#553 - Symba

Interview with Symba on The Bootleg Kev Podcast.

Full video version of the episode is available on YouTube!

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Hey, before we start the episode, we're gonna remind everybody, man,
we got one of the biggest radio shows in the country,
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(00:21):
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We also just got the good folks in Bakersfield at
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in and you can listen anywhere on that iHeart Radio app.

(00:44):
That's right, Let's get into the interview. Brulet cav podcast
special guests in here my guy Rapper personality, entrepreneur, father
and all of a sudden an act.

Speaker 2 (01:01):
In Butlegs Kivs Boulet Kivs friend simbas.

Speaker 1 (01:08):
Man. Everything is good. I'm not gonna lie. I haven't
watched the movie yet.

Speaker 2 (01:13):
It's fine. It just hit stream. You could check it out.

Speaker 1 (01:15):
So my boy Cook is from Pittsburgh obviously Newark, oh
my bad. I know, were from a place that had
the name of a city from the East coast that's
near Newark, California. By and he hated the movie.

Speaker 2 (01:31):
Really, you said it wasn't good? Really? What what didn't
you like about?

Speaker 1 (01:38):
He said he didn't think there was any real acting
until Pedro Pascal came on the screen.

Speaker 2 (01:43):
Wow, that definitely sound like a buleg kiv t.

Speaker 1 (01:47):
No, I didn't see it, he just said this. I
appreciate him lying though, but look, when you decide like
obviously playing too shorts gotta be fucking an honor of
all honors. And you also like, I never saw the resemblance. Yeah, yeah,
until and I was like, oh ship, like y'all.

Speaker 2 (02:05):
Really yeah, well they kind of made it that way too,
with the teeth and the makeup and the hat to
close everything. Oh yeah, I mean yeah, So you know
we all know Short grew up with him. My whole
life been around him. So I knew his mannerisms, how
he walk out, you talk, everything, so that plays a
big part in it.

Speaker 1 (02:22):
Is they have to get permission from him on who
was going to play him Yeah, and he was like, yeah,
of course.

Speaker 2 (02:28):
But I think the thing was because the way I
got the call, I had just got off the Jordan
Lucas tour. This was back when I was dropping music.

Speaker 1 (02:36):
Yes, I don't know, but yeah, that was when you're
opening up for Join. Yeah.

Speaker 2 (02:44):
So I had got the call when I was on
the tour and they was like, yo, it's this movie.
It's a barrier based film. They're looking for somebody to
play Too Short. So I'm like, okay, I'm like send it.

Speaker 1 (02:56):
Send it.

Speaker 2 (02:56):
Through the lyrics that they wanted me to audition with
fight the feeling, I guess it was like people was
having songs yeah yeah, yeah, I see you walking down
the street. So I had to stop and I knew
that song like top to bottom. So I literally just
did my best too Short impression and rapped the song
to the camera, and like four days later they called me, wow,

(03:19):
and I got the row.

Speaker 1 (03:20):
That's big yeah yeah. And then do you call too
Short and say hey, yeah?

Speaker 2 (03:24):
So I hit him up and I was like, I
got the role.

Speaker 1 (03:27):
He was like I know.

Speaker 2 (03:29):
And I was like, how you want me to represent this?
Like how you want me to do it? And he
sent me four videos, like four of his early music
videos and an interview. He was like, just embody this energy,
that's what they want on camera. And I just you know,
watched the videos and.

Speaker 1 (03:44):
Yeah, because like eighties, early nineties two short, it's a
whole different.

Speaker 2 (03:48):
It's so different, even like rapping some of those lyrics,
like on stage it was kind of comfortable.

Speaker 1 (03:55):
Bit yeah, no, some of them. I mean I told him,
I'm like, dude, like, you're the first rapper that my
dad liked. And I think it was because my dad
was like a low key purv and like like to
hear like a dude talking about fucking bitches and getting
blow jobs and shit. But he's the first guy that
really was popping that like freaky shit on records. You know.

Speaker 2 (04:13):
He said that, like what made him want to get
into raping was just talking shit, right. He was like
he loved music, he loved the funk, he loved the
parliaments and different elements of what music was to him
in those days. But when he started making his music,
he wanted to have that sound but just talking everyday
life shit, like shit that's going on in real life

(04:34):
around the neighborhood.

Speaker 1 (04:35):
So I gotta watch it. I'll give you my own review.
Cooks reviews.

Speaker 2 (04:39):
I think it's a great film.

Speaker 1 (04:40):
I think I can't wait to watch it. Your cat.

Speaker 2 (04:42):
I think it's a great film. It's very It's like
one of those like kill Bill Tarantino style things where
it's like it's four different scenarios that kind of all
tie in the one. So in the beginning it can
be a bit confusing because you're like, what's going on,
But then as things start unfolding, you're like, oh, that
goes to the first half.

Speaker 1 (05:01):
Well. I also feel like too, like just in general,
the representation of the Bay Area shit is like underserved. Yes, definitely, definitely,
Like San Francisco has been the setting of a lot
of big movies, but it's never been about San Francisco, and.

Speaker 2 (05:14):
San Francisco gets movies like they the shoes. Oakland is different.
We shot this in Oakland.

Speaker 1 (05:22):
Got it, But I just mean the Bay in general,
Like you'll see like rush Hour will be in San
Francisco some ship, but there's never any sort of movie
that like really represents like the street culture that comes
out of the Bay Area. I known uh Berner's working
on a movie called.

Speaker 2 (05:38):
Fuck It's called bib City, Bip City.

Speaker 1 (05:40):
I was gonna say Glass City, Yeah City, bip City.

Speaker 2 (05:43):
Yes, But even even that, right, Like, if we take that,
that's one pocket of the Bay. Right, Freaky Tales covers
like four different pockets, from like the hippies to the skinheads,
to the punk rock kids, to the hip hop kids,
to the police right to the hired hitmen in the
Bay to the warriors with Sleepy Floyd sleep right, So

(06:07):
it covers all these different timelines of culture in the Bay.

Speaker 1 (06:12):
There's a lot of hired hitmen in the Bay. Yeah,
y'all known for that.

Speaker 2 (06:16):
No, we're not known for it, but there's a few
people that get I.

Speaker 1 (06:20):
Didn't know that. I didn't know if that was like
up there with the.

Speaker 2 (06:23):
I don't know, but I've heard stories.

Speaker 1 (06:26):
Yeah, God, think of the Bay I think when I
think I think of obviously fillmore pimping.

Speaker 2 (06:31):
Yeah, well that's for sure. Players is what.

Speaker 1 (06:34):
We players where we really know for sure.

Speaker 2 (06:36):
I've learned to say player because pimping just sounds so
crazy and dated.

Speaker 1 (06:41):
It rupts people the wrong way. Definitely the player ship
for sure.

Speaker 2 (06:45):
Definitely definitely players out there.

Speaker 1 (06:46):
Man. So you said a little bit ago, you said
back when you were dropping music. Yeah, So what is
going on with your career right now? Are you still
on Atlantic Records? No, so you're off. Was this because
of the new regime that came in, because we all
saw the new regime, the Range came in, the ten

(07:08):
K guy came in.

Speaker 2 (07:09):
That played a big part, but it was kind of
it was going away before that even wasn'tnounced.

Speaker 1 (07:17):
Well, I feel like I've been telling you to get
off Atlantic Records for like four years, Like, buddy, what
do you like? Get the fuck off this label. They're
forcing you to do these fucking songs.

Speaker 2 (07:26):
It's not that this is what it is, right, I'm
always kicking from both sides. I hate when artists like
come up on certain platforms and just bashed their label
because at the end of the day, like Atlantic did
a lot for me, Right, I got a lot of
fans that will be fans due to Atlantic Records introducing
them to me, certain people Dallas introducing me to or

(07:48):
Jason Davis, whatever it may be. So those fans will
always be there because of them, and I salute them
for that. But it could be a thing of like
you know, sometimes visions don't aligne they could see something
and that what they see could have possibly worked, and
it may not have been what I seen for myself,
and that could class So two things could be good

(08:08):
and it just may not work, you know what I mean,
Like the time it may not been there it was COVID.
It's a lot going on. Of course, we had a
lot of misunderstandings with certain moments that was missing, things
like that, But we had a lot of sample issues
when it came to certain records that I feel could
have defined certain things. So it's a lot of things
behind the scenes that it's no one person's fault or no.

Speaker 1 (08:30):
You didn't drop an actual album, never dropped.

Speaker 2 (08:33):
I never dropped it out. That's why I'd be like
kind of laughing when everybody.

Speaker 1 (08:37):
Just those are just mixtapes.

Speaker 2 (08:38):
It's mixtapes and like my first offering at being in
the industry. So it's so much I've learned, and then
it's just like shit, being honest with you, keV you
my brother, I made a ship ton of money.

Speaker 1 (08:52):
Off of things that weren't that wasn't music.

Speaker 2 (08:56):
So it's like, when it got to that point, I'm
not really feeling like the struggling artist that has to
just show up and prove myself to the label anymore.
It was just like, Yo, this is what I want
to do. And because my trajectory wasn't at a certain point,
they felt I should maybe listen or I should go

(09:18):
a different route. And I felt like, nah, I want
to go this way with it, and things did in
the line and shit, me and you was together at
the PopOut show last year. He was like, when the
album coming in, what I say? I'm an influencer now.

Speaker 1 (09:33):
So you're still trying to make music, bro, I got
music right now. I know. Look, I know you have
an insane preposterous amount of underlease music.

Speaker 2 (09:42):
Put it like this, I just had four label meetings
last week.

Speaker 1 (09:46):
Do you think that is your best thing outside of
obviously getting a bag and advance all that stuff, But
like in terms of like do you think the major
is it a major label thing? Because I could see
you just I feel like you just gotta here's.

Speaker 2 (09:59):
A thing I don't believe in the independent way for me,
for me right and what I mean by that is
I'm someone that I feel I work best with a partner.

Speaker 1 (10:12):
Right.

Speaker 2 (10:12):
I work best with infrastructure and team around me because
I had a hard time developing that amongst my friends
or whatever that may be. So instead of trying to
make my homeboard a manager or the A and R, now,
I'll just pay you to be the A and R
that wants to be the A and R. Right, I'd
rather give up a piece of something to have that
and try to force what never worked for me. So

(10:34):
I think I work better in a system. The system
I was in I didn't work in because I felt
like the system was outdated a bit. And from what
I'm lining up now and partners that I'm talking to,
this is a better thing for me to not only
just do music, produce films. Right, I do a lot

(10:54):
of these podcasts y'all watch that. I'll be behind the
scenes doing Kim Street owned and producing and certain things.
So it's a lot of other things I'm into that
I feel things I'm into outside of music that I
feel my partner has to understand. It's not just the music.
And Yeah, so that's why I feel I work best
with a partner for someone like a Larussell. He got

(11:18):
his team infrastructure that works for him. You know what
I'm saying that you.

Speaker 1 (11:23):
Kind of like a quasi, like a like a you
know something with one of these Distroy companies that gives
you label services. Big ex. The Plug is independent, but
he's with United Masters.

Speaker 2 (11:32):
But he's also with Steve stout.

Speaker 1 (11:34):
Right United Masters, so he has like the label services,
but he still owns all his masters. He's got creative control.

Speaker 2 (11:40):
Like you know what I'm saying, for sure, no percent,
and I agree with you.

Speaker 1 (11:44):
I just feel like you have so much great music
that you're sitting there and it's like it's just gonna
always sit there.

Speaker 2 (11:48):
No, it's gonna come. I promise you it's coming. I
promise you it's coming. It's just the thing is and
I'm gonna be all the way real because you're my brother,
and fuck it, we on the Bootleg kV podcast. Will
give me a shot, let me get another. I hate
when artists get off the label and it just looks
it doesn't look the same, right right, You know what

(12:09):
I mean by that?

Speaker 1 (12:10):
Like, yeah, but you have so much high I mean
look obviously talking about like aesthetically music.

Speaker 2 (12:15):
Videos, but I feel like, you know, I'm not talking
about the music video. I'm saying the presentation of things.
I'm somebody that really cares about how I'm presented my
music everything. So when it comes to distribution companies, cool, yes,
But what are the other services that can help advance
me outside of you just distributing my music? No, for sure,

(12:36):
And I feel sometimes those distribution companies don't really.

Speaker 1 (12:40):
You gotta have like a you really got to be
a priority at some of those places, for sure.

Speaker 2 (12:46):
Or it's like and you have to be a priority
enough to where the higher ups can use their relationships
to help you.

Speaker 1 (12:51):
Right, or they got to give you a big enough
bag on the district side where you're like, yeah, we'll
figure it out with this money, you know.

Speaker 2 (12:57):
And that's for me what it is. It ain't really
about the money, no, more like the money is there
is the right partnership for me to be able to
just put the music out and be consistent and run
it how I want to run it.

Speaker 1 (13:09):
You essentially just want to worry about the music and
being that's it and let everybody else do the heavy lifting.

Speaker 2 (13:15):
And that's another thing I had to go through too.

Speaker 1 (13:16):
Bro.

Speaker 2 (13:17):
It is like shit, you get all this motherfucking money,
don't nobody tell you how to deal with it. So
it's like taxes right, setting your LLC up and your
s corpse right, and all these different things.

Speaker 1 (13:28):
Like if you weren't making money off of music because
you had like a prize picks deal, what was all
your like? Because a lot of artists probably are like
raking their skull against the pavement trying to figure out
how to make money outside of streams and shit.

Speaker 2 (13:41):
So because of that, they literally get stuck to rap.

Speaker 1 (13:43):
For me, I don't look at it like that, right.

Speaker 2 (13:47):
I look at myself as an overall a creative. Rap
is something that I do, and I'm very good at it,
and that's what people met me for. But that's not
all that I can do. I can do other things.
I've curated a good commercial, right, I've done movies. I've
done Jimmy Kimmel, I've I've done all kind of the NBA.

(14:09):
I'm literally just left for meeting on the way here
with the NBA with some stuff we're doing for Summer League.
You know, like they call me a lot. My god,
Dan shout out to Dan. He calls me a lot,
And you.

Speaker 1 (14:19):
Know you're doing a lot of stuff Gil with Arenas too.
I seen that's my brother shout out to Gil.

Speaker 2 (14:23):
Gil's another one that's like made me realize I wasn't
properly managing my business.

Speaker 1 (14:30):
I mean, it's good to say when he's one of
the most uh you know, historically high paid players of
all time at time, he's also like he got a
stupid bad.

Speaker 2 (14:43):
But Gil is like an execution genius.

Speaker 1 (14:47):
Oh for sure. His podcast is amazing.

Speaker 2 (14:49):
So it's like he does all the research and checks
every corner before he steps into a space. And that's
what I've been doing the past year with me was Okay,
I'm off the label. What is my new situation look like?

Speaker 1 (15:01):
Right?

Speaker 2 (15:01):
I want it to look like this? What does every
corner of this look like? Who needs to be there?
What lawyer do I need? Not just an entertainment lawyer.
I might need a litigations with it, right? You need
all these kind of things to really properly shut your
shit up for you to get out here and really
get to it.

Speaker 1 (15:18):
And I learned that from Gil. Do you feel like
you're because I think at the end of the day,
Atlantic records when you get there by the time you leave,
it's a whole different cast of people. Is that something
you always will hear that when artists signed somewhere and
there's a a regime change, it's almost like in sports. Yeah,

(15:42):
if there's a new GM, the new GM doesn't want
the coaches there. They want to go get their guy.
So you have a whole new cast of people who
probably you know, philosophically don't line up with the old
crew that was there, and also probably don't give a
fuck about you. They to bring in their own folks.
You know what I mean? Is that essentially what kind

(16:03):
of well, because they released a bunch of artists.

Speaker 2 (16:08):
Three hundred people got fired in the day.

Speaker 1 (16:10):
Right, I mean, the radio department got gutted liked.

Speaker 2 (16:14):
But these are things the public don't know, and they'll
just be like, oh, he's not putting out music. In
order for you to put out music, and it for
me personally, when I put out music, I want my
music to have the best shot at getting as many
eyes on it as possible. Right, So in order for
me to release a record through my label, I need
every department to line up. I need the marketing department

(16:37):
to be on point with my publishers. I need my
publishers to be on point with my A and R.
I need my A and R to be on point
with the production company. It's very hard to get all
of those things to connect at one time for one
release when you're a new artist, right, so you're fighting
for these things. It wasn't a thing of a new
regime coming in and saying we don't believe in him,

(16:59):
or we don't want to do this.

Speaker 1 (17:00):
I want to do that.

Speaker 2 (17:03):
The team I had was already gone two years before
that even happened. The people who you know what I'm
saying it was, they was already out the building prior
to that.

Speaker 1 (17:14):
So yeah, I mean Dallas had been gone for Dallas
was going for two years.

Speaker 2 (17:18):
He was just really a consultant that was there for
like me, Roddy, Cordy, certain people like that. But outside
of that, he was just there is It wasn't like
you know what I mean. So it was very difficult
with having seven product managers in four years. It's like
having a new head coach every every four years. It's like,

(17:39):
how do you even get in a rhythm with this?
Like they don't even know me. So you're making music
and you like this is what I want to do.
This is how I see the visuals.

Speaker 1 (17:46):
They like, well, we.

Speaker 2 (17:48):
Think you should put on ten chains and let girls
shake their ass with flamethrowers. And I'm like, this don't
make sense. And then I'll go talk to the higher
ups and they're like, why would they say that? And
I'm like, I don't know. Can we have men?

Speaker 1 (17:58):
I think all of that's going on. I think that
there's a certain aspect of your career where it was
just I think y'all overthought it so much. Dog.

Speaker 2 (18:08):
No, it wasn't that, I'm telling you what it was.
It was COVID and sample issues.

Speaker 1 (18:12):
Yeah, I mean, I know there was a lot of
big records you had that didn't drop because of the
sample issues. I just think of like, you have this
like almost like the ball's been passed to you, as
like the new like the new fucking has it been? Though?
I think, so when was the ball passed to me?

(18:33):
I think you I think I think there was a
big I think when I would talk to people who
weren't from the West Coast, anybody from New York, Tampa
where I used to live, you know, people be like, yo,
I dude, symbols cold out there, like because they'd be
a fan of your freestyles and all that shit, and
and I think that you would the albums would have
a piece like never end up broke. Oh my god,

(18:56):
if you could just put together fucking twelve of those,
it'd be a fucking class. But I feel like there
was always like a lot of like overly an ard,
overly thought out songs. You guys would overthink records as
a post And I used to always tell you this, like,
ooll just drop a class, like focus on dropping a
critical album. Fuck the singles, fuck the bitches, fucking just drop.

Speaker 2 (19:20):
I love this conversation about it. No, because it's gonna
be great for artists, because we're gonna really get into it.

Speaker 1 (19:24):
No, because like I just feel like people people came
to the table because they would see you rapping and
they'd be like, Yo, what the fuck this shit is crazy?
And I just felt like you never put together like
a whole body of work that would quench the thirst
of those fans. Like there might be a few on there,

(19:45):
but I felt like at times you're over A and
rd V, at times you were over shit was just
overthought out, Like it was just like dude, like.

Speaker 2 (19:53):
That's why brother, and that's why you somebody I loved
to death and always value you.

Speaker 1 (19:58):
Change. Taking that fucking flat T song fucking was crazy too.
That was your song, great fucking song. No, I love.

Speaker 2 (20:05):
I love what you're saying, because essentially what you're saying
is I signed a deal too early. I signed a
deal before I was able to develop. Yeah, and what
happened was because of that, I wasn't able to properly
present what people came to me for due to too
much business being involved.

Speaker 1 (20:27):
It was a lot of hands in the it was too.

Speaker 2 (20:29):
Many people involved. So it was we need a hit
record for this, we need this for this show, we
need this. And for me, it's my first time being
accepted in the industry. So I'm trying to be everything
to everybody.

Speaker 1 (20:42):
And you're like the first time you got guys like
two chains embracing, it's the first time you're like, motherfucker's
I idolized. I want something to go play at Magic
City when I go to Atlanta, like cour and I'm
hanging in Atlanta at this time. This is like you're
also like low key, like people don't know, but like
you're also like you can waiting to be accepted by
the industry, sure, because that was forever. That was part

(21:04):
of the problems. Like at a certain point in time,
you're like, yo, I'm just gonna do what I think
they want because.

Speaker 2 (21:09):
At I'm here, I'm here, I'm here, So if that's
what y'all want, and I'm wondering people, it's crazy. Because
I was just talking to one of our mutual homies
about this this morning. He was like, bro, i'b be
envying you sometimes. I said, why, He said, because I
gotta go do all this research to be half as
good as you at you not doing no research at

(21:31):
things you don't even care about. He was like, you
just naturally gifted in spaces that other people ain't and
you don't take advantage.

Speaker 1 (21:38):
And I was like, damn, I never.

Speaker 2 (21:39):
Looked at it that way, right, But for me, it
was a situation where.

Speaker 1 (21:44):
It was like, Doug, I'm in New York.

Speaker 2 (21:51):
I'm in New York and foreign cars with a million dollars,
hanging with Melissa Ford, going to eat and weak. I'm
having fun, like I'm enjoying it, right, But when I'm
really locking in to it and like really like, okay,
let's do this, all this business stuff starts happening, right,
sample can't get cleared. This producer won one hundred grand, this,

(22:14):
this person crazy, this person, and it'd be the same
producer who say they want hip hop to thrive and flourished,
But you're trying to bang me across the head because
I got a deal that you can take advantage of,
because I got a budget. Right, So when all this
is going on, I'm like, you know what, I'm gonna
just enjoy this shit. I'm gonna just enjoy it and
live in it because it's obviously a bunch of chaos

(22:36):
and it's too much business going on around me for
me to even understand what the fuck is going on.
So I had to draw back and look at it
from every angle. Okay, what's this person job, what's this
person getting, what's that person getting? When I figured what
was going on, I said, oh, shut all this shit.

Speaker 1 (22:54):
Down, because what was the name of the song that
got you signed to Atlantic that never came out? Loco, No, no, no,
it was a song you play.

Speaker 2 (23:00):
Glad Jesus, Black Jesus, Blad Jesus.

Speaker 1 (23:02):
It's like, that's what got you signed.

Speaker 2 (23:04):
But imagine, imagine if loco comes out because you heard logo.
That was the original me or Roddy Rich song. That
was the original thing of how people found me, and
it was that it couldn't get cleared. Sample couldn't get cleared.

Speaker 1 (23:18):
That's crazy.

Speaker 2 (23:18):
So three years later me and Roddy make a whole
nother song. When I started getting money, he rich. We
no longer than saying people we was three years ago
when we was fighting trying to get out of that hole.

Speaker 1 (23:30):
It is different. It's different. I think that you have
like a I know you and again I don't know
the specifics of who made what beats, but I know
you got a lot of crazy music you're sitting on.

Speaker 2 (23:41):
Oh wait till you hear what I'm gonna play when
we get off.

Speaker 1 (23:44):
The problem is is like if you're independent, it's a
lot more different of a conversation to try to clear
or if you're independent, fuck clear the sample or trot
that shit, or you structure your team in a way
that fits what you want to do to be consistent
rather the simple is there or not static. Selected used
to always say I've never cleared a sample. If my

(24:07):
song gets big enough.

Speaker 2 (24:08):
It's a wing.

Speaker 1 (24:09):
They'll send me a fucking season de sistem.

Speaker 2 (24:11):
But the Marvin Gay estate made that difficult, right with
blurred lines. Right, I'm at a label that got sued
by blurred lines.

Speaker 1 (24:20):
Yeah, they're like, when you're fucking.

Speaker 2 (24:21):
We're not doing that ship. We just had to pay
a hundred million dollars behind not clearing the simple Like, no,
it's business, and.

Speaker 1 (24:28):
You can't blame them. No, for sure, that's state business.

Speaker 2 (24:31):
They gotta protect. So we gotta go back in the
studio and cook something else up. And then we're trying
to take those lyrics and put them over new beats,
and it just don't feel the same, right, It just
don't feel the same. So it's like half of what y'all.

Speaker 1 (24:44):
Heard got the opposite of demo itis. You're like, I
know what it sounded like on the old yet.

Speaker 2 (24:50):
Half of results take time with new beats. I didn't
wrap those songs to those beats, but samples couldn't get cleared,
so we had to make them new things.

Speaker 1 (25:01):
Are you still with your production company?

Speaker 2 (25:03):
Yeah, we got a new situation we're working out as well. Yeah,
but we're in a great space as well too. Like
like I said, it was, it was so much going on.
I think a lot of things happened fast for all
of us. And I think because everything was so New York, Philly,

(25:23):
La Debay, it was so fragmented, it kind of made
it hard for everybody to kind of like get to
know each other a little bit. You're dealing with personalities
from all over the fucking world. But we're in a
great space. And shut out to Atlantic and everything they
did for me. Shut out to Dallas, you know, shut
out to Jamilla, shout out to everybody. I got love
from the people for sure.

Speaker 1 (25:45):
Yeah. Do you feel like because I feel like you're
thriving as a personality now, does it make you like
less motivated to No? Try still in the music game.

Speaker 2 (25:58):
No, Like I got some I know what I'm doing now.
I'm not shooting in the dark.

Speaker 1 (26:03):
No more so.

Speaker 2 (26:04):
When you're not shooting in the dark, you know how
to make your playing bulletproof. And that's what I'm doing
right now, is making what I want to do bulletproof.
I can't present it until it's fully there for me
to be consistent enough to do this for the rest
of my life. Once I start again, there's no stopping.

(26:25):
I'm never gonna start and stop again once I start
it's up.

Speaker 1 (26:30):
You had that. I saw you recently. You said that
you had a taken on a new position helping some
some sports stuff out. Yeah, can you talk about that?

Speaker 2 (26:41):
Which position? Because it's me You're an employee. Now, we
can't talk about that one yet.

Speaker 1 (26:46):
You're like, Hey, it's I'm just that I'm an employee. Now,
I'm like, what do you mean? Do you tell me?
I was like, God, damn, that's crazy. I can't talk
about that.

Speaker 2 (26:53):
Yeah, we can't talk about it will be announced soon,
but we can't talk about it yet.

Speaker 1 (26:57):
Got it.

Speaker 2 (26:58):
You could say it without saying the name though.

Speaker 1 (27:00):
I think you said you were helping, like had the
music department of a major league Yeah, not the major league, yeah,
but a major league sports league. Yeah.

Speaker 2 (27:09):
Nice, like directing the music, like making sure. I feel
like it's this dynamic of like when rappers make sports music,
it gets looked at it like corny.

Speaker 1 (27:18):
Well you have like my kid has used your song
so much? Put me in the game. Yeah on talk. Yeah,
it's fucking but it was just you just threw it out.

Speaker 2 (27:28):
But that was that was something I connected to space
Gym right, which came out with Space Gym so kind
of what I'm working on, what the partner is finding
creative ways for songs to live in their platform and
to help other people. Right, So if we look at
radio or we look at streaming, what are other ways

(27:49):
we can get our music out for sure versus just
radio and streaming. So if I can be on TV
in this commercial or licensing, you know what I'm saying,
whatever it may be, and I got a song that
fits this, why not place it there because it might
get me the same spins I can get on radio
or something like that. So approaching it from that angle.

Speaker 1 (28:08):
I wonder, do you ever was it hard? Because when
you're somebody like yourself, and I know you have an ego,
Every rapper has an ego, do you ever fall victim?
And I feel like all of us at a certain
point in time fall victim? To pocket watching? Pocket watching,
I would say, where maybe you feel like, fuck, I'm
doing all this, but you'll see other artists like who

(28:31):
maybe not might not be as talented as you, or
might not be as you know.

Speaker 2 (28:35):
I don't pocket what. I don't pocket watch rappers. They
don't make enough money, Okay, rappers don't make enough money?
Like when I go to basketball games. Now, I be
thinking about who made the rim I like that. I
don't even think about what the players probably China, Like
who made the netding?

Speaker 1 (28:51):
You know what I'm saying?

Speaker 2 (28:51):
Where did the paint come from that painted the hard wood,
and what chemicals went into that and who owns the
chemical company?

Speaker 1 (28:58):
Like m That's where my mind goes. It sounds like
you talk a lot of tariff talk.

Speaker 2 (29:02):
I seen too much. I've seen too much. I seen
too much, and I've seen how it works. And I'm like, oh,
I was worried about the room shit, Like I was
focused on things that's like, really ain't gonna change shit.
I gotta integrate knee spaces to really affect the change.

Speaker 1 (29:22):
But you also are very like you're a very h
You're a very confident artist.

Speaker 2 (29:28):
I'm just a confident person, right.

Speaker 1 (29:30):
But I mean in the hip hop space, you've obviously
like you've popped your ship.

Speaker 2 (29:33):
You know, you've something like cause if I wrap, like,
let's be real, who fucking with me? Besides my man's,
besides my man's who you know my.

Speaker 1 (29:44):
Man's it's Kenny.

Speaker 2 (29:46):
Besides my man's, that's my nigga, Like besides my nigga,
who fucking with me?

Speaker 1 (29:53):
I just.

Speaker 2 (29:55):
I haven't had the platform that some of you have
had to be able to shot. But it's goodman, and
just prepare yourself.

Speaker 1 (30:02):
Are you at all conscientious of like the next thing
I do? Is it going to be singles? Or are
you going to deliver a body of work?

Speaker 2 (30:13):
Body of work? For sure, but I think the main
thing immediately is just getting back to what putting music
feels like.

Speaker 1 (30:21):
Out when's the last time you dropped in? Two years?

Speaker 2 (30:23):
Three years?

Speaker 1 (30:23):
Three years?

Speaker 2 (30:24):
Three years?

Speaker 1 (30:24):
What the fuck?

Speaker 2 (30:25):
Three years? My last record was top G in May
of twenty twenty two, twenty three, so that's two years.

Speaker 1 (30:31):
Ye say, I don't think it's been three years, full years,
twenty twenty three. That was the one that you shot
over and uh was the top Africa Africa.

Speaker 2 (30:38):
That was the story I told on Sway about once again.
I went to the label with a plan, but there
was a new product manager at the time, so she
didn't understand.

Speaker 1 (30:46):
You said you shot that out of your own pocket, right.

Speaker 2 (30:48):
Yeah, paid to go to Africa myself, my own people,
took my son, f went out there, did everything on
my own, had a good time, had a great time,
it was one of the greatest experiences of my life.
But yeah, it is.

Speaker 1 (31:02):
Damn that's crazy. It's been that long. It's been two years.

Speaker 2 (31:05):
And you know what's even crazier. The last time we
did an interview, you asked me, how long is it
going to be before you drop again? Because I'm not
trying to wait two three years. It was right after
results take time we did an interview. You said that,
And it's crazy because I told y'all, was like, it's
not gonna be long. I said, I'm coming top of
the year.

Speaker 1 (31:21):
Well, you've played me so much shit that's like amazing.
The music, this the ship we need, like this, the
shit like.

Speaker 2 (31:28):
Watch I'm gonna play you when we get off camera.
The music I'm creating right now with my dog, Rob
Knox shut out to no Id as well. He's been
giving us a lot of pointers. But the music I'm
creating right now, it's me. It's what y'all see. It's
what you see on those freestyles and song format. It's

(31:48):
literally that. But I had to get better as an artist,
right I fell in love with rap, I never fell
in love with being an artist, so I had to
learn what that looked like. For me aesthetically, what am
I going to talk about? Who am I speaking to?
What's my concepts, what's my colors? You know what I mean?
How does my visuals touch the people that's paying attention

(32:09):
to me. I have to learn all of that and
learn how to put that within the music. And you know,
back in the day, that would be called artists development. Today,
artists developed in real time, right, because you might find
somebody that popped off from something that they randomly did
on the internet. Now the world is watching them, but
they have to develop how to be an artist in

(32:31):
real time while y'all watching them. Sure, that's a hard
thing to do, and the only way to kind of
master that is to take time and like zone out
all the chatter of oh there's no hit record, Oh
I don't know the music, I don't know. It's cool,
it's cool, it's coming, it's coming. You know.

Speaker 1 (32:49):
There was a version that never ended up Broke, that
had doctor dre on it, right, Yeah, it just never
came out.

Speaker 2 (32:54):
Yeah, yeah, Drake Drake killed that verse.

Speaker 1 (32:58):
Actually, I think it's on my phone somewhere.

Speaker 2 (33:02):
Yeah, I think you definitely got I think it was
one of those things where the rollout has started and
the project was getting ready to drop before Dre wanted
that verse to come out. I believe so it was,

(33:25):
you know, just a little miscommunication with things.

Speaker 1 (33:29):
Were you ever able to uh work with Dre? Outside
of that? Bro? Me and Dre got some ship. Mmm.

Speaker 2 (33:37):
He's probably gonna get mad at me for saying this.
And I haven't talked to him in a minute. But
we got this song called god Speed.

Speaker 1 (33:46):
Is he rapping on it?

Speaker 2 (33:48):
It's me and him like back to back, like on
some ship like the It's it's incredible. It's probably like
one of my our best versus.

Speaker 1 (34:01):
Is that the type of record where you wouldn't like, Hey, Dre,
can I get that?

Speaker 2 (34:06):
Those are the record other no one's gonna ever hear it.
Those are the records that if they ever see the
light of day, changes hip hop? Mmmm, they change him?

Speaker 1 (34:18):
Do you push for them to see the light of day?
Or since it's doctor Dre, you just kind of you know.

Speaker 2 (34:22):
When it when it comes to Dre is like fucking
you say, like it's you on his time?

Speaker 1 (34:28):
Can you ask for it? You could ask Hey, that
song we did? I think it sounded really good on
my album.

Speaker 2 (34:33):
You can ask but you also have to know when
to asks right. Right, there's a certain time and a
certain point.

Speaker 1 (34:39):
You can't just record to put this out as a one.
You got to burst on the exhibit album, you know.

Speaker 2 (34:46):
But look how X album is packaged. Great album, great album.
Spent this time on it for shot visuals over the
last year. Right playing this promo, run knew he wanted
to talk to and ligned himself with the proper brands.
Went to speak to people that appreciate what he does,
not people that takes away from it. Right, So it

(35:08):
was properly presented. I think when you're dealing with people
of an ex A Dre, certain things you have to
be able to properly present these things. And at that
time I wasn't able to properly present that verse. But
still a great verse that makes sense. Shut out to Dre.
Shut out there, everybody. I just seen Focus the other

(35:28):
night that exhibits release party, so shut out the Focus
as well.

Speaker 1 (35:33):
What are your thoughts on the Joey badass oh man
versus every other pardon.

Speaker 2 (35:41):
My brash ass feeling Joey badass because I was unique
in another life, my bad you know, I just be
rapping in my heads.

Speaker 1 (35:49):
But I'm curious, Like I've enjoyed the back and forth,
and I was hoping that this cipher with Sean and
Absol was like the ending. Yeah, and then it's just
kept going and I'm like, all right, guys, we get it.
Like everyone's taking advantage of the moment.

Speaker 2 (36:05):
Like I'm starting to realize, Like.

Speaker 1 (36:06):
But it feels very friendly.

Speaker 2 (36:08):
March through June is like rad beef season.

Speaker 1 (36:11):
I mean, I think fucking last year it kind of
made that a thing.

Speaker 2 (36:14):
I think the beef is great. I think it's great
for the.

Speaker 1 (36:17):
Beef though, it's just friendly, Like I feel, right, Joey badasses,
Like I've got a lot of respect for TD just
by buying tdast dot com for sure, for sure, but
I feel like, you know, you saw that with like
Joey and Absol doing that back and forth. It was
so dope. I was like, this is what the fuck
I want to see because they're friends, they used to
be on tour together, their buddies, and you know, Joey's

(36:40):
one of them ones. You know what I'm saying. They
got to stop backing, Like Joey ain't got plaques too.
By the way, Joey got a couple of plas, but
they hanging out of my hallway right now.

Speaker 2 (36:47):
They forget about devastated.

Speaker 1 (36:49):
It's platinum. It's hanging in my studio. He used to
be on my old set behind me.

Speaker 2 (36:53):
They forget Joey got They forget Joey wrote rock Star.

Speaker 1 (36:56):
Joey is a prolific MC who again. You know, I
feel like at certain times he dibbles and dabbles, like
where he's like, Yo, this acting shit's going crazy, and
he dives into the acting and then he's back outside,
and you know, I just think Joey's and I think
it's been dope because I feel like this whole beef's
at least shine a light on a guy like Rayvon

(37:17):
who's and reason and obviously Daylight's a fucking alien.

Speaker 2 (37:23):
He just dropped today, didn't he.

Speaker 1 (37:24):
Yeah, I haven't listened, but I'm like when like, it's cool.
I just thought that the perfect like you know, icing
on the cake would have been that cipher and then
it dies there. Yeah nah, it turned back up. Man.

Speaker 2 (37:37):
I think it's great right now, especially right now like
rap is in a I'm not gonna say music. Rap
is in like a weird space right now where I
feel like even the fans don't really know what they want.

Speaker 1 (37:49):
Yeah, I feel like commercially it's definitely like the last
year has been. I mean, Jesus, just Kendrick and Sissen. Yeah,
Kendrick and.

Speaker 2 (37:58):
But those are people that understand it at a high level.

Speaker 1 (38:01):
No, for sure, And it's but it's like almost like
this weird space where it's like, Okay, then Drake drops
Nokia and everyone loves the song, but it's not like
it's a great song. But I feel like I feel
like in La at least or any of my rap buddies,
they don't want to like it too much because it's
so good.

Speaker 2 (38:22):
Well, I think the beef between Drake and Kendrick kind
of caused a divide between a lot of things. Like
even in the songwriter community, it's certain like songwriters that
fuck with one artist that makes sense won't work with
the other one because they know that person likes it's
a heavy thing.

Speaker 1 (38:42):
There is a real there is a real still divide.
Like there was a situation recently that I won't say
the names of, but let's say person A who had
a beef with Drake.

Speaker 2 (38:54):
I think I know what you're talking about.

Speaker 1 (38:56):
They had a VIP room reserved at a.

Speaker 2 (39:00):
Strip club and couldn't get in there.

Speaker 1 (39:02):
No, they reserved it. They're there all the time. By
the way, person a that I'm talking about is a
fucking superstar level human in the music industry. Person by
maybe not a superstar level person, but very close to
a main guy in the big beef. Comes in and says, hey,
we want to take the VIP room. The strip club
says it's already for.

Speaker 2 (39:25):
So and so that's why I said he couldn't get
in there.

Speaker 1 (39:28):
Right and so yeah, it's so it's like this weird
thing where it's like, okay, and I happen to go
that night and I didn't know how because I've been
pretty critical of Drake on Twitter. Yeah, you know, was no, no, no,
I didn't know how. You know. I ran into his
people and I wasn't sure until I saw them and

(39:50):
they were cool, and I was like, oh, okay. I
was like, I know I've been dogging out Drake on Twitter. Guy,
just being bluntly honest about the whole year.

Speaker 2 (40:02):
No real talk, man.

Speaker 1 (40:03):
I think that it has changed music though. I think
I think it's almost like I think Drake catching Oki
is great. And if as long as he just keeps
on putting records, it'll he'll I just don't think it
the same.

Speaker 2 (40:14):
He's Drake, Doug, He's Drake, but it'll never be the
same for a certain aspect and portion of hip hop fans.
Here's a thing, right, And I said this once before,
it's culture verse commerce, for sure. I think I think
Kendrick's problem well, and I'm speaking for myself, I'm not
speaking for Kendricks, right. I think Kendrick's problem was some

(40:38):
people of commerce come into our culture and turn it
to commerce, right, and this is a thing that that's ours.
It's is something we should be able to have control over,
and at no any given moment should we be looking
at each other asking how did this happen for somebody
we didn't agree with to be here, not saying that
was Drake or whatever it may be. For sure, right,

(40:58):
I think when culture will comes commerce, the person of
culture at that time stood on it and he said, man,
this is our thing, this is what what we're standing on.

Speaker 1 (41:10):
And also pointed out a lot of like obvious things
that people just overlooked the whole time because they were
like the commerce part will make people overlook a lot
of shit.

Speaker 2 (41:20):
A lot of things, and I think Dot took it
back to culture and just back to ay Man.

Speaker 1 (41:25):
We just rapping.

Speaker 2 (41:26):
It's the essence of the bars, the sports. It's not
about the hits, it's not about none of this. It's
a friendly like he said, it's a friendly fade. Let's
keep it that way. He did say that, right, and
then let's keep it that way. And then it went
somewhere else. And then when it goes somewhere else, now
you're allowing something to happen, to go further. And the

(41:47):
thing about West Coast niggas is we professional crash out artists.
So the minute that you invite the crash out, it's
gonna happen. It's gonna happen.

Speaker 1 (41:55):
Yeah, and then the super Bowl happens.

Speaker 2 (41:58):
Come on, now, the greatest Super Bowl performance of all time.

Speaker 1 (42:02):
I agree, I agree, and I know that it's a
polarizing performance, but I think it was very much like
it was what it was art, yeah, which is what.

Speaker 2 (42:12):
Deeper than art. It was the story of the black
experience in America.

Speaker 1 (42:16):
And compensated in a fifteen minute.

Speaker 2 (42:19):
Every bar I write, like my verse on the Exhibit
album is about the Black experience in America. For sure
identify when I write with the Black experience in America.
I'm always trying to make people think about the Black
experience in America. So if you're gonna glorify killing a nigga,
the nigga, you gotta go glorify doing them thirty years.

(42:41):
You gotta glorify doing that life, because that's what come
with it. Don't just tell one side of the story,
tell the whole experience. And what Kendrick did at the
Super Bowl right for the NFL national televisis viewers, Eagles chiefs, right,

(43:01):
he told our story from the Black experience. Man, if
you hate no Net, you hate yourself.

Speaker 1 (43:06):
Yeah. It was funny because it was like there was
either people who were Drake fans who said it was
overrated in trash, so that's like one bucket of people.
Then there was people who just didn't get it because
they're like not so I talked generic music fans, but
the hip hop heads are the people who were really
like culturally astute. They were like, yo, this is fucking brilliant.

Speaker 2 (43:28):
I talked to a friend of mine who actually works
at the NFL, and she's a white lady, Yeah, not
of the same ethnicity. And she said she didn't understand.
She went to the rehearsals and she's seen the whole thing,
and she just thought it was incredible. She didn't even

(43:49):
know what storyline and everything. And then when it happened
and she seen the storyline hit the internet and all.

Speaker 1 (43:55):
These different things, God, she was.

Speaker 2 (43:57):
Like, wow, I didn't notice, but it brought awadness to
things she didn't know to where she went and looked
into certain things, and she was texting me like, Yo,
I never knew this happened. I never knew Samuel Jackson
was bringing this up because of such and such and
such as this was an educational moment for the world.
It wasn't just for us, it was for the world.

(44:18):
And our salute bro for standing on that stage in
lending his platform.

Speaker 1 (44:24):
Just all of the like trends that came out of
but not like us dance at the Super Bowl.

Speaker 2 (44:31):
Everybody was wearing jeans for too much, had a Canadian
tuxio doing tiktoksess crazy crazy, but that's culture.

Speaker 1 (44:42):
Has uh did you ever? Because you've been in the
studio with so many artists, what's been the one artist
you were able to be in the lab with with
the music didn't come out on the other side, but
you were just like, was it, Kendrick, Was it? I mean,
I know you've been in with a lot.

Speaker 2 (44:57):
Of people a song I did with being in the.

Speaker 1 (45:00):
Studio with somebody helping out or just flying flying the
wall in the room like m and I would say Dre. Yeah,
probably the one.

Speaker 2 (45:12):
I would say Dre, even though there's more probably names
that would be entertaining for the Internet if I said it,
but to be honest, it would be Dre because Dre
has this attention to detail.

Speaker 1 (45:26):
I heard it, I heard it's damn near annoying for
me because it's such a perfections For me.

Speaker 2 (45:32):
It wasn't annoying because I was trying to understand the
idea of where he was going with it, and it
was a certain thing he was hearing to where what
I figured out was he was hearing the music as
an engineer how the listener is going to hear it,
and I'm thinking how I want to wrap it, So
he gave me a way to say it. So Yeah,

(45:56):
and he gave me a way to say it based
off how the listener will receive it, and when I
seen it, I was like, damn, Like he pays attention.

Speaker 1 (46:04):
To any different way, like one of one detail, detail,
very detailed, and it'll inspire you, like it'll have you like, Damn,
I'm not taking my music serious enough.

Speaker 2 (46:15):
I'm not thinking about certain things. Like You'll be in
the studio with Dre and it'll be like these speakers,
these big ass speakers on the wall, and it's just
like you're like, man, well all these speakers in here,
and he like, man, every pocket or that speaker got
a reason.

Speaker 1 (46:30):
That's fire. You know what I'm saying.

Speaker 2 (46:32):
That's the base, that's the trouble, that's this with So
when you're mixing, like how does it sound it's coming
out that top part of the speaker, how does it
sound to come out the bottom part? Or like he's
he's intricate with it, like all the way.

Speaker 1 (46:46):
What are your Obviously somebody who you mentioned earlier who
doesn't have an issue putting out music as our friend
of Russell.

Speaker 2 (46:54):
Yeah, shout out to the Russell.

Speaker 1 (46:55):
I don't know how many albums he has now, but.

Speaker 2 (46:57):
I think he's on forty something like that.

Speaker 1 (47:01):
But he's also somebody who's like, you know, fuck man,
the Russell's special guy. Man, he's kind of.

Speaker 2 (47:06):
I literally was just watching a video of him talking
to this lady who was I guess she was a
business owner at the theater he was booked at, and
she was complaining about the noise and he just went
over there like so humbly trying to talk to her,
and the lady was just being a complete asshole, like
entitled to having a business next door. Like, lady, you're

(47:27):
next door to a fucking concert.

Speaker 1 (47:28):
What do you think was gonna hap?

Speaker 2 (47:29):
What do you think is gonna happen?

Speaker 1 (47:31):
Ye?

Speaker 2 (47:32):
But I just, man, I salute dude, Bro, just for
being a good person, you know, like a lot of people.
Notice I said it before. My mom lives by l Russell.

Speaker 1 (47:42):
Like I got.

Speaker 2 (47:43):
Family that's in that same neighborhood. It's so many times
that my aunt called me and be like, yeah, I
just ate at Momos. The Russell paid for everybody that's fire,
you know what I mean. Or he took care of
breakfast for everybody today, or whatever it may be. So
I just salute Bro, like he just a good person
at home, or make great music, great rapper, and I
love what he got going on.

Speaker 1 (48:03):
You guys should do a joint album. Man, him and
Pilo did a whole fucking album for fos sake. You're independent,
Now get one off. Let let let one off of.
I'm with it.

Speaker 2 (48:11):
I don't think the Russell would like my process.

Speaker 1 (48:15):
Because it's too uh. I feel like Russell's very We're
feeling it.

Speaker 2 (48:19):
It sounds good and I'm gonna be like, uhh, this
hook ain't good enough. This, this drums ain't hitting. This
ship ain't mixed right like this. We gotta change it.
It's not just that it's i have a different level
of taste now. I've developed a different level of things.
I've seen more ship. I've seen why things are the

(48:43):
way they are. I've seen why things work, not what
makes them work, why they work. I've seen the quality
in the work ethic that goes into it. I spent
time with Kanye Was for two weeks in Atlanta.

Speaker 1 (48:54):
What was that like?

Speaker 2 (48:55):
Incredible?

Speaker 1 (48:58):
Don two Dona Donda the first first so at the
at the Falcons School.

Speaker 2 (49:03):
I'm there in the stadium for two weeks watching this
whole production.

Speaker 1 (49:09):
So I'm seeing this.

Speaker 2 (49:10):
And I'm like, this is what I want for myself.
I'm just not at a level to get it.

Speaker 1 (49:14):
Yet Kanye wants you to get on the hail Hitler
remix you jumping on it?

Speaker 2 (49:18):
No, No, I love Kanye, but he's on some bullshit.

Speaker 1 (49:23):
I didn't lie though. That beat is crazy. I love
Kanye like he's one of our great The beat of
that song, if you just play the instrumental, it's so crazy,
for sure.

Speaker 2 (49:35):
But it's he's a fucking He's Kanye. He's one of
the most incredible artists that we've ever had.

Speaker 1 (49:42):
Do you think this whole thing is like a giant
think piece being being fleshed out to us live? Like
he has an end game and a point he's trying
to make. It's it's it's the way he's trying to make.
It's rather ignorant. No, you don't think so. You don't
think there's any he means to the madness.

Speaker 2 (50:01):
I think the man is hurt.

Speaker 1 (50:03):
I think he's definitely hurt.

Speaker 2 (50:04):
I think the man is hurt, and I don't I
think he don't have people around him to vent to,
to give him honest enough advice to stay off the internet.
That's my opinion. I can be completely wrong. He might
make a tweet about me tomorrow and be like, simple,
you came here and wrote a hook, don't say shit
about me whatever. But I'm saying, at the end of

(50:25):
the day, I don't think the right structure for where
he's at in life, as far as a father wanting
to see his kids, dealing with divorce, being the biggest
star in the world, right, Adidas, dealing with stuff with
your designs, right, And he's been through things that we

(50:50):
haven't seen, right, A lot of things we haven't seen,
things with lawyers, right, trying to get his master's back,
or things with his children in court. We don't know
these things. That's probably driving him to this point to
say these type of things.

Speaker 1 (51:03):
I think he's also probably to the point that if
you're not a yes man, you're gonna be excommunicated rather quickly.
It feels like anybody who's semi critical of what he's doing.

Speaker 2 (51:16):
And I think that's unhealthy.

Speaker 1 (51:19):
Now I do. I do. I did say this because
I was like, Yo, there's there are people who have
criticized him publicly who are supposed to be his quote
unquote friends, who I hope would have had that conversation
with him personally first, or attempted to before publicly doing that.

Speaker 2 (51:35):
You know, I just think as a man, Bro, you
represent more than you.

Speaker 1 (51:41):
And even him like as a as a as a man,
but also as a I mean, he's he can't, you know,
be ignorant to the fact that he's the most influential
artist of all times.

Speaker 2 (51:52):
But that's kind of way, that's kind of what I'm saying.
Is not only a man as as you just said,
one of the most influential artists of all times, you
have a responsible.

Speaker 1 (52:02):
I think he's the most implant artist.

Speaker 2 (52:03):
Might be, might be right, whatever it is, you still
have a responsibility as the titles that you are. Outside
of being that right, outside of being the greatest artist
of all time, You're still a father for sure. You're
still a son, You're still somebody husband, You're still a friend.

(52:24):
I'm still your friend, keV. If somebody call me right
now and tell me a bootleg keV says such and
such and such and such about you, I'm gonna call you,
even if they tell me and say, don't tell him.

Speaker 1 (52:36):
I told you.

Speaker 2 (52:37):
I'm gonna call you as your friend because we have
a vow to each other that we friends, and I'm
gonna say, hey, Bro, did you say such and such
and such and such because this person said that. And
if you tell me no, I'm gonna believe you because
that person told me not to tell you, and we
gonna keep that amongst us. I think he's missing that,
and I think he goes to Twitter and he lets

(52:58):
it all out and he needs a friend and to.

Speaker 1 (53:02):
Talk to him, because then he's like with all these streamers.

Speaker 2 (53:04):
And it's wild because you got people that take advantage
of it. You got people that literally pull up and
act like they fuck with him as a person just
to get a moment podcast to be able to blow up.
And it's like, bro, you making this man look crazy
as a father when he.

Speaker 1 (53:21):
Go to court. Yeah, we're in a weird place where
like there's like people who aren't even hip hop fans
who are somehow like dictating conversations. Like I like the
Aiden Ross dude talking about DOCI, was like, like, who
the fuck is this?

Speaker 2 (53:38):
Fuck Aiden Ross.

Speaker 1 (53:39):
He's a bitch.

Speaker 2 (53:40):
Fuck Aiden Ross, and I mean that with everything. Listen
to me. I'm not saying this on no threatening shit,
but I'm saying fuck Aiden Ross for disrespecting that black woman.
Doci was at a met gala, probably had a moment
of being irritated and things going on. You don't know

(54:01):
what it's like in that moment dealing with all of that.
Who the fuck is you to speak to that woman
like that? Fuck you and fuck everything you got going
on for speaking of that black woman like that. We
salute DOCI, We support DOCI, and we stand by DOCI
in her moments of being frustrated and her greatest moments
of winning a Grammy Nigga. We culture and this is
what we stand on. Fuck you, you're a guest here. You

(54:24):
have no right to talk to that woman like that
because you ain't good enough to even say nothing to her.

Speaker 1 (54:28):
I don't even think.

Speaker 2 (54:29):
I don't even know what makes him a guest because
he's not a hip hop The internet makes them.

Speaker 1 (54:34):
It's just crazy because I remember seeing him and Kyle
from the Nelkboys, and I'm cool with Kyle, but I
remember hearing them talk about euphoria. Yeah, and I was.
I put a comment under the video and I said,
this is like watching two blind people discuss what a
Picasso painting looks like because they have no fucking.

Speaker 2 (54:53):
No, you're not even from this, You're not from this.
You don't know the frustrations of being a black woman
at the Met gala.

Speaker 1 (54:59):
It's like, Drake fans aren't always hip hop fans. Fact
to me, Like those guys are like they're Drake fans,
they're not fucking hip hop fans, bro, Like, like these guys.

Speaker 2 (55:11):
Saw that shit pissed me off because what it showed
me is, y'all, motherfuckers is getting too entitled. Fact, y'all
getting too entitled to speak up on things that ain't
got nothing to do with y'all. That woman is dealing
with something at the Met gallon that ain't got shit
to do with you, and you calling her a piece
of shit. How she spoke to her team, Bro, you
don't know what was going on that day, and so
shut the fuck up.

Speaker 1 (55:32):
And anybody who can listen to her project and say,
you know that she.

Speaker 2 (55:36):
Ain't no mean as the industry playing ship she is.

Speaker 1 (55:41):
Like I said, it was the Alum of the Year
last year, way early. I'm like, yo, this is by
far incredible, by far, body of work, by far, artistically,
she's insane. And anybody who doesn't, let's just.

Speaker 2 (55:52):
Be real, that girl, that girl was vlogging five years
ago trying to get herself know who what fuck is
you for sure as an industry plant to call her
an industry plant she worked for that shit.

Speaker 1 (56:06):
It's crazy. I think these streamer dudes make so much
money and that's fine because they develop a card and
all that money. I'm not even talking about like I like,
I like high, but I'm talking about like, there's all
these gambling deals people are getting there, getting all this
fucking money, and it almost feels like people can equate
the fact that they have fuck you money to being
like just shitty h Like, bro, you not on me.

Speaker 2 (56:31):
I can't speak for other rappers and other entertainers when
they come to me. Ain't no way in the fuck
if I ran across aiden Ross right now, I'm not
gonna say nothing to them right I'm gonna say something, bro,
because you got to be accountable for what you said
to that black woman. And I'm a black man. So
if I let you say that shit and I don't
check you, I'm just allowing you to think this shit

(56:52):
is cool.

Speaker 1 (56:52):
The thing that sucks is there's still gonna be countless
artists that that's cool.

Speaker 2 (56:57):
Y'all can do what trouble, But I'm like, yo, go
on to stream at least check y'all could do what
y'all gonna do. Y'all can go to his stream, y'all
can do all of that. That stream ain't that important
to me.

Speaker 1 (57:07):
And it's also how you disrespect. It's not translating the
fucking you selling records.

Speaker 2 (57:13):
Man, It ain't that stream. Ain't that important to me
for what you did to that black woman and how
you spoke on her. So until you apologize or until
you got something to fix that, nigga is fuck you.
And if I see you, it's fuck you, mister Ross period.
Shout out the doc Alligator Bites don't healed in stores now?

Speaker 1 (57:32):
All right? So music coming to and you're just working
out a deal.

Speaker 2 (57:34):
Essentially, we're working out home, We're working out some monuments, taking.

Speaker 1 (57:39):
Meetings, figuring it out, figuring out everything. The meetings have
been great.

Speaker 2 (57:43):
But I know where I'm going and the person who
I've been talking to know where I'm going. And it's
not a traditional record label theme. No, it's not real,
but it is something untraditional. And this is a a
great friend of mine that I met a few years ago,

(58:04):
and we just kind of see things the same way.

Speaker 1 (58:07):
You about to sign the Gilbert Arenas. No, I kind
of ask. He's got stupid money. I don't know. You
gotta spend gil.

Speaker 2 (58:14):
So gil created a show called battle Mode that started
from our group chat. We were all playing video games,
so he went and created this show. So we all
are that was in the group chat.

Speaker 1 (58:23):
I saw you're just bowling with him. I didn't know
you're a good bowler because we.

Speaker 2 (58:26):
Battle every day. Okay, so it's a competitive Nature's Nick Young.

Speaker 1 (58:30):
If I send you over, I have an og Wizards jersey?
Were you going to sign for me? Yess?

Speaker 2 (58:34):
Matter of fact, what are you doing next Friday? What
are you doing May thirtieth?

Speaker 1 (58:39):
I don't know. Probably be here.

Speaker 2 (58:40):
May thirty if we're doing the championship of our basketball game,
you should come and bring your Wizards jersey and he'll
sign it.

Speaker 1 (58:47):
Right there for you. Gilbert Arenas, man, let's make that happen.
An Arizona Wildcat.

Speaker 2 (58:52):
Great, let's make that happen. No, it's a it's a
it's a big thing that we're working on. It's just
taking a little time. It's very un unconventional. It's something
that's new in this space. And these are great people
and they have great vision. For fox sake. Put some
music out for fox sake. It's coming, I promise you,
but like, don't overthink it. I'm not you are I

(59:15):
promise you.

Speaker 1 (59:15):
I'm not a fucking great overthinker. I promise you.

Speaker 2 (59:18):
I'm not all right.

Speaker 1 (59:19):
I promise you. I'm not.

Speaker 2 (59:20):
It's coming. Well, that and beyond a lot of stuff
I feel like rapping.