September 21, 2024 • 80 mins
Interview with Dee-1 on The Bootleg Kev Podcast.
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Speaker 1 (00:00):
Whoa, what's good everybody, It's your boy at D one
And you could check me out on the Bootleg cav podcast.
Speaker 2 (00:10):
Yo, Bootleg cap podcast. Man special guests in here. My
got D one is in the building, Yes, sir, welcome, Welcome,
welcome man. Twelve years later, for sure, Bro, we first
linked up in twenty twelve. I was on tour with Macklemore.
We stopped through Tucson or Phoenix, Phoenix. It was like
ten p yep, somehow, some way, some then you called
(00:32):
the clubhouse, yeah yep, and I ended up at the three.
That was like right when like the rip shop thrift
Shop started to pop. It was kind of like it
started to pop in the middle of that tour. Literally yeah, literally, yeah.
Speaker 3 (00:42):
It's like by the time that tour ended, Maclamore was
a superstar. Bro. That tour was crazy.
Speaker 1 (00:46):
We were doing like fifteen hundred and two thousand CAP
venues at the beginning of the tour. By the end
of the tour they were like, Hey, we about to
run this tour back and this time we're doing full arenas.
Speaker 3 (00:54):
You know, it's crazy.
Speaker 1 (00:56):
Yeah, So that's when we met, Bro. So thank you
even back then for rocking with me.
Speaker 3 (00:59):
I don't know.
Speaker 4 (01:00):
I was independent, so maybe you just saw me open
up for him and you were like, oh this do same.
Speaker 2 (01:04):
Do I think you were doing your thing too, Like
I think I remember just seeing you on Like back
then it was like the blog game was still now
right to yeah, shot to Shake and making those guys
two Door Boys was my site. Man, I'll go there,
Sam Hill. I was like, yeah, I got similar taste
to these guys. So it was crazy too because we
talked about like gatekeepers before we're recording. I actually like
(01:26):
respected those quote unquote gate keepers a lot more than
I respect like this algorithmic playlist like situation that's happening
because at least, like I feel like those guys, whether
it was sk or Shake or whoever, like they really
had like taste, dad taste.
Speaker 4 (01:43):
They had taste. Now it's just mind control. Yeah, playlists
ain't nothing but mind control.
Speaker 1 (01:48):
But back then it was literally people who love music
who are like, if it moves me, if I like it,
it's getting posted it no matter how big it is,
and you go, it don't matter what label is pushing
it to me.
Speaker 4 (01:59):
Sure you know, I mean there was integrity. There was
integrity back then.
Speaker 2 (02:03):
And It's crazy too, because there were more gatekeepers than
per se during the blog era, but those dudes at
the very least have like, in my opinion, like great taste,
you know what I mean. Like I found so many
artists on those sites that were like ground level artists here, bro, Like.
Speaker 1 (02:17):
I am who I am today because of blog era
hip hop. So the all hip hop dot coms of
the world, shout to my man, Chuck Shaking Meccas from
Two Dope Boys, the uh Tumabasa from MTV jams.
Speaker 3 (02:32):
You heard oh Man music now right? Yeah?
Speaker 4 (02:36):
John Gotti from the Smoking Section.
Speaker 2 (02:38):
Yo, I love the speaking of guys. The Smoking Section
was one of my fucking favorite sites. Yeah, Bro, I
found like rits on there was a lot of like
that was a good time, man.
Speaker 3 (02:47):
That was a good time.
Speaker 2 (02:48):
Bro. So we're like like now that there's because we're
talking about gatekeepers, because you've been through kind of like
I would say a lot of iterations of like what
it means to be an artist in terms of like
your experiences with the industry, right, because you've been on
a major label as well, and now you're back to
kind of are you you're fully independent independent?
Speaker 3 (03:08):
What would you say, is the.
Speaker 2 (03:11):
Being a part of so many eras of the music industry,
What would you say is the most like fruitful way
for an artist to kind of pop from, Because like
now you see guys like L Russell kind of re
envisioning what it means to be independent. You know, there's
offer based shows and there's a website called even people
(03:33):
are just selling music.
Speaker 4 (03:34):
Sanul price for the music correct right.
Speaker 2 (03:37):
And so it just seems like there's like this like
quiet revolution happening, like against the machine. But like it
is it better than when it was, like when you
got in.
Speaker 4 (03:44):
Yes, because there's middle class rap.
Speaker 3 (03:46):
Now.
Speaker 4 (03:47):
Back then they didn't have middle class rap.
Speaker 1 (03:49):
You either a mega superstar or you a starving artist
trying to make it. Now there's all these artists who
are making six figures a year, even a cool seven
figures a year, you heard me, and half the game
might not even know who they are, but they just
super serve their fan base. They know what their niche is,
you feel me, and they super serve them. There's people
(04:09):
like me and like L Russell who will go direct
to consumer with our music. I don't I don't ever
put my music out directly to the DSPs. At this point,
I go on my website first and I tell all
my diehards come to d one music dot com. You
heard me, name your own price if you want the album.
So my new album that I just put out is
called Loaded. It debuted that number two in the world
(04:30):
on the hip hop charts, behind eminem iTunes.
Speaker 3 (04:33):
Yeah, on iTunes, right behind.
Speaker 1 (04:34):
Eminem number two in the world independent right, that album
had been out for three months on your fullhand yeow.
Speaker 3 (04:40):
So it's like your fans got it first. Yeah, my
diehards got it first.
Speaker 1 (04:44):
People paying up to one thousand dollars for the album
cam right, literally multiple people thousand here, a thousand and there,
five hundred here, two fifty there, ten dollars here, twenty
dollars there.
Speaker 4 (04:52):
But you add that up now when I put it
on streaming.
Speaker 1 (04:55):
To still do those type of numbers and make that
type of impact on streaming, it's powerful.
Speaker 3 (05:00):
Well you know what I mean.
Speaker 1 (05:01):
And the album consists of let me see, I had
Fredo Bang featured on the album. You know FREDI I
think you have Frederick that's my former middle school student.
Speaker 3 (05:10):
I used to be his teacher.
Speaker 1 (05:11):
What yeah, bagging band ruge Yeah, right, so crazy. Like
Fredo is on the album That's Love. That's a relationship.
Project Patters on the album you Hear Me That's Love.
That's a relationship. My brother star Ledo is on the
album you hear Me That's Love.
Speaker 3 (05:24):
Try to start Leado very slept on due Mat shot
out to Nashville.
Speaker 1 (05:27):
Yeah, bro, So this feels like the best ever ever
to where if you are willing to work hard. Before
it was working hard but still having to go through gatekeepers.
Now with social media, you can go directly to the people.
And when you form a connection with the people, they
don't care who you signed to.
Speaker 4 (05:45):
They don't care what other artists are co signing you.
Speaker 1 (05:48):
You know, there was an ever where you had to
have a big co sign to really get in.
Speaker 4 (05:52):
You know what I'm saying. It's not like that anymore.
Speaker 1 (05:55):
So, if you're willing to work hard and if you
got a product that the fans could tell, man, I
love your art, but I love your heart, They're gonna lock.
Speaker 3 (06:02):
In with you, bro, and that's the key to my longevity. Yeah.
Speaker 2 (06:05):
I was gonna say, like, it feels like, you know,
there's almost artists are so ignorant. I feel like there's dope,
independent artists, or even ignorant to the possibility of like
doing that. As opposed, they're chasing playlists. They're chasing the
wrong shit where it's like, Yo, if you even got
like one hundred people racking with you, one hundred people,
(06:26):
that's some enough to pay the.
Speaker 3 (06:27):
Bills straight up, I mean straight up, straight up.
Speaker 1 (06:29):
If you got a hundred people spending one hundred dollars
a year with you, that's ten rags.
Speaker 4 (06:33):
Yeah, off of just one hundred people.
Speaker 3 (06:35):
Yeah.
Speaker 1 (06:36):
If you get a thousand people to spend one hundred
dollars a year with you, that's a hundred rags.
Speaker 4 (06:40):
Bro.
Speaker 1 (06:42):
People don't want to think about it like that because
the playlist is what it has been glamorized. Just for
everybody watching this, I've been on the big playlist. I'm
on them right now as we speak. I'm sure some
of my singles are on some of these big playlists
as we speak.
Speaker 4 (06:56):
That stuff don't change your life.
Speaker 3 (06:58):
Man.
Speaker 1 (06:58):
That's somebody working out in the gym or just with
their music playing at the crib.
Speaker 3 (07:03):
They're not engaged, they're not even on, but it comes on.
Speaker 2 (07:05):
Yeah, it's like, oh, it's on, and then like you're
making minimum money off of I think it's thirty eight
hundred semi dollars off of a million streams.
Speaker 1 (07:14):
Yeah, so you're making one third of a penny for
every individual stream. So then you do the math, and
I believe, like you said, on a million streams, that
might come out to like thirty eight hundred dollars. Bro,
if somebody listened to my music a million times, Bro,
I better be making more than that.
Speaker 3 (07:29):
No, it's it's it's actually crazy.
Speaker 2 (07:31):
It's like I feel like there has to be And
then there are major labels who have ownership stake in.
Speaker 3 (07:37):
Some of the playlists or in pees that you go
in Spotify.
Speaker 2 (07:40):
Yeah, and so it's like, at what point in time
is this whole thing like rigged against like an artist
that isn't on in that system. I wouldn't say rigged,
but it's very, very almost damn near impossible, Yeah, to
make a career off of music if you're just depending
on like the conventional.
Speaker 4 (08:00):
Streaming income, yesps DSP, you're cooked.
Speaker 3 (08:04):
Let you win the lottery.
Speaker 4 (08:05):
Cap I think I got.
Speaker 1 (08:06):
I think I counted about thirteen income streams that I
have just off of music.
Speaker 4 (08:11):
I'm gonna try to recall them right now.
Speaker 1 (08:12):
So we got streaming royalties, we got publishing, we got
direct to consumer, name your own price money, we got concerts,
we got merch we got speaking engagements. Currently, I'm a
college professor. I me at Harvard University and a professor
at Toughs University in Boston. I teach a course called
the Intersection of Hip Hop and Social Change, so teaching.
Speaker 3 (08:32):
You know what I mean?
Speaker 1 (08:33):
You got features, collabs, you feel me. You got brand
partnerships and endorsements.
Speaker 4 (08:40):
When you can get those, that's nine right there.
Speaker 3 (08:42):
You got.
Speaker 1 (08:42):
I know I'm forgetting some more because I always think
about them. That's easy off the top of my head.
Quick nine right there.
Speaker 3 (08:48):
You know what I mean.
Speaker 4 (08:49):
You got sink licensing.
Speaker 1 (08:51):
Yeah, when you get your song sinth in movies and
then commercials and all that and this type of stuff.
I don't know if I say it speaking engagements. Maybe did. Yeah,
But this is just a quick litt ten piece that
I named.
Speaker 3 (09:03):
You know what I mean.
Speaker 1 (09:04):
Some artists are just super focused on just one one,
one stream of income.
Speaker 3 (09:11):
It ain't supposed to be like that. No more.
Speaker 1 (09:12):
Man, You got podcasting. I just launched my first episode
of my podcast today. Congress it's called flipping tables with
D one. You heard me, because so much has been
happening over the past year. I don't know how much
you've been keeping up, man, but I've been in some
pretty high profile back.
Speaker 3 (09:29):
And forth back and forth.
Speaker 1 (09:30):
I think and Rick Ross, right, Yeah, Jim Jones meet
meil Rick Ross, and Joe Buden chimed in, and it
didn't feel fair to me that a brother like Joe Budden,
who I.
Speaker 3 (09:39):
Never met before, I heard you call him out on
the new Yeah, on a new song.
Speaker 1 (09:43):
Yeah, because he had three full podcast episodes where I'm
a topic of discussion of his, you know, and he
gets to in long form content, gets to speak his
piece about who he thinks D one is and how
he thinks D one is just a cloud chaser and
not legit and da.
Speaker 4 (10:00):
Da da da da, and speaking down on even my faith.
Speaker 1 (10:03):
You heard me, the fact that I'm Christian and all
this type of stuff. And I was, like day based
on the way I put content out, all I got
is songs and maybe ninety second reels.
Speaker 3 (10:13):
So I love the fact of it.
Speaker 4 (10:15):
Salute to you, even for with podcasting when you're really
a thinker. You heard me, like you're really a thinker
and a listener, so it allows you to have these
longer conversations to where you can understand someone's hard and
their thought process behind what they're doing.
Speaker 2 (10:29):
Yeah, it's almost like when you watch like the news
and people like form opinions based on like four people
on TV trying to each get in their forty five
second point as opposed to like listening to like a
politician or somebody speak on like a long form conversation
where you can get like for the understanding.
Speaker 3 (10:45):
It's the same shit.
Speaker 2 (10:46):
It's like like like you said, like now you can
articulate your points in a greater way if you have
your own podcast.
Speaker 1 (10:52):
And then Kendrick Lamug just threw me the alley oop
of all alley oops last week. You hear me sh
Now the Kendrick shit's crazy, Like where were you when
when you I was on Instagram Live. Yeah, on Instagram
Live because my city in New Orleans was very mad
with me. I was like public aneman number one last
week to New Orleans because when the announcement came out
that Kendrick was performing at the Super Bowl, so many
(11:13):
people in New Orleans were mad, super upset that it
wasn't Lil Wayne.
Speaker 4 (11:18):
I noticed, Yeah, And I'm from New Orleans. You know,
it's my hometown.
Speaker 3 (11:22):
Man.
Speaker 1 (11:24):
For me to say like, yo, like, let's keep it
a buck. You heard me, Like, where's this sense of
entitlement coming from? Like the artist has to be somebody
from New Orleans just because the super Bowl is here,
number one and number two.
Speaker 3 (11:34):
I was keeping it a hundred.
Speaker 4 (11:36):
I'm a former middle school teacher, I'm a college professor.
I'm a dude who's hip hop music is clearly message driven,
you know what I'm saying. It got message mixed in
with dope beats and dope flow and all that. So
when we talk about the message, I was like, let's
keep it a hundred. About the message that Wayne has
often glorified in his music.
Speaker 1 (11:54):
You know what I'm saying, is that something that is
necessarily conducive to one hundred million plus audience who's gonna
be watching the super Bowl have to and just me
saying that, Bro, it's the same stuff I was saying
with Rick Ross and and you know back then almost
a year ago, and the city had my back then,
but now because it applied to somebody from the city,
(12:15):
I just.
Speaker 2 (12:15):
Said, like obviously Wayne's a legend, but I think like
if you just if you're the super Bowl and you're
the NFL, Like he just did WrestleMania.
Speaker 3 (12:26):
And forgot a lot of his lyrics and it was
it was a less.
Speaker 2 (12:28):
Than best performance, and like he's just had like interesting
on stage situations over the last few years.
Speaker 3 (12:34):
He's like walked off and like, I.
Speaker 2 (12:36):
Just don't know if I'm like yo, Like Kendrick also
happens to be like the number. I mean, like having
a crazy year and he's Kendrick Lamar, Like what are
we talking about? Like over the last decade, Like that's
the move.
Speaker 1 (12:50):
He's been a glitch in the matrix in that he
clearly has a message in his music that's about pushing
things forward in life, right progression, but has become a
mainstream as you could get you know what I'm saying,
Like that's and.
Speaker 2 (13:03):
He's always here and he's always been that. That's rare, bro,
It's never He's never not done what he is doing.
So what message do we want to send to the
kids at home?
Speaker 4 (13:12):
Do we want to send a message that it's possible
to stand for something, you know, to have some morals,
values and principles.
Speaker 1 (13:19):
And make it and make it right. That's a fire
message to send you, hear me. So when I got
the announcement that Kendrick shouted me out in his new song,
I was on Instagram live explaining this to a lot
of people in my city who were mad at my
commentary on the super Bowl, and all of a sudden,
the comments got flooded with a wave of new people saying,
Kendrick Lamach just shout.
Speaker 4 (13:38):
At you out, yo, Kendrick just mentioned you.
Speaker 1 (13:40):
So I didn't know if it was real or not,
but I was like, whether or not that's real.
Speaker 3 (13:45):
They say he's giving you your flowers. This is amazing.
Speaker 1 (13:47):
I said, the thing about flowers, y'all, is that flowers
eventually die. I said, So, if it's true what y'all
are saying, salute to Kendrick.
Speaker 4 (13:54):
I love you, my brother, thank you. But I want
everybody watching his live to.
Speaker 1 (13:58):
Know that I do this for the approval of somebody
that ain't They ain't even here, and that's God.
Speaker 3 (14:04):
You feel me, because for.
Speaker 1 (14:05):
Me, I've had the approval from the bootleg caves, now
the Kendrick Lamar's, the fans.
Speaker 4 (14:10):
But I see how quick them same fans will turn
on you.
Speaker 1 (14:13):
So when they talk about like you get these flowers
and you're supposed to be just almost like Mama made
it type of moment. I just know how to not
get too high on the highest and not get too
low on the lows.
Speaker 3 (14:24):
You know, people should do that in life. In life, bro.
Speaker 1 (14:27):
So I was like, Yo, it's amazing that in the
same week I'm experiencing condemnation from my city, everything from
people making debt threads to saying you can't come back
to the city and you canceled in New Orleans and
all this stuff, to elevation and validation from Kendrick saying
I want to be empathetic heart like d one, you
(14:48):
know what, I.
Speaker 5 (14:49):
Want to know what he was What the end of
that line was, because he stopped. What you think it was,
I don't know, but it was well he said, but
I will, he said, I want to be empathetic.
Speaker 3 (15:00):
I will.
Speaker 4 (15:00):
I will exactly, So you could imagine that for sure.
Speaker 3 (15:04):
No, Yeah, I thought that was super dope though.
Speaker 2 (15:06):
So for you, like like you said, man like, I
feel like you've always been pushing positivity, always been very
very like ahead of the curve in terms of like
I mean not even ahead of the curve. You've always
been like integrity first as a person and you know
as an artist and as everything else comes after that, Right,
But I wonder for you, like, does that just feel
(15:27):
good knowing that? Like, man, you just you've got gone
through it with you know, Meek, mel Rick Ross and
people you know saying a B and C about you,
But to like have the guy you know, in my opinion,
you know, I've had Kendrick in my top five for
probably like six years, and I think after this last
(15:49):
twelve months, it's either him or Hove as the goat,
you know, from being honest, like personally for my list,
I always had him around four or five. But I
think he's you know what it's all said, He's gonna
be the greatest of all time, you know, with all
due respect to jay Z.
Speaker 3 (16:02):
But what's that feel like though? Man? Like, it's just.
Speaker 1 (16:07):
It's validation that even when people try to tell me
that I'm crazy or that I could go further faster
if I switched my message up.
Speaker 3 (16:16):
It's just like it's proof that the.
Speaker 1 (16:19):
People who y'all look up to and the people who
y'all might feel like can do no wrong in y'all eyes.
Those people are actually saluting a brother that's just been
consistent the whole time. And it it's like, hey, he's
gonna get a where he's destined to be in the
time he was destined to be there because I've always
put impact over income, you know what I mean.
Speaker 3 (16:38):
You get into this game and if you're seeking out. Man.
Speaker 1 (16:41):
Just today, bro, So, Kevin Lows stepped down as from
three hundred Entertainment or as the as the head guy Diddy.
They said Diddy is arrested as of yesterday trying to
get out on fifty million. I heard on TMZ they
say he offered fifty million dollars on buying to get out.
I think they denied it, you know, Bro, Like the
(17:03):
empire is crumbling, the empire as we knew it in
hip hop, to where all of this stuff that glorifies
what is evil, Like it's evil. We burying Rich Homie
KWin today, you know what I'm saying, open casket funeral televised.
So we're seeing a brother in the culture that's being buried.
God bless his soul, you know, and prayers out to
(17:25):
his family and friends. We're seeing that happen, and we're
seeing people who have been gatekeepers for the longest, who
have defined what music is going to get the green
button pressed and get all the marketing dollars put behind it.
Speaker 3 (17:38):
People who have made.
Speaker 4 (17:39):
It cool to love, to be in love with the jewelry,
the money, the music that's glorifying drug use and glorifying
the disrespect of women. But now we're seeing these people
go to jail.
Speaker 1 (17:54):
Now we're seeing people that's passing away in front of
our face, and everybody is saying that was way too soon.
Speaker 4 (17:59):
So it's like, now what it can't just be entertainment.
All the people in the culture who try to tell
me all these years, call man, it's just entertainment, bro.
Speaker 1 (18:08):
You just always got something to complain about. Won't you
just let people get their money. That's what Rick Ross
was saying. It's like, Yo, I do this music, but
I feed my hood turkeys during Thanksgiving, you know, and literally,
in his mind, that justifies making the soundtrack to selling
dope and rapping about the glorification of murder and disrespecting
(18:32):
women and all that. And it's like, are you serious, bro?
In your mind it makes sense because this is just
how I feed my family. But then over here, here's
the good I'm doing in the community. We got to
have these difficult conversations in the culture.
Speaker 2 (18:45):
Right now, Well, let me ask you this, right because
obviously hip hop is built on kind of like you know,
if we go back to like, you know, even like
early Biggie ten Crack commandments or you know, not. I
was kind of talking about like what it was like
to witness growing up in Queensbridge and a lot of
the you know, it's always been built on street imagery.
(19:07):
And you know, there's an argument to be made that
if like that's Rick Ross's truth, that's how that's his life.
Speaker 3 (19:14):
And I'm not saying it is or not.
Speaker 2 (19:15):
I don't want to speculate on Rick Ross's criminal history
or what is true or not. But let's say, hypothetically speaking,
Rick Ross is just speaking his truth his life experience, right,
and if that life experience equals drug use or selling
drugs or committing crime or being wrapped up in the streets,
that is his outlet. And we're just saying Rick Ross's
(19:38):
name because you could probably apply that to a hundred
other artists, right. But there's the argument would be that
like that's their experience. That's their life and their outlet
to express their life, and where they.
Speaker 3 (19:51):
Come from is the music. So their music is where
they're going to talk about that kind of shit.
Speaker 1 (19:57):
Well, there's a difference between now race and glorification.
Speaker 2 (20:02):
Listen, that's a fair argument, would But my thing is is,
I think, like those conversations just need to be had,
and I think that, you know, there's a way to,
like for you to I mean, i'd be dope if you,
like you have a podcast right now, which is dope.
I think it'd be just dope for you to like
even have some off camera conversations with some of these
(20:23):
guys where you guys can kind of just come to
like a certain understanding and like it's like, you know,
I think you would. I said I had or seen
something you have said about Sexy Red.
Speaker 3 (20:33):
If I'm wrong, am I wrong?
Speaker 2 (20:35):
And like, look, there is a truth that like young
girls are influenced by Sexy Red, right, and if it's
Sexy Red or it's you know, latter, whoever it is, right,
Like the totality of all of that music and what's
being pushed it does have some sort of effect on
the culture. But hasn't it always had that. Like if
you go back to Little Kim, or you go back
(20:57):
to Foxy Brown or you know, and I'm not saying
it's a good or bad thing, but this isn't new, right,
Like what makes Sexy Red different from what Little Kim
was doing?
Speaker 3 (21:06):
Yeah?
Speaker 4 (21:06):
You know what the difference is hip hop has gotten older.
Speaker 1 (21:09):
So because hip hop has gotten older, you have OG's
in hip hop now. So for every Sexy Red that's
in her twenties, you got somebody that's in their forties
or maybe their fifties who's been there, done that. And
the role of OG's in the culture should be the
role of OG's in life, which is, we're here to
mentor you and make it to where your learning curve
(21:30):
can be even quicker than ours was because we can
pour into you. The problem with hip hop is you
have OG's who are actually DG's.
Speaker 4 (21:37):
I call them disappointing grown ups, you know what I mean.
Speaker 3 (21:40):
Hey, that's some real shit right there.
Speaker 1 (21:42):
Straight up though, Sure, these OG's are really DG's, and
the reason why is because they want to be relevant
with the younger generation so much so that they'll sacrifice
their knowledge that they've attained by living life for thirty
plus years more than these younger artists, and they're sacrificight
that are they sacrifice their integrity and they will employ
(22:03):
something called willful ignorance, meaning these older people in the culture,
these older executives, these older artists who know better, still
choose to glorify things that they know are harmful, right,
and they know it's harmful, but they're like, dang, that's
what the youngins want to hear.
Speaker 2 (22:19):
And like like I'm not like it's like this, like
you said, like there's at the end of the day,
we're in the music business, and what's good for business
isn't always good for the people.
Speaker 4 (22:32):
There you go, keep going, keep going, all right, So impact.
Speaker 3 (22:35):
What's good for business isn't always good for the people.
And people got to pay their bills. Stop, people got
to pay their bills. keV.
Speaker 4 (22:43):
My thing is when I talk about these executives, you
heard me Kevin Lyle say how far are we are
we going?
Speaker 3 (22:49):
Because a lot of these guys are worth hundreds of
millions of dollars? So there you go.
Speaker 1 (22:52):
So when we talk, so when the excuse becomes people
got to pay their bills. When I'm speaking to artists
who aren't starving artists, struggling artists, artists who have made
it and have become moguls and they've become multi millionaires
as well as these executives. At what point is it
like they can't use their excuse I'm just trying to
pay my bills.
Speaker 2 (23:09):
No, no, no, because I'm talking about like on a lower level,
Like let's say somebody has a production company and they
find Sexy Red and they look, I got this artist
who's bubbling in Saint Louis.
Speaker 3 (23:21):
I'm gonna and then.
Speaker 2 (23:22):
From there it goes into the bigger you know, totality
of the system or whatever. I think that, Like I said,
I think there has to be some sort of balance.
And I feel like for whatever reason, man, this beef
with Drake and the and the way Kendrick kind of
just pulled the mask off and the onion, each layer
(23:43):
of the onion on the on Drake's like this whole shit,
I feel.
Speaker 3 (23:47):
Like has kind of like sparked like a ripple of
like consciousness.
Speaker 2 (23:52):
Yeah, and and and it's been and you know, I
just I just met Common and Pete Rock uh for
I met him before, but I just had a conversation
with them and I just think calm, and like I
almost cried thinking them because I was like, bro, when
I was a kid, Bro, like you don't understand, like
you know. And then I was talking about like when
I was a kid, we had whatever you were looking
(24:12):
for there was in music, right, But what we did
have that I don't see at least being pushed in
the same way. Back in the day, there was like
Raucus Records, and like there was like a semi commercial
outlet that people could find conscious music like ty Lib
and Common and like most depth, like those guys weren't
(24:33):
necessarily like commercial, but they were like accessible, like people
kind of knew them. Like you could open up Double
Xcel magazine and see a write up on those guys,
right ye, Or you could listen to like Immortal Technique,
And like when I was a kid, like I learned
so much shit about like the CIA and all kind
of crazy shit just because Immortal Technique was there for real,
(24:53):
And like I like, like right now, like the people
doing that type of shit, whether it's yourself or whether
it's artists who it's just there's just not like there
it's not as easily accessible to the kids because it's
not tiktokable. You know what I'm saying, Like, it's not
it's not algorithm friendly, right, you know what I'm saying,
Like what's going on like like right now with like
(25:15):
in Gazian shit, I'm like, Yo, who's the big artist.
I'm not talking about the artists who's like super underground.
I'm talking about who's like, like, there's not a big
artist who's made like Maclimore, though shot to fucking Maclamore,
respect to him, but like, who's the artist that's gonna
step up and like speak on that shit in a
verse or something, you know what I mean, like or
like educate or you know what I mean, just stand
(25:36):
up and be like yeah, like this is crazy, you
know what I'm saying. And so I feel like when
I was a kid, we had the comments, We had
a mortal technique. And I don't know not to say
that there isn't people out there that are doing that,
but it's almost like so much more suppressed, you know
what I'm saying.
Speaker 1 (25:51):
If you master the art of cooking up and concocting
delicious poison, and you know how to cook it up,
then how to serve it to the people and serve
it to the fan base that exists all around this country.
What happens is they develop a taste for what actually
(26:11):
contains a poisonous message, but because it's been force fared
to them and it's cooked so carefully with the flow,
with the beat, with the hook, with.
Speaker 4 (26:19):
The marketing machine behind it.
Speaker 1 (26:21):
Now, when you offer the people something different, they look
at that like, h that's nasty. So that's where artists
who are truth tellers, such as myself, people that are
on a bigger mission making purpose driven music. You know
what I'm saying, that right there becomes something where we
have to master the art of still giving people what's
(26:41):
delicious to them, which is the beat, which is the flow,
which is the catchiness of the hook, which is the charisma.
Speaker 3 (26:48):
There you go.
Speaker 1 (26:49):
But along with the message and that part right there
is something that I don't think a lot of artists
are up for that challenge because they just feel like, man,
I'm trying to do something to make this world a
better place.
Speaker 4 (27:00):
Shouldn't my job be easy? No, it's never been that way.
Speaker 1 (27:04):
Anybody that has a heavy calling on their life that's
meant to be a voice for the people, you might
not be well liked down here. You might have your
people turn it back on you down here, and you
still have to keep going because you know that this
movement is bigger than you.
Speaker 4 (27:19):
The mission is bigger than your motion.
Speaker 3 (27:21):
Let me ask you this though. So there are artists.
We'll bring up.
Speaker 2 (27:25):
Fredo Bang right, you talked right in middle school. Yeah,
Fredo's a good friend of the show, good friend. I
just was talking to him last week. Somebody who has
been dope to watch him kind of mature as like
a grown man over the last like three or four years,
but without music, right, without the music that made him
like initially successful, which was a lot of like negative
violent street music. Right, he has public beasts with people
(27:47):
and you know, neither hearing her there.
Speaker 3 (27:49):
But without that music, right, are we sure he'd be around?
Are we sure.
Speaker 2 (27:55):
He'd have made it out of Baton rouge? Are we
sure he'd have a future?
Speaker 3 (28:00):
You know what I'm saying.
Speaker 2 (28:00):
So I do feel like with some of these artists,
it's like the music that is negative is what's keeping
them alive and what's giving them an opportunity to like
maybe grow up, get money in their pocket, change, you know.
I think of a guy like Ge Herbot, who I've
also seen just become like one of the sharpest dudes
in the music industry. If you have a conversation with
(28:21):
ge Herbalt, you'll be like, damn, this dude is fucking
on it. Like he started off as a kid like
a drill rapper, you know what I'm saying. And so
I feel like, what do you say to that, Like, yes,
there's obviously, you know, what you would call poison in
a lot of this music. But a lot of this music,
if it didn't exist, a lot of these dudes would
be dead or would be in prison.
Speaker 1 (28:39):
So the reality is at a certain point, those artists
are going to come to where they're un in their
twenties anymore for sure, you know, and they are fathers
now and they have kids they're raising. So what happens
is they have to have people who are pouring into them,
which is why I have a relationship with Fredle and
I literally love that dude, Like he no.
Speaker 2 (29:00):
He's great, He's one of the best dudes in it.
Like he's such a nice dude, man, and like he
gets it for real.
Speaker 1 (29:05):
So when you know that someone has such a great heart,
right and it's so artistically talented and so giving and
so selfless. Right when you know that, and you also
know that there's an industry that does not care about
his forward progression. They don't care about his evolution as
a man, correct, They just care about even fans. So
(29:27):
much pressure comes from fans because the fans don't be wanting.
Speaker 2 (29:30):
The artists he They don't want them to grow, They
want them for what they know them for.
Speaker 3 (29:34):
There you go.
Speaker 1 (29:34):
So that puts all of these artists in a very
precarious position in cav to where at a certain point
they feel like, man, I've grown out of that season
of my life, but there's so much pressure from the
fans and from the industry to keep me held down there.
That's where they have to have other people, and hopefully
I can be one of them to show them that
(29:55):
it's possible to grow. Peace is profitable, Positivity is profitable.
It don't have to be lame. It don't have to
mean that you fall off the face of the earth.
And it's going to require a transition. When you started
out one way, but you grew out of that. But
thank the Lord for growth, because how many people didn't
get to grow out of that season?
Speaker 2 (30:14):
Right?
Speaker 4 (30:15):
You know how many people got caught up in the
beef to the point where they couldn't come back from it,
you know. So I look at it like these brothers
and sisters need to realize how much of an opportunity
they have to grow and evolve. And there's so many
artists who they end up not having the ingenuity or
the courage that it takes, or the grit that it
(30:37):
takes to say, I'm going to evolve even if I
lose some of y'all along the way. Because not all
fans are good, not all attention is good, not all
money is good.
Speaker 3 (30:45):
Bro.
Speaker 2 (30:46):
So for like a lot of these younger kids, there's
kids getting signed seventeen, eighteen, nineteen, twenty years old, right,
would you say that it's on because it's I don't
think you're ever going to see a point in time
where execs give a fuck enough about the artists to
try to pull them inside and say, I don't think
we should release this dis record. That's never gonna happen.
(31:10):
So is it like on the you know, it's shit
gets weird. Artists gets signed, they get new management, there's
new people on their team. If you're a I think
you know, I think about Fulio and uh and Young
and as Right and I'm dude. I mean the last
time I interviewed Fulio, I was like, dude, like I
feel like I'm gonna wake up one day and You're
just gonna be dead, Like you know, yeah, I said
(31:33):
in an interview with them, I was like, yo, like,
when's the shit gonna stop? Like like one day, I'm afraid,
I'm all open up academics page. It's gonna say you
got killed. And I told him, I was like, where's
the line because these like that. To me, that those
two and their beef was so disrespectful and every single
possible line you could cross was crossed. It was just
inevitable that more people were gonna die. And it's like
(31:55):
who's behind each one of these artists that is like
not stepping in and being like, yeah, you know what
I'm saying.
Speaker 3 (32:02):
But if it's also good for business.
Speaker 1 (32:04):
Okay, I just had the idea care this is Accountability
is the word, right?
Speaker 4 (32:09):
We need some level of accountability.
Speaker 2 (32:11):
For sure here, Like if you do some stupid shit, right,
if you if you write a check, someone's gonna cash
that motherfucker that you go.
Speaker 1 (32:18):
So let's talk let's be solution based right now and
figure out what would accountability look like from each end
of the industry. So in my college course, I teach
about the three c's, creators, consumers, and commissioners. Right in
the game, you got artists, you got fans, and you
got label people and media people. So what does accountability
look like from an artist's standpoint? Like, what can we say, like,
(32:40):
come on, man, that's the difference between telling your story
and saying something like you said some dangerous ish that
could have real life implications.
Speaker 4 (32:48):
You know, what does that accountability look like?
Speaker 3 (32:51):
For me?
Speaker 1 (32:51):
What it looks like is now that we have ogs
and hip hop, it looks like artists being able to
come together and say, you know what, Yes, the overt
glorification of I'm gonna walk my op down, I'm spinning
the being, I'm sliding, I'm knocking your head off, DA,
the glorification of murder music needs to stop, Like we
need to say that that's going too far. The glorification
(33:14):
of using drugs, you know what I'm saying, Like drug
addic culture inside of music needs to be something that
we need to speak out against. To me, that's what
the overt glorification of disrespecting women, dog like to the
point where it's just they're so used to being disrespective
right now that they didn't just got to the point
(33:35):
where they're numb to even what they hear, you know.
So for me, that's what accountability were just talking about
from artists could look like. I'm curious as to what
because I feel like you and I may draw our
line in different places, but where do you draw the
line in terms of what accountability could look like from artists?
Speaker 3 (33:52):
This is what I would say.
Speaker 2 (33:53):
I would say that there are there is a certain
aspect of being naive and being somebody who is trying
to do more of what works. And if they see
what works for ABC or d YO, beef sells, right,
It's always been like that. Go back to fifty, go
(34:14):
back to fucking L cool J cannabis, whatever, beef is
always sold. It's always been good for business. So if
you're like a young artist and you understand, well, maybe
when I put out a normal record, I don't see
the numbers that this record does.
Speaker 3 (34:34):
I don't think.
Speaker 2 (34:36):
I don't think a lot of these kids are mature
enough to like take a step back and realize, like, well,
but what comes with the extra million streams or whatever.
I do think, like you said, man, there has to
be somebody to kind.
Speaker 3 (34:50):
Of step in and be like, Yo, we shouldn't put
this out.
Speaker 4 (34:52):
Should that be their manager? I don't know, right, Should
that be an older artist?
Speaker 3 (34:56):
For me?
Speaker 1 (34:57):
We talk you a white man, Yeah, we talk so
much about the black community this and the black community
that that we need people in the black community to
step in and say, Man, that little seventeen year old
that's making that murder music that reminds me of who
I was twenty years ago. But by the grace of God,
I lived to be in my thirties. Now I'm gonna
feel and I'm a successful artist. I'm gonna take it
(35:18):
upon myself to pour into that young brother to play
some positive seeds, you know what I mean. I think
that that's where the accountability needs to come from. It
probably won't come from the managers because all they care
about is they twenty percent commission.
Speaker 2 (35:29):
Yeah, and they just want to Yo, let's go get
an advance because I'm gonna get paid even if you
never recoup.
Speaker 3 (35:34):
It's child abuse. Bro.
Speaker 4 (35:35):
A lot of these older managers that hurry up and find.
Speaker 2 (35:38):
An artist artists into a label deal. Hey, it's a
bullshit because guess what for people who don't know when
you get it, you get pushed into a shitty record
deal by a manager, it's because that manager's just gonna
take his piece of that advance and he's never got
to recoup it. He's not signed to the shitty record label,
thank you, what the shitty terms. It's the kid that's
now fucked. So even if in nine months the shit
(35:59):
don't work out with the manager and the kid, the
managers got free with his money in his pocket, than
that what happens all the time.
Speaker 3 (36:04):
I see that shit.
Speaker 2 (36:05):
I told that shit to artists where I've been in
the studio with them and been like, yo, I'll use it.
Speaker 3 (36:11):
I don't want to say.
Speaker 2 (36:13):
If this is somebody who's not a kid, but somebody
who's buzzing real hard, like three years ago, and they
all of a sudden signed to like a bigger management company,
and I sadone I'm close with, you know, and they
were pushing them to sign to Atlantic. And this artist
was very I mean millionaire off of independent music sheesh.
And I was like, I was like, yo, they're only
(36:34):
pushing you to sign that deal because it's it was
like a million dollar advance. I was like, bro, you
could put out a hoodie tomorrow and make a million dollars.
Like they're they're pushing you because they're gonna get they're
gonna get their piece off of that. And now you're
fucked because now you can't do what got you here,
which has drop music freely, and you don't even make
the music that makes sense to be on a major
(36:56):
Like I've never heard you put out a record that
I said to myself, Man, if that was just on
a major label, bro, like, if it ain't broke, don't
fix it, don't And.
Speaker 3 (37:03):
Ended up still ended up.
Speaker 2 (37:05):
It wasn't Atlantic that they ended up signing with, but
they did end up signing with a major label and
ship's hit a wall since then. But I bet you
that management got their.
Speaker 3 (37:14):
Piece and that's all they care about.
Speaker 2 (37:17):
Yeah, it's crazy. So many people are in these artists pockets.
It's fucking crazy. It's so crazy. There's like four or
five hands in these from every direction. And that's before
you even look at a lawyer. Yeah, bro, because you
got your lawyer, you got your your booking agent, you
got your your day to day.
Speaker 3 (37:31):
You got the motherfuckers. You got the big manager, the
small manager.
Speaker 4 (37:36):
The production company, you got a production company, like so many.
Speaker 2 (37:41):
Like and like look, you know, like I said, man,
like a lot of these artists, if they're smart, they grow.
Like I just had a conversation with an artist who
is finally understanding.
Speaker 3 (37:51):
That he's getting.
Speaker 2 (37:52):
Fucked okay, and it's like like now that he can
now that he sees it, he can't unseee it. So
he's he's adjusting figure out now that like you know,
but most artists are just like they're really gonna trust
whoever they signed to to just guide them through the industry.
And a lot of times those motherfuckers give them their
own lawyer.
Speaker 3 (38:10):
Yeah. So if you're a young, up and coming.
Speaker 2 (38:12):
Artist, Yeah, your lawyer represents the people who are fucking you.
Speaker 3 (38:16):
Absolutely.
Speaker 2 (38:17):
If you're signed to somebody, don't hire the lawyer. They
suggest who's best interest is that lawyers? Like come on, Like, so.
Speaker 4 (38:26):
Here's another catch twenty two is you got fans. What
level of accountability should fans have in this industry? Because, bro,
one of the worst, most toxic places in hip hop
is the comment section. Oh it's the worst, especially after
somebody dies for sure if they had an.
Speaker 3 (38:43):
Opp Oh it's bad. Oh it's bad.
Speaker 4 (38:46):
It's gruesome.
Speaker 5 (38:47):
Bro.
Speaker 1 (38:47):
It's like it makes me cringe to be like, this
person really just passed away, and y'all are in this
person's comment section.
Speaker 4 (38:55):
Just going in would almost bring tears to my eyes.
Speaker 3 (38:58):
Bro.
Speaker 2 (38:59):
Yeah, I mean the fans and they have some accountability,
I think. Unfortunately, like the consumer base is so numbed
to thinking that artists are like video game characters, and
I think a lot of that it gets wrapped up
in like the streaming culture, and like you go on
YouTube and watch any documentary about some of these YouTube
pages be having the most in depth documentaries about beef,
(39:24):
beef or and like crazy shit.
Speaker 3 (39:28):
So these have millions of views.
Speaker 2 (39:30):
So these artists are like, it's almost like they're watching
their favorite TV show play out live the way you
would watch power. A lot of people are watching these
fucking documentaries, right, so they're invested in the storyline of
let's say Young and A's and Julio Fulio's beef because
there's thirty eight documentaries with millions of views on YouTube
about it. So when somebody dies, they don't look at
(39:52):
these motherfuckers like people, they're looking at them like people
on TV. And it's crazy because our culture has produced
so much insensitivity or like real life, you see it, Bro,
people will do anything on the streets to get to
go viral. They'll literally check their integrity.
Speaker 3 (40:13):
At the door and do crazy whole ship for a
million views.
Speaker 2 (40:20):
They'll get punched like like I'll be seeing some of
this ship and I'm like, damn, bro. Like when I
was a kid, we had Jackass and we had Tom
Green and all kind of you know, interesting and stuff.
But nowadays, bro, the amount of wild, disrespectful shit that
goes viral is like I think it's like the boot
Gang kid who I think has gotten saved.
Speaker 3 (40:37):
Yeah he got saved. Yeah he sober shoutut to. I
think his name is John Cabanney Jackobanda.
Speaker 2 (40:42):
That's my dude, A good guy, right, But like when
he was going viral, I think people were seeing how
he was going viral and they're like, oh, I gotta
do I gotta one up that, and he was doing
some crazy shit. And this is just kind of the
world we live in now, where like social media and
like just like I'm like Aiden Ross, I'm at Dre's
(41:02):
right with fifty cent. This was Saturday Friday, and Aiden
Ross walks up trying to get into VIP but he's
like streaming it like live on the internet. So he's
like living his life for his stream and like shout
out to him. He's making money, right, you know whatever.
(41:24):
You know, he's doing well for himself. But like how
many kids are like okay, if Aiden Ross and Kay
Sanat and all these people, they're popping and like, I
think I love Kai by the way, I think Kay's great.
Speaker 3 (41:36):
I think he's hilarious.
Speaker 2 (41:38):
But like they're they're the streaming culture. And I'm not
talking about streaming in front of a computer playing music, reacting.
Speaker 3 (41:45):
I'm talking about like when you're walking.
Speaker 2 (41:47):
Down the street and people are on kicks streaming their
life live seeing how many times it can go viral
in a day. There's like hundreds of thousands of smaller
versions of that that are trying to be the next
that that are trying to one up and do stupid
shit on the Internet to try to get attention. And
like I said, dude, I do think the Internet has
desensitized us all to like just this is like real
(42:09):
life shit. People lose their life, people die, and we
never had that growing up. Like the most we had.
Speaker 3 (42:14):
Was like double xl oh, world Star, Fight Works or
Yeah or world Star.
Speaker 2 (42:19):
But even before that, it was like you would hear
somebody get dissed on a CD that you had to buy,
and then you would read about it.
Speaker 3 (42:26):
Obviously we've lost people Tupac, Biggie, etc.
Speaker 2 (42:30):
But it was never like dis documented. For every time
something happens, there's one hundred reaction videos and this internet
YouTube reaction like crime documentary culture that we live in.
Fans don't they don't give a fuck about the music,
and they don't even fuck about the artists. They give
(42:50):
a fuck about the drama, the storyline that they're engaged in.
They know more about the storyline of Somebody's Beep than
they do about the album that dropped a lot of
these artists.
Speaker 3 (43:00):
Like obviously there's artists people.
Speaker 2 (43:01):
Are engaged with, like you know, young boy guys like that,
but like, I just feel like the culture of like
content has really like dehumanized not just rappers, but just
the fucking world.
Speaker 3 (43:12):
So here's my theory.
Speaker 1 (43:13):
My solution is, we need to take what we know
as hip hop culture and at this stage we need
to throw it away. Just like I'm from New Orleans
and when we had Hurricane Katrina come through, what we
knew New Orleans to be we had to throw that
away because it got swept away, right, And once it
got swept away, it didn't take away the identity of
(43:33):
New Orleans, but what we knew New Orleans to be
got swept away. We need to do that same thing
with hip hop because what we knew hip hop and
hip hop culture to be is something that has gotten
commandeered and kidnapped and diluted and perverted into something that
it's like, wait, it was never intended to be this
tax it can be this negative. So we need to
just sweep it all away, throw it all away, and
(43:56):
still have the identity of what hip hop is.
Speaker 4 (43:58):
And just like we had to do in New after Katrina,
we had to rebuild. We need to rebuild hip hop
and keep the positive aspects, keep the stuff that feels
like it's progressive and saying yeah, we want that to
be a part of the culture. But all the stuff
that is clearly overtly toxic and negative, we need to
throw it away and keep it out, man, because at
this point we want to make this inclusive room for
(44:19):
everything and say, yeah, that's hip hop, and that's hip
hop too, and that's hip hop. And I guess, I mean,
I guess when somebody get murdered and making murder music,
I guess that's part of hip hop.
Speaker 1 (44:27):
But then when somebody doing some positive week, gonna be
all right, that's hip hop. But then this is like,
we don't have any standards. So that's my vote is
as long as people are truly wanting to preserve their
idea what hip hop culture is, we're gonna be doomed
because we didn't do a good enough job being gatekeepers
of the culture to allow it to still exist in
(44:51):
its purest form. Things can grow, but when you see
things growing in the wrong direction, that's when you're supposed
to say and do something. The problem is, it's been
thirty some odd years at this point that has been
growing in a direction that I think everyone is like, wait,
more rappers getting murdered every year. Wait, this type of
music is on the overdoing all overdose. Now you go
(45:11):
to overdose culture and all of this. Now we are
seeing people we knew as moguls getting dieted on charges
that go back twenty and thirty years.
Speaker 4 (45:21):
You know what I'm saying, Man, we're seeing this stuff.
Speaker 1 (45:23):
We're seeing it's too normal for rappers to be doing
jail time and getting killed. This doesn't happen in other
genres of music at the rate that is happening in
hip hop, for sure.
Speaker 2 (45:33):
I do think though, the overdosing aspect, I do think
that is a an overall issue just.
Speaker 3 (45:42):
In music all in the world. In a way, Okay,
I would.
Speaker 2 (45:44):
Agree, because defetanol shit has hit the world, like it's crazy.
You know, I have no personal people in my life
that have overdose and die that aren't rappers, that just
have jobs.
Speaker 3 (45:54):
So I think that.
Speaker 2 (45:55):
But but again, there's obviously music that pushes drug use
and all that. But I gotta ask you this, Like,
so there is an aspect of like, Okay, if you
think of like Sexy red right, Like I genuinely enjoy
Sexy Reds music, Like I'm a club DJ, so like
I see like how much people enjoy her shit. They
dance to it. I mean, women love her music. Where
(46:19):
is there like, like for you in the world that
you're you know, proposing, is there a space for like
just fun music that is not necessarily content heavy.
Speaker 4 (46:33):
Yes, indeed, Bro, Bro, Bro, you don't think it's possible
to make fun music that doesn't have to I just
like be super ratchet and super.
Speaker 2 (46:42):
Raunch, But I think that the ratchetness of some of
this music is like, like I was just talking to
Hurricane Chris right, and he's from Treeport, and he was saying,
like he's got a problem of fifty. He said, because
early on before fifty brought his studio there, he said,
when he brought it, he's gonna get rid of the ratchetness,
like ratchet and they call Shreeport ratchet City. It's a
part of the culture of Streetport, like that music is
a part of the culture of Streetport, even in the
(47:03):
oils a bounce. Music like back that Ass Up is
a fucking quite possibly, I don't know, that might be
a top three greatest hip hop song of all time
if you think about just like that song never not
get played in the club forever for the rest of eternity.
If there's clubs juvenile but back that Ass Up from
your hometown. That's a song about shaking ass, throwing ass.
(47:24):
But it's an important song. Would you agree or disagree?
Speaker 1 (47:27):
What has made it important though, is that whenever you
offer something to people, there's always going to be an
appetite and a desire for people to have a soundtrack
to justify what it is that they're already doing or
what they want to do. So, when you think about it,
music is not supposed to be on the back end,
you know, no pun intended, but on the back end
of what's going on. Musicians are supposed to be the
(47:49):
cultural savance and the leaders to say where do we
want to take our people?
Speaker 3 (47:53):
You feel me?
Speaker 4 (47:54):
And that's the problem is musicians have fallen into well,
what do the people want? Whatever the people want, that's
what I'm going to give them. That's the problem.
Speaker 1 (48:01):
I think that as a leader is about giving people
what they need, and giving them what they need is
going to change what it is that they have a
taste and a desire for.
Speaker 2 (48:09):
So do you think I'm going to ask you about
that one song being from where you're from. If what
you're proposing is the truth that song doesn't exist, you
think that's a good thing?
Speaker 3 (48:20):
Back that ass up. If that song didn't exist.
Speaker 1 (48:22):
Now, this is me having a relationship with juvenile Legend
with his Yeah, like literally.
Speaker 3 (48:26):
One of the goo Like four hundred degree is one
of my favorite alms of all time. I'm cool with Bro.
Speaker 4 (48:29):
That was the soundtrack to our lifeild growing up in
New Orleans.
Speaker 3 (48:32):
You know.
Speaker 1 (48:32):
I mean, I think that there's a different version of
back that thing up that could have come out that
could have been just as powerful. Literally same beat, Sam Hook,
Sam Cayden should heard me, that.
Speaker 4 (48:45):
Could have been just as powerful.
Speaker 1 (48:46):
And I think that our world doesn't normalize that that's
even a possibility, and we just say, well, it just
had to be this one song because we can't even
imagine something being that powerful if it wasn't that. But Bro,
thankfully as artists who have come along, myself being one
of them, that's showing like, wait, this can be a hit.
This song can get played by the masses and people
(49:08):
loving this song, but it has a different vibe to it,
same same vibe in some ways, but it doesn't have
to all the way dip into, uh, the lowest level
of who we are.
Speaker 3 (49:20):
I think what's also very like.
Speaker 4 (49:23):
Summertime by Will Smith? Not to cut you off Summertime?
Summertime by Will Smith? Ain't that a classic?
Speaker 3 (49:27):
So I don't know if you could throw ass the
summertime though.
Speaker 1 (49:29):
Okay, is there a song that you could throw Buddha too?
That is not uh all the way in the Jewelvie
back that thing up lane.
Speaker 4 (49:39):
Is there a song you could throw boot not not
that you could throw because I'm not trying to say at all. Yeah,
is there think that Let's go through the catalog. Let's
see Yay Cole, Kendrick, jay z Nis.
Speaker 2 (49:54):
I mean those aren't even club artists. I'm thinking like
the Big Club Records of all time.
Speaker 4 (49:59):
Okay, big club brotherers Bro, there's several keV Nelly he I.
Speaker 2 (50:04):
But it's getting hot in here right right, I mean
the am getting naked.
Speaker 1 (50:10):
I mean right, I'm gonna have to make the son.
Then I'm gonna have to make I'm have to make it, bro.
Speaker 3 (50:15):
But so so so so listen.
Speaker 2 (50:18):
I think the other answer to this is one it's
not realistic to think that like like that's even like
a real possibility. I think what is realistic is guys
like yourself, guys like Kendrick inspiring people to be like, oh,
we ain't got to do it this way. And I
think that this is the highest version of people paying
attention and being like hmm, That's why I said, like this,
(50:41):
somehow this beef with Drake has turned like opened up
a lot of fans' odds to being like oh shit.
And I think the problem there is, though Kendrick is
a generationally talented human being, uh, and not everyone's talented
as Kendrick Lamar where people will overlook what they might
(51:06):
want to hear to be like, oh, this ship is
just so good it's undeniable that I can't even deny
it because think of all the people who are hating
on Kendrick. Even when Youporia dropped and I think You're
Fouri is the best record at all the distance, it
was like they didn't have They didn't really be like
okay Kendrick until Not Like Us came out because Not
Like Us.
Speaker 1 (51:23):
Was easier on it is you could dance to a club.
Oh I thought of a record by the way that
people throw booted too. They got a different vibe nice
for what by Drake?
Speaker 3 (51:34):
Fair enough? Yeah?
Speaker 2 (51:35):
Great record by the way. Yeah, and it's got and
it's the New Orleans sound.
Speaker 3 (51:38):
New Orleans bounce You feel me?
Speaker 2 (51:41):
But I'm just curious, like, like I think that would
to me be the The answer is like whatever's happening
right now with this moment of music is hoping that
it can help inspire artists to change and or artists
who are doing that type of music. Kenny Mason from Atlanta.
I mean, there's so many dope artists who are just
(52:01):
crazy dope, like maybe now like people might give them
a real change, even like a guy like Denzel Curry,
who I think is so is like an alien. You
know what I'm saying that Denzel Curry isn't necessarily making
like you know, Christian rap or anything, but like he's
so artistically unique as an artist where he could do
so many different things that like, you know, he's got
(52:22):
platinum records too, shout out to him, but you know,
I would like to see him be like up there
with the Drakes of the world or you know. And
we go on and on about artists who are dope,
but I think that that's kind of we're in this
space where it's like, Okay, well, the guy doing it
at the highest level is an alien, and really the
other guy who's doing it at that level is Jay Cole,
who's also an alien.
Speaker 3 (52:44):
And I say this because those are the two.
Speaker 2 (52:46):
Guys who are a part of the Big Three and
have kind of been a part of Like it's them
two and Drake, and you know, listen, Drake also is
an alien. Let's be clear it. Drake is one of
the greatest artists I've ever lived, you know. I think
that with Kendrick and Cole being so prominent throughout the
culture throughout all these years, like what's common the commonality
(53:08):
about both of them is that they are conscious of
what they're putting into the world. And they're two of
the biggest three that.
Speaker 4 (53:16):
You go, two thirds of the Big three is super conscious.
Speaker 2 (53:19):
Super conscious and super super purpose with their intent on
everything they do, whether it's an artist they sign, whether
it's a verse that they drop.
Speaker 3 (53:27):
Even I think back to the J.
Speaker 2 (53:28):
Cole conversation where he tried to sit down with a
little pump, you know, and try to explain a little pump,
but it was probably gonna happen with his career, and
it ended up happening. I think that, you know, again,
like I hope that this sparks more artists who are
inspired by Kendrick than maybe inspired by op killing music.
Speaker 3 (53:48):
Mm there you go, then you go. But I don't know,
we we probably.
Speaker 2 (53:52):
Won't see that for a few three, four, five years,
but then we're seeing it right now. I think we're
seeing it right now, bro. Like I said, I just
put my song.
Speaker 1 (53:58):
Out yesterday called call It Like it Is, and it's
me responding to Kendrick and showing him love for a
d one.
Speaker 3 (54:06):
I want to make sure that more people know who
you are.
Speaker 1 (54:10):
You know what I'm saying by saying that in the song,
so that it's up to me saying bet the shift
is happening right now. I'm clearly a part of this shift.
So when I get the baton, I gotta do what
I do. So I hit them with what's the point
of writing all of these lyrics? If I'm rapping to
an audience that ain't trying to hear it. They'd rather
me blow a bag than rap about building wealth. They'd
rather me get some brain and rap about mental health.
(54:30):
Don't sensor me eventually try to make sense of me.
I don't need your dollars. I need you to think sensibly.
You feel good now that you're vegan. That's funny.
Speaker 4 (54:39):
If you're still promoting garbage, you're just a healthy dummy.
My city don't even love me. I'm calling it, how
it is.
Speaker 1 (54:45):
I'm a threat to the power structure, brain washing our kids,
fracturing all the egos of illegitimate.
Speaker 4 (54:50):
He rolls, I only look up to one man because
he died. Then he rolls. I keep it too real
because life don't last too long. If everybody likes me,
I'm doing something too wrong.
Speaker 1 (55:00):
Maybe in time they'll appreciate my words like nipsey Till
then I'm gonna see how fuck keeping it real gives me.
So call it like it is, call it what it ain't,
call it what you want.
Speaker 4 (55:10):
No, I ain't knowing that drink. I'm speaking from the soul,
and I don't care who feel it. Yeah, hip hop
is dead, and y'all the ones who killed it. No,
I'm not impressed, and I say that with my chest.
Speaker 3 (55:20):
Man.
Speaker 2 (55:21):
Come on, man, come on man, what are your thoughts
on the whole Diddy situation? Crazy situation by the way,
And also also a lot of people knew that shit
was going on, So.
Speaker 4 (55:31):
All the people who knew that it was going on,
they scared right now, a lot of people.
Speaker 3 (55:36):
Who enabled it. There you go, they're probably going to jail.
You think they'll go to jail if he gets convicted? Now,
I don't. I don't know.
Speaker 2 (55:42):
I'm not super educated to what was in the indictment
because I didn't read it. And I'd like to point
out that there are the definition I think of sex
trafficking is having someone travel over state lines for the
purpose of sexual activities. Think and a lot of rappers
are guilty of that, flying girls.
Speaker 3 (56:05):
But I know they said that they got tons of video,
a lot of parent He was taping all of this.
He was taping everything on some Epstein type shit. They
called it freakoffs.
Speaker 2 (56:13):
Freakoffs had one hundred bottles of loop all kind of craziness.
But he had a team, he had security, he had
people around him, He had assistants who certainly, if there
was serious crimes being committed, people being raped, I don't know,
that are a part of that. So those people are
freaking out.
Speaker 1 (56:34):
Well, if all of this happened, made justice prevail, let
the empire crumble, you know what I mean, they'll be
all right.
Speaker 3 (56:41):
God is still.
Speaker 2 (56:42):
It's like we're like like Diddy was kind of the
epitome of like hip hop entrepreneurship.
Speaker 3 (56:47):
Are hole.
Speaker 1 (56:48):
Absolutely, he was the epitome of black excellence and in
our community. You know this is Black Excellence the rock? Yeah,
so we need to get rid of this old idea
we had of what Black Excellence looked like. We need
to get rid of this old idea we had of what, Oh,
this is what a mogul looks like, and this is
somebody to a spy in Rusby.
Speaker 2 (57:06):
Russell Simmons has some pretty crazy allegations, right, and whatever
happened with that?
Speaker 3 (57:11):
Did he?
Speaker 2 (57:12):
I just watched that documentary on HBO and then I
know he went to Bali, Yeah, and the speculation is
again I don't know all. I just know that the
speculation is he went there because they don't have extradition
laws really, but that's okay. I don't know if that's
why he went there, right, But.
Speaker 4 (57:27):
So all the people we look up, we grew up
looking up to Diddy.
Speaker 1 (57:31):
You see what's going on with him fighting for his
life right now, Russell Simmons, They stay home and it
went to Bali.
Speaker 3 (57:35):
You hear me, maybe trying to jump ships so they
can't get him. Damn Dash. You hear me.
Speaker 4 (57:40):
They talking about Dame going through it right now?
Speaker 3 (57:43):
Broke.
Speaker 4 (57:43):
Dame said he's broke. You know whether you know what?
Speaker 2 (57:45):
One thing though, I do respect about what Dame said.
He said, when you chase your dream Because I've been
around Damon, I feel like he truly is like a
Like he really is like a he got big dreams, bro.
And he said, when you chase your dreams to the
point when that I chase my dreams, when they don't
work out, you can end up broke. So you know,
I wouldn't put I haven't heard anything crazy about Dame
(58:07):
in terms of, like, you know, anything legally wrong he
was doing. I just think Damn just bro like he
took some big chances on certain shit that didn't work out.
Speaker 1 (58:16):
Sugar Knight was a mogul, sug Knight is in prison,
in prison. There are so many different people that at
this point, y'all.
Speaker 2 (58:24):
But then there's jay Z, who's the other side of that,
who's obviously you know, he's jay Z.
Speaker 3 (58:29):
You know.
Speaker 1 (58:30):
I think the whole point, though, is that the idea
that we had in our mind of what a mogul
had to look like and what you had to do
to become a mogul, let's throw all that out and
let's just say you definitely got to work hard to
become a mogul.
Speaker 4 (58:41):
But hopefully for somebody watching this. You the next mogul,
and you can come up with your own blueprint of
what it looks like.
Speaker 1 (58:48):
Because everything that we were taught in our generation, Man,
we seeing that that stuff is not working out in
the loan run for a lot of these people.
Speaker 3 (58:57):
And the same thing with artists.
Speaker 1 (58:58):
Man, we should have more artists who can make it
normal to age gracefully and to evolve gracefully.
Speaker 3 (59:06):
You know.
Speaker 4 (59:07):
I love when I see ogs like styles P.
Speaker 2 (59:09):
You're right, who man, opening juice bars, sharing game, come man,
sure shout out.
Speaker 3 (59:15):
To styles P. I love when I see that, Bro.
Speaker 4 (59:18):
I love when I see people who like boldly embraced.
I love my man Murders out here.
Speaker 3 (59:24):
In the Lady Immersed Man. Yeah, bros put it album
out together. Yeah, we put an album together. Yeah.
Speaker 4 (59:29):
Like that's that's my brother right there. I love what
I love when I see my brother Loope Fiat school.
Speaker 3 (59:33):
You hear me?
Speaker 2 (59:34):
Who, By the way, when it comes to just rapping,
might be the goat for real goat status man, Jesus.
Speaker 3 (59:40):
Yeah, I don't know if lu got real Jedi, real alien.
Speaker 4 (59:43):
I don't know if Lupe even got like the energy
to dedicate to.
Speaker 2 (59:46):
Bro imagine if he applied himself to come B album
Samurai Crazy.
Speaker 4 (59:50):
I didn't seen it with my own twice Loope teaches
at M I T and I teach at Toughs University.
Speaker 3 (59:55):
They're five minutes apart. Yeah, fucking loop dude. Yeah, listen
to mirrors. It's like nine minutes to just come on,
man excellence.
Speaker 4 (01:00:02):
Hey, and these is my real friends that I all
three of them, not just name.
Speaker 1 (01:00:06):
These is my real friends. Man, even even back home
in New Orleans.
Speaker 4 (01:00:10):
My man currency, you know what I'm saying, Yeah, like
my man currency.
Speaker 3 (01:00:14):
Just to see that this man has.
Speaker 4 (01:00:19):
Succeeded on such a level on his own terms, but
it's still somebody who just be hanging out amidst the people, you.
Speaker 3 (01:00:26):
Know what I mean.
Speaker 1 (01:00:27):
There are examples in our culture to where you don't
have to crash out as you get older, or you
don't have to prostitute your integrity to try to stay
relevant with the teenagers. And we need more of that, man,
because we're starting to have it to where we're gonna
have just as many rappers in their thirties, forties, and
fifties as we got in their twenties and their teen.
Speaker 3 (01:00:47):
What's happening damn near now.
Speaker 4 (01:00:48):
Exactly, and who you think is supposed to be setting
the tone for the culture, the older rappers.
Speaker 2 (01:00:53):
I think that's why it's important that Kendrick's having this
moment because I also feel like, you know, my main
gripe about Drake forever has been, like I just I
don't feel like he's ever expressed a real opinion on
many social issues in his entire career, Like we don't
know how he feels about certain shit, you know, And
I feel like he's never really taken a content risk.
Speaker 3 (01:01:14):
A risk.
Speaker 1 (01:01:15):
I can't associate anything in Drake's catalog with his say
life that was risky, very safe, right, even this is
what he's rapping about girls. It is business is money is.
Speaker 4 (01:01:26):
So when you put business over impact, you will never
take a risk because risks aren't good for business when business.
Speaker 2 (01:01:34):
Michael Jordan said he's never come out about politics because
both sides by his shoes, correct, And Okay, that's fine,
and I feel like Drake's kind of similar.
Speaker 4 (01:01:42):
That's why you gotta respect Steph Curry and Lebron James.
Speaker 3 (01:01:45):
Or Jalen Brown because they Kyrie Irving. Yeah, yeah, all
of the above Kyriver standing on shit cast him a
Nike deal.
Speaker 2 (01:01:51):
Bro.
Speaker 1 (01:01:51):
Yeah yeah, straight up, straight up. So salutes all them
brothers in athletics. So I'm gonna tell you something I
came up with, keV. I started this January first of
d It's a solution to the problems that I see
in the culture.
Speaker 4 (01:02:04):
It's called the Platinum Pledge.
Speaker 1 (01:02:05):
Right, we got platinum records on the wall in this
studio and everything platinum. I turned it into an acronym
that stands for people leading a transformation involving newly unified mindsets.
The Platinum Pledge simply says, this is to unify the artists,
the fans, and the execs in the industry who agreed
that we no longer need to glorify keyword, glorify murder,
(01:02:29):
drug dealing, drug use, disrespecting women, and sexual irresponsibility in
our music.
Speaker 3 (01:02:35):
Right.
Speaker 4 (01:02:36):
In doing that and putting that out there, bro, I
got so many thousands of people who have signed this.
I put it on my website. It takes two seconds
for people to sign it.
Speaker 1 (01:02:44):
That right there is showing me how many people are
ready to be a part of this shift.
Speaker 3 (01:02:49):
Right.
Speaker 1 (01:02:49):
So now what I'm about to do is take it
into phase two to where all these massive amounts of people.
Speaker 4 (01:02:56):
Charlamagne then said, I agree with that. I salute that,
I pledge allegiance to that. D I'm rocking with that.
Speaker 3 (01:03:00):
Da da da.
Speaker 1 (01:03:01):
So many tastes, makers, artists and everybody are ready for
this shift that now we have to know what can
hip hop look like? And let's confront some of these
uncomfortable truths about the reality of our culture and figure
out what it can look like with the extermination of
the negative, toxic elements. And that might affect some people's
(01:03:22):
bottom line, that might affect some people's streams, that might
affect some people's taste buds and what they've been auto
programmed to listen to and to support and to like.
But if you really care about the betterment of our people,
and when I say our people meaning humanity period, we
who have signed the Platinum Pledge feel like, man, just
the way to go.
Speaker 3 (01:03:42):
So that's yeah, you know what. I just thought of
something too.
Speaker 2 (01:03:45):
I think one of the biggest problems we have it's
gonna end up if Diddy gets convicted. A lot of
people who were just trying to keep their job are
going to go to jail too. But you know, this
music industry is filled with people just trying to keep
their job.
Speaker 3 (01:03:59):
That's a fact. That's a fact.
Speaker 2 (01:04:00):
If you're an r's, if you're a ev P, you
just trying to keep your job.
Speaker 1 (01:04:06):
So they put their integrity in the background and they
produce results.
Speaker 3 (01:04:10):
Yeah, they just try just want to put numbers on
the best.
Speaker 1 (01:04:12):
I'm saying teprety is in the background and in the income.
Speaker 3 (01:04:15):
They can get another year in the building, another year
in the building.
Speaker 4 (01:04:18):
So that's the problem. So bro, we gotta how do.
Speaker 3 (01:04:20):
We fix that. I don't know, Man, I don't know. Listen,
I'm gonna tell you this, and I'm gonna tell you this.
Speaker 2 (01:04:25):
Elliott Grange running in Atlantic is not helping. It's not
gonna help.
Speaker 3 (01:04:29):
Because his daddy run Universal. Yeah, it's a problem, dog,
it's a problem. Dog. Well listen, that's the same guy
who signed six ' nine dog.
Speaker 4 (01:04:38):
Listen, brother, Ever since I've been knowing you, you've been.
Speaker 3 (01:04:44):
In the media.
Speaker 4 (01:04:44):
You have a platform.
Speaker 1 (01:04:46):
I would just say, I would say and pray you
know what I'm saying that, like, man, God, like bless
my brother Bootleg keV to where all this knowledge that
he has that he knows that there has to be
a level of integrity that comes along with manager in
this platform because people for clicks and likes will get
up here and say and do well.
Speaker 2 (01:05:04):
That's what I'll say about my ship, bro is I will,
I will. I've never you know, anytime I've had an
artist on that it's controversial for whatever, you know.
Speaker 4 (01:05:15):
Especially I saw the young Boy interviews.
Speaker 3 (01:05:18):
Yeah, shots a young boy.
Speaker 2 (01:05:19):
But like, you know, in terms of that, like I
you know, like I've interviewed Texi Ray and we had
fun and it was funny and it was you know,
but in terms of like the street ship, the violent ship,
like I try to make sure that whatever I do
here is is not adding on to any of that,
or at least trying to present the idea of solutions,
you know. Like so that's kind of like my you know,
(01:05:41):
in the world in which our media is adding on
to tension, adding on to beef beef conflicts. I just
don't want anybody to ever be like, man, I heard
you say the crazy shit on the Boulet Cab podcast
and then someone loses, like you know, like loses their life,
like I'm good, Doug, Like I don't want that shit
on my heart. You know what I'm saying, And it's
not worth the it's not worth the.
Speaker 4 (01:06:03):
View, the extra little clicks. Thank you, dog got goosebumps
under my jacket.
Speaker 1 (01:06:07):
Because this is a man in media who with that
lit that seems small what you just said, but that
right there, wouldn't give an open platform to people who
want to come on here basically announce.
Speaker 3 (01:06:18):
That they're about to kill they out.
Speaker 2 (01:06:19):
So like I just had X Rated on the show,
who is a legendary independent rapper sign of Tech nine now,
but his.
Speaker 3 (01:06:26):
Hood and Mazzie's hood they beef.
Speaker 2 (01:06:29):
And I had a conversation about Mazzie with X Rated
on camera and he said, look, I got goosebumps. He's like,
we're both from Sacramento. This man got nominated for a Grammy,
Like we need to like be happy about that, and
like Mazzi reposted it. So it's like, I don't know
if that's like going to change their neighborhood's problems, but
if it means those two guys talk who haven't talked
(01:06:49):
and they don't have direct beef with each other, let's
be clear, it's just that. But it's just like, you know,
but but there is a lot of that going on
in that town, so you know maybe.
Speaker 4 (01:06:57):
Who knows, No, definitely, bro, feel good about that.
Speaker 3 (01:07:00):
Bro. It's not even about feeling good about it. It's
just like, yo, like, let's not add to this shit
like yo.
Speaker 2 (01:07:04):
Like the content like you said, Like I said, Bro,
the content culture we're in, it's we are content addicted, Bro.
Speaker 3 (01:07:12):
Whether it's Instagram or YouTube.
Speaker 2 (01:07:15):
I can't work out with a YouTube without a YouTube
or a podcast playing. I always have to have something playing.
We're all addicted to it. For me, it's fantasy football
talk or political shit or whatever. We're The content culture
we live in is not good for humanity on all fronts,
not just hip hop, but on all fronts.
Speaker 1 (01:07:34):
Dog, I had a Christian rapper hit me up before
and suggest that we fake having a rap.
Speaker 3 (01:07:40):
Beef, which is crazy.
Speaker 4 (01:07:42):
A Christian rapper dog hit me up and fake that
we have a rap beef and propose that to me,
and I was like, brother, I said, the problem with
that is your fans they gonna pray for me. My
fans they're gonna come for you. You hear me, So
we can't be faking nothing because where I'm from, you
don't play with Nora Beef and clearly you're doing this
because you feel like this is gonna get some extra attention,
(01:08:04):
which is some extra couture is very Unchristian, like come
on man, yes and dog, So when I have seen that,
I echo what you're saying about me. In such a
content culture, I got people who will have issues with
one another, right, And it's like, oh, we got issues. Clearly,
if we have issues with one another, and if we
truly care about the personal relationship and getting that back right,
the first conversation we have probably shouldn't be on camera,
(01:08:26):
of course not. But I got people that's hitting me
up like yeah, yeah, let's talk about our issues on camera.
Speaker 2 (01:08:33):
That's not how That's not how the real world works.
Not everything's meant for content.
Speaker 3 (01:08:36):
Man, I knew I wasn't crazy though, No, no, no, for sure.
Speaker 2 (01:08:38):
I mean I see it all the time where I'm
just like, it's just like dog, like it's exhausting. Everybody's
got a camera guy, and it's just like yo, like
not everything's got to be documented like this is but
this is the world we're in, bro. It's like it's
it's unfortunate, it is what it is for you would
you say that you've I just interviewed a a dude
named Miles Minute who's a Christian brother.
Speaker 4 (01:09:00):
You know, he on my my my album Oh No,
that came out of Yego.
Speaker 2 (01:09:04):
Would you say I wouldn't consider you a Christian rapper.
I consider you a rapper that happens to be Christian?
Speaker 3 (01:09:09):
Is that? Yeah?
Speaker 4 (01:09:10):
Bro? All them titles and and the subtitles and all that. Brother,
I'm like, hey, I got into this game, just do
you and whatever?
Speaker 3 (01:09:17):
They're just trying to make him pay. So you know
what I call it. I call it purpose driven rap.
That's what I mean. Yeah, I make purpose driven.
Speaker 2 (01:09:23):
I was gonna say, for you, do you feel like
there's I mean you're seeing it.
Speaker 3 (01:09:29):
You know.
Speaker 2 (01:09:29):
We talked about like there's people who are putting on
amazing content that is positive, like like Larussell to me
is a shining beaming light of amazingness in our music industry.
And that's why I try to shot him out whenever
I can.
Speaker 4 (01:09:40):
Yeah, yeah, we about to drive a son again.
Speaker 2 (01:09:43):
Yeah, dude, we might look back five years from now
and be like, Yo, that a little motherfucker from Vallejo
really might have changed the rap game.
Speaker 3 (01:09:50):
The business model at least come on, man, Yes, but
who are.
Speaker 2 (01:09:55):
Some of the other artists that you feel like are
kind of, you know, in in a line with kind
of what you're saying.
Speaker 4 (01:10:01):
Like the purpose driven rare. Yeah, bro, there's so many artists.
Speaker 1 (01:10:05):
Some are Christians and some are just people that are
out here trying to make progress in this world and humanity.
Speaker 3 (01:10:11):
Right.
Speaker 1 (01:10:12):
So one you talked about you you got a relationship
with freda Well, one of Freddo's best friends is named
Joe Scott. That's my other former student from br from
Baker exactly, you know, representing the Baton Rouge area. Brother,
he's a beast. I guarantee you about he about to
take off. You hear me about to really take off? Like,
(01:10:32):
that's a dude who I've been rooting for for the longest.
And I'm like, I you almost there, you almost there?
You almost there?
Speaker 4 (01:10:37):
Another brother? Who Man, we just got kindred spirits.
Speaker 1 (01:10:41):
So me and this dude, you know, behind the scenes,
we got a real good relationship.
Speaker 3 (01:10:47):
Dizzey Right, I love Disney Man. Man.
Speaker 2 (01:10:49):
So I've known that kid since he was going by
Dizzy d. You know, it's crazy. I judged the Talent
Show when I lived in Vegas. I used to do
radio in Vegas. He won the challenge show at Sheic Shoes.
It was like twenty ten real and he was doing talent.
He was going by Dizzy d Flashy.
Speaker 3 (01:11:03):
Really. Yeah, that's my brother for real. I love Disney
Man really.
Speaker 1 (01:11:07):
Okay, So Dizzy Dizzey is a dude who I see
him from afar and I see him welcoming the evolution
as he grows and mature. Sure like he putting out
more music than ever, as he's growing wiser than ever,
you know what I'm saying. So I see that and
I'm like, oh, that's that's what we need more of
in this game.
Speaker 2 (01:11:24):
You feel I do Price too, Shot the Price tag
formerly an Auto Push. Price is doing this thing man. Price
is pushing you know, he's pushing good ship man Shot
the Price for real. Yeah, Price is dope. Yeah he
he You remember Audio Push, yes, of course. Yeah, so
Price is from Audio Push. But he's been a solo
artist for like four years now. But he's hard. Yeah.
Speaker 1 (01:11:42):
And we got another brother. He from my he from
my state name carrying the Light you hear me. He'
a Christian artist carrying the Light man. Same thing He's
featured on my album that I put out recently. I
love that to dude, you know what I'm saying, Just
somebody who is unapologetic about knowing his purpose in this game.
You heard me and him saying, come on man, like
I'm I'm I'm doing it. Whether y'all not like me
(01:12:03):
or not, I'm on a big o mission. You feel
me Like, that's the type of people that no matter
what it is, or I'm about to go on tour
with uh.
Speaker 4 (01:12:10):
I mean, he been in the game forever, but Brother
Ali shout out.
Speaker 3 (01:12:13):
To him, I'm about to go on tour with him. Brother.
He's a fucking legend, bro.
Speaker 4 (01:12:17):
But the thing about being a legend nowadays is you
could be a legend and still be unknown by other people.
That's the beautiful part they don't know about now.
Speaker 3 (01:12:28):
White Van Music Man shot to Jake One that that
that what was that song The Truth with Freeway? That
shit was crazy. So shot to Brother Ali man, Yeah,
that's dope.
Speaker 4 (01:12:38):
My brother, my brother Mac from New Orleans who used
to be with No Limit.
Speaker 3 (01:12:42):
Yeah, like I had his album Shocked you did, we
all did? Yeah?
Speaker 2 (01:12:46):
I had all the No Limit albums. My whole fucking
CD rack in my room. I felt like for it
was all the colorful as jewel cases.
Speaker 4 (01:12:53):
He was more of a no limit or cash money
one hundred percent of no limit Okay, not even close.
Speaker 3 (01:12:57):
Really, I had no limit chain and everything.
Speaker 2 (01:13:00):
Really, Ghetto Dope was like the first the first master
PC I owned was the ice cream and Ship with
the white cover, and then uh, because No Limit was
first they were. Ghetto Dope was like Ghetto D's like
dog I know that pretty much the whole album by
like by heart, Like that's one of my favorite albums ever.
(01:13:20):
I kind of because they had like their little conflict,
I kind of shun cash money low key, but it
was just so good that you had to be like.
Speaker 4 (01:13:28):
That's how powerful rap.
Speaker 3 (01:13:30):
Four hundred degrees was just so good that you were like,
you couldn't deny it.
Speaker 1 (01:13:34):
I mean, but for people who try to tell me
on these podcasts all around the country, it's just entertainment.
Rap music had a white dude growing up where it
in Phoenix saying, man, I ain't rocking with cash money.
Speaker 4 (01:13:49):
Just on the strength of how much I am rocking
with no limit. That's the power. I ain't never met.
Speaker 2 (01:13:53):
None of them, but I had to fucking Nolan. I
had the no Limit Jersey. I saved so much money
to buy that bitch. It was like one hundred dollars. Yeah,
I thought self. The Shaker was like so hard as
a kid, bro like charge it to the game and
the farther four boys, And of course Mystical unpredictable. And
what was the album with I Smelled Smoke? The second yo,
(01:14:16):
Mystical was so tough that missed the album with I
Smell Smoke? I think it was called unpredictable.
Speaker 3 (01:14:22):
Actually, yeah, unpredictable.
Speaker 4 (01:14:23):
Fucking that was that was with the with the puzzle pieces.
Speaker 2 (01:14:26):
No, that was unpredictable was the one after that? Okay,
but nah, Mysticol was crazy? Yeah, Bro turned out he
you know, probably not the best guy.
Speaker 3 (01:14:36):
But you know these are heroes.
Speaker 2 (01:14:40):
Hey man, man shout out to Diddy anyway, Look man, uh,
people are able to buy and support what you're doing
on d one music dot com.
Speaker 1 (01:14:48):
Dee the number one music dot com. Not only do
I have oh you know what, it's over there. I
got a children's book I wrote. It's a hip hop
children's book.
Speaker 3 (01:14:56):
You hear me.
Speaker 4 (01:14:56):
It's called David Found his Sling Shot so that's on
the on the website. It ain't gonna take number five.
Speaker 3 (01:15:02):
Man, go grab it. Show off the book, man, I
want to Yeah, that's hard. Grab it. I got a
ten year old and a nineteen year old.
Speaker 1 (01:15:12):
Okay word, So this is the book right here. David
found his slang shot. The whole book rhymes. It's a
hip hop book, but it's an anti bully in children's
book because I used to get bullet when I was
in kindergarten in New Orleans, and you know, in this
age of ops, this era of everybody being beefed out. Ironically,
me and my former bully are best friends to this day, really,
(01:15:32):
and it talks about how hip hop. I don't want
to get a whole book away, but hip hop actually
played a role and I was becoming best friends. So
I wanted to take my story put it out there.
So that's all my website d one music dot com.
I just put my new album loaded out right now.
Speaker 2 (01:15:48):
Did you get like, when you write a book like this,
obviously you're selling it and you're copying it, like you're
printing these out yourself. Yes, sir, do people reach out
to try to do like a because for people wh
don't know.
Speaker 3 (01:15:58):
The author game is like the rectal game.
Speaker 2 (01:16:00):
But if you get an advance to write a book, like, yo,
take this this, yo, you take.
Speaker 3 (01:16:05):
This to the fucking Barnes and Nobles.
Speaker 1 (01:16:07):
Man that part, that part, yeah, right now, I'm the
dude that's been saying Barnes and Nobles, y'all taking too
big of a cut.
Speaker 3 (01:16:16):
I don't doubt they are.
Speaker 2 (01:16:18):
I'm very ignorant to that, except for I know that
authors get advances the way rappers get advanced.
Speaker 1 (01:16:23):
Yeah, and I chose to take no advance. Better on
myself and h but this is a dope. I said
that I don't wear underground platinum with this in the
past year. Car brother. I'm not no materialistic dude. I'm
not no flashy dude. But just so y'all know, by
the grace of God, I'm not hurting at all. So
I don't want people to think that like d one
got a good heart.
Speaker 4 (01:16:42):
But does it really like pay off?
Speaker 3 (01:16:44):
Yes?
Speaker 1 (01:16:45):
Yes, it pays to be independent, It pays to keep
your integrity, it pays to keep God first, and it
pays to be dope at what you do. So I
got underground Platinum children's book. I got the number two
album in the world on iTunes, loaded as our right now,
about to.
Speaker 4 (01:17:01):
Go on tour. Professor at Toughs University, fellow at Harvard University,
and all this came from rapping.
Speaker 3 (01:17:08):
Man, that's crazy that you started as.
Speaker 4 (01:17:10):
A teacher, as a middle school teacher.
Speaker 3 (01:17:12):
And now you're a professor.
Speaker 4 (01:17:15):
Full circle, my g And ask Fredo next time you
talk to him.
Speaker 3 (01:17:18):
I was missed.
Speaker 1 (01:17:18):
Augustine Cradle just put a country song out. Fredo is
one of the most talented artists in the world. For sure,
he'd be sending me these songs, bro, And I just
be like, how does your brain work like this to
be able to come up with these type of things?
Speaker 3 (01:17:30):
Bro? Like sure, it's crazy. Man.
Speaker 4 (01:17:32):
Man, I'm gonna give you this yeah, thank you autograph
for you even if yeah.
Speaker 3 (01:17:36):
Brother.
Speaker 4 (01:17:36):
So I do book readings all over the country. I
go to schools, and because I'm a rapper, I wrote
the book like I was writing a song.
Speaker 3 (01:17:43):
So I'm able to not.
Speaker 1 (01:17:45):
Only read the book, but like perform the book while
I'm reading it to the kids.
Speaker 3 (01:17:49):
Man, that's dope. It's amazing, bro, congrats on everything.
Speaker 1 (01:17:52):
Thank you brother, And what else can I say yet?
A new single is out call it like it is.
Shout out to Kendrick Lamar.
Speaker 3 (01:17:58):
Have you talked to Kendrick since the shout out?
Speaker 1 (01:18:00):
I haven't talked to him. I just hit him on
social media. It's like, brother, you just changed my life?
Speaker 3 (01:18:05):
Want you? Yeah? I mean, obviously you guys are part
of the same era.
Speaker 4 (01:18:10):
We met at paid Dues in twenty eleven.
Speaker 2 (01:18:13):
Yeah, you guys are the same literally blog era. Literally, Bro,
you guys are products is a blog era literally, So
it's kind of crazy all these years later.
Speaker 3 (01:18:20):
For life is great.
Speaker 1 (01:18:21):
Brother, salute to that man for what it is that
he's doing and trying to do in hip hop.
Speaker 4 (01:18:27):
And I just I want Kendrick to know that I'm
praying for him.
Speaker 2 (01:18:30):
I saw what you said about Joe Budden on the song,
and obviously you said that he's you know, would you
ever go on his show and talk to him?
Speaker 3 (01:18:36):
I would love to go on Joe Budden's show.
Speaker 2 (01:18:38):
Where they would you even think? I feel like it's
one thing to like they should open it. Like I
feel like, if you're going to be very critical of somebody,
give him the opportunity to come and have a civil discussion.
Speaker 1 (01:18:49):
Yeah, maybe Joe Budden will listen to this and be like,
all right, cool, But I would love to have that
because communication in this culture would lead to unification.
Speaker 4 (01:18:57):
It's okay to have a difference of opinion.
Speaker 2 (01:18:59):
And there's a lot of nuance left out when it
comes to tweets and online back and forth. Like I'm
sure you and Rick Ross would have an amazing conversation
if there weren't cameras rolling, it was just you and
him in a room.
Speaker 4 (01:19:11):
That part, man, you know, I pray to guard that
that could happen if it's meant to.
Speaker 3 (01:19:15):
I don't want to force it either.
Speaker 4 (01:19:16):
I don't want to force it, but it could be
off camera, Like off camera is totally fine with any
of these guys, because.
Speaker 2 (01:19:23):
I think that's when the egos get dropped. And that's
not a Rick Ross specific critique. That's just everybody. When
you're not on camera, your ego isn't necessarily on full display.
Speaker 1 (01:19:36):
You know what, there's enough mutual people in the industry
who know me and Joe Budden and who know me
and Rick Ross.
Speaker 3 (01:19:42):
I already been talking to Jim Jones. Yeah, Jim's good guy.
Speaker 1 (01:19:46):
Yeah, we had you know, back and forth publicly, but
we Fromed a really cool relationship.
Speaker 3 (01:19:51):
So what about Mek.
Speaker 4 (01:19:53):
Haven't talked to Meek, and I know a lot of
people who know Meek.
Speaker 2 (01:19:56):
I think Meek's got to I feel like he's got
good intention. I feel like he wants to to do good.
I know he has a good heart. And you know
who I want shout out.
Speaker 1 (01:20:03):
This is the most random shot out ever, but one
of Meek's artists, young brother.
Speaker 4 (01:20:06):
Now, kur you heard him?
Speaker 3 (01:20:08):
K you. That dude is talented. Bro, that dude is talented.
Speaker 1 (01:20:12):
And I hit him up recently just on some like
oh like just ran across your content, brother, and like
I'm moved by that, and then found out after he's
signed to me.
Speaker 3 (01:20:22):
But it's like, bro, we all connected one way, right man?
For sure? That's it there it is, man. I appreciate
you thanking. Do you want much love
Whoa, what's good everybody, It's your boy at D one
And you could check me out on the Bootleg cav podcast.
Speaker 2 (00:10):
Yo, Bootleg cap podcast. Man special guests in here. My
got D one is in the building, Yes, sir, welcome, Welcome,
welcome man. Twelve years later, for sure, Bro, we first
linked up in twenty twelve. I was on tour with Macklemore.
We stopped through Tucson or Phoenix, Phoenix. It was like
ten p yep, somehow, some way, some then you called
(00:32):
the clubhouse, yeah yep, and I ended up at the three.
That was like right when like the rip shop thrift
Shop started to pop. It was kind of like it
started to pop in the middle of that tour. Literally yeah, literally, yeah.
Speaker 3 (00:42):
It's like by the time that tour ended, Maclamore was
a superstar. Bro. That tour was crazy.
Speaker 1 (00:46):
We were doing like fifteen hundred and two thousand CAP
venues at the beginning of the tour. By the end
of the tour they were like, Hey, we about to
run this tour back and this time we're doing full arenas.
Speaker 3 (00:54):
You know, it's crazy.
Speaker 1 (00:56):
Yeah, So that's when we met, Bro. So thank you
even back then for rocking with me.
Speaker 3 (00:59):
I don't know.
Speaker 4 (01:00):
I was independent, so maybe you just saw me open
up for him and you were like, oh this do same.
Speaker 2 (01:04):
Do I think you were doing your thing too, Like
I think I remember just seeing you on Like back
then it was like the blog game was still now
right to yeah, shot to Shake and making those guys
two Door Boys was my site. Man, I'll go there,
Sam Hill. I was like, yeah, I got similar taste
to these guys. So it was crazy too because we
talked about like gatekeepers before we're recording. I actually like
(01:26):
respected those quote unquote gate keepers a lot more than
I respect like this algorithmic playlist like situation that's happening
because at least, like I feel like those guys, whether
it was sk or Shake or whoever, like they really
had like taste, dad taste.
Speaker 4 (01:43):
They had taste. Now it's just mind control. Yeah, playlists
ain't nothing but mind control.
Speaker 1 (01:48):
But back then it was literally people who love music
who are like, if it moves me, if I like it,
it's getting posted it no matter how big it is,
and you go, it don't matter what label is pushing
it to me.
Speaker 4 (01:59):
Sure you know, I mean there was integrity. There was
integrity back then.
Speaker 2 (02:03):
And It's crazy too, because there were more gatekeepers than
per se during the blog era, but those dudes at
the very least have like, in my opinion, like great taste,
you know what I mean. Like I found so many
artists on those sites that were like ground level artists here, bro, Like.
Speaker 1 (02:17):
I am who I am today because of blog era
hip hop. So the all hip hop dot coms of
the world, shout to my man, Chuck Shaking Meccas from
Two Dope Boys, the uh Tumabasa from MTV jams.
Speaker 3 (02:32):
You heard oh Man music now right? Yeah?
Speaker 4 (02:36):
John Gotti from the Smoking Section.
Speaker 2 (02:38):
Yo, I love the speaking of guys. The Smoking Section
was one of my fucking favorite sites. Yeah, Bro, I
found like rits on there was a lot of like
that was a good time, man.
Speaker 3 (02:47):
That was a good time.
Speaker 2 (02:48):
Bro. So we're like like now that there's because we're
talking about gatekeepers, because you've been through kind of like
I would say a lot of iterations of like what
it means to be an artist in terms of like
your experiences with the industry, right, because you've been on
a major label as well, and now you're back to
kind of are you you're fully independent independent?
Speaker 3 (03:08):
What would you say, is the.
Speaker 2 (03:11):
Being a part of so many eras of the music industry,
What would you say is the most like fruitful way
for an artist to kind of pop from, Because like
now you see guys like L Russell kind of re
envisioning what it means to be independent. You know, there's
offer based shows and there's a website called even people
(03:33):
are just selling music.
Speaker 4 (03:34):
Sanul price for the music correct right.
Speaker 2 (03:37):
And so it just seems like there's like this like
quiet revolution happening, like against the machine. But like it
is it better than when it was, like when you
got in.
Speaker 4 (03:44):
Yes, because there's middle class rap.
Speaker 3 (03:46):
Now.
Speaker 4 (03:47):
Back then they didn't have middle class rap.
Speaker 1 (03:49):
You either a mega superstar or you a starving artist
trying to make it. Now there's all these artists who
are making six figures a year, even a cool seven
figures a year, you heard me, and half the game
might not even know who they are, but they just
super serve their fan base. They know what their niche is,
you feel me, and they super serve them. There's people
(04:09):
like me and like L Russell who will go direct
to consumer with our music. I don't I don't ever
put my music out directly to the DSPs. At this point,
I go on my website first and I tell all
my diehards come to d one music dot com. You
heard me, name your own price if you want the album.
So my new album that I just put out is
called Loaded. It debuted that number two in the world
(04:30):
on the hip hop charts, behind eminem iTunes.
Speaker 3 (04:33):
Yeah, on iTunes, right behind.
Speaker 1 (04:34):
Eminem number two in the world independent right, that album
had been out for three months on your fullhand yeow.
Speaker 3 (04:40):
So it's like your fans got it first. Yeah, my
diehards got it first.
Speaker 1 (04:44):
People paying up to one thousand dollars for the album
cam right, literally multiple people thousand here, a thousand and there,
five hundred here, two fifty there, ten dollars here, twenty
dollars there.
Speaker 4 (04:52):
But you add that up now when I put it
on streaming.
Speaker 1 (04:55):
To still do those type of numbers and make that
type of impact on streaming, it's powerful.
Speaker 3 (05:00):
Well you know what I mean.
Speaker 1 (05:01):
And the album consists of let me see, I had
Fredo Bang featured on the album. You know FREDI I
think you have Frederick that's my former middle school student.
Speaker 3 (05:10):
I used to be his teacher.
Speaker 1 (05:11):
What yeah, bagging band ruge Yeah, right, so crazy. Like
Fredo is on the album That's Love. That's a relationship.
Project Patters on the album you Hear Me That's Love.
That's a relationship. My brother star Ledo is on the
album you hear Me That's Love.
Speaker 3 (05:24):
Try to start Leado very slept on due Mat shot
out to Nashville.
Speaker 1 (05:27):
Yeah, bro, So this feels like the best ever ever
to where if you are willing to work hard. Before
it was working hard but still having to go through gatekeepers.
Now with social media, you can go directly to the people.
And when you form a connection with the people, they
don't care who you signed to.
Speaker 4 (05:45):
They don't care what other artists are co signing you.
Speaker 1 (05:48):
You know, there was an ever where you had to
have a big co sign to really get in.
Speaker 4 (05:52):
You know what I'm saying. It's not like that anymore.
Speaker 1 (05:55):
So, if you're willing to work hard and if you
got a product that the fans could tell, man, I
love your art, but I love your heart, They're gonna lock.
Speaker 3 (06:02):
In with you, bro, and that's the key to my longevity. Yeah.
Speaker 2 (06:05):
I was gonna say, like, it feels like, you know,
there's almost artists are so ignorant. I feel like there's dope,
independent artists, or even ignorant to the possibility of like
doing that. As opposed, they're chasing playlists. They're chasing the
wrong shit where it's like, Yo, if you even got
like one hundred people racking with you, one hundred people,
(06:26):
that's some enough to pay the.
Speaker 3 (06:27):
Bills straight up, I mean straight up, straight up.
Speaker 1 (06:29):
If you got a hundred people spending one hundred dollars
a year with you, that's ten rags.
Speaker 4 (06:33):
Yeah, off of just one hundred people.
Speaker 3 (06:35):
Yeah.
Speaker 1 (06:36):
If you get a thousand people to spend one hundred
dollars a year with you, that's a hundred rags.
Speaker 4 (06:40):
Bro.
Speaker 1 (06:42):
People don't want to think about it like that because
the playlist is what it has been glamorized. Just for
everybody watching this, I've been on the big playlist. I'm
on them right now as we speak. I'm sure some
of my singles are on some of these big playlists
as we speak.
Speaker 4 (06:56):
That stuff don't change your life.
Speaker 3 (06:58):
Man.
Speaker 1 (06:58):
That's somebody working out in the gym or just with
their music playing at the crib.
Speaker 3 (07:03):
They're not engaged, they're not even on, but it comes on.
Speaker 2 (07:05):
Yeah, it's like, oh, it's on, and then like you're
making minimum money off of I think it's thirty eight
hundred semi dollars off of a million streams.
Speaker 1 (07:14):
Yeah, so you're making one third of a penny for
every individual stream. So then you do the math, and
I believe, like you said, on a million streams, that
might come out to like thirty eight hundred dollars. Bro,
if somebody listened to my music a million times, Bro,
I better be making more than that.
Speaker 3 (07:29):
No, it's it's it's actually crazy.
Speaker 2 (07:31):
It's like I feel like there has to be And
then there are major labels who have ownership stake in.
Speaker 3 (07:37):
Some of the playlists or in pees that you go
in Spotify.
Speaker 2 (07:40):
Yeah, and so it's like, at what point in time
is this whole thing like rigged against like an artist
that isn't on in that system. I wouldn't say rigged,
but it's very, very almost damn near impossible, Yeah, to
make a career off of music if you're just depending
on like the conventional.
Speaker 4 (08:00):
Streaming income, yesps DSP, you're cooked.
Speaker 3 (08:04):
Let you win the lottery.
Speaker 4 (08:05):
Cap I think I got.
Speaker 1 (08:06):
I think I counted about thirteen income streams that I
have just off of music.
Speaker 4 (08:11):
I'm gonna try to recall them right now.
Speaker 1 (08:12):
So we got streaming royalties, we got publishing, we got
direct to consumer, name your own price money, we got concerts,
we got merch we got speaking engagements. Currently, I'm a
college professor. I me at Harvard University and a professor
at Toughs University in Boston. I teach a course called
the Intersection of Hip Hop and Social Change, so teaching.
Speaker 3 (08:32):
You know what I mean?
Speaker 1 (08:33):
You got features, collabs, you feel me. You got brand
partnerships and endorsements.
Speaker 4 (08:40):
When you can get those, that's nine right there.
Speaker 3 (08:42):
You got.
Speaker 1 (08:42):
I know I'm forgetting some more because I always think
about them. That's easy off the top of my head.
Quick nine right there.
Speaker 3 (08:48):
You know what I mean.
Speaker 4 (08:49):
You got sink licensing.
Speaker 1 (08:51):
Yeah, when you get your song sinth in movies and
then commercials and all that and this type of stuff.
I don't know if I say it speaking engagements. Maybe did. Yeah,
But this is just a quick litt ten piece that
I named.
Speaker 3 (09:03):
You know what I mean.
Speaker 1 (09:04):
Some artists are just super focused on just one one,
one stream of income.
Speaker 3 (09:11):
It ain't supposed to be like that. No more.
Speaker 1 (09:12):
Man, You got podcasting. I just launched my first episode
of my podcast today. Congress it's called flipping tables with
D one. You heard me, because so much has been
happening over the past year. I don't know how much
you've been keeping up, man, but I've been in some
pretty high profile back.
Speaker 3 (09:29):
And forth back and forth.
Speaker 1 (09:30):
I think and Rick Ross, right, Yeah, Jim Jones meet
meil Rick Ross, and Joe Buden chimed in, and it
didn't feel fair to me that a brother like Joe Budden,
who I.
Speaker 3 (09:39):
Never met before, I heard you call him out on
the new Yeah, on a new song.
Speaker 1 (09:43):
Yeah, because he had three full podcast episodes where I'm
a topic of discussion of his, you know, and he
gets to in long form content, gets to speak his
piece about who he thinks D one is and how
he thinks D one is just a cloud chaser and
not legit and da.
Speaker 4 (10:00):
Da da da da, and speaking down on even my faith.
Speaker 1 (10:03):
You heard me, the fact that I'm Christian and all
this type of stuff. And I was, like day based
on the way I put content out, all I got
is songs and maybe ninety second reels.
Speaker 3 (10:13):
So I love the fact of it.
Speaker 4 (10:15):
Salute to you, even for with podcasting when you're really
a thinker. You heard me, like you're really a thinker
and a listener, so it allows you to have these
longer conversations to where you can understand someone's hard and
their thought process behind what they're doing.
Speaker 2 (10:29):
Yeah, it's almost like when you watch like the news
and people like form opinions based on like four people
on TV trying to each get in their forty five
second point as opposed to like listening to like a
politician or somebody speak on like a long form conversation
where you can get like for the understanding.
Speaker 3 (10:45):
It's the same shit.
Speaker 2 (10:46):
It's like like like you said, like now you can
articulate your points in a greater way if you have
your own podcast.
Speaker 1 (10:52):
And then Kendrick Lamug just threw me the alley oop
of all alley oops last week. You hear me sh
Now the Kendrick shit's crazy, Like where were you when
when you I was on Instagram Live. Yeah, on Instagram
Live because my city in New Orleans was very mad
with me. I was like public aneman number one last
week to New Orleans because when the announcement came out
that Kendrick was performing at the Super Bowl, so many
(11:13):
people in New Orleans were mad, super upset that it
wasn't Lil Wayne.
Speaker 4 (11:18):
I noticed, Yeah, And I'm from New Orleans. You know,
it's my hometown.
Speaker 3 (11:22):
Man.
Speaker 1 (11:24):
For me to say like, yo, like, let's keep it
a buck. You heard me, Like, where's this sense of
entitlement coming from? Like the artist has to be somebody
from New Orleans just because the super Bowl is here,
number one and number two.
Speaker 3 (11:34):
I was keeping it a hundred.
Speaker 4 (11:36):
I'm a former middle school teacher, I'm a college professor.
I'm a dude who's hip hop music is clearly message driven,
you know what I'm saying. It got message mixed in
with dope beats and dope flow and all that. So
when we talk about the message, I was like, let's
keep it a hundred. About the message that Wayne has
often glorified in his music.
Speaker 1 (11:54):
You know what I'm saying, is that something that is
necessarily conducive to one hundred million plus audience who's gonna
be watching the super Bowl have to and just me
saying that, Bro, it's the same stuff I was saying
with Rick Ross and and you know back then almost
a year ago, and the city had my back then,
but now because it applied to somebody from the city,
(12:15):
I just.
Speaker 2 (12:15):
Said, like obviously Wayne's a legend, but I think like
if you just if you're the super Bowl and you're
the NFL, Like he just did WrestleMania.
Speaker 3 (12:26):
And forgot a lot of his lyrics and it was
it was a less.
Speaker 2 (12:28):
Than best performance, and like he's just had like interesting
on stage situations over the last few years.
Speaker 3 (12:34):
He's like walked off and like, I.
Speaker 2 (12:36):
Just don't know if I'm like yo, Like Kendrick also
happens to be like the number. I mean, like having
a crazy year and he's Kendrick Lamar, Like what are
we talking about? Like over the last decade, Like that's
the move.
Speaker 1 (12:50):
He's been a glitch in the matrix in that he
clearly has a message in his music that's about pushing
things forward in life, right progression, but has become a
mainstream as you could get you know what I'm saying,
Like that's and.
Speaker 2 (13:03):
He's always here and he's always been that. That's rare, bro,
It's never He's never not done what he is doing.
So what message do we want to send to the
kids at home?
Speaker 4 (13:12):
Do we want to send a message that it's possible
to stand for something, you know, to have some morals,
values and principles.
Speaker 1 (13:19):
And make it and make it right. That's a fire
message to send you, hear me. So when I got
the announcement that Kendrick shouted me out in his new song,
I was on Instagram live explaining this to a lot
of people in my city who were mad at my
commentary on the super Bowl, and all of a sudden,
the comments got flooded with a wave of new people saying,
Kendrick Lamach just shout.
Speaker 4 (13:38):
At you out, yo, Kendrick just mentioned you.
Speaker 1 (13:40):
So I didn't know if it was real or not,
but I was like, whether or not that's real.
Speaker 3 (13:45):
They say he's giving you your flowers. This is amazing.
Speaker 1 (13:47):
I said, the thing about flowers, y'all, is that flowers
eventually die. I said, So, if it's true what y'all
are saying, salute to Kendrick.
Speaker 4 (13:54):
I love you, my brother, thank you. But I want
everybody watching his live to.
Speaker 1 (13:58):
Know that I do this for the approval of somebody
that ain't They ain't even here, and that's God.
Speaker 3 (14:04):
You feel me, because for.
Speaker 1 (14:05):
Me, I've had the approval from the bootleg caves, now
the Kendrick Lamar's, the fans.
Speaker 4 (14:10):
But I see how quick them same fans will turn
on you.
Speaker 1 (14:13):
So when they talk about like you get these flowers
and you're supposed to be just almost like Mama made
it type of moment. I just know how to not
get too high on the highest and not get too
low on the lows.
Speaker 3 (14:24):
You know, people should do that in life. In life, bro.
Speaker 1 (14:27):
So I was like, Yo, it's amazing that in the
same week I'm experiencing condemnation from my city, everything from
people making debt threads to saying you can't come back
to the city and you canceled in New Orleans and
all this stuff, to elevation and validation from Kendrick saying
I want to be empathetic heart like d one, you
(14:48):
know what, I.
Speaker 5 (14:49):
Want to know what he was What the end of
that line was, because he stopped. What you think it was,
I don't know, but it was well he said, but
I will, he said, I want to be empathetic.
Speaker 3 (15:00):
I will.
Speaker 4 (15:00):
I will exactly, So you could imagine that for sure.
Speaker 3 (15:04):
No, Yeah, I thought that was super dope though.
Speaker 2 (15:06):
So for you, like like you said, man like, I
feel like you've always been pushing positivity, always been very
very like ahead of the curve in terms of like
I mean not even ahead of the curve. You've always
been like integrity first as a person and you know
as an artist and as everything else comes after that, Right,
But I wonder for you, like, does that just feel
(15:27):
good knowing that? Like, man, you just you've got gone
through it with you know, Meek, mel Rick Ross and
people you know saying a B and C about you,
But to like have the guy you know, in my opinion,
you know, I've had Kendrick in my top five for
probably like six years, and I think after this last
(15:49):
twelve months, it's either him or Hove as the goat,
you know, from being honest, like personally for my list,
I always had him around four or five. But I
think he's you know what it's all said, He's gonna
be the greatest of all time, you know, with all
due respect to jay Z.
Speaker 3 (16:02):
But what's that feel like though? Man? Like, it's just.
Speaker 1 (16:07):
It's validation that even when people try to tell me
that I'm crazy or that I could go further faster
if I switched my message up.
Speaker 3 (16:16):
It's just like it's proof that the.
Speaker 1 (16:19):
People who y'all look up to and the people who
y'all might feel like can do no wrong in y'all eyes.
Those people are actually saluting a brother that's just been
consistent the whole time. And it it's like, hey, he's
gonna get a where he's destined to be in the
time he was destined to be there because I've always
put impact over income, you know what I mean.
Speaker 3 (16:38):
You get into this game and if you're seeking out. Man.
Speaker 1 (16:41):
Just today, bro, So, Kevin Lows stepped down as from
three hundred Entertainment or as the as the head guy Diddy.
They said Diddy is arrested as of yesterday trying to
get out on fifty million. I heard on TMZ they
say he offered fifty million dollars on buying to get out.
I think they denied it, you know, Bro, Like the
(17:03):
empire is crumbling, the empire as we knew it in
hip hop, to where all of this stuff that glorifies
what is evil, Like it's evil. We burying Rich Homie
KWin today, you know what I'm saying, open casket funeral televised.
So we're seeing a brother in the culture that's being buried.
God bless his soul, you know, and prayers out to
(17:25):
his family and friends. We're seeing that happen, and we're
seeing people who have been gatekeepers for the longest, who
have defined what music is going to get the green
button pressed and get all the marketing dollars put behind it.
Speaker 3 (17:38):
People who have made.
Speaker 4 (17:39):
It cool to love, to be in love with the jewelry,
the money, the music that's glorifying drug use and glorifying
the disrespect of women. But now we're seeing these people
go to jail.
Speaker 1 (17:54):
Now we're seeing people that's passing away in front of
our face, and everybody is saying that was way too soon.
Speaker 4 (17:59):
So it's like, now what it can't just be entertainment.
All the people in the culture who try to tell
me all these years, call man, it's just entertainment, bro.
Speaker 1 (18:08):
You just always got something to complain about. Won't you
just let people get their money. That's what Rick Ross
was saying. It's like, Yo, I do this music, but
I feed my hood turkeys during Thanksgiving, you know, and literally,
in his mind, that justifies making the soundtrack to selling
dope and rapping about the glorification of murder and disrespecting
(18:32):
women and all that. And it's like, are you serious, bro?
In your mind it makes sense because this is just
how I feed my family. But then over here, here's
the good I'm doing in the community. We got to
have these difficult conversations in the culture.
Speaker 2 (18:45):
Right now, Well, let me ask you this, right because
obviously hip hop is built on kind of like you know,
if we go back to like, you know, even like
early Biggie ten Crack commandments or you know, not. I
was kind of talking about like what it was like
to witness growing up in Queensbridge and a lot of
the you know, it's always been built on street imagery.
(19:07):
And you know, there's an argument to be made that
if like that's Rick Ross's truth, that's how that's his life.
Speaker 3 (19:14):
And I'm not saying it is or not.
Speaker 2 (19:15):
I don't want to speculate on Rick Ross's criminal history
or what is true or not. But let's say, hypothetically speaking,
Rick Ross is just speaking his truth his life experience, right,
and if that life experience equals drug use or selling
drugs or committing crime or being wrapped up in the streets,
that is his outlet. And we're just saying Rick Ross's
(19:38):
name because you could probably apply that to a hundred
other artists, right. But there's the argument would be that
like that's their experience. That's their life and their outlet
to express their life, and where they.
Speaker 3 (19:51):
Come from is the music. So their music is where
they're going to talk about that kind of shit.
Speaker 1 (19:57):
Well, there's a difference between now race and glorification.
Speaker 2 (20:02):
Listen, that's a fair argument, would But my thing is is,
I think, like those conversations just need to be had,
and I think that, you know, there's a way to,
like for you to I mean, i'd be dope if you,
like you have a podcast right now, which is dope.
I think it'd be just dope for you to like
even have some off camera conversations with some of these
(20:23):
guys where you guys can kind of just come to
like a certain understanding and like it's like, you know,
I think you would. I said I had or seen
something you have said about Sexy Red.
Speaker 3 (20:33):
If I'm wrong, am I wrong?
Speaker 2 (20:35):
And like, look, there is a truth that like young
girls are influenced by Sexy Red, right, and if it's
Sexy Red or it's you know, latter, whoever it is, right,
Like the totality of all of that music and what's
being pushed it does have some sort of effect on
the culture. But hasn't it always had that. Like if
you go back to Little Kim, or you go back
(20:57):
to Foxy Brown or you know, and I'm not saying
it's a good or bad thing, but this isn't new, right,
Like what makes Sexy Red different from what Little Kim
was doing?
Speaker 3 (21:06):
Yeah?
Speaker 4 (21:06):
You know what the difference is hip hop has gotten older.
Speaker 1 (21:09):
So because hip hop has gotten older, you have OG's
in hip hop now. So for every Sexy Red that's
in her twenties, you got somebody that's in their forties
or maybe their fifties who's been there, done that. And
the role of OG's in the culture should be the
role of OG's in life, which is, we're here to
mentor you and make it to where your learning curve
(21:30):
can be even quicker than ours was because we can
pour into you. The problem with hip hop is you
have OG's who are actually DG's.
Speaker 4 (21:37):
I call them disappointing grown ups, you know what I mean.
Speaker 3 (21:40):
Hey, that's some real shit right there.
Speaker 1 (21:42):
Straight up though, Sure, these OG's are really DG's, and
the reason why is because they want to be relevant
with the younger generation so much so that they'll sacrifice
their knowledge that they've attained by living life for thirty
plus years more than these younger artists, and they're sacrificight
that are they sacrifice their integrity and they will employ
(22:03):
something called willful ignorance, meaning these older people in the culture,
these older executives, these older artists who know better, still
choose to glorify things that they know are harmful, right,
and they know it's harmful, but they're like, dang, that's
what the youngins want to hear.
Speaker 2 (22:19):
And like like I'm not like it's like this, like
you said, like there's at the end of the day,
we're in the music business, and what's good for business
isn't always good for the people.
Speaker 4 (22:32):
There you go, keep going, keep going, all right, So impact.
Speaker 3 (22:35):
What's good for business isn't always good for the people.
And people got to pay their bills. Stop, people got
to pay their bills. keV.
Speaker 4 (22:43):
My thing is when I talk about these executives, you
heard me Kevin Lyle say how far are we are
we going?
Speaker 3 (22:49):
Because a lot of these guys are worth hundreds of
millions of dollars? So there you go.
Speaker 1 (22:52):
So when we talk, so when the excuse becomes people
got to pay their bills. When I'm speaking to artists
who aren't starving artists, struggling artists, artists who have made
it and have become moguls and they've become multi millionaires
as well as these executives. At what point is it
like they can't use their excuse I'm just trying to
pay my bills.
Speaker 2 (23:09):
No, no, no, because I'm talking about like on a lower level,
Like let's say somebody has a production company and they
find Sexy Red and they look, I got this artist
who's bubbling in Saint Louis.
Speaker 3 (23:21):
I'm gonna and then.
Speaker 2 (23:22):
From there it goes into the bigger you know, totality
of the system or whatever. I think that, Like I said,
I think there has to be some sort of balance.
And I feel like for whatever reason, man, this beef
with Drake and the and the way Kendrick kind of
just pulled the mask off and the onion, each layer
(23:43):
of the onion on the on Drake's like this whole shit,
I feel.
Speaker 3 (23:47):
Like has kind of like sparked like a ripple of
like consciousness.
Speaker 2 (23:52):
Yeah, and and and it's been and you know, I
just I just met Common and Pete Rock uh for
I met him before, but I just had a conversation
with them and I just think calm, and like I
almost cried thinking them because I was like, bro, when
I was a kid, Bro, like you don't understand, like
you know. And then I was talking about like when
I was a kid, we had whatever you were looking
(24:12):
for there was in music, right, But what we did
have that I don't see at least being pushed in
the same way. Back in the day, there was like
Raucus Records, and like there was like a semi commercial
outlet that people could find conscious music like ty Lib
and Common and like most depth, like those guys weren't
(24:33):
necessarily like commercial, but they were like accessible, like people
kind of knew them. Like you could open up Double
Xcel magazine and see a write up on those guys,
right ye, Or you could listen to like Immortal Technique,
And like when I was a kid, like I learned
so much shit about like the CIA and all kind
of crazy shit just because Immortal Technique was there for real,
(24:53):
And like I like, like right now, like the people
doing that type of shit, whether it's yourself or whether
it's artists who it's just there's just not like there
it's not as easily accessible to the kids because it's
not tiktokable. You know what I'm saying, Like, it's not
it's not algorithm friendly, right, you know what I'm saying,
Like what's going on like like right now with like
(25:15):
in Gazian shit, I'm like, Yo, who's the big artist.
I'm not talking about the artists who's like super underground.
I'm talking about who's like, like, there's not a big
artist who's made like Maclimore, though shot to fucking Maclamore,
respect to him, but like, who's the artist that's gonna
step up and like speak on that shit in a
verse or something, you know what I mean, like or
like educate or you know what I mean, just stand
(25:36):
up and be like yeah, like this is crazy, you
know what I'm saying. And so I feel like when
I was a kid, we had the comments, We had
a mortal technique. And I don't know not to say
that there isn't people out there that are doing that,
but it's almost like so much more suppressed, you know
what I'm saying.
Speaker 1 (25:51):
If you master the art of cooking up and concocting
delicious poison, and you know how to cook it up,
then how to serve it to the people and serve
it to the fan base that exists all around this country.
What happens is they develop a taste for what actually
(26:11):
contains a poisonous message, but because it's been force fared
to them and it's cooked so carefully with the flow,
with the beat, with the hook, with.
Speaker 4 (26:19):
The marketing machine behind it.
Speaker 1 (26:21):
Now, when you offer the people something different, they look
at that like, h that's nasty. So that's where artists
who are truth tellers, such as myself, people that are
on a bigger mission making purpose driven music. You know
what I'm saying, that right there becomes something where we
have to master the art of still giving people what's
(26:41):
delicious to them, which is the beat, which is the flow,
which is the catchiness of the hook, which is the charisma.
Speaker 3 (26:48):
There you go.
Speaker 1 (26:49):
But along with the message and that part right there
is something that I don't think a lot of artists
are up for that challenge because they just feel like, man,
I'm trying to do something to make this world a
better place.
Speaker 4 (27:00):
Shouldn't my job be easy? No, it's never been that way.
Speaker 1 (27:04):
Anybody that has a heavy calling on their life that's
meant to be a voice for the people, you might
not be well liked down here. You might have your
people turn it back on you down here, and you
still have to keep going because you know that this
movement is bigger than you.
Speaker 4 (27:19):
The mission is bigger than your motion.
Speaker 3 (27:21):
Let me ask you this though. So there are artists.
We'll bring up.
Speaker 2 (27:25):
Fredo Bang right, you talked right in middle school. Yeah,
Fredo's a good friend of the show, good friend. I
just was talking to him last week. Somebody who has
been dope to watch him kind of mature as like
a grown man over the last like three or four years,
but without music, right, without the music that made him
like initially successful, which was a lot of like negative
violent street music. Right, he has public beasts with people
(27:47):
and you know, neither hearing her there.
Speaker 3 (27:49):
But without that music, right, are we sure he'd be around?
Are we sure.
Speaker 2 (27:55):
He'd have made it out of Baton rouge? Are we
sure he'd have a future?
Speaker 3 (28:00):
You know what I'm saying.
Speaker 2 (28:00):
So I do feel like with some of these artists,
it's like the music that is negative is what's keeping
them alive and what's giving them an opportunity to like
maybe grow up, get money in their pocket, change, you know.
I think of a guy like Ge Herbot, who I've
also seen just become like one of the sharpest dudes
in the music industry. If you have a conversation with
(28:21):
ge Herbalt, you'll be like, damn, this dude is fucking
on it. Like he started off as a kid like
a drill rapper, you know what I'm saying. And so
I feel like, what do you say to that, Like, yes,
there's obviously, you know, what you would call poison in
a lot of this music. But a lot of this music,
if it didn't exist, a lot of these dudes would
be dead or would be in prison.
Speaker 1 (28:39):
So the reality is at a certain point, those artists
are going to come to where they're un in their
twenties anymore for sure, you know, and they are fathers
now and they have kids they're raising. So what happens
is they have to have people who are pouring into them,
which is why I have a relationship with Fredle and
I literally love that dude, Like he no.
Speaker 2 (29:00):
He's great, He's one of the best dudes in it.
Like he's such a nice dude, man, and like he
gets it for real.
Speaker 1 (29:05):
So when you know that someone has such a great heart,
right and it's so artistically talented and so giving and
so selfless. Right when you know that, and you also
know that there's an industry that does not care about
his forward progression. They don't care about his evolution as
a man, correct, They just care about even fans. So
(29:27):
much pressure comes from fans because the fans don't be wanting.
Speaker 2 (29:30):
The artists he They don't want them to grow, They
want them for what they know them for.
Speaker 3 (29:34):
There you go.
Speaker 1 (29:34):
So that puts all of these artists in a very
precarious position in cav to where at a certain point
they feel like, man, I've grown out of that season
of my life, but there's so much pressure from the
fans and from the industry to keep me held down there.
That's where they have to have other people, and hopefully
I can be one of them to show them that
(29:55):
it's possible to grow. Peace is profitable, Positivity is profitable.
It don't have to be lame. It don't have to
mean that you fall off the face of the earth.
And it's going to require a transition. When you started
out one way, but you grew out of that. But
thank the Lord for growth, because how many people didn't
get to grow out of that season?
Speaker 2 (30:14):
Right?
Speaker 4 (30:15):
You know how many people got caught up in the
beef to the point where they couldn't come back from it,
you know. So I look at it like these brothers
and sisters need to realize how much of an opportunity
they have to grow and evolve. And there's so many
artists who they end up not having the ingenuity or
the courage that it takes, or the grit that it
(30:37):
takes to say, I'm going to evolve even if I
lose some of y'all along the way. Because not all
fans are good, not all attention is good, not all
money is good.
Speaker 3 (30:45):
Bro.
Speaker 2 (30:46):
So for like a lot of these younger kids, there's
kids getting signed seventeen, eighteen, nineteen, twenty years old, right,
would you say that it's on because it's I don't
think you're ever going to see a point in time
where execs give a fuck enough about the artists to
try to pull them inside and say, I don't think
we should release this dis record. That's never gonna happen.
(31:10):
So is it like on the you know, it's shit
gets weird. Artists gets signed, they get new management, there's
new people on their team. If you're a I think
you know, I think about Fulio and uh and Young
and as Right and I'm dude. I mean the last
time I interviewed Fulio, I was like, dude, like I
feel like I'm gonna wake up one day and You're
just gonna be dead, Like you know, yeah, I said
(31:33):
in an interview with them, I was like, yo, like,
when's the shit gonna stop? Like like one day, I'm afraid,
I'm all open up academics page. It's gonna say you
got killed. And I told him, I was like, where's
the line because these like that. To me, that those
two and their beef was so disrespectful and every single
possible line you could cross was crossed. It was just
inevitable that more people were gonna die. And it's like
(31:55):
who's behind each one of these artists that is like
not stepping in and being like, yeah, you know what
I'm saying.
Speaker 3 (32:02):
But if it's also good for business.
Speaker 1 (32:04):
Okay, I just had the idea care this is Accountability
is the word, right?
Speaker 4 (32:09):
We need some level of accountability.
Speaker 2 (32:11):
For sure here, Like if you do some stupid shit, right,
if you if you write a check, someone's gonna cash
that motherfucker that you go.
Speaker 1 (32:18):
So let's talk let's be solution based right now and
figure out what would accountability look like from each end
of the industry. So in my college course, I teach
about the three c's, creators, consumers, and commissioners. Right in
the game, you got artists, you got fans, and you
got label people and media people. So what does accountability
look like from an artist's standpoint? Like, what can we say, like,
(32:40):
come on, man, that's the difference between telling your story
and saying something like you said some dangerous ish that
could have real life implications.
Speaker 4 (32:48):
You know, what does that accountability look like?
Speaker 3 (32:51):
For me?
Speaker 1 (32:51):
What it looks like is now that we have ogs
and hip hop, it looks like artists being able to
come together and say, you know what, Yes, the overt
glorification of I'm gonna walk my op down, I'm spinning
the being, I'm sliding, I'm knocking your head off, DA,
the glorification of murder music needs to stop, Like we
need to say that that's going too far. The glorification
(33:14):
of using drugs, you know what I'm saying, Like drug
addic culture inside of music needs to be something that
we need to speak out against. To me, that's what
the overt glorification of disrespecting women, dog like to the
point where it's just they're so used to being disrespective
right now that they didn't just got to the point
(33:35):
where they're numb to even what they hear, you know.
So for me, that's what accountability were just talking about
from artists could look like. I'm curious as to what
because I feel like you and I may draw our
line in different places, but where do you draw the
line in terms of what accountability could look like from artists?
Speaker 3 (33:52):
This is what I would say.
Speaker 2 (33:53):
I would say that there are there is a certain
aspect of being naive and being somebody who is trying
to do more of what works. And if they see
what works for ABC or d YO, beef sells, right,
It's always been like that. Go back to fifty, go
(34:14):
back to fucking L cool J cannabis, whatever, beef is
always sold. It's always been good for business. So if
you're like a young artist and you understand, well, maybe
when I put out a normal record, I don't see
the numbers that this record does.
Speaker 3 (34:34):
I don't think.
Speaker 2 (34:36):
I don't think a lot of these kids are mature
enough to like take a step back and realize, like, well,
but what comes with the extra million streams or whatever.
I do think, like you said, man, there has to
be somebody to kind.
Speaker 3 (34:50):
Of step in and be like, Yo, we shouldn't put
this out.
Speaker 4 (34:52):
Should that be their manager? I don't know, right, Should
that be an older artist?
Speaker 3 (34:56):
For me?
Speaker 1 (34:57):
We talk you a white man, Yeah, we talk so
much about the black community this and the black community
that that we need people in the black community to
step in and say, Man, that little seventeen year old
that's making that murder music that reminds me of who
I was twenty years ago. But by the grace of God,
I lived to be in my thirties. Now I'm gonna
feel and I'm a successful artist. I'm gonna take it
(35:18):
upon myself to pour into that young brother to play
some positive seeds, you know what I mean. I think
that that's where the accountability needs to come from. It
probably won't come from the managers because all they care
about is they twenty percent commission.
Speaker 2 (35:29):
Yeah, and they just want to Yo, let's go get
an advance because I'm gonna get paid even if you
never recoup.
Speaker 3 (35:34):
It's child abuse. Bro.
Speaker 4 (35:35):
A lot of these older managers that hurry up and find.
Speaker 2 (35:38):
An artist artists into a label deal. Hey, it's a
bullshit because guess what for people who don't know when
you get it, you get pushed into a shitty record
deal by a manager, it's because that manager's just gonna
take his piece of that advance and he's never got
to recoup it. He's not signed to the shitty record label,
thank you, what the shitty terms. It's the kid that's
now fucked. So even if in nine months the shit
(35:59):
don't work out with the manager and the kid, the
managers got free with his money in his pocket, than
that what happens all the time.
Speaker 3 (36:04):
I see that shit.
Speaker 2 (36:05):
I told that shit to artists where I've been in
the studio with them and been like, yo, I'll use it.
Speaker 3 (36:11):
I don't want to say.
Speaker 2 (36:13):
If this is somebody who's not a kid, but somebody
who's buzzing real hard, like three years ago, and they
all of a sudden signed to like a bigger management company,
and I sadone I'm close with, you know, and they
were pushing them to sign to Atlantic. And this artist
was very I mean millionaire off of independent music sheesh.
And I was like, I was like, yo, they're only
(36:34):
pushing you to sign that deal because it's it was
like a million dollar advance. I was like, bro, you
could put out a hoodie tomorrow and make a million dollars.
Like they're they're pushing you because they're gonna get they're
gonna get their piece off of that. And now you're
fucked because now you can't do what got you here,
which has drop music freely, and you don't even make
the music that makes sense to be on a major
(36:56):
Like I've never heard you put out a record that
I said to myself, Man, if that was just on
a major label, bro, like, if it ain't broke, don't
fix it, don't And.
Speaker 3 (37:03):
Ended up still ended up.
Speaker 2 (37:05):
It wasn't Atlantic that they ended up signing with, but
they did end up signing with a major label and
ship's hit a wall since then. But I bet you
that management got their.
Speaker 3 (37:14):
Piece and that's all they care about.
Speaker 2 (37:17):
Yeah, it's crazy. So many people are in these artists pockets.
It's fucking crazy. It's so crazy. There's like four or
five hands in these from every direction. And that's before
you even look at a lawyer. Yeah, bro, because you
got your lawyer, you got your your booking agent, you
got your your day to day.
Speaker 3 (37:31):
You got the motherfuckers. You got the big manager, the
small manager.
Speaker 4 (37:36):
The production company, you got a production company, like so many.
Speaker 2 (37:41):
Like and like look, you know, like I said, man,
like a lot of these artists, if they're smart, they grow.
Like I just had a conversation with an artist who
is finally understanding.
Speaker 3 (37:51):
That he's getting.
Speaker 2 (37:52):
Fucked okay, and it's like like now that he can
now that he sees it, he can't unseee it. So
he's he's adjusting figure out now that like you know,
but most artists are just like they're really gonna trust
whoever they signed to to just guide them through the industry.
And a lot of times those motherfuckers give them their
own lawyer.
Speaker 3 (38:10):
Yeah. So if you're a young, up and coming.
Speaker 2 (38:12):
Artist, Yeah, your lawyer represents the people who are fucking you.
Speaker 3 (38:16):
Absolutely.
Speaker 2 (38:17):
If you're signed to somebody, don't hire the lawyer. They
suggest who's best interest is that lawyers? Like come on, Like, so.
Speaker 4 (38:26):
Here's another catch twenty two is you got fans. What
level of accountability should fans have in this industry? Because, bro,
one of the worst, most toxic places in hip hop
is the comment section. Oh it's the worst, especially after
somebody dies for sure if they had an.
Speaker 3 (38:43):
Opp Oh it's bad. Oh it's bad.
Speaker 4 (38:46):
It's gruesome.
Speaker 5 (38:47):
Bro.
Speaker 1 (38:47):
It's like it makes me cringe to be like, this
person really just passed away, and y'all are in this
person's comment section.
Speaker 4 (38:55):
Just going in would almost bring tears to my eyes.
Speaker 3 (38:58):
Bro.
Speaker 2 (38:59):
Yeah, I mean the fans and they have some accountability,
I think. Unfortunately, like the consumer base is so numbed
to thinking that artists are like video game characters, and
I think a lot of that it gets wrapped up
in like the streaming culture, and like you go on
YouTube and watch any documentary about some of these YouTube
pages be having the most in depth documentaries about beef,
(39:24):
beef or and like crazy shit.
Speaker 3 (39:28):
So these have millions of views.
Speaker 2 (39:30):
So these artists are like, it's almost like they're watching
their favorite TV show play out live the way you
would watch power. A lot of people are watching these
fucking documentaries, right, so they're invested in the storyline of
let's say Young and A's and Julio Fulio's beef because
there's thirty eight documentaries with millions of views on YouTube
about it. So when somebody dies, they don't look at
(39:52):
these motherfuckers like people, they're looking at them like people
on TV. And it's crazy because our culture has produced
so much insensitivity or like real life, you see it, Bro,
people will do anything on the streets to get to
go viral. They'll literally check their integrity.
Speaker 3 (40:13):
At the door and do crazy whole ship for a
million views.
Speaker 2 (40:20):
They'll get punched like like I'll be seeing some of
this ship and I'm like, damn, bro. Like when I
was a kid, we had Jackass and we had Tom
Green and all kind of you know, interesting and stuff.
But nowadays, bro, the amount of wild, disrespectful shit that
goes viral is like I think it's like the boot
Gang kid who I think has gotten saved.
Speaker 3 (40:37):
Yeah he got saved. Yeah he sober shoutut to. I
think his name is John Cabanney Jackobanda.
Speaker 2 (40:42):
That's my dude, A good guy, right, But like when
he was going viral, I think people were seeing how
he was going viral and they're like, oh, I gotta
do I gotta one up that, and he was doing
some crazy shit. And this is just kind of the
world we live in now, where like social media and
like just like I'm like Aiden Ross, I'm at Dre's
(41:02):
right with fifty cent. This was Saturday Friday, and Aiden
Ross walks up trying to get into VIP but he's
like streaming it like live on the internet. So he's
like living his life for his stream and like shout
out to him. He's making money, right, you know whatever.
(41:24):
You know, he's doing well for himself. But like how
many kids are like okay, if Aiden Ross and Kay
Sanat and all these people, they're popping and like, I
think I love Kai by the way, I think Kay's great.
Speaker 3 (41:36):
I think he's hilarious.
Speaker 2 (41:38):
But like they're they're the streaming culture. And I'm not
talking about streaming in front of a computer playing music, reacting.
Speaker 3 (41:45):
I'm talking about like when you're walking.
Speaker 2 (41:47):
Down the street and people are on kicks streaming their
life live seeing how many times it can go viral
in a day. There's like hundreds of thousands of smaller
versions of that that are trying to be the next
that that are trying to one up and do stupid
shit on the Internet to try to get attention. And
like I said, dude, I do think the Internet has
desensitized us all to like just this is like real
(42:09):
life shit. People lose their life, people die, and we
never had that growing up. Like the most we had.
Speaker 3 (42:14):
Was like double xl oh, world Star, Fight Works or
Yeah or world Star.
Speaker 2 (42:19):
But even before that, it was like you would hear
somebody get dissed on a CD that you had to buy,
and then you would read about it.
Speaker 3 (42:26):
Obviously we've lost people Tupac, Biggie, etc.
Speaker 2 (42:30):
But it was never like dis documented. For every time
something happens, there's one hundred reaction videos and this internet
YouTube reaction like crime documentary culture that we live in.
Fans don't they don't give a fuck about the music,
and they don't even fuck about the artists. They give
(42:50):
a fuck about the drama, the storyline that they're engaged in.
They know more about the storyline of Somebody's Beep than
they do about the album that dropped a lot of
these artists.
Speaker 3 (43:00):
Like obviously there's artists people.
Speaker 2 (43:01):
Are engaged with, like you know, young boy guys like that,
but like, I just feel like the culture of like
content has really like dehumanized not just rappers, but just
the fucking world.
Speaker 3 (43:12):
So here's my theory.
Speaker 1 (43:13):
My solution is, we need to take what we know
as hip hop culture and at this stage we need
to throw it away. Just like I'm from New Orleans
and when we had Hurricane Katrina come through, what we
knew New Orleans to be we had to throw that
away because it got swept away, right, And once it
got swept away, it didn't take away the identity of
(43:33):
New Orleans, but what we knew New Orleans to be
got swept away. We need to do that same thing
with hip hop because what we knew hip hop and
hip hop culture to be is something that has gotten
commandeered and kidnapped and diluted and perverted into something that
it's like, wait, it was never intended to be this
tax it can be this negative. So we need to
just sweep it all away, throw it all away, and
(43:56):
still have the identity of what hip hop is.
Speaker 4 (43:58):
And just like we had to do in New after Katrina,
we had to rebuild. We need to rebuild hip hop
and keep the positive aspects, keep the stuff that feels
like it's progressive and saying yeah, we want that to
be a part of the culture. But all the stuff
that is clearly overtly toxic and negative, we need to
throw it away and keep it out, man, because at
this point we want to make this inclusive room for
(44:19):
everything and say, yeah, that's hip hop, and that's hip
hop too, and that's hip hop. And I guess, I mean,
I guess when somebody get murdered and making murder music,
I guess that's part of hip hop.
Speaker 1 (44:27):
But then when somebody doing some positive week, gonna be
all right, that's hip hop. But then this is like,
we don't have any standards. So that's my vote is
as long as people are truly wanting to preserve their
idea what hip hop culture is, we're gonna be doomed
because we didn't do a good enough job being gatekeepers
of the culture to allow it to still exist in
(44:51):
its purest form. Things can grow, but when you see
things growing in the wrong direction, that's when you're supposed
to say and do something. The problem is, it's been
thirty some odd years at this point that has been
growing in a direction that I think everyone is like, wait,
more rappers getting murdered every year. Wait, this type of
music is on the overdoing all overdose. Now you go
(45:11):
to overdose culture and all of this. Now we are
seeing people we knew as moguls getting dieted on charges
that go back twenty and thirty years.
Speaker 4 (45:21):
You know what I'm saying, Man, we're seeing this stuff.
Speaker 1 (45:23):
We're seeing it's too normal for rappers to be doing
jail time and getting killed. This doesn't happen in other
genres of music at the rate that is happening in
hip hop, for sure.
Speaker 2 (45:33):
I do think though, the overdosing aspect, I do think
that is a an overall issue just.
Speaker 3 (45:42):
In music all in the world. In a way, Okay,
I would.
Speaker 2 (45:44):
Agree, because defetanol shit has hit the world, like it's crazy.
You know, I have no personal people in my life
that have overdose and die that aren't rappers, that just
have jobs.
Speaker 3 (45:54):
So I think that.
Speaker 2 (45:55):
But but again, there's obviously music that pushes drug use
and all that. But I gotta ask you this, Like,
so there is an aspect of like, Okay, if you
think of like Sexy red right, Like I genuinely enjoy
Sexy Reds music, Like I'm a club DJ, so like
I see like how much people enjoy her shit. They
dance to it. I mean, women love her music. Where
(46:19):
is there like, like for you in the world that
you're you know, proposing, is there a space for like
just fun music that is not necessarily content heavy.
Speaker 4 (46:33):
Yes, indeed, Bro, Bro, Bro, you don't think it's possible
to make fun music that doesn't have to I just
like be super ratchet and super.
Speaker 2 (46:42):
Raunch, But I think that the ratchetness of some of
this music is like, like I was just talking to
Hurricane Chris right, and he's from Treeport, and he was saying,
like he's got a problem of fifty. He said, because
early on before fifty brought his studio there, he said,
when he brought it, he's gonna get rid of the ratchetness,
like ratchet and they call Shreeport ratchet City. It's a
part of the culture of Streetport, like that music is
a part of the culture of Streetport, even in the
(47:03):
oils a bounce. Music like back that Ass Up is
a fucking quite possibly, I don't know, that might be
a top three greatest hip hop song of all time
if you think about just like that song never not
get played in the club forever for the rest of eternity.
If there's clubs juvenile but back that Ass Up from
your hometown. That's a song about shaking ass, throwing ass.
(47:24):
But it's an important song. Would you agree or disagree?
Speaker 1 (47:27):
What has made it important though, is that whenever you
offer something to people, there's always going to be an
appetite and a desire for people to have a soundtrack
to justify what it is that they're already doing or
what they want to do. So, when you think about it,
music is not supposed to be on the back end,
you know, no pun intended, but on the back end
of what's going on. Musicians are supposed to be the
(47:49):
cultural savance and the leaders to say where do we
want to take our people?
Speaker 3 (47:53):
You feel me?
Speaker 4 (47:54):
And that's the problem is musicians have fallen into well,
what do the people want? Whatever the people want, that's
what I'm going to give them. That's the problem.
Speaker 1 (48:01):
I think that as a leader is about giving people
what they need, and giving them what they need is
going to change what it is that they have a
taste and a desire for.
Speaker 2 (48:09):
So do you think I'm going to ask you about
that one song being from where you're from. If what
you're proposing is the truth that song doesn't exist, you
think that's a good thing?
Speaker 3 (48:20):
Back that ass up. If that song didn't exist.
Speaker 1 (48:22):
Now, this is me having a relationship with juvenile Legend
with his Yeah, like literally.
Speaker 3 (48:26):
One of the goo Like four hundred degree is one
of my favorite alms of all time. I'm cool with Bro.
Speaker 4 (48:29):
That was the soundtrack to our lifeild growing up in
New Orleans.
Speaker 3 (48:32):
You know.
Speaker 1 (48:32):
I mean, I think that there's a different version of
back that thing up that could have come out that
could have been just as powerful. Literally same beat, Sam Hook,
Sam Cayden should heard me, that.
Speaker 4 (48:45):
Could have been just as powerful.
Speaker 1 (48:46):
And I think that our world doesn't normalize that that's
even a possibility, and we just say, well, it just
had to be this one song because we can't even
imagine something being that powerful if it wasn't that. But Bro,
thankfully as artists who have come along, myself being one
of them, that's showing like, wait, this can be a hit.
This song can get played by the masses and people
(49:08):
loving this song, but it has a different vibe to it,
same same vibe in some ways, but it doesn't have
to all the way dip into, uh, the lowest level
of who we are.
Speaker 3 (49:20):
I think what's also very like.
Speaker 4 (49:23):
Summertime by Will Smith? Not to cut you off Summertime?
Summertime by Will Smith? Ain't that a classic?
Speaker 3 (49:27):
So I don't know if you could throw ass the
summertime though.
Speaker 1 (49:29):
Okay, is there a song that you could throw Buddha too?
That is not uh all the way in the Jewelvie
back that thing up lane.
Speaker 4 (49:39):
Is there a song you could throw boot not not
that you could throw because I'm not trying to say at all. Yeah,
is there think that Let's go through the catalog. Let's
see Yay Cole, Kendrick, jay z Nis.
Speaker 2 (49:54):
I mean those aren't even club artists. I'm thinking like
the Big Club Records of all time.
Speaker 4 (49:59):
Okay, big club brotherers Bro, there's several keV Nelly he I.
Speaker 2 (50:04):
But it's getting hot in here right right, I mean
the am getting naked.
Speaker 1 (50:10):
I mean right, I'm gonna have to make the son.
Then I'm gonna have to make I'm have to make it, bro.
Speaker 3 (50:15):
But so so so so listen.
Speaker 2 (50:18):
I think the other answer to this is one it's
not realistic to think that like like that's even like
a real possibility. I think what is realistic is guys
like yourself, guys like Kendrick inspiring people to be like, oh,
we ain't got to do it this way. And I
think that this is the highest version of people paying
attention and being like hmm, That's why I said, like this,
(50:41):
somehow this beef with Drake has turned like opened up
a lot of fans' odds to being like oh shit.
And I think the problem there is, though Kendrick is
a generationally talented human being, uh, and not everyone's talented
as Kendrick Lamar where people will overlook what they might
(51:06):
want to hear to be like, oh, this ship is
just so good it's undeniable that I can't even deny
it because think of all the people who are hating
on Kendrick. Even when Youporia dropped and I think You're
Fouri is the best record at all the distance, it
was like they didn't have They didn't really be like
okay Kendrick until Not Like Us came out because Not
Like Us.
Speaker 1 (51:23):
Was easier on it is you could dance to a club.
Oh I thought of a record by the way that
people throw booted too. They got a different vibe nice
for what by Drake?
Speaker 3 (51:34):
Fair enough? Yeah?
Speaker 2 (51:35):
Great record by the way. Yeah, and it's got and
it's the New Orleans sound.
Speaker 3 (51:38):
New Orleans bounce You feel me?
Speaker 2 (51:41):
But I'm just curious, like, like I think that would
to me be the The answer is like whatever's happening
right now with this moment of music is hoping that
it can help inspire artists to change and or artists
who are doing that type of music. Kenny Mason from Atlanta.
I mean, there's so many dope artists who are just
(52:01):
crazy dope, like maybe now like people might give them
a real change, even like a guy like Denzel Curry,
who I think is so is like an alien. You
know what I'm saying that Denzel Curry isn't necessarily making
like you know, Christian rap or anything, but like he's
so artistically unique as an artist where he could do
so many different things that like, you know, he's got
(52:22):
platinum records too, shout out to him, but you know,
I would like to see him be like up there
with the Drakes of the world or you know. And
we go on and on about artists who are dope,
but I think that that's kind of we're in this
space where it's like, Okay, well, the guy doing it
at the highest level is an alien, and really the
other guy who's doing it at that level is Jay Cole,
who's also an alien.
Speaker 3 (52:44):
And I say this because those are the two.
Speaker 2 (52:46):
Guys who are a part of the Big Three and
have kind of been a part of Like it's them
two and Drake, and you know, listen, Drake also is
an alien. Let's be clear it. Drake is one of
the greatest artists I've ever lived, you know. I think
that with Kendrick and Cole being so prominent throughout the
culture throughout all these years, like what's common the commonality
(53:08):
about both of them is that they are conscious of
what they're putting into the world. And they're two of
the biggest three that.
Speaker 4 (53:16):
You go, two thirds of the Big three is super conscious.
Speaker 2 (53:19):
Super conscious and super super purpose with their intent on
everything they do, whether it's an artist they sign, whether
it's a verse that they drop.
Speaker 3 (53:27):
Even I think back to the J.
Speaker 2 (53:28):
Cole conversation where he tried to sit down with a
little pump, you know, and try to explain a little pump,
but it was probably gonna happen with his career, and
it ended up happening. I think that, you know, again,
like I hope that this sparks more artists who are
inspired by Kendrick than maybe inspired by op killing music.
Speaker 3 (53:48):
Mm there you go, then you go. But I don't know,
we we probably.
Speaker 2 (53:52):
Won't see that for a few three, four, five years,
but then we're seeing it right now. I think we're
seeing it right now, bro. Like I said, I just
put my song.
Speaker 1 (53:58):
Out yesterday called call It Like it Is, and it's
me responding to Kendrick and showing him love for a
d one.
Speaker 3 (54:06):
I want to make sure that more people know who
you are.
Speaker 1 (54:10):
You know what I'm saying by saying that in the song,
so that it's up to me saying bet the shift
is happening right now. I'm clearly a part of this shift.
So when I get the baton, I gotta do what
I do. So I hit them with what's the point
of writing all of these lyrics? If I'm rapping to
an audience that ain't trying to hear it. They'd rather
me blow a bag than rap about building wealth. They'd
rather me get some brain and rap about mental health.
(54:30):
Don't sensor me eventually try to make sense of me.
I don't need your dollars. I need you to think sensibly.
You feel good now that you're vegan. That's funny.
Speaker 4 (54:39):
If you're still promoting garbage, you're just a healthy dummy.
My city don't even love me. I'm calling it, how
it is.
Speaker 1 (54:45):
I'm a threat to the power structure, brain washing our kids,
fracturing all the egos of illegitimate.
Speaker 4 (54:50):
He rolls, I only look up to one man because
he died. Then he rolls. I keep it too real
because life don't last too long. If everybody likes me,
I'm doing something too wrong.
Speaker 1 (55:00):
Maybe in time they'll appreciate my words like nipsey Till
then I'm gonna see how fuck keeping it real gives me.
So call it like it is, call it what it ain't,
call it what you want.
Speaker 4 (55:10):
No, I ain't knowing that drink. I'm speaking from the soul,
and I don't care who feel it. Yeah, hip hop
is dead, and y'all the ones who killed it. No,
I'm not impressed, and I say that with my chest.
Speaker 3 (55:20):
Man.
Speaker 2 (55:21):
Come on, man, come on man, what are your thoughts
on the whole Diddy situation? Crazy situation by the way,
And also also a lot of people knew that shit
was going on, So.
Speaker 4 (55:31):
All the people who knew that it was going on,
they scared right now, a lot of people.
Speaker 3 (55:36):
Who enabled it. There you go, they're probably going to jail.
You think they'll go to jail if he gets convicted? Now,
I don't. I don't know.
Speaker 2 (55:42):
I'm not super educated to what was in the indictment
because I didn't read it. And I'd like to point
out that there are the definition I think of sex
trafficking is having someone travel over state lines for the
purpose of sexual activities. Think and a lot of rappers
are guilty of that, flying girls.
Speaker 3 (56:05):
But I know they said that they got tons of video,
a lot of parent He was taping all of this.
He was taping everything on some Epstein type shit. They
called it freakoffs.
Speaker 2 (56:13):
Freakoffs had one hundred bottles of loop all kind of craziness.
But he had a team, he had security, he had
people around him, He had assistants who certainly, if there
was serious crimes being committed, people being raped, I don't know,
that are a part of that. So those people are
freaking out.
Speaker 1 (56:34):
Well, if all of this happened, made justice prevail, let
the empire crumble, you know what I mean, they'll be
all right.
Speaker 3 (56:41):
God is still.
Speaker 2 (56:42):
It's like we're like like Diddy was kind of the
epitome of like hip hop entrepreneurship.
Speaker 3 (56:47):
Are hole.
Speaker 1 (56:48):
Absolutely, he was the epitome of black excellence and in
our community. You know this is Black Excellence the rock? Yeah,
so we need to get rid of this old idea
we had of what Black Excellence looked like. We need
to get rid of this old idea we had of what, Oh,
this is what a mogul looks like, and this is
somebody to a spy in Rusby.
Speaker 2 (57:06):
Russell Simmons has some pretty crazy allegations, right, and whatever
happened with that?
Speaker 3 (57:11):
Did he?
Speaker 2 (57:12):
I just watched that documentary on HBO and then I
know he went to Bali, Yeah, and the speculation is
again I don't know all. I just know that the
speculation is he went there because they don't have extradition
laws really, but that's okay. I don't know if that's
why he went there, right, But.
Speaker 4 (57:27):
So all the people we look up, we grew up
looking up to Diddy.
Speaker 1 (57:31):
You see what's going on with him fighting for his
life right now, Russell Simmons, They stay home and it
went to Bali.
Speaker 3 (57:35):
You hear me, maybe trying to jump ships so they
can't get him. Damn Dash. You hear me.
Speaker 4 (57:40):
They talking about Dame going through it right now?
Speaker 3 (57:43):
Broke.
Speaker 4 (57:43):
Dame said he's broke. You know whether you know what?
Speaker 2 (57:45):
One thing though, I do respect about what Dame said.
He said, when you chase your dream Because I've been
around Damon, I feel like he truly is like a
Like he really is like a he got big dreams, bro.
And he said, when you chase your dreams to the
point when that I chase my dreams, when they don't
work out, you can end up broke. So you know,
I wouldn't put I haven't heard anything crazy about Dame
(58:07):
in terms of, like, you know, anything legally wrong he
was doing. I just think Damn just bro like he
took some big chances on certain shit that didn't work out.
Speaker 1 (58:16):
Sugar Knight was a mogul, sug Knight is in prison,
in prison. There are so many different people that at
this point, y'all.
Speaker 2 (58:24):
But then there's jay Z, who's the other side of that,
who's obviously you know, he's jay Z.
Speaker 3 (58:29):
You know.
Speaker 1 (58:30):
I think the whole point, though, is that the idea
that we had in our mind of what a mogul
had to look like and what you had to do
to become a mogul, let's throw all that out and
let's just say you definitely got to work hard to
become a mogul.
Speaker 4 (58:41):
But hopefully for somebody watching this. You the next mogul,
and you can come up with your own blueprint of
what it looks like.
Speaker 1 (58:48):
Because everything that we were taught in our generation, Man,
we seeing that that stuff is not working out in
the loan run for a lot of these people.
Speaker 3 (58:57):
And the same thing with artists.
Speaker 1 (58:58):
Man, we should have more artists who can make it
normal to age gracefully and to evolve gracefully.
Speaker 3 (59:06):
You know.
Speaker 4 (59:07):
I love when I see ogs like styles P.
Speaker 2 (59:09):
You're right, who man, opening juice bars, sharing game, come man,
sure shout out.
Speaker 3 (59:15):
To styles P. I love when I see that, Bro.
Speaker 4 (59:18):
I love when I see people who like boldly embraced.
I love my man Murders out here.
Speaker 3 (59:24):
In the Lady Immersed Man. Yeah, bros put it album
out together. Yeah, we put an album together. Yeah.
Speaker 4 (59:29):
Like that's that's my brother right there. I love what
I love when I see my brother Loope Fiat school.
Speaker 3 (59:33):
You hear me?
Speaker 2 (59:34):
Who, By the way, when it comes to just rapping,
might be the goat for real goat status man, Jesus.
Speaker 3 (59:40):
Yeah, I don't know if lu got real Jedi, real alien.
Speaker 4 (59:43):
I don't know if Lupe even got like the energy
to dedicate to.
Speaker 2 (59:46):
Bro imagine if he applied himself to come B album
Samurai Crazy.
Speaker 4 (59:50):
I didn't seen it with my own twice Loope teaches
at M I T and I teach at Toughs University.
Speaker 3 (59:55):
They're five minutes apart. Yeah, fucking loop dude. Yeah, listen
to mirrors. It's like nine minutes to just come on,
man excellence.
Speaker 4 (01:00:02):
Hey, and these is my real friends that I all
three of them, not just name.
Speaker 1 (01:00:06):
These is my real friends. Man, even even back home
in New Orleans.
Speaker 4 (01:00:10):
My man currency, you know what I'm saying, Yeah, like
my man currency.
Speaker 3 (01:00:14):
Just to see that this man has.
Speaker 4 (01:00:19):
Succeeded on such a level on his own terms, but
it's still somebody who just be hanging out amidst the people, you.
Speaker 3 (01:00:26):
Know what I mean.
Speaker 1 (01:00:27):
There are examples in our culture to where you don't
have to crash out as you get older, or you
don't have to prostitute your integrity to try to stay
relevant with the teenagers. And we need more of that, man,
because we're starting to have it to where we're gonna
have just as many rappers in their thirties, forties, and
fifties as we got in their twenties and their teen.
Speaker 3 (01:00:47):
What's happening damn near now.
Speaker 4 (01:00:48):
Exactly, and who you think is supposed to be setting
the tone for the culture, the older rappers.
Speaker 2 (01:00:53):
I think that's why it's important that Kendrick's having this
moment because I also feel like, you know, my main
gripe about Drake forever has been, like I just I
don't feel like he's ever expressed a real opinion on
many social issues in his entire career, Like we don't
know how he feels about certain shit, you know, And
I feel like he's never really taken a content risk.
Speaker 3 (01:01:14):
A risk.
Speaker 1 (01:01:15):
I can't associate anything in Drake's catalog with his say
life that was risky, very safe, right, even this is
what he's rapping about girls. It is business is money is.
Speaker 4 (01:01:26):
So when you put business over impact, you will never
take a risk because risks aren't good for business when business.
Speaker 2 (01:01:34):
Michael Jordan said he's never come out about politics because
both sides by his shoes, correct, And Okay, that's fine,
and I feel like Drake's kind of similar.
Speaker 4 (01:01:42):
That's why you gotta respect Steph Curry and Lebron James.
Speaker 3 (01:01:45):
Or Jalen Brown because they Kyrie Irving. Yeah, yeah, all
of the above Kyriver standing on shit cast him a
Nike deal.
Speaker 2 (01:01:51):
Bro.
Speaker 1 (01:01:51):
Yeah yeah, straight up, straight up. So salutes all them
brothers in athletics. So I'm gonna tell you something I
came up with, keV. I started this January first of
d It's a solution to the problems that I see
in the culture.
Speaker 4 (01:02:04):
It's called the Platinum Pledge.
Speaker 1 (01:02:05):
Right, we got platinum records on the wall in this
studio and everything platinum. I turned it into an acronym
that stands for people leading a transformation involving newly unified mindsets.
The Platinum Pledge simply says, this is to unify the artists,
the fans, and the execs in the industry who agreed
that we no longer need to glorify keyword, glorify murder,
(01:02:29):
drug dealing, drug use, disrespecting women, and sexual irresponsibility in
our music.
Speaker 3 (01:02:35):
Right.
Speaker 4 (01:02:36):
In doing that and putting that out there, bro, I
got so many thousands of people who have signed this.
I put it on my website. It takes two seconds
for people to sign it.
Speaker 1 (01:02:44):
That right there is showing me how many people are
ready to be a part of this shift.
Speaker 3 (01:02:49):
Right.
Speaker 1 (01:02:49):
So now what I'm about to do is take it
into phase two to where all these massive amounts of people.
Speaker 4 (01:02:56):
Charlamagne then said, I agree with that. I salute that,
I pledge allegiance to that. D I'm rocking with that.
Speaker 3 (01:03:00):
Da da da.
Speaker 1 (01:03:01):
So many tastes, makers, artists and everybody are ready for
this shift that now we have to know what can
hip hop look like? And let's confront some of these
uncomfortable truths about the reality of our culture and figure
out what it can look like with the extermination of
the negative, toxic elements. And that might affect some people's
(01:03:22):
bottom line, that might affect some people's streams, that might
affect some people's taste buds and what they've been auto
programmed to listen to and to support and to like.
But if you really care about the betterment of our people,
and when I say our people meaning humanity period, we
who have signed the Platinum Pledge feel like, man, just
the way to go.
Speaker 3 (01:03:42):
So that's yeah, you know what. I just thought of
something too.
Speaker 2 (01:03:45):
I think one of the biggest problems we have it's
gonna end up if Diddy gets convicted. A lot of
people who were just trying to keep their job are
going to go to jail too. But you know, this
music industry is filled with people just trying to keep
their job.
Speaker 3 (01:03:59):
That's a fact. That's a fact.
Speaker 2 (01:04:00):
If you're an r's, if you're a ev P, you
just trying to keep your job.
Speaker 1 (01:04:06):
So they put their integrity in the background and they
produce results.
Speaker 3 (01:04:10):
Yeah, they just try just want to put numbers on
the best.
Speaker 1 (01:04:12):
I'm saying teprety is in the background and in the income.
Speaker 3 (01:04:15):
They can get another year in the building, another year
in the building.
Speaker 4 (01:04:18):
So that's the problem. So bro, we gotta how do.
Speaker 3 (01:04:20):
We fix that. I don't know, Man, I don't know. Listen,
I'm gonna tell you this, and I'm gonna tell you this.
Speaker 2 (01:04:25):
Elliott Grange running in Atlantic is not helping. It's not
gonna help.
Speaker 3 (01:04:29):
Because his daddy run Universal. Yeah, it's a problem, dog,
it's a problem. Dog. Well listen, that's the same guy
who signed six ' nine dog.
Speaker 4 (01:04:38):
Listen, brother, Ever since I've been knowing you, you've been.
Speaker 3 (01:04:44):
In the media.
Speaker 4 (01:04:44):
You have a platform.
Speaker 1 (01:04:46):
I would just say, I would say and pray you
know what I'm saying that, like, man, God, like bless
my brother Bootleg keV to where all this knowledge that
he has that he knows that there has to be
a level of integrity that comes along with manager in
this platform because people for clicks and likes will get
up here and say and do well.
Speaker 2 (01:05:04):
That's what I'll say about my ship, bro is I will,
I will. I've never you know, anytime I've had an
artist on that it's controversial for whatever, you know.
Speaker 4 (01:05:15):
Especially I saw the young Boy interviews.
Speaker 3 (01:05:18):
Yeah, shots a young boy.
Speaker 2 (01:05:19):
But like, you know, in terms of that, like I
you know, like I've interviewed Texi Ray and we had
fun and it was funny and it was you know,
but in terms of like the street ship, the violent ship,
like I try to make sure that whatever I do
here is is not adding on to any of that,
or at least trying to present the idea of solutions,
you know. Like so that's kind of like my you know,
(01:05:41):
in the world in which our media is adding on
to tension, adding on to beef beef conflicts. I just
don't want anybody to ever be like, man, I heard
you say the crazy shit on the Boulet Cab podcast
and then someone loses, like you know, like loses their life,
like I'm good, Doug, Like I don't want that shit
on my heart. You know what I'm saying, And it's
not worth the it's not worth the.
Speaker 4 (01:06:03):
View, the extra little clicks. Thank you, dog got goosebumps
under my jacket.
Speaker 1 (01:06:07):
Because this is a man in media who with that
lit that seems small what you just said, but that
right there, wouldn't give an open platform to people who
want to come on here basically announce.
Speaker 3 (01:06:18):
That they're about to kill they out.
Speaker 2 (01:06:19):
So like I just had X Rated on the show,
who is a legendary independent rapper sign of Tech nine now,
but his.
Speaker 3 (01:06:26):
Hood and Mazzie's hood they beef.
Speaker 2 (01:06:29):
And I had a conversation about Mazzie with X Rated
on camera and he said, look, I got goosebumps. He's like,
we're both from Sacramento. This man got nominated for a Grammy,
Like we need to like be happy about that, and
like Mazzi reposted it. So it's like, I don't know
if that's like going to change their neighborhood's problems, but
if it means those two guys talk who haven't talked
(01:06:49):
and they don't have direct beef with each other, let's
be clear, it's just that. But it's just like, you know,
but but there is a lot of that going on
in that town, so you know maybe.
Speaker 4 (01:06:57):
Who knows, No, definitely, bro, feel good about that.
Speaker 3 (01:07:00):
Bro. It's not even about feeling good about it. It's
just like, yo, like, let's not add to this shit
like yo.
Speaker 2 (01:07:04):
Like the content like you said, Like I said, Bro,
the content culture we're in, it's we are content addicted, Bro.
Speaker 3 (01:07:12):
Whether it's Instagram or YouTube.
Speaker 2 (01:07:15):
I can't work out with a YouTube without a YouTube
or a podcast playing. I always have to have something playing.
We're all addicted to it. For me, it's fantasy football
talk or political shit or whatever. We're The content culture
we live in is not good for humanity on all fronts,
not just hip hop, but on all fronts.
Speaker 1 (01:07:34):
Dog, I had a Christian rapper hit me up before
and suggest that we fake having a rap.
Speaker 3 (01:07:40):
Beef, which is crazy.
Speaker 4 (01:07:42):
A Christian rapper dog hit me up and fake that
we have a rap beef and propose that to me,
and I was like, brother, I said, the problem with
that is your fans they gonna pray for me. My
fans they're gonna come for you. You hear me, So
we can't be faking nothing because where I'm from, you
don't play with Nora Beef and clearly you're doing this
because you feel like this is gonna get some extra attention,
(01:08:04):
which is some extra couture is very Unchristian, like come
on man, yes and dog, So when I have seen that,
I echo what you're saying about me. In such a
content culture, I got people who will have issues with
one another, right, And it's like, oh, we got issues. Clearly,
if we have issues with one another, and if we
truly care about the personal relationship and getting that back right,
the first conversation we have probably shouldn't be on camera,
(01:08:26):
of course not. But I got people that's hitting me
up like yeah, yeah, let's talk about our issues on camera.
Speaker 2 (01:08:33):
That's not how That's not how the real world works.
Not everything's meant for content.
Speaker 3 (01:08:36):
Man, I knew I wasn't crazy though, No, no, no, for sure.
Speaker 2 (01:08:38):
I mean I see it all the time where I'm
just like, it's just like dog, like it's exhausting. Everybody's
got a camera guy, and it's just like yo, like
not everything's got to be documented like this is but
this is the world we're in, bro. It's like it's
it's unfortunate, it is what it is for you would
you say that you've I just interviewed a a dude
named Miles Minute who's a Christian brother.
Speaker 4 (01:09:00):
You know, he on my my my album Oh No,
that came out of Yego.
Speaker 2 (01:09:04):
Would you say I wouldn't consider you a Christian rapper.
I consider you a rapper that happens to be Christian?
Speaker 3 (01:09:09):
Is that? Yeah?
Speaker 4 (01:09:10):
Bro? All them titles and and the subtitles and all that. Brother,
I'm like, hey, I got into this game, just do
you and whatever?
Speaker 3 (01:09:17):
They're just trying to make him pay. So you know
what I call it. I call it purpose driven rap.
That's what I mean. Yeah, I make purpose driven.
Speaker 2 (01:09:23):
I was gonna say, for you, do you feel like
there's I mean you're seeing it.
Speaker 3 (01:09:29):
You know.
Speaker 2 (01:09:29):
We talked about like there's people who are putting on
amazing content that is positive, like like Larussell to me
is a shining beaming light of amazingness in our music industry.
And that's why I try to shot him out whenever
I can.
Speaker 4 (01:09:40):
Yeah, yeah, we about to drive a son again.
Speaker 2 (01:09:43):
Yeah, dude, we might look back five years from now
and be like, Yo, that a little motherfucker from Vallejo
really might have changed the rap game.
Speaker 3 (01:09:50):
The business model at least come on, man, Yes, but
who are.
Speaker 2 (01:09:55):
Some of the other artists that you feel like are
kind of, you know, in in a line with kind
of what you're saying.
Speaker 4 (01:10:01):
Like the purpose driven rare. Yeah, bro, there's so many artists.
Speaker 1 (01:10:05):
Some are Christians and some are just people that are
out here trying to make progress in this world and humanity.
Speaker 3 (01:10:11):
Right.
Speaker 1 (01:10:12):
So one you talked about you you got a relationship
with freda Well, one of Freddo's best friends is named
Joe Scott. That's my other former student from br from
Baker exactly, you know, representing the Baton Rouge area. Brother,
he's a beast. I guarantee you about he about to
take off. You hear me about to really take off? Like,
(01:10:32):
that's a dude who I've been rooting for for the longest.
And I'm like, I you almost there, you almost there?
You almost there?
Speaker 4 (01:10:37):
Another brother? Who Man, we just got kindred spirits.
Speaker 1 (01:10:41):
So me and this dude, you know, behind the scenes,
we got a real good relationship.
Speaker 3 (01:10:47):
Dizzey Right, I love Disney Man. Man.
Speaker 2 (01:10:49):
So I've known that kid since he was going by
Dizzy d. You know, it's crazy. I judged the Talent
Show when I lived in Vegas. I used to do
radio in Vegas. He won the challenge show at Sheic Shoes.
It was like twenty ten real and he was doing talent.
He was going by Dizzy d Flashy.
Speaker 3 (01:11:03):
Really. Yeah, that's my brother for real. I love Disney
Man really.
Speaker 1 (01:11:07):
Okay, So Dizzy Dizzey is a dude who I see
him from afar and I see him welcoming the evolution
as he grows and mature. Sure like he putting out
more music than ever, as he's growing wiser than ever,
you know what I'm saying. So I see that and
I'm like, oh, that's that's what we need more of
in this game.
Speaker 2 (01:11:24):
You feel I do Price too, Shot the Price tag
formerly an Auto Push. Price is doing this thing man. Price
is pushing you know, he's pushing good ship man Shot
the Price for real. Yeah, Price is dope. Yeah he
he You remember Audio Push, yes, of course. Yeah, so
Price is from Audio Push. But he's been a solo
artist for like four years now. But he's hard. Yeah.
Speaker 1 (01:11:42):
And we got another brother. He from my he from
my state name carrying the Light you hear me. He'
a Christian artist carrying the Light man. Same thing He's
featured on my album that I put out recently. I
love that to dude, you know what I'm saying, Just
somebody who is unapologetic about knowing his purpose in this game.
You heard me and him saying, come on man, like
I'm I'm I'm doing it. Whether y'all not like me
(01:12:03):
or not, I'm on a big o mission. You feel
me Like, that's the type of people that no matter
what it is, or I'm about to go on tour
with uh.
Speaker 4 (01:12:10):
I mean, he been in the game forever, but Brother
Ali shout out.
Speaker 3 (01:12:13):
To him, I'm about to go on tour with him. Brother.
He's a fucking legend, bro.
Speaker 4 (01:12:17):
But the thing about being a legend nowadays is you
could be a legend and still be unknown by other people.
That's the beautiful part they don't know about now.
Speaker 3 (01:12:28):
White Van Music Man shot to Jake One that that
that what was that song The Truth with Freeway? That
shit was crazy. So shot to Brother Ali man, Yeah,
that's dope.
Speaker 4 (01:12:38):
My brother, my brother Mac from New Orleans who used
to be with No Limit.
Speaker 3 (01:12:42):
Yeah, like I had his album Shocked you did, we
all did? Yeah?
Speaker 2 (01:12:46):
I had all the No Limit albums. My whole fucking
CD rack in my room. I felt like for it
was all the colorful as jewel cases.
Speaker 4 (01:12:53):
He was more of a no limit or cash money
one hundred percent of no limit Okay, not even close.
Speaker 3 (01:12:57):
Really, I had no limit chain and everything.
Speaker 2 (01:13:00):
Really, Ghetto Dope was like the first the first master
PC I owned was the ice cream and Ship with
the white cover, and then uh, because No Limit was
first they were. Ghetto Dope was like Ghetto D's like
dog I know that pretty much the whole album by
like by heart, Like that's one of my favorite albums ever.
(01:13:20):
I kind of because they had like their little conflict,
I kind of shun cash money low key, but it
was just so good that you had to be like.
Speaker 4 (01:13:28):
That's how powerful rap.
Speaker 3 (01:13:30):
Four hundred degrees was just so good that you were like,
you couldn't deny it.
Speaker 1 (01:13:34):
I mean, but for people who try to tell me
on these podcasts all around the country, it's just entertainment.
Rap music had a white dude growing up where it
in Phoenix saying, man, I ain't rocking with cash money.
Speaker 4 (01:13:49):
Just on the strength of how much I am rocking
with no limit. That's the power. I ain't never met.
Speaker 2 (01:13:53):
None of them, but I had to fucking Nolan. I
had the no Limit Jersey. I saved so much money
to buy that bitch. It was like one hundred dollars. Yeah,
I thought self. The Shaker was like so hard as
a kid, bro like charge it to the game and
the farther four boys, And of course Mystical unpredictable. And
what was the album with I Smelled Smoke? The second yo,
(01:14:16):
Mystical was so tough that missed the album with I
Smell Smoke? I think it was called unpredictable.
Speaker 3 (01:14:22):
Actually, yeah, unpredictable.
Speaker 4 (01:14:23):
Fucking that was that was with the with the puzzle pieces.
Speaker 2 (01:14:26):
No, that was unpredictable was the one after that? Okay,
but nah, Mysticol was crazy? Yeah, Bro turned out he
you know, probably not the best guy.
Speaker 3 (01:14:36):
But you know these are heroes.
Speaker 2 (01:14:40):
Hey man, man shout out to Diddy anyway, Look man, uh,
people are able to buy and support what you're doing
on d one music dot com.
Speaker 1 (01:14:48):
Dee the number one music dot com. Not only do
I have oh you know what, it's over there. I
got a children's book I wrote. It's a hip hop
children's book.
Speaker 3 (01:14:56):
You hear me.
Speaker 4 (01:14:56):
It's called David Found his Sling Shot so that's on
the on the website. It ain't gonna take number five.
Speaker 3 (01:15:02):
Man, go grab it. Show off the book, man, I
want to Yeah, that's hard. Grab it. I got a
ten year old and a nineteen year old.
Speaker 1 (01:15:12):
Okay word, So this is the book right here. David
found his slang shot. The whole book rhymes. It's a
hip hop book, but it's an anti bully in children's
book because I used to get bullet when I was
in kindergarten in New Orleans, and you know, in this
age of ops, this era of everybody being beefed out. Ironically,
me and my former bully are best friends to this day, really,
(01:15:32):
and it talks about how hip hop. I don't want
to get a whole book away, but hip hop actually
played a role and I was becoming best friends. So
I wanted to take my story put it out there.
So that's all my website d one music dot com.
I just put my new album loaded out right now.
Speaker 2 (01:15:48):
Did you get like, when you write a book like this,
obviously you're selling it and you're copying it, like you're
printing these out yourself. Yes, sir, do people reach out
to try to do like a because for people wh
don't know.
Speaker 3 (01:15:58):
The author game is like the rectal game.
Speaker 2 (01:16:00):
But if you get an advance to write a book, like, yo,
take this this, yo, you take.
Speaker 3 (01:16:05):
This to the fucking Barnes and Nobles.
Speaker 1 (01:16:07):
Man that part, that part, yeah, right now, I'm the
dude that's been saying Barnes and Nobles, y'all taking too
big of a cut.
Speaker 3 (01:16:16):
I don't doubt they are.
Speaker 2 (01:16:18):
I'm very ignorant to that, except for I know that
authors get advances the way rappers get advanced.
Speaker 1 (01:16:23):
Yeah, and I chose to take no advance. Better on
myself and h but this is a dope. I said
that I don't wear underground platinum with this in the
past year. Car brother. I'm not no materialistic dude. I'm
not no flashy dude. But just so y'all know, by
the grace of God, I'm not hurting at all. So
I don't want people to think that like d one
got a good heart.
Speaker 4 (01:16:42):
But does it really like pay off?
Speaker 3 (01:16:44):
Yes?
Speaker 1 (01:16:45):
Yes, it pays to be independent, It pays to keep
your integrity, it pays to keep God first, and it
pays to be dope at what you do. So I
got underground Platinum children's book. I got the number two
album in the world on iTunes, loaded as our right now,
about to.
Speaker 4 (01:17:01):
Go on tour. Professor at Toughs University, fellow at Harvard University,
and all this came from rapping.
Speaker 3 (01:17:08):
Man, that's crazy that you started as.
Speaker 4 (01:17:10):
A teacher, as a middle school teacher.
Speaker 3 (01:17:12):
And now you're a professor.
Speaker 4 (01:17:15):
Full circle, my g And ask Fredo next time you
talk to him.
Speaker 3 (01:17:18):
I was missed.
Speaker 1 (01:17:18):
Augustine Cradle just put a country song out. Fredo is
one of the most talented artists in the world. For sure,
he'd be sending me these songs, bro, And I just
be like, how does your brain work like this to
be able to come up with these type of things?
Speaker 3 (01:17:30):
Bro? Like sure, it's crazy. Man.
Speaker 4 (01:17:32):
Man, I'm gonna give you this yeah, thank you autograph
for you even if yeah.
Speaker 3 (01:17:36):
Brother.
Speaker 4 (01:17:36):
So I do book readings all over the country. I
go to schools, and because I'm a rapper, I wrote
the book like I was writing a song.
Speaker 3 (01:17:43):
So I'm able to not.
Speaker 1 (01:17:45):
Only read the book, but like perform the book while
I'm reading it to the kids.
Speaker 3 (01:17:49):
Man, that's dope. It's amazing, bro, congrats on everything.
Speaker 1 (01:17:52):
Thank you brother, And what else can I say yet?
A new single is out call it like it is.
Shout out to Kendrick Lamar.
Speaker 3 (01:17:58):
Have you talked to Kendrick since the shout out?
Speaker 1 (01:18:00):
I haven't talked to him. I just hit him on
social media. It's like, brother, you just changed my life?
Speaker 3 (01:18:05):
Want you? Yeah? I mean, obviously you guys are part
of the same era.
Speaker 4 (01:18:10):
We met at paid Dues in twenty eleven.
Speaker 2 (01:18:13):
Yeah, you guys are the same literally blog era. Literally, Bro,
you guys are products is a blog era literally, So
it's kind of crazy all these years later.
Speaker 3 (01:18:20):
For life is great.
Speaker 1 (01:18:21):
Brother, salute to that man for what it is that
he's doing and trying to do in hip hop.
Speaker 4 (01:18:27):
And I just I want Kendrick to know that I'm
praying for him.
Speaker 2 (01:18:30):
I saw what you said about Joe Budden on the song,
and obviously you said that he's you know, would you
ever go on his show and talk to him?
Speaker 3 (01:18:36):
I would love to go on Joe Budden's show.
Speaker 2 (01:18:38):
Where they would you even think? I feel like it's
one thing to like they should open it. Like I
feel like, if you're going to be very critical of somebody,
give him the opportunity to come and have a civil discussion.
Speaker 1 (01:18:49):
Yeah, maybe Joe Budden will listen to this and be like,
all right, cool, But I would love to have that
because communication in this culture would lead to unification.
Speaker 4 (01:18:57):
It's okay to have a difference of opinion.
Speaker 2 (01:18:59):
And there's a lot of nuance left out when it
comes to tweets and online back and forth. Like I'm
sure you and Rick Ross would have an amazing conversation
if there weren't cameras rolling, it was just you and
him in a room.
Speaker 4 (01:19:11):
That part, man, you know, I pray to guard that
that could happen if it's meant to.
Speaker 3 (01:19:15):
I don't want to force it either.
Speaker 4 (01:19:16):
I don't want to force it, but it could be
off camera, Like off camera is totally fine with any
of these guys, because.
Speaker 2 (01:19:23):
I think that's when the egos get dropped. And that's
not a Rick Ross specific critique. That's just everybody. When
you're not on camera, your ego isn't necessarily on full display.
Speaker 1 (01:19:36):
You know what, there's enough mutual people in the industry
who know me and Joe Budden and who know me
and Rick Ross.
Speaker 3 (01:19:42):
I already been talking to Jim Jones. Yeah, Jim's good guy.
Speaker 1 (01:19:46):
Yeah, we had you know, back and forth publicly, but
we Fromed a really cool relationship.
Speaker 3 (01:19:51):
So what about Mek.
Speaker 4 (01:19:53):
Haven't talked to Meek, and I know a lot of
people who know Meek.
Speaker 2 (01:19:56):
I think Meek's got to I feel like he's got
good intention. I feel like he wants to to do good.
I know he has a good heart. And you know
who I want shout out.
Speaker 1 (01:20:03):
This is the most random shot out ever, but one
of Meek's artists, young brother.
Speaker 4 (01:20:06):
Now, kur you heard him?
Speaker 3 (01:20:08):
K you. That dude is talented. Bro, that dude is talented.
Speaker 1 (01:20:12):
And I hit him up recently just on some like
oh like just ran across your content, brother, and like
I'm moved by that, and then found out after he's
signed to me.
Speaker 3 (01:20:22):
But it's like, bro, we all connected one way, right man?
For sure? That's it there it is, man. I appreciate
you thanking. Do you want much love
Hosts And Creators
James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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