totally different, totally different, totally different.
That's the only way you're gonna win, because you're gonna
have so much hate on you if you come out
trying to be in the comparison.

Speaker 3 (49:46):
That's the conversation. Yes, is how good her music is?

Speaker 1 (49:49):
Yeah, yeah, exactly. So we made it. We made it.
Were just anti anti Destiny's Child. It worked, and it
worked and it worked. Now I'll tell you another story.
So I had Toya, I had Toy. This is all
around the same time. So you know, I got another one.

(50:11):
So I'm sitting up in Capitol's office. Steve O Steve O.
Pud was the an R. And you know how in
the offices back then, people would send in CDs, and
he had a box of CDs in his office.

Speaker 3 (50:29):
Right, she can't get to everything.

Speaker 1 (50:30):
You can't get to everything. It was a box of
CDs and shit everywhere. So I'm looking in the box
one day and I'm looking. I was like, wait, fuck it,
help brod. It's gorgeous. I'm like, who if she can sing?
I said wow. So I put the thing in and

(50:52):
the songs were horrendous, bro terrible songs, terrible songs. And
then one last song she did a cover, a Minie
Rippleton cover, and I was like, oh, this bro can
sing sing?

Speaker 6 (51:07):
Right, Leona Lewis no way, iWar to God, I swear
to God.

Speaker 1 (51:15):
No lie. So Leona Lewis. So I look on the CD.
I look on the call. The dude on the back.
I was like, hey, bro, like, is she's signing you like?
He was like nah, man. She was like, you know,
her dad comes over here. They come over here. They're
just trying to they're trying to figure it out, and
I'm just helping him out. She's not signing me, She's

(51:37):
not signing anyone. I said, well, okay, I want to
I want to bring her over here, right. So the
dude says, okay, let me tell her dad. Her and
her dad, and I was like, all right, waiting. Two
days went by and I'm like, damn, this dude hadn't
called me. So I called him. I was like, he's like, hey, bro,

(51:58):
I was just about to call you.

Speaker 2 (51:59):
Man.

Speaker 1 (51:59):
Talked to her dad and her and they've heard about
noon time and then all the stuff that all the
success that you guys had.

Speaker 6 (52:06):
She's she wants to she wants to listen, she wants
to have a conversation.

Speaker 1 (52:11):
So I said, okay, So I get her and her
dad on the phone and I hear her sing on
the phone. I was like, yo, you need to come.
I need to bring you over here. Immediately, bring over here,
me set up and uh, what's the studio that used
to be on Sunset by cross from the mass Chinese
stayed and all of that. It was a studio over there.
Somebody had a studio over there. Me and b Cox.

(52:34):
I brought be Cox, I brew blew bee Cox out
here and we started working on her out working on
her project. Did about four or five songs, and then
she goes back to No first, let me go back.
So when she's here. While she's here, I take her
to poly Anthony to Jaha. Now Jaha had a deal

(52:55):
over He was a an r at, he was an
an ARTI gapper. He's the one who signed Toy. He
signed Toy and I brought him Leona and he was like, yo,
I want to sign her too. Let's take her to Polly.
So I take Leona up to Polly. She sings for
and incredible voice, and Polly was just like, I don't

(53:20):
think she's After the meetings, she was like, Terry, I
like her, but I don't think she's a star. I
want to concentrate on Toy, right. She was like, let's
just do Toy. So I don't even think it was
about her, like not really liking her, but I think
she didn't want to have two girls to singing girls
like that, even though Toy was thirteen and Leona was

(53:41):
probably about eighteen or nineteen, so she probably didn't want
to have two girls like that. So Leona went back
over to Europe and Toya was taken off. Right now,
I told I had a year to get Leona deal.
Twelve months. I had a year to get over your

(54:02):
holding period. That was my holding period in her contract.
She had a year. So she goes back over to London,
probably like a month or two goes by. I start
getting the phone calls from the dad like, hey man,
what are we doing? Like are we gonna you guys
going to get us a deal? I was like, we'll do.
It's only been two months, Like I got ten more months,

(54:24):
Like so this is toy. Toy is taken off, like
a record of Day already came out.

Speaker 3 (54:28):
So we do.

Speaker 1 (54:31):
Toya does this show. She gets booked for this show
over and Europe called the Moboles. You heard of that.
It's like it's like it's a warshow, It's like our
soul train bet like BT. So we get booked over there.
So I've called it dad. I'm like, yo, man, I'm like,
we're on our way over there. I want to sit

(54:51):
down with you guys and figure this out. I and't
want to bring Lee on the back. Let's do this.
So he was like, okay, yeah. It was like that's exciting.
I was like, I wanted to invite you guys to
the MOBOs. Right. I get over there, I go meet
with the dad. We sit down, we talk. He's like,
Leona is excited about going, she wants to go, She's
going to go, pick.

Speaker 6 (55:10):
Out her outfit. Blah blah blah blah blah blah. Next
day comes, they don't show up. I'm like, what the
fuck is going on?

Speaker 1 (55:19):
So come to find out she was doing X Factor
over there. The American writer. Crazy, shit, she's doing X
Factor right. So I get back and I hit the data.

(55:40):
I'm like, yo, man, what was that shit about? Like, like,
what's going on? He was like, oh man, you know
you got you guys are taking too long. I said, well, listen, man,
you got you got another seven months, six months on
your contract. I want to bring her back over there,
back back over here and finish her project. I want
to get her a deal. I know I can get
her a deal. And he was like all right. So

(56:02):
I started getting these frantic phone calls like Yo, hey,
what are we doing. We got to get out of
this contract. I'm like, I'm like nah. I said, listen,
what I will do is whatever she does over there
until it comes back to America, then I have the
rights for that when it comes back over to America.
And he was like, okay, okay, let's let's figure that out.

(56:24):
Let's work that out. So make a long story short,
she was winning on X Factor. So the reason why
she didn't go to the award show is because people
would start recognizing.

Speaker 6 (56:39):
They would recognize her, but I didn't know what she
was right, so they would recognize. So then I get
this call late at night one day. They was like, Yo,
my man called me. And was like, my man, damon,
you know, damon, my guy.

Speaker 1 (56:59):
He caused me. It was like, YO, read this article
and it was like Clive Davis signs the first X
Factor artist to the USA, And I was like, huh.
I was like what. I'm like, no fucking way. I
was like, dog, she's still in our contract. He was

(57:21):
like I know. He's like, what the fuck is going on,
and I said, man, listen, bro, this is some shit.
So guess what this is so crazy? Now Jaha is
working for Sony. He's working for Clive and Larry. Right,
he went from Geffen to Sony. So I immediately called

(57:44):
y'ah like, joh yo, I said, dog, y'all got this
girl over there. He was like who. I was like,
you remember the girl I bought? You was like, who
are you talking about. I was like, Leona Lewis. He said,
we just had a company and she is fucking priority
over here. I said, I said, Jaha. I said, you know,

(58:07):
she's still signing me. She was like, oh, ship, that's
right she is. I said, Jaha, I'm about to send
you this contract and I need you to go tell
the people that Sony that this girl is in a
production situation and that this is a problem. This is
a fucking huge problem. Right. So he was like he

(58:28):
goes back to the company and then Sony was like,
we ain't got nothing to do with that. That's X factor.
You guys need to talk to the people that X
Factor or what Simon Cowell, whoever the fuck it.

Speaker 3 (58:41):
That's the furnishing company has done.

Speaker 1 (58:44):
So you need to talk to them. So I'm like,
all right. So I go to my attorney and I'm like, yo,
and you know who it is. It used to be
Barrier's attorney. What's his name? Man? What's his fucking name? No?
Not Joah.

Speaker 4 (58:59):
He worked for joh Okay, he worked with John.

Speaker 1 (59:03):
I worked for him. Uh, big attorney, big huge attorney,
black attorney. Anyway, So I go to him and he's like, bro,
we gotta we gotta see him. So you're gonna have
to see him. You have to threaten to swing him.
So we sued him and settle. We settled. But yeah,

(59:25):
she was, she was, she she was signed to me
and she was she wanted to expact over there and
then toy went to uh America American idol over here.

Speaker 3 (59:35):
So did you ever catch the fade with Simon cow
or not? Did y'all fight?

Speaker 1 (59:40):
Did we just? We just we settled out. We we
we got it. We got it straight, We got it straight,
We worked it out.

Speaker 3 (59:47):
I'll tell you this. You can know how to pick him.

Speaker 1 (59:51):
That's one thing I do now. Female artists, you know
how to pick him.

Speaker 3 (59:56):
You're you are, you're eight eight.

Speaker 1 (01:00:00):
I'm good at that. I'm good at that's one thing
I know. A female artist is good. And we even
had what your column signed to us, man uh Nivia nib.

Speaker 3 (01:00:15):
It was noon time. Yeah, I didn't know that. I
did actually that we.

Speaker 1 (01:00:20):
Had Nivia super cool.

Speaker 3 (01:00:22):
Yeah, I love Nivva.

Speaker 4 (01:00:23):
I used to be on the road always doing a
bunch of days and ship together. Downside we had Nivia too.

Speaker 1 (01:00:29):
Yeah.

Speaker 3 (01:00:30):
As you were getting as you as you guys were
separating from the now time thing, your mentality was, I
got to keep the ball roller.

Speaker 1 (01:00:37):
I got to keep the ball roller.

Speaker 3 (01:00:38):
Because everybody didn't stand music.

Speaker 1 (01:00:40):
No, everybody started yeah fashion yeah, yeah yeah, fashion.

Speaker 4 (01:00:46):
Yeah, Brian was doing Ryan Kenny.

Speaker 1 (01:00:50):
Yeah, Chris went actually Chris went to Depth Jam. He
was over there with l A and then and then
and then noon was yeah, they had showed up.

Speaker 6 (01:01:01):
They were still working working show enough and then I
just I just came out here and start started.

Speaker 1 (01:01:08):
Managing you know Jason, Yeah, the guru of mixing.

Speaker 3 (01:01:13):
How does that happen? Because at one point that.

Speaker 1 (01:01:16):
Happened because the same partners. Yes, but but Jason used
to be the used to work at DreamWorks. He was
in A and R. I know this right, So so
that's how we got close exactly.

Speaker 4 (01:01:30):
That's how that's how all of us got well, that's
how we was already he was already cool. But then
that's how I got close with Jason because of the
dream Works.

Speaker 1 (01:01:38):
Because the dream Works. Yeah, yeah, Jason was at dream Works.
He was an R. I was consulting over their dream Works.
So that's how me and him met. And the crazy
thing about that is when I first came out here,
I didn't even know what mixing was. Like. He was like,
we were like, we had a record, and he was like, bro,
we got to go mix this record. And I'm like, mixed.
What the fuck is that? He was like, that's what

(01:01:59):
they separate all the sounds. And I was like, okay,
And that was the first time I even knew what
mixing was. And he he was he was a producer. Actually,
Jason was a producer.

Speaker 3 (01:02:09):
He's produced Beckett beck Att.

Speaker 1 (01:02:13):
Yes, Jason was producing.

Speaker 3 (01:02:15):
Jason didn't really know song structure though.

Speaker 1 (01:02:18):
Yes he did, he did not. He knew a lot
about a lot about that he taught me about I
didn't know about it.

Speaker 3 (01:02:25):
I taught him some ship.

Speaker 1 (01:02:26):
Okay, well you taught him some You might have taught
him some ship, but he yes, okay, because.

Speaker 4 (01:02:31):
He definitely wasn't no mixed engineer at that time. No,
not even close.

Speaker 1 (01:02:36):
No, he wasn't.

Speaker 4 (01:02:38):
No, he was a marketing partner in what initially Well, okay,
so maybe I have it wrong because the Daggio was
your group group and he took to Jason and he
facilitates the deal at dream always thought y'all were him and.

Speaker 1 (01:02:53):
Joel Busby that's like his God. Yes, right, so that's
how that that all played out the dream.

Speaker 3 (01:02:59):
Works and you end up getting a consultancy.

Speaker 1 (01:03:01):
Yes, yes, at DreamWorks.

Speaker 3 (01:03:04):
Okay, so now you guys start working together making this.

Speaker 1 (01:03:07):
Start working together. And then one day Jason went over
went off to he was doing marketing for some marketing company.
And then I get a call one day and he's like, Yo,
I'm over here at Larrybie and I'm mixing. Now I'm
like mixing. What are you? What are you talking about?
He was like, Yo, I'm I'm I'm over here. I'm
a runnerunner.

Speaker 3 (01:03:30):
In the beginning, he was assistant.

Speaker 1 (01:03:33):
He was a run No, everyone wasn't even assistant. He
was a runner first, yes, you know, yes, yeah, and
then he became an assistant for Dave he became an
assistant for David Soo and he called me and was like, bro,
I'm gonna need you, I'm gonna need you. I was

(01:03:54):
like what He was like, I'm mixing now and me
and Dave. So I started managing me, and Damon started
managing Dave and Jason.

Speaker 4 (01:04:04):
So they used to I don't know, I managed David
and uh Jason, and they had they were That's where
the Pensado group came from.

Speaker 1 (01:04:15):
That's that was Jason and Daves mixing entity. So Jason
and I remember this is crazy too. How Jason really
how he got his first record that he mixed on
his own. I got a call from this is when
he was working real happy with Tricky and Dream and

(01:04:35):
all of them, and they called and they was like,
we want this record to be mixed, but we want
Jason to mix it. We was like, what record is that?
They was like mm hm this record called single Ladies,

(01:04:57):
So so listen. So we get we get a call
and he's in the dilemma like, Hey, what am I
going to do? They want me to mix this without Dave?
How am you know what I mean? So that was
the first record he mixed on his own. What single ladies.

Speaker 3 (01:05:17):
Get the fuck out of here, single ladies. That's the
way to kick it off.

Speaker 1 (01:05:21):
That's the way to get them.

Speaker 3 (01:05:25):
Yeah.

Speaker 1 (01:05:26):
Thanks the Tricky you know what I mean. Tricky and
Dream You know what I mean. Tricky and Dream brought
him that record. They wanted him to do it on
his own, and that was and they gave him a chance.
He did it and killed it. Yeah, and the rest
is history.

Speaker 3 (01:05:37):
Oh my god. And this had been the first time
you had ever managed.

Speaker 1 (01:05:41):
A mixing Yeah, this is the first time I ever managed.

Speaker 6 (01:05:44):
Before him and Dave, Like at that point you were
purely just artists, artist.

Speaker 1 (01:05:48):
Producers, writers, Yeah, yeah, yeah, yeah.

Speaker 3 (01:05:50):
Because what's the what's the difference in managing.

Speaker 6 (01:05:55):
I know, I know the difference between managing the artists
and managing even producer or you know, someone on from
the behind the scenes. But there has to be differences
in managing a producer writer then managing the mixer.

Speaker 1 (01:06:09):
Yeah, it's a big difference. It's a huge And.

Speaker 3 (01:06:13):
You kind of give us some insight on how you.

Speaker 4 (01:06:17):
Like is it traditional selling? Like you know what I'm saying,
Like you go into the office and like you want
to mix, Oh no, I got to mix for you
listen to this, like, no, that was that itself.

Speaker 1 (01:06:30):
Yes, it was organic, you know what I mean, Like
it was an organic type of situation that manifested with that.
Like that's something I mean, you can go do that
and say, hey, I managed this mixing in here's what
he's done. But a lot of that was just.

Speaker 4 (01:06:47):
You kind of walked you well, you kind of walked
into something that had some legs to it.

Speaker 1 (01:06:53):
Yeah, and because.

Speaker 3 (01:06:57):
Popping, you know what I'm saying.

Speaker 1 (01:06:58):
They already he was already you know, people went to him.
You know, they loved his vocals, they loved how he
made their vocals sound. And that's what made Jason so
dope is because he's knew how to make your beats
keep knocking, but your vocals focus on and a lot
of a lot of mixing engineers don't know how to
do both.

Speaker 4 (01:07:17):
Yeah, and now you have the new kid whose whose
first solo mix is this big fucking this big fucking
so it's like the calling card, Yes you don't there's
nothing else to sell.

Speaker 1 (01:07:34):
There's there's nothing else to sell. So he pretty much
you know, he's that's like pretty much like self contained,
like yeah, you know what I mean.

Speaker 3 (01:07:43):
And you guys have been working together. How many years? Now?

Speaker 1 (01:07:48):
When was that when we because that's when I first
met him? When you where was that that was? That
was two nineteen ninety money thousand, two thousand, two thousand. Yes,
that's when I first met Jason. I mean I had
known him probably for like a year when he came around.

Speaker 6 (01:08:09):
Ye, let's talk about when he came around. Sure, let's
talk about when he came around. Man, you know you
say this nigga life, Man, I did damn right, I
did save I did save save Jay. I'll just say
I just said. I'll just say I believed. Listen, I believe.

Speaker 1 (01:08:27):
But I heard, Okay, I heard a few things, and
I was like this kid.

Speaker 3 (01:08:32):
Nice, there's a difference.

Speaker 1 (01:08:33):
Nice.

Speaker 4 (01:08:34):
There's a difference between believing and your money putting your
money up.

Speaker 1 (01:08:41):
Yes, it is.

Speaker 3 (01:08:42):
There is a great difference. I have seen the nigga
like you.

Speaker 1 (01:08:49):
Help me with my talent.

Speaker 3 (01:08:51):
Ship back to me. No, No, this nigga was like this, Nah, nigga,
come to the studio.

Speaker 4 (01:08:58):
I need songs. I had my equipment on deck. Nigga,
nigga way before a computer.

Speaker 1 (01:09:04):
N he did you came in with your PC keyboarding?

Speaker 3 (01:09:08):
There let's work.

Speaker 4 (01:09:10):
Yes, I wrote the song, yes, yes, everything. He had
all everything, yo, Nigga.

Speaker 1 (01:09:19):
He came to the studio with his keyboard. Niggas like,
create a song. I'm ready to work, and so came
in there, laid it down.

Speaker 3 (01:09:31):
Gat him.

Speaker 4 (01:09:32):
Niggas they parts sing this ship nigga, let's God. And
that nigga was like, nigga because.

Speaker 3 (01:09:37):
How old are you? Just played like twenty.

Speaker 1 (01:09:39):
One, twenty twenty.

Speaker 3 (01:09:42):
Two or twenty three? Wow?

Speaker 4 (01:09:44):
Yeah, and niggas this Niggas like nigga, No nigga, Yeah, yeah,
you got it.

Speaker 3 (01:09:48):
We're gonna do. How to introduce you?

Speaker 4 (01:09:50):
I got to introduce you to Jerald Yeah, him and
Jameson gotta introduce you, Jail nigga and I I went
and said you and and Dreino has my my background.

Speaker 3 (01:10:01):
Singers, yes who. I'm working on their ship too. At
the same time I'm working on his. You have a record.
I have a record record.

Speaker 4 (01:10:08):
That's why I'm out there in l ah It was
a litt quiet, little wife and my hotel is about
to run out le Montross.

Speaker 3 (01:10:17):
Are you gonna one of the other one?

Speaker 4 (01:10:20):
My hotel was getting running the fuck out, telling me
that I think I'm not to not have nowhere to.

Speaker 3 (01:10:26):
Stay all that.

Speaker 1 (01:10:27):
No, he was, you know, niggas niggas be lying, No.

Speaker 4 (01:10:31):
No, I said, niggas. Shit is almost open. Niggas handling
and nigga. Joe Buzzy said, I like your tunes.

Speaker 3 (01:10:37):
Yeah, I like your tone. These are good, good tunes,
good records. Man.

Speaker 4 (01:10:43):
I like, I like, I like what you're doing, and
I'm I'm I'm I'm gonna give you seventeen to five.
You know, I was like this, IM about to get
seventeen thousand and five. I was like, I was like, okay,
I said, thank you so much. You know what I'm saying,
like you're grabbing, you know, seventeen five. Okay, He's okay,
So that's the total, he said, this is it? No,

(01:11:03):
it is seventeen five for two. Do you want two
records for seventeen five? That's fine, I'll tell you, no,
I want two records.

Speaker 8 (01:11:11):
Third, I'll say, ooh, and one is.

Speaker 3 (01:11:22):
For your group.

Speaker 1 (01:11:23):
Yes, yes, that was the first one.

Speaker 3 (01:11:26):
The first one.

Speaker 1 (01:11:27):
I was the one who I should have supposed to.
Don't get that twisted. Jay I was the one to
wash it the.

Speaker 3 (01:11:33):
Second ones as a producer. Second one was going to mo.

Speaker 1 (01:11:36):
Yes, the second I was going to text, yeah the dog.

Speaker 3 (01:11:42):
You were first, brother, Okay, you were first.

Speaker 1 (01:11:44):
Want everybody to know. I don't want niggas to be
getting confused. I heard somebody else say that they was
the first one to give you producer. But I heard
now somebody said that Bryan Alexander was the first one
to believe. I have to give him that, Bernard. Bernard
Alexander was the first one to believe. I have to
give him that because he heard maybe I deserve before anybody,

(01:12:04):
and he was sending me.

Speaker 3 (01:12:06):
He was sending it. He was the check was the day.

Speaker 4 (01:12:09):
It was okay, And Barry Hankerson called and said, if
you sell that song, I'm gonna kill you.

Speaker 3 (01:12:15):
I said, but you told me to sell it, and.

Speaker 1 (01:12:18):
Now everybody wants it.

Speaker 4 (01:12:20):
Now we can't collect that. Yeah, okay, he was. He
was about.

Speaker 1 (01:12:35):
To see that's the one. That's the I'm about to do.

Speaker 4 (01:12:37):
You got No, it wasn't his fault. He ran up
against the monster. But if he paid for it, if
you pay for it time, No, No, it was a
day late. It was a day late and a dollar short,
and Barry Hankerson wasn't wasn't no, he wasn't nobody to
play with it. That wasn't you don't you don't really
play with him at that time.

Speaker 3 (01:12:57):
Not the first nigga.

Speaker 1 (01:12:58):
Good cut right here, same the cutter.

Speaker 3 (01:13:05):
About to kick you. Listen.

Speaker 4 (01:13:08):
The Mantos always sent you away with a chocolate chip,
cookies and a strawberry, so you already giving you They
gave my notice here put that chocolate chip on your pillow.

Speaker 1 (01:13:21):
Sir. You got to get out of here.

Speaker 4 (01:13:25):
You gotta get the funk out, and I had nowhere
to stay. It's all right, and listen, believe when man
I knew you was going to be you know what happened.
I went and bought some rims.

Speaker 1 (01:13:36):
Understood you had twelve cards.

Speaker 3 (01:13:40):
I definitely you know, also had a video store. I
had the video.

Speaker 4 (01:13:48):
Yeah, yeah, you listen, here's what's so crazy about you
having a video store.

Speaker 3 (01:13:54):
I used to go get so many videos from the
video store. The niggas will borrow videos from me.

Speaker 4 (01:13:59):
What you think he might still have some videos that
were from tr didn't even know if.

Speaker 1 (01:14:04):
You, yeah, you might have had them joints killing him.

Speaker 3 (01:14:08):
Then they started doing a DVD.

Speaker 6 (01:14:10):
I have insurance on those like because nigga usually just
keep the videos, man, Like, how did you.

Speaker 1 (01:14:14):
Know niggas used to have to call and harass the
people videos? Yo, when did you bring in the video back?

Speaker 3 (01:14:22):
Like I just I just want to hear your voice.

Speaker 4 (01:14:24):
Saying kin and rewind Please, hey, my nigga, my nigga
a video. Bro, you got Sally those black five days late? Nigga,
you got Sally Goes black talents. You had to for
two months? Now what are we doing? Come on, my nigga.
Oh man, you gotta be done with them.

Speaker 1 (01:14:47):
You have to call number Blockbuster used to call you.
What Blockbusters would be on the nigga calling you like them?

Speaker 4 (01:14:54):
But think about that though. They have to be a
real honor system for you to just bring something.

Speaker 3 (01:14:58):
Back because you wanted something. Yeah, but yeah, but think
about right now.

Speaker 1 (01:15:04):
Oh no, no, good luck, good luck with that, Good
luck with that, with your videos. Think in your video
come get me, get find me at that bogus address

(01:15:24):
a more serious note, how does.

Speaker 3 (01:15:28):
All this lead.

Speaker 6 (01:15:31):
You then becoming a board member and being on the
board of Carnegie Hall?

Speaker 1 (01:15:39):
How does that happen? So Jay? That kind of came
about because my whole life I value relationships like that
to me is more important than anything.

Speaker 3 (01:15:49):
We've never not been friends, you know.

Speaker 1 (01:15:52):
What I'm saying, Like, I don't have I can't, I
can't even I don't know. I don't have any enemies.
I don't know anybody that you were men my name
and niggas be.

Speaker 3 (01:16:01):
Like that, niggas fuck nigga.

Speaker 1 (01:16:03):
I don't fuck with him like every it's every I'm
just cool because I know how valuable valuable relationships are.
That's the most important, more than money to me, man,
because you can get money and lose money. I've had money,
lost money, but this kind of relationships are the ones
that you know, keep you going. So I just develop
a lot of relationships. So one day I'm doing I'm

(01:16:27):
into political shit. This girl calls me and like, Yo,
you know all of these celebrities, you know these people.
Biden is trying to, you know, figure out what he's
wanting to do for his first hundred days in office,
and we need you to, you know, get these celebrities
and get these influences to come on board for this.

(01:16:47):
And I'm like sure, I'm like you know what I mean.
So we used to do these zoom calls and it
would be all these political people, and there'd be like
sixty people on these calls. And this this girl from DC,
her name is Lelania, her mom is was the widow
of Man Barry, so there she's collect connected heavily in

(01:17:09):
the political game. So we used to do these zoom
calls and I used to be on there and we
would have calls about all of this stuff, and then
I would always speak up and be like, listen, y'all
keep going after all of these celebrities, these older celebrities.

(01:17:30):
You're trying to get these kids. You got to get
somebody that they're going to relate to, Like, they're not
going to relate to these old people, these older these
older athletes or these older entertainers. So let's focus on
getting like some of these somebody who's in the political
space that's young that they're going to listen to. They're
not going to listen to these other people. So the dude,

(01:17:51):
one of the dudes that was on the call called
me offline one day and was like, hey man, He
was like, bro, like you'd be on these calls and
I look the way you hand yourself and you know
a lot of people, what do you think about Carnegie Hall,
and I was like, Carnegie Hall. That's the fucking like,
that's the krim Della Krima venues. Like. He was like, yeah,

(01:18:14):
you know, Robert Smith is the chairman of the board
and they really want to bring culture over to Carnegie.
And I'm like, I'm like, yeah, I'm in. And he
was like all right, I want to. I really fuck
with you. I'll rock with you. I want I think you,
I think you would be perfect for this. I was like, okay,
let me, let me do what I need to do.
He was like, okay, I want to introduce you to
the people that Carnegie. You meet me up in New York.

(01:18:37):
Have you go meet to people at Carnegie. So I went.
You know, it's a Carnegie Hall. They don't do the
business we do, especially not the music, right. Everything is
chopped like when they say they gonna do stop, this
gets done there. Like they booked stuff Street they booked
like three and four years out right. That's not ship

(01:18:58):
we used to So I'm coming in. So so I
went up there and I met with them and they
were like, yo, we want to bring you on. I
was like okay, And then I'm in the hallway right
of Carnegie and there there's these pictures, old pictures of

(01:19:19):
people in the old show, like black and white pictures.
I'm looking at the pictures thinking, and I'm like, I say, goddamn,
everybody's dressed up. Like we don't get dressed up. No,
Like people don't go to concerts. They don't get dressed up.
No more So, I said, yo, I told my man.
I was like, man, listen, if we do anything over here, bro,

(01:19:40):
it has to be black tie and it has to
be an orchestra company. The artists like, that's what we
gotta do. I said, I want to make this where
it's totally an experience. This ain't going like going to
the Barclays or going to Apollo. You got to get
dressed up. And if you can't get dressed up, this
ain't ain't venue spanked the venue for you. Maybe you

(01:20:02):
go to another one another, go see this artist at
another another venue, but not here. I ain't having no
hoodies and none of that ship. So the people at
Carnege was like, okay, let's let's let's let's rock out
and let's do it. So it's this funny story, so crazy.
So we're in the studio Jason's mixing the record of
D Nice. He's mixing it, mixing the D Nice record.

(01:20:26):
So I'm in a studio and I keep looking at
D Nice.

Speaker 3 (01:20:28):
I'm like, quart is that when he had the D
Nice and Neo record.

Speaker 1 (01:20:33):
No, it was a it was a record that they
it was an older record that he came back and redid.
And I'm looking at him and jajas you know, Jaha
and d and Nice were they were rocking together. And
I'm looking at D Nice and I'm like club Quarantine
Carnegie Yah. I kept thinking this in my fucking head,

(01:20:54):
and so I said, D Nice. I went over to him.
I said, Yo, what do you think about carnegi y'all?
Would you want to perform at Carnegie Hall? And he
looked at me. He said what He was like, nigga,
that's on my bucket list? I said really, I said,
all right? I said, what do you think if I
could make it happen like I could, if I could

(01:21:16):
make it happen, he was like me, how how are
you gonna get me? You're gonna get me at Carnegie Hall?
I'm like, man, let me let me figure it out.
So I sent the people. I said, listen, we should
do Club Quarantine at Carnegie Hall. And they were like,
who is the nice? I was like, so of course

(01:21:40):
they wouldn't google him. Coach said he was. He was.
He was a guy doing COVID. You know. He had
everybody from from Obama to Oprah to Bien to everybody
on his fucking on his line playing music during COVID
because nobody couldn't go out. And I said, he went
from ten thousand followers to three million followers, you know

(01:22:00):
what I mean. And they were like, oh, this one
might be this might be nice. Well let's do it.
So I hit Jajah back and I told her, I said,
tell the nice I got. We we can do this
show at Carnegie. He was like, no way. I was
like yeah, So we did the show. The first show
we ever did was Club Quarantine and cardig y'all. When

(01:22:23):
I tell you man, people dressed up. It was I'm
looking at I'm looking at people walking in with gowns
and niggas with tuxedos on, and I'm like, this is
Carnegie Hall. So I said, So the show was on

(01:22:47):
and you know, people was up and and racticst Niggas
was singing and dancing. Because you know, the nice play
all a dope music. He had Queen Ladieth would come out,
he had Slick Rick come out, He had all these
people come out foreman, and everybody's dressed up and having
a good time. So there's the guy over there who

(01:23:08):
is the chairman of Carnegie, who runs Carnegie. He was like, here,
we were in the booth together, you know, they got
them little booths. And he looked at me and he
was like, Terry. He was like, I've been over here
for twenty years, man, and I've never seen a hall
rocking life. It's never felt like this. This energy is crazy.
And I said, I was like, thank you, and he
was like and I was like, even better. I said,

(01:23:29):
look around at here. And we started looking around in
the in the audience right and I said, ninety nine
percent of the people who are in here now have
never been to fucking Carnegie Hall. And I said, we
did this. I said, we did this, and I've changed
the culture at Carnegie Hall, completely changed the culture at

(01:23:50):
Carnegie like now, before I used to say stuff, So
they starting to pivot for me, because you know, we
don't fink like we don't function like that. So I
might call and say I need to book a show
for a fucking May of this year, Terry. You know
we can't do that. The show's already booked. So they'll
start to go find dates and stuff and to find

(01:24:12):
people who ain't you know what I mean. You know
what I'm saying, so so then you know that. So
it's just it's just it's just a wonderful experience, man.
And the people that I have lined up coming over
there is just it's insane, Like justin Timberlake, US. Sure.
I mean these people that I've already talked to him,
they want to be I talk to you about y'all
coming over.

Speaker 4 (01:24:34):
Big band at Carnegie Hall? Okay, big band in orchestra
at Carnegie Hall.

Speaker 1 (01:24:41):
Done?

Speaker 3 (01:24:42):
Frank Sinatra?

Speaker 4 (01:24:43):
Uh uh uh? What's the other album? Marvin Gaye's big
band album. I want to grab pieces, big band pieces
go crazy.

Speaker 1 (01:25:01):
That's great. That's that's that's amazing. That's amazing.

Speaker 3 (01:25:04):
With my tucks on a shirt and.

Speaker 1 (01:25:07):
A shirt and you can take it off whatever if
you want to. You want to conduct the orchestra too,
you want to sing?

Speaker 3 (01:25:17):
Okay, all right, and we want Michael buffer an announce.

Speaker 1 (01:25:25):
We can have that. We can have that, brother, brother,
what do you do to UFC?

Speaker 3 (01:25:31):
We get the I need it?

Speaker 1 (01:25:33):
So Jay is are we confirming this?

Speaker 3 (01:25:36):
Absolutely? I need on? If he confirms, we confer, I.

Speaker 4 (01:25:42):
Need glasper or Tim carrmon on piano like I need things.

Speaker 1 (01:25:47):
Okay, let's do it.

Speaker 4 (01:25:49):
Feels like it can happen. You know what I loved,
I love and wine in the summertime.

Speaker 1 (01:25:54):
It's the best time.

Speaker 3 (01:25:55):
I feel like we can do it. This summer. We
get a summertime. Can you find can you find me
a summer day?

Speaker 1 (01:26:00):
Let me find let me, let me let me find
out R and.

Speaker 9 (01:26:02):
B money uh constituents. We will be at Carnegie Hall,
suited and booted. Yeah, tuxt and.

Speaker 4 (01:26:13):
Buck ah man this summer doing the standards, doing the standards,
big voice, big band, all curated, one sound and one sound.

Speaker 1 (01:26:26):
Let me ask you a question curated by Let me
ask you a question. Yes, would this be your first
time performing at Carnia?

Speaker 3 (01:26:33):
Absolutely?

Speaker 4 (01:26:34):
Yeah, damn to another, I'm another first pause, Yes, I'm yep, yep,
damn come on, make come on.

Speaker 1 (01:26:46):
Make key collected, baby, I gotta keep collecting collected, you know,
come on, man, you know what I'm saying. Summertime, summertime,
when I leave here, I'm gonna call and see if
we got any days in the summertime.

Speaker 3 (01:26:58):
Perfect.

Speaker 1 (01:26:58):
We're gonna make it happen. I can't wait for the show.

Speaker 6 (01:27:01):
It's going to happen. That's going to happen. Date and
Take is putting it out there that he wants to something.

Speaker 3 (01:27:07):
Date.

Speaker 4 (01:27:08):
Okay, he wants the he want tell me a date
so we can get the cooking. I'm talking charting chart.

Speaker 1 (01:27:17):
And you start looking for the nigga charts.

Speaker 3 (01:27:20):
I'm in I'm talking in here, nigga. That's what you're
gonna do. You know, you go three your own streams.
I'm oh ship upright.

Speaker 1 (01:27:30):
Yeah. I want to say another story that that a
lot of people don't know too. I used to manage
him tunk and got him his deal and.

Speaker 6 (01:27:42):
Yeah yeah, oh yeah, y'all robbed the bank too, and
y'all came through with that one.

Speaker 3 (01:27:48):
Y'all had no mask on.

Speaker 1 (01:27:50):
From Toya, you know him and Toya. Yeah, so I
got I got him his deal that tennis through Jaha,
I can wow.

Speaker 3 (01:28:00):
And then that ended up going to for real at first, right, that's.

Speaker 1 (01:28:03):
In the whole night. It was, it was, it was
I'll tell that story. Slim called me one night late night,
like yo, because you know, and at Interscope or at
Jimmy always puts a producer with the artist. So Slim

(01:28:26):
calls me and was like, man, Yo, g man, they
want to put me in with They wanted Pharrell to
do my whole album. And I'm like what, I'm like,
I don't like Slim, I'm like, yo, I said, man,
that's pretty sound you got. Is like, that's a real,
right thing. That's a real thing. Nobody's fu heard that.

(01:28:49):
Nobody's doing that. I said. I mean, I said, you
know you for Rella is incredible. I'm like, I know
for and he's he's on fire. That's when he Farrell
was on fire. I said, but his sound is a
little too clean for you. I said, what we should
do is get two or three songs for the for
the females, like half forhar Real, do the songs for
the for the brods. You keep that same old tipping

(01:29:10):
on four folds. And because nobody, he was like, man, man,
I've been listening to these songs for all these years.
I was like Slim, when I first heard it, it
was something different.

Speaker 3 (01:29:23):
Us.

Speaker 1 (01:29:24):
Everybody else is gonna feel the same way.

Speaker 6 (01:29:25):
I felt like, let's keep that same energy and then
you then you him, yes, then you do the.

Speaker 1 (01:29:32):
For real joints. He was like, man, they want me
to do this. I was like, man, I was like, man,
I love pharreal Real is incredible. But that sound, your
sound is your sound, and nobody's doing that right now,
you know what I mean. That's coming straight out of Texas.
Nobody's doing that. Nobody on the heast is hearing that.

(01:29:52):
Andy he went, you know, and did the thing with
he did, and then.

Speaker 6 (01:29:57):
Then it worked out for him because if it's and
he just really got all of his ship back, he
got all that money. Yeah, did that deal? Yeah, the
deal didn't pan out the way. He got all his ownership,
he got all and really his independence.

Speaker 1 (01:30:12):
He got his independence, but she had and I begged him.
I begged like like and I heard him. And the
reason why I heard him because when Toyo brought him
up to me and she you know, they was going
out or whatever. She was like, you never heard of
slim Thing. I was like, no, I never heard of him. Noah,
I never heard of him. So one day we was
in the studio and I was sleep. You know how

(01:30:33):
you be half of sleep in the studio, but you
can still hear the music. And I'm in there. I'm late,
I'm asleep. And then he was rapping on one of
these songs. He I was like, what the fuck is that?
I said, I said, Toya, that's him. She was like, yeah,
that's Slim. I was like, Oh, that Nigga's incredible. I said, Bro,
you don't want a deal. He was like, nah, gee,
I don't want no deal. Man, I'm staying independent. I

(01:30:55):
don't want no deal.

Speaker 3 (01:30:56):
Was like, this is way before independent was even the thing. Yeah,
And that was like he understood it.

Speaker 1 (01:31:02):
And I was like, he was like, nah, I don't
want no deal. So one day he called me, he
was like, gee, I'm ready. He's like, go get my deal.
I said, all right, went right over to Jaja, ran
over to Geff, got him his deal, big deal for
him and his boss Hog because he had a crew
called boss Hogs.

Speaker 6 (01:31:23):
Got him in his deal. Deal deal a crew, his
crew are deal? Sure did that's crazy. I did not
know that I've been doing.

Speaker 1 (01:31:33):
You know. I used to manage Dave Hollis too.

Speaker 3 (01:31:37):
With with Bernard Yeah.

Speaker 1 (01:31:38):
Wellerd he was signed to them. He was I managed. Yeah,
I managed him.

Speaker 6 (01:31:43):
That's how That's how I got to to Uh I
did the album or Jason? Yeah, yeah, yeah, Dave.

Speaker 1 (01:31:55):
I was in his first video. Actually, I was in
his first video, the video to his first Yeah.

Speaker 3 (01:32:01):
I was like, so, who Who's what's called?

Speaker 1 (01:32:05):
He was signed to? He was signed to Eric's label.

Speaker 3 (01:32:08):
Listen, I mean you you again around the block, your
your your your relationships, like speak to who you are. Yeah.

Speaker 4 (01:32:17):
The fact the fact that you've been able to get
so much done, you know what I mean, speaks to
how the people in those positions view you.

Speaker 3 (01:32:27):
Right, you know what I'm saying.

Speaker 4 (01:32:29):
They know they know you're worth worth the investment, worth
the time, worth the opportunity, and that that continues.

Speaker 3 (01:32:38):
To ring still.

Speaker 4 (01:32:41):
But you start doing music in ninety seven.

Speaker 1 (01:32:46):
Yea.

Speaker 3 (01:32:49):
A long more fucking time. I think you.

Speaker 1 (01:32:51):
Then I did the Freaknik document I don't know if you.

Speaker 3 (01:32:53):
Yeah, listen, you know I watched it.

Speaker 1 (01:32:56):
Did you watch it?

Speaker 4 (01:32:56):
I haven't seen it? Disrespectful bro, Yeah watch it. I
didn't know you did it. You do so many things.
I didn't know you did Treaknick documentary. Absolutely not, and
it's all that's not you called me and tell me
that you're doing it.

Speaker 6 (01:33:12):
I mean, it makes sense for you to do the
documentary if that's the ship.

Speaker 1 (01:33:16):
Listen, listen, listen. It went full circle. Yeah, I went
to Atlanta for Freak Nick and my first film was
a Freaknick documentary, right, so it was full watch it.

Speaker 3 (01:33:30):
And that's what I was going to say.

Speaker 6 (01:33:31):
I feel like when I when I look at you,
know your career and how long I've known you, I
feel like you've just mastered the art of the pivot.
You've always figured out the next move for yourself. You
don't get too caught up in because that's the other
thing in this business. It's like, and we talk about this,
it's the nigga who got this. He's been trying to

(01:33:51):
sell the same song, yeah, for ten years and that
and that, and that connects to everybody in this business.

Speaker 3 (01:34:00):
M hmm.

Speaker 6 (01:34:00):
Maybe it's not the actual song, but yes, whatever you're
doing so you're trying to do the same song and
dance that. At some point it's like, yo, maybe you
should try something different. Maybe maybe your talents fit somewhere else.
And you know what I mean, And I and I
think you know, watching your careers. Even for me, it's

(01:34:20):
definitely been an inspiration for me seeing someone like yourself
and being like you know, and obviously understanding what you
come from, understanding what I come from, he comes from.

Speaker 1 (01:34:30):
Like.

Speaker 6 (01:34:31):
Saying, you know, because we were all supposed to be
something whatever people thought that was. But we've all evolved,
you have.

Speaker 3 (01:34:41):
Other things, you know.

Speaker 6 (01:34:42):
I mean, nobody ever thought that we would be sitting
here behind them a fucking microphone.

Speaker 3 (01:34:47):
What I'm saying, like, we.

Speaker 4 (01:34:48):
Do this ship all the time at the studio, We'll
sit at the table fucking Jason Johnson dog bit me.

Speaker 1 (01:34:55):
But you don't but y'all, but but what would I
say about all the we know how to pivot?

Speaker 4 (01:35:01):
Well, you know what's crazy too, is that is that
we weren't necessarily taught the pivot. No no, right, because
because we come from a time where you do a
thing and that's the thing you do, and you do
it until you can't do it no more. You we've
been we've been blessed to see opportunities outside of our

(01:35:28):
main thing and understand how it could benefit you, understand
the benefit everything and everybody that we're like, you know
what that that could add to or that could be dope?
If and we don't come from that, which is crazy
because like when if you were to get a branding
deal back in the nineties or early two thousands or like,

(01:35:51):
that was just like what, oh you got a what
how'd you get?

Speaker 3 (01:35:54):
Like? Seeing Tyree's model was like, how do you do that? Yeah?

Speaker 6 (01:36:00):
I remember talking to Tyree when he was first got
his VJ job. Nigga, wait, you're doing what.

Speaker 3 (01:36:06):
What are you doing?

Speaker 6 (01:36:08):
Like nobody was I'm gonna introduce this and then I'm
gonna I'm Like people.

Speaker 3 (01:36:14):
In the record business were like frowning, frowning upon that.

Speaker 1 (01:36:17):
You shouldn't do that.

Speaker 4 (01:36:18):
Yeah, you gotta focus on your music. You gotta your artistry.
But all of that lended to him being superstar. Yeah,
and we didn't know that then. It's something that they
grew on us and that as those opportunities came, we
were smart enough say no, no, give me that.

Speaker 1 (01:36:36):
But but but I would say, all three of us,
we're just not gonna let people put us in a box.
Like I'm never gonna be put in the fucking box.
You can't put me in a box.

Speaker 3 (01:36:47):
You can't.

Speaker 1 (01:36:48):
I'm gonna fight the fucking way. I'm gonna my way out.

Speaker 3 (01:36:52):
You gotta hear J say, tank, that's too far, that's.

Speaker 1 (01:36:57):
I mean you. I mean because we all need that too, though,
But you don't need you know why, because we want
the reward and you can't get to that reward unless
you take chance.

Speaker 3 (01:37:10):
Yeah.

Speaker 1 (01:37:10):
Yeah, high risk, high reward at the end of the day.

Speaker 6 (01:37:14):
But you gotta tell you gotta have the nigga in
the car with you that says we got too much dope?

Speaker 1 (01:37:19):
You too much help? Is that too much dope?

Speaker 3 (01:37:25):
I cannot confirm, n.

Speaker 1 (01:37:29):
We can.

Speaker 3 (01:37:29):
How many keys are too many keys?

Speaker 1 (01:37:31):
I don't think anything.

Speaker 4 (01:37:33):
I think once you get over a certain amount, the
charge is still the same car.

Speaker 1 (01:37:41):
Life is I've got, You're gonna get the same amount
of time.

Speaker 3 (01:37:47):
Yeah, your intent is to distribute.

Speaker 4 (01:37:50):
Yes, let's just take nine once can get to like
when you go to the think and how much do
y'all report this?

Speaker 3 (01:38:02):
Yeah? I can't report, okay, but you.

Speaker 1 (01:38:05):
Do need that, but sometimes you do need you know,
we all agree.

Speaker 4 (01:38:08):
We all need that, right, we all need because the
voice that we trust, Yeah, right, And I think that
for us that's been so big for us because we
both trust each other's voice so much that it starts there.

Speaker 3 (01:38:22):
It starts with respect. It starts with respect.

Speaker 1 (01:38:24):
Y'all are great together.

Speaker 3 (01:38:27):
That was a great guy, man.

Speaker 1 (01:38:28):
I really great to like this guy. They all look
great together. Man. I like that man. He's always been
the game. When I first met him, tank Man, he
was introduced me to him man our brother, and I
was like, that's a that niggas that young niggas nice man.
He got some swag to him, you know what I mean.

(01:38:49):
And then when I found out he could really play basketball,
that's when the app That's when the real respect came out.

Speaker 3 (01:38:55):
That's normally where it starts.

Speaker 1 (01:38:57):
A lot of them say that they can play, but they.

Speaker 3 (01:39:01):
Don't they understand.

Speaker 6 (01:39:04):
That's a whole other part of basketball. Right, especially as
we've gotten older, you start to you start to you
start to have a different love and respect for guys
who understand basketball.

Speaker 3 (01:39:14):
It's like, my nigga, if you don't know certain basic things.

Speaker 1 (01:39:18):
Basic things, you the basic He's fundamental, He's fundamentally make
the read.

Speaker 6 (01:39:29):
You know what I'm saying, and it's and listen, it
is only a few of us then understand it. In
this business, we played basketball with everyone like this nigga.
Yes he's athletic, Yes, he can move and get to
the spot. He I don't know if he can play
basket right the right way. If he understands the guy
that's on his team can shoot the ship out the ball.

(01:39:51):
This guy needs to have the ball in his hand
and he needs to have it at this spot.

Speaker 3 (01:39:57):
This is a different.

Speaker 1 (01:39:58):
Understanding, totally different. On standard makes the game.

Speaker 3 (01:40:01):
More fun and it's more fluids. You know, we played
a lot of basketball, a lot of and a lot
of random mass.

Speaker 1 (01:40:07):
I remember the league, man.

Speaker 3 (01:40:09):
I got what championships and here you go with these
championship rings in that league.

Speaker 4 (01:40:15):
Man, that league manage n B A E lee.

Speaker 1 (01:40:22):
He was doing your thing over there.

Speaker 3 (01:40:23):
Doing I was doing my boy brought him.

Speaker 1 (01:40:26):
My retirement.

Speaker 3 (01:40:28):
Is that I'm back.

Speaker 1 (01:40:31):
Taket went and played an adult league.

Speaker 4 (01:40:33):
Man, I don't even do that in the district.

Speaker 6 (01:40:37):
Listen, I don't even do that. I'll playing the runs
the private Russ. I'm not going to play no dot.

Speaker 1 (01:40:45):
Rest.

Speaker 3 (01:40:47):
I wanted to be with the refs.

Speaker 1 (01:40:49):
He always liked the rafts.

Speaker 4 (01:40:50):
I don't want to be where people are reffing themselves
like himself.

Speaker 1 (01:40:54):
He hated that man because.

Speaker 4 (01:40:57):
I'm not gonna call it. But I'm like you don't
call far. Yeah, you do know what you just did.
Come on, you gotta call it all right. He don't
call fucking foul anyway.

Speaker 3 (01:41:08):
Your Top five R and B.

Speaker 1 (01:41:13):
Artists Prince shaw Day, Michael Jackson, Stevie Wonder and USU.

Speaker 6 (01:41:23):
Mm hmmm cold fire, Cold five Quick, too quick, quick
niggas smart quick, on his feet on his tools, m M.

Speaker 3 (01:41:33):
Top five R and B songs.

Speaker 1 (01:41:37):
Purple Rain, Cherish Today, Uh, isn't she lovely? You remind me?
And what's the other one? Jodasy song, Jodasy All my.

Speaker 3 (01:41:55):
Life mm hmmm, All my Life is different?

Speaker 1 (01:42:00):
Different, hit different? That hit different? When I heard different?

Speaker 3 (01:42:04):
That real? But that's Kasey and Jojo. It is technically
because it's tough.

Speaker 4 (01:42:15):
It's tough to follow Joe Tosy even as Casey and
Jojo right with something completely different. No, that was completely
and knock it out the park, super smash. Let's make
a vultron. You're super R and B artists. We need

(01:42:38):
an art every category. You put one artist in the vocal,
the performance style, the styling and the passion of the artists.
Choose one vocal in history to make your Super R
and B artists what one vocal are you getting.

Speaker 1 (01:42:55):
All Luther hm hmmm.

Speaker 3 (01:42:58):
Doom doom, doom, doom doom. Yeah, yeah, yeah, yeah.

Speaker 1 (01:43:03):
I loved it, loved it.

Speaker 4 (01:43:05):
It's something about a nigga that can sing so good.
He don't got to do nothing else but sing.

Speaker 3 (01:43:12):
Yeah, yeah, like think about that, just sit there saying,
just stand there, that's it and sing the song and
we are amazed.

Speaker 1 (01:43:24):
Did you see this documentary?

Speaker 3 (01:43:26):
That's how you know you can sing on a level
that is godly. Shout out to Fox for that too.
You know Fox is a producer on that document know that. Okay.

Speaker 1 (01:43:40):
Yeah.

Speaker 4 (01:43:42):
Performance style, m J. I gotta go with roll with
that Luther voice.

Speaker 3 (01:43:50):
M J.

Speaker 4 (01:43:51):
Performance definitely has one of us is gonna die at this.
You don't faint. Folks can go in the cardiac a
rest at that show.

Speaker 1 (01:44:02):
Yeah.

Speaker 3 (01:44:03):
Yeah. The styling of the artists. I gotta say, Marvin style.
I knew you were going to say that. I knew
you were going to say that.

Speaker 6 (01:44:11):
I got to say his style, his style, superfly, he
was he was just yeah, just on him.

Speaker 1 (01:44:21):
Yeah, his thoughts. I loved his thoughts. Yeah, uh hm.

Speaker 3 (01:44:27):
The passion of the artists, the passion of the artists
who mean it.

Speaker 1 (01:44:31):
You know who I really really like I love I
love I love her, I love her love but her
just her like her passion.

Speaker 3 (01:44:42):
It was just her passion exudes in her aura.

Speaker 1 (01:44:46):
Yeah, absolutely, that's what that's her aura. Yeah, like she
was diverish, but not like super diverish.

Speaker 3 (01:44:54):
Yeah she did.

Speaker 1 (01:44:55):
She had to. She didn't have to be I didn't
feel mean yes, I feel me.

Speaker 3 (01:44:59):
She didn't have to say it.

Speaker 1 (01:45:00):
Yeah, she didn't have to say it.

Speaker 3 (01:45:02):
That's for a lot of people. It stated yes, she.

Speaker 1 (01:45:05):
Didn't have to say it.

Speaker 3 (01:45:06):
You just she walked in.

Speaker 4 (01:45:08):
You knew, Yes, who's in the motherfucking building. Roll out
that motherfucking red carpet? Put it on white gloves? Yes,
and act and act like you.

Speaker 1 (01:45:18):
Know, yes, I loved her. I loved her her?

Speaker 3 (01:45:22):
Or who would manage your artist? Hm? Who would manage
this artist?

Speaker 1 (01:45:31):
Are you talking about?

Speaker 7 (01:45:38):
Who asked what that for?

Speaker 3 (01:45:39):
That would be some something? Because I say no to everybody.

Speaker 1 (01:45:43):
You wouldn't say no to that.

Speaker 3 (01:45:44):
I wouldn't.

Speaker 1 (01:45:47):
Let's go get this, spin them around, get these white gloves,
keep it, keep it the moving high.

Speaker 6 (01:45:55):
You know, we we had this very important part of
the show. Now we tell us a story funny or
fucked up? Are funny and fucked up? The only rude
to the game, which is easy for you, you know,
we know what you come from. Is you can't say
no that you got.

Speaker 3 (01:46:12):
Videos.

Speaker 1 (01:46:15):
I forgot the name. We were in d C. As
artist I was working with had a show and her
DJ kept messing with me and kept, you know, trying
to antagonize me. So I beat up the DJ. But

(01:46:42):
you can't, you can't, Okay, Yeah, I beat up her
DJ and the dancers and all the thing was in
there screaming, get up off of them, please leave them alone.
Then once the artists found out, she was like, why
did you do that at my show? And I was like, listen,

(01:47:05):
your man tested me, and I had to. I had to.
I had to show him what it was about. We
was in d C too. I was like, yeah, I
really really wanted them to know. And you and my
home city, I'm gonna I'm gonna show you something. And
I beat up the DJ on show on show night
before the show, right before the show. Was he able
to DJ the show dj DJ? But he didn't. He didn't.

(01:47:30):
He didn't say nothing else to me for the rest
of the tour.

Speaker 3 (01:47:33):
Oh he stayed on tour. Yeah, he stayed because you professional.
It wasn't like, yeah, I want.

Speaker 1 (01:47:41):
We had to let him know.

Speaker 3 (01:47:42):
We gotta get this little dust uff going.

Speaker 1 (01:47:44):
Yes, I just had to. I just had to dust
them up a little.

Speaker 3 (01:47:47):
It's called a friendly fade. Niggas have to get back
to the.

Speaker 1 (01:47:52):
Friendly I mean. And you know, Jay, I, me and
you were kind of like, we don't, we don't, we don't.
You know what I'm saying, Like, I like, it takes
a lot to really push me over there. But once
you do that, there's no no, there's no turn.

Speaker 6 (01:48:07):
Off here because we didn't get into this to still
be doing that, right. And I think that's the thing
that a lot of cats don't understand. They try to
take it from Oh I was such and such in
the streets and i'mp and now I'm going to be
this in the music business too, Like, so why did
you get into this?

Speaker 3 (01:48:24):
Then?

Speaker 6 (01:48:25):
You know what I'm saying, Like, now, if somebody pushes
you to a point, we're all men, We're gonna protect
ourselves and we got to handle our business.

Speaker 1 (01:48:31):
And that that is what it is, right.

Speaker 6 (01:48:33):
That's the part I never understood about where it becomes
the bullying. And that's what I'm going to be in
this space, right because could have left that ship over there.

Speaker 1 (01:48:43):
Yeah you know what I mean.

Speaker 6 (01:48:44):
And that's why you've blasted so long in this space
because you understand, like, Okay, it's some.

Speaker 3 (01:48:50):
Things I'm going to have to handle, but I'm not
running around being.

Speaker 1 (01:48:53):
Up there right. No, does it make sense?

Speaker 3 (01:48:56):
Yeah? Not even wearing who I was on my show.

Speaker 1 (01:49:00):
Your it's not good. It's not good for business.

Speaker 3 (01:49:04):
But that one, I like, let's just it was let's
just get it on. Just yeah, and after we're done, cool?
Were you good?

Speaker 1 (01:49:11):
You thought you thought something was different and you found
out something wasn't you thought it was sweet on this
side of the street.

Speaker 3 (01:49:19):
Yeah, yeah, yeah, he had to be saying something outland ship.

Speaker 1 (01:49:26):
He called me a bitch as no way, that's no
way that he pulled that one out.

Speaker 3 (01:49:35):
What did you Doank?

Speaker 1 (01:49:40):
I just lost it man. Like I said, Bro, I'm
very calm, and but once you get me on that side,
if there's no turn.

Speaker 3 (01:49:49):
I've I've never imagined on this side somebody calling you that.
I could never.

Speaker 1 (01:49:57):
I couldn't either, I've never That's the first time I've
ever been called that. So that's why it just took
me to the other side. I blacked I blacked out. Really,
I was like, a DJ nigga call you that in
front of Oh, come on, I could I wouldn't even
know how to I couldn't even know how to live

(01:50:18):
without living, leaving living, leaving there knowing that I let
somebody that, Like, that's the whole that's total disrespect from everybody.
Everybody's gonna disrespect you. Let the DJ call you that.
Never So I beat them up pretty bad in front
of him, the dancers and all of that, and that

(01:50:42):
was it. You ever had a friendly frame.

Speaker 3 (01:50:45):
A bunch of friendly face. At a certain age, people
just stop wanting to fight me.

Speaker 1 (01:50:50):
You you did.

Speaker 3 (01:50:54):
With It always starts with Bob, always started it somehow.

Speaker 1 (01:50:59):
I oh, you.

Speaker 3 (01:51:03):
Mean like we don't Yeah, yeah, but you know, and I.

Speaker 4 (01:51:07):
Always got to hear about nigga. You don't hear about
Bob and Jack. It's always convenient that I'm never there.
It's always when I'm never there, because.

Speaker 3 (01:51:19):
Then you know, niggas play hoop together again.

Speaker 4 (01:51:21):
It's funny because you've probably been around somebody that happened
with But like you said, it's that was a moment.

Speaker 3 (01:51:28):
I never speak on that. We never gonna talk about that,
like that ship that happened this dude.

Speaker 1 (01:51:34):
Yeah, let me tell you something.

Speaker 3 (01:51:35):
I right know where this story goes.

Speaker 1 (01:51:36):
No you don't know what.

Speaker 6 (01:51:38):
No, you don't know where this one's going. He got
somebody to give somebody a friendly faith.

Speaker 3 (01:51:45):
I know that story.

Speaker 1 (01:51:46):
See at the gym, I know that story. That was
beyond vicious man, and it was all because of him.

Speaker 3 (01:51:51):
You know he was not because it was on that though.
I take the blame. You take the blame because that's
my friend.

Speaker 1 (01:51:58):
Yeah, but you're gonna let him I'm not the blank
you with that ball.

Speaker 3 (01:52:03):
It's it's the equivalent. So you letting the DJ call you?

Speaker 1 (01:52:11):
Yo, you're gonna let that dude you with that ball?

Speaker 3 (01:52:14):
Oh man, it was I didn't even say that.

Speaker 1 (01:52:19):
I don't even know what you said.

Speaker 3 (01:52:21):
I looked at it. Knock him though.

Speaker 1 (01:52:31):
You know the story story.

Speaker 3 (01:52:35):
I told the story by the people that were there,
everyone that was there.

Speaker 1 (01:52:38):
So you might hear that story when yeah, your next
knock him the fuck up. I remember that like it
was yesterday, man, that niggas threw.

Speaker 4 (01:52:46):
The ball and it wasn't so much it wasn't. It
was the way he looked at me. Oh, Jay, is
the way Jason looked at me. Me, He looked at
me it had it happened? He looked at me, said,

(01:53:06):
and I said, it was almost like he wanted to
let it slide. And he was looking to me to
see if it was okay, okay.

Speaker 3 (01:53:24):
To not let it slide. And I said, not today, brother,
fuck him up.

Speaker 1 (01:53:32):
You know that costs him a lot of money, Dude,
a lot of money. Sue the hell out of her.

Speaker 3 (01:53:42):
That's not a friendly. That's not a friendly. That's not friendly.
That wasn't really they didn't know each other. It wasn't
cool like that friendly.

Speaker 1 (01:53:49):
Face is like, hey man, we got a mutual respect.

Speaker 3 (01:53:51):
We don't really want to hurt each other like that,
but you know, let's go. Let's go take care. Then
don't hit people in the face with basketballs on purpose.

Speaker 1 (01:54:07):
I don't do.

Speaker 3 (01:54:08):
And then sue. Wow mm hmmm. H For another part, brother,
Terry Ross, Terry, like you are a brother and a friend.

Speaker 1 (01:54:27):
You are a.

Speaker 4 (01:54:30):
A name, You are an entity. You are an important
piece to this whole university.

Speaker 6 (01:54:37):
We are all a part of a great father, great father,
great father of that because that has to be spoken about, right,
especially in what we do.

Speaker 3 (01:54:50):
This this this thing we do takes so much of
our minds, of our time.

Speaker 6 (01:54:57):
So to say to yourself, I'm going to still be
active and still like we've been in the gym together
with our son, been at graduations, been at like I
know about you going across the border to get your son.
Have to go see it like these are things that
a lot of people don't do for whatever reason. But

(01:55:20):
for the guys that do, we always like to give
them their flowers for being that.

Speaker 1 (01:55:25):
I appreciate that. I appreciate that, you know what I mean.

Speaker 6 (01:55:28):
That's a that's a real thing, and that is going
to last us longer than this ship is, you know
what I mean. Would our kids become how they feel
about us, how they you know, appreciate us, man, so
and you know all your kids, man, you do so
I gotta I gotta make sure I give you that,
make sure that father the father, yea fathers.

Speaker 1 (01:55:52):
Important.

Speaker 3 (01:55:53):
Absolutely Well. We thank you, brother, We thank you for
your time.

Speaker 1 (01:55:56):
Man. We appreciate you. I love what you got, the
utmost respect for both of y'all. And this is I
just love it.

Speaker 3 (01:56:04):
I love I love it and we'll see you this
summer kind again. Understand what I'm saying.

Speaker 4 (01:56:09):
Yeah, ladies and gentlemen, Money is Tank and this is
the R and B Money Podcast, the authority on all
things R and B.

Speaker 3 (01:56:20):
I can't say enough about this brother man.

Speaker 4 (01:56:22):
He is who he is, and anytime you hear that name,
respect it and appreciate it our brother Terry T. R.

Speaker 1 (01:56:31):
Ross. Yeah, appreciate it by

Speaker 4 (01:56:36):
Yeah