Does Offset want to Squabble w/ Stefon Diggs

In this EP Eiht and Steele breakdown why BET cancelled the Hip Hop Awards , the business of touring and why people care about Cardi B being pregnant by the NFL cat

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Episode Transcript

Speaker 1 (00:00):
Cast the Chronic Goals. This is not your average shows.

Speaker 2 (00:04):
You're now tuned into the rails.

Speaker 3 (00:17):
Welcome to the gangst The Chronicles podcast, the production of
iHeart Radio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles
for my Apple users, hit the Purple Michael your front screen.
Subscribed to Against the Chronicles, leave a five star rating
and comment. Man, how long have they been showing the
Hip Hop Awards on BET now?

Speaker 1 (00:38):
It's been a while. Ship, you know, let me ask.

Speaker 3 (00:41):
You this so E e T is owned by Viacom,
the same people that own them TV and a bunch
of other different stuff. You've been in the hip hop
game a long time. A when have you ever known
White America to do stuff just for coach fal impact?
They always be a stuff as it made money, right
right right? They didn't. They don't do things for cultural

(01:02):
impact and cultural relevance. Necessarily, you have to have a
monetary value. Man, they cut out, but it ain't gonna
be no more hip hop Awards though.

Speaker 2 (01:13):
Yeah, I saw they cut that out. Your dudes who
running everything said, oh no, we're cutting all that hip
hop rap shit out because I don't know, is it
is it an image that they want to get rid
of as far as hip hop music is it?

Speaker 1 (01:30):
You know, are they not feeling that it's appropriate enough?

Speaker 2 (01:36):
I've seen, uh, I see fact Joe and them talking about.

Speaker 1 (01:47):
The financial status of it.

Speaker 2 (01:52):
Every year the budgets for the hip Hop show gets decreased.

Speaker 1 (02:02):
Mhmm.

Speaker 2 (02:04):
But you know MTV they about to have day Video
Music Awards show, you know, and they got the big
moon man and fires and acrobatics and they shows and
you know, rocket ships and all of that.

Speaker 3 (02:22):
So yeah, is it just has always made way more
money than all those other genres?

Speaker 2 (02:31):
Well is it even about the money now or is
it about the image of what they feel hip hop
is bringing to viacom or universe? Whoever owns this ship
you're getting with? Am I feeling with all this?

Speaker 1 (02:50):
You know?

Speaker 2 (02:50):
With with you know, and I'm knowing how significant hip
hop is. You know, when hip hop started and you
know the term of crap and you know the those
golden years of rap, But are these the golden years
of rap?

Speaker 1 (03:06):
You know?

Speaker 2 (03:07):
Are these those type of years to where motherfuckers is
feeling like what shit hip hop is putting on this
show is costing me more money than it's making me money.

Speaker 1 (03:22):
Right, m.

Speaker 3 (03:25):
Well, I'll tell you from what I do know. We're
in a different time right now, right to where you
know the phrase all money ain't good money.

Speaker 1 (03:36):
Definitely.

Speaker 3 (03:37):
We're in the streaming era right now where everything is
about streaming from the stuff we watch through our music. Right.
It's about going on the app and streaming something and
watching as much as that content as you want. They
don't even like they still have some shows that drop weekly, right,
But for the most part, most shows if they can start,
like let's say it's fifteen episodes in the season, you

(03:58):
can go in there and watch all fifteen of them
episodes over the weekend if you choose to, right, then
they go drop another fifteen. Right. If this stuff is
not getting those streams, they're not gonna renew it. Right
right now, we're in an air like for a company
like to before example, to Be is what you would
call they're a fast channel, which stands for free advertise

(04:19):
ad support to TV. Right, and they got a bunch
of content on that right, you don't make them You
make all your money off of ads, ain't It's similar
to YouTube for a content creator anywhere, right, almost similar
to YouTube. Right, So you going here and get they
just pay way more money. Right, So you're going fifteen
million views, Let's say fifteen million views is gonna bring you.

(04:41):
Let's say it brings you type to think we two
hundred thousand dollars.

Speaker 1 (04:43):
Right.

Speaker 3 (04:44):
What the advertisers are saying now is this, we don't
care how many streams or views that content get. That
black content they call it urban content, right, we don't
care how many streams it gets. We don't want to
have our brands represented on there. So you've got guys
before they used to have really successful movies on to

(05:05):
be right, and you gotta saw a lot of people
become millionaires. That's over with broke people have for pushed
the line now dogs where they don't care how much
some money something is making, how many views is getting.
We do not want our stuff on the N word
material nor And that's whether it makes sense to us

(05:27):
and not. But these people are definitely playing the long
game with these advertisers. They know that at the end
of the y, they the majority of people who drink
coca cola and pepsi in this country man are black
and Mexican. Right, Really, the Hispanic people with coke, right
and black people man coke don't want to be associated
with all that that heathenism and all that heathen shit.

Speaker 2 (05:51):
Yeah, I just you know, it's unfortunate. I don't know,
maybe if if you know, if if the I don't, man,
I don't want to disrespect them. It's who're making their
money right now? Who rapping and who whatever whatever. But

(06:11):
I don't think it's it's the same as you know,
back when you know hip hop was was was fresh
and brand new and it was turning the key and
you had all kinds of different content whatever, And it's
I don't know if it's been you know, it's always
been a shine of negativity on hip hop so to speak,

(06:34):
but you know, they took it to the point where
it started making money. You know what I'm saying, not
that it's not generating. Is it generating like that? Is
it that to the point to where the representative of
hip hop right now they don't want to touch those
representatives of hip hop so to speak? You get me,

(06:57):
Look at the shows, look at the performances, look at
the you know, has anything been like spectacular?

Speaker 3 (07:09):
Well, you're right, man, everybody is talking about now, like
I'm gonna say something that could be deemed controversial, I
want you to listen to what I'm saying. You go
get what I'm saying. Who would you say the biggest
storios in hip hop right now? M hmm probably Kendrick.

Speaker 2 (07:31):
I mean, of course you're gonna say to Kendricks and
the Drakes, and I get that.

Speaker 1 (07:36):
Yeah.

Speaker 3 (07:36):
So, but think about this, right, and I'm trying to
say this in the right way because that is the homie.
I think kat That is an incredible artist, right, I
think Kat That is an incredible artist. Now, had those
two dropped in the hey, they kind of like the
golden era of music to where when you was putting
out you know, like y'all you had the whole CMW

(07:59):
you run right, you had Cube doing his thing, you
had Nahs doing his thing, you had all these It
was a lot of talent in the game and it
wasn't easy back then. It just wasn't as easy to
get on. Do you think those guys would have still
stood out amongst the piers the way they do now?

Speaker 2 (08:17):
I mean, of course, I mean we've always had standouts,
you know, they're always to me being you know, niggas
who come along that just man, you know, untouchable, unfatable.
You know my era, that was a Cube. My era,
to me, that was a scarface. You know, there was

(08:38):
some niggas who were just untouchable. So you always have
those talents that come along that you know are significantly
greater you know, and and than other niggas.

Speaker 3 (08:51):
So yeah, listen to what I'm saying though, Bro, now
hear me out. You just mentioned some cold motherfucker's scarface Cube,
And I'm gonna tell you this. See these kids today, man,
they getting the privilege of seeing the Cube. That's the
old Shank Jackson. Really just the ol' Shake Jackson now right,
a man in his fifties that's doing stuff he should
be for it. Man, He's doing things that a man

(09:13):
in this fifty shit be doing. The man as the
hell of a businessman. He got his basketball league, the
three on three league. Cube was an incredible businessman, has
a production company gonna put out some really good movies, right,
So they're seeing that version of him. They not seeing
a version that we saw man with once upon a
time in the Project show. They're not seeing that guy
right at one time doog Cbe was the Kendrick on

(09:36):
the block right right, he was that guy. Do you
think that these guys could have stood out in that
period in all events, if they could have, if they
would have adapted in that time.

Speaker 2 (09:49):
You know, these are different times back then, you know,
you know what a lot of us went through. As
far as the choices we had back then, We've had
a few. We've had rappers that come from other places,
you know what I'm saying, as far as the West
Coast is concerned, and all depends on what their material

(10:10):
would have been like you know what I'm saying.

Speaker 1 (10:13):
You know.

Speaker 2 (10:15):
What they've been, what they be talking like they're talking now,
or what they be talking like the era that they
were in back then. Because you know, like I said,
you have those dudes who come along every now and
then that don't take you in any direction.

Speaker 1 (10:33):
They just like like that niggative rap.

Speaker 3 (10:37):
Yeah, I think that in my personal opinion, And it
ain't got nothing to do with me knowing the dude.
I think Doc could have stood out back and I
think he would have been out with what I say,
He's gonna come to be the number one dude. You
just don't know, because it's a different era, right, like
you said, right, But I think him because he still
maintains his gettleness. Hip hop is all about the streets, man,

(10:58):
It always has been. Only did this started kind of
getting away from the streets. That's when we kind of start.
That was marked the rise of our destruction kind of
right right from being the things ours to where now
it's corporate. Right now, they've got gatekeepers over it. It's
making a lot of money and it's not. It's got
away from his roots. And that's the problem with hip

(11:18):
hop right now. I think hip hop is just doing
a reset to where it's supposed to be. It's going
back to being underground. It's go go back to who
go Who got dope music? And who's really doing this
because they love the culture because there wasn't no money
in it back then. The ain't no money in it
now unless you Drake or Kendrick. Catch Drake and Kendrick
caking up.

Speaker 1 (11:36):
Right.

Speaker 3 (11:36):
But Tom told me something the other day. I called Top.
Shout out to my boy dude, dog Man. I talked
called Top the other day and I had to ask
him a real question because I got an artist that
I'm thinking about messing with right, And I asked him,
I said, man, do you think in this day and age, man,
it's worth messing with the artists right now and making
the investment and not just time, but you had to

(11:59):
spend some month. You have to go through some headaches.
You have to show this, you know, you had to
pretty much when you're talking about getting a kid that's
anywhere from eighteen to twenty one years old. Bro, you
are going to have to do some training.

Speaker 2 (12:14):
Yeah, because they gonna expect shit, especially in this rap game.
If you're gonna tell them you're gonna fuck with them.
They're looking at you who you are and the connections
you might have, They're gonna expect.

Speaker 1 (12:26):
Shit, you know.

Speaker 2 (12:27):
And that's the only event a young minded, you know,
individual is that this day and age is instant gratification.
You get me, They put out a song in a
video and he gonna be he gonna expect tomorrow I
should be platinum.

Speaker 1 (12:44):
I ain't.

Speaker 2 (12:45):
How come I ain't got one hundred thousand followers on
my page? And how come won't he wont this and that?
And so, yeah, you're right, you'd have to go through
those kinds of headaches unless you have an individual who
knows the real ends and outs of just business period.
Sometimes she can be an overnight success. Sometimes you're gonna

(13:08):
have to walk that long road. And I tell that
to my son all the time. Some niggas come out, man,
and they could put out a track today and by
next week it's blowing up all over the country. You know,
it's just that hit and then you got those motherfuckers
into you can do the same thing that motherfucker did

(13:32):
and your shit ain't so but one hundred copies you
get me.

Speaker 1 (13:36):
It's it's it's just like I said, it's just the patience.

Speaker 2 (13:41):
Of knowing you know, of what the business real really,
you know, entails when it comes to anything though you
give me anything. You doing business, so you know, I
know that that might feel like, you know, that's a
that's a big question mark to feel like if you

(14:02):
want to do that, you know, knowing what you know,
you already you know dealt with as far as situations, Yeah,
you know what, man.

Speaker 1 (14:11):
And the thing with hip hop, now you have to
do this shit because you love it. Man.

Speaker 3 (14:16):
There's no money in this, no more like And when
I say that, don't get me wrong. You can make
it living, man. But it's really not no money in
the actual music part of it, the outside the shows
and your merchandise and stuff, because yeah, you don't. You know,
they took away the physical product when it was a
physical product and you can go up there and say, okay,
give me ten dollars for this, that's what money.

Speaker 2 (14:36):
And then they took away the product and then found
another way to maneptulate us getting paid for our craft
because they have made up these streaming places to where
they can go directly to the labels who you know
might own your own music or your music or whatever,

(14:59):
and they broke or deal with them. And you know,
if you signed one of those major label contracts, then
you stuck get no money because they they broke and
to deal with them to get their songs from the
sight and you can't do.

Speaker 1 (15:19):
About it.

Speaker 2 (15:20):
They found a way to really break the average you know,
rap hustling nigga down.

Speaker 1 (15:27):
You know, you know that that real. You know how
independent niggas used to get it.

Speaker 2 (15:33):
You feel me now, They didn't cut away from niggas
out of making it out to Trump like oh no,
we ain't gonna let a nigga cut us out no more.

Speaker 1 (15:41):
We're gonna stop. Just we gonna selle, nigga. Those are
that's pre historic, a CD, a cassette tape. You feel me.

Speaker 2 (15:51):
Listen THEI go press up his own ship, nigga. Some
niggas I know niggas used to go press up their
own ship, hit the corner store, hit the mothers frucking
gas station, and they can hustle. And like you said,
once they took down away and start streaming and I
pod and all that crazy shit they started coming with

(16:13):
making it accessible for you to just go on your phone.
And like you said, no, I could play this motherfucker
a billion times right now, write it.

Speaker 3 (16:22):
And so they it not to cut you off, bro,
but the cash from our area, the cash from the nineties,
you know, the cmw's when you got signs you all
initial was. It wasn't no mentioning of the streaming because
the streaming didn't exist yet. So a lot of people
is working up on the deals that they don't even
have a You really don't have a contract on how

(16:43):
to get paid unless you go back and renegotiate that stuff.

Speaker 1 (16:45):
Now exactly.

Speaker 3 (16:49):
Think about it, dog like this, right, I know you
just got your business. You probably got your business taking
care of now, Bro, But just imagine how many people
is that don't have their business to care that, Like,
think about it like this. Spice one says something real
interesting one day, Bro, I think his first two albums,
not the one he put out with first, but the

(17:11):
two albums on joint, those two albums wouldn't go to platinum,
didn't they?

Speaker 1 (17:15):
Well, yeah, I went platinum.

Speaker 3 (17:17):
Spice said he never saw a royalty off that man,
never saw a royalty.

Speaker 1 (17:22):
No.

Speaker 2 (17:23):
Spice was one of those like I was, you know,
and then the and the only thing that was a
little better about my situation is is uh, I sort
of had a manager slash lawyer, crooked whatever.

Speaker 1 (17:43):
But.

Speaker 2 (17:46):
I controlled a lot of my shit, Like you know,
once the paperwork is signed, you know, I'm going to
pick up my checks and I'm knowing how much budget
I got, you know, my shit not going to another
motherfucking and they cutting me money as he go along
and whatever whenever. And I think that's what happened with Spices,

(18:09):
you know, with his deal with Jive is you know,
sort of like what was going on when I was
signed you know through Big Beat, you know, and you
do those production deals most of the time you know,
a nigga go in and they get a deal for you,
and you at home and you writing and you creating

(18:31):
and you making these songs, but the company's sending the
budgets and the moneys to the middleman, and most of
the time the middleman's is Nikkel and Diamond because you know,
we weren't as knowledgeable about contracts and music business shit.

(18:51):
You know, niggas wasn't no dungies and shit. You know,
nigga went to school and shit like that, but it
wasn't to the point to where I was ready to
read forty page record contracts at seventeen years old.

Speaker 1 (19:08):
You feel me and.

Speaker 2 (19:11):
Me coming from poverty, my mom's and then you know
who got the money to hire a lawyer, And so
that's when the slickness begins.

Speaker 1 (19:21):
You get me.

Speaker 2 (19:22):
Because usually the nigga you're getting ready to fuck with,
he's the one that supply you with the lawyer who
eventually is working for him, and all along you get me.

Speaker 1 (19:31):
So it's unfortunately, but that's what happens. And niggas have
to wait forty years, thirty forty years.

Speaker 2 (19:41):
To be able to claim their music back because those
are the type of deals niggas entered to not being
knowledgeable about what was going on with the business.

Speaker 3 (19:52):
You know, the average dude designed it deal back in
the day was real young. You're talking about dudes that
was seventeen years old, sixteen years old signing contracts without
they if you went to eighteen, you're really not supposed
to be signed no contract.

Speaker 2 (20:11):
Mm hm, no, it's not shit. I think I was
seventeen and I can give a fuck. Niggas handing me
a couple of thousand dollars and I was like, fuck it, let.

Speaker 1 (20:22):
Us do it.

Speaker 3 (20:23):
Yeah, And you know the thing is, obviously it turned
out to be worth it for you. You know, you
look up. You know, thirty seven years later, you're still
able to go make money off them songs.

Speaker 1 (20:33):
You know.

Speaker 2 (20:35):
Yeah, I'm I'm fortunate enough that I can go pull
a you know, a couple of shows a month, and
you know, I can put out a project, not to
look to become a new millionaire or nothing like that,
but I can put out a project, you know, for
or a fan appreciation and if I make a few

(20:58):
dollars off of it, and I'm comfortable with it, you know,
because you're able to generate a few dollars and maybe
pick up a few new shows and you know, get
a couple of new business ventures from you know, just
being able to steal work, so you know, you appreciate
it in the long run, But I don't know what

(21:21):
you know, Like you said, they started destroying all our
hip hop shows and or rap city shows, and they
started cutting all that stuff out, you know, and you know,
now it's come to the point that we don't even
want to They don't even want to celebrate the music
of hip hop.

Speaker 1 (21:39):
And then that's fine because you know what, I look
at this as.

Speaker 2 (21:42):
A It's like, if you ain't if you ain't grammy material,
then you shouldn't even be thought of. And your music
is declassified, is what they trying to do.

Speaker 1 (21:55):
You feel me?

Speaker 2 (21:56):
If it ain't grammy status, then we don't even want
to acknowledge that that representation anymore, you know, So we're
gonna kill the rap of shows or whatever. Let somebody
else go put that shit off.

Speaker 3 (22:14):
Yeah, this shit is an opportunity, though, bro, because I'm
gonna tell you right now, we got a chance to
kind of put our money where our mouth feels, right,
because I look at it like this, Okay, y'all not
gonna do the hip hop awards no more?

Speaker 1 (22:27):
Who would say we can't have our own you feel
what I'm saying?

Speaker 3 (22:30):
Like all of these hip hop media outlets like you
talking about the shadroom, all hip hop dot com complex
all these people now, right, go go back to where
people from the actual and I'm not gonna say complexes
from the culture dog because a lot of these people dog,
I think out outside of all hip hop maybe a
lot of these companies are owned by white people. Dog

(22:52):
like corporations, you know what I mean, where somebody may
have bought it like ten fifteen years ago and they
still run the same. Now it looks black, and it
looks it's that, but it's a business. There's a bunch
of white folks up there running that shit, you know.

Speaker 2 (23:06):
Yeah, And if and if somebody like B E. T
and Via Common and it's dropping it from their from
their scheduling, then what makes you think somebody like that
is gonna even have the budget to do? You know,
it's gonna be on the cheap scale because if they

(23:28):
pulling out that means you know, sponsorship was.

Speaker 3 (23:31):
Getting low and boo boo for it. Yeah, And I
guarantee you probably on them shows. They was probably spending
any wherebos there was probably like five to ten million
dollar productions dog at least, right so you know, and
like you said, everyone every year is getting they pulling
money out all this year, there ain't gonna be five,

(23:54):
it's gonna be three.

Speaker 1 (23:55):
This year it ain't gonna be three. It's gonna be two.

Speaker 2 (23:59):
And to the point where they like, oh, we're not
finna go spend a million dollars on to celebrate no
hip hop ship put some niggas on stage to performances.
Most of the time is half fast. You know, there
might be some confrontations and ship to which.

Speaker 1 (24:19):
We are always having.

Speaker 2 (24:20):
You know, it gives a bad look, you know, you know,
it's just it, you know, you know, you know people,
I guess people look for a real show and people
like I haven't watched the BG Hit Bop Awards, and
who knows when I couldn't even tell you the last
time I watched it.

Speaker 3 (24:39):
So when you know what the thing is, I'm a
missing dog. Was it water down sometimes?

Speaker 1 (24:44):
Yeah?

Speaker 3 (24:45):
But I thought it was important man to see catch
like bust the rhymes get his Legends Awards. You know
what I mean, I was looking forward to see you
because I was like, they gonna call it homie up there.
Pretty soon they got to call you.

Speaker 2 (24:58):
I know for stuff like that. That's official, definitely for
shit like that. But I don't know. I mean, as
an executive, how would you feel if you were in
control or some shit and a motherfucker told you you
had to cut the fact? So where you're finnah, cut

(25:19):
it at if you sit step there in that corporate
building with that suit and tier on, still like you
gotta get up and go, you know, do your thing.
You know you you out of that now you were
on this side, and the motherfucker like, okay, still, we
just hired you. You about to run ship. First thing

(25:40):
you need to do is you need to cut the
fat here. So what you propose? Yeah, and you can
only do the show. So like I'm gonna tell you this,
on the low end, the least you gonna probably be
able to get away with spinning. And even then you
have to skial down a lot.

Speaker 3 (25:56):
It's maybe two million dollars right right, and that's gonna
look scale down as hill. There may not be as
many flights out here, It may not be the black
car service, you know what I mean. The war showed
the ceremonies and the parties and all that other package.

Speaker 2 (26:11):
Who you gonna get who you gonna get to do
that now? Because you know how and mighty motherfucker is
gonna be like, oh no, I need car service, I
need this. I need you know, top floor this hotel.
I got a counterorige of about ten people that need
to come. Plus I need like twenty tickets.

Speaker 3 (26:34):
Hey, it's gonna get real, ghet them real quick. You
know what I'm saying.

Speaker 2 (26:37):
Where lockhalluck be piling out like, oh no, I can't
do that because instead of staying at this, you know,
because whereas before they may put somebody at Larmitage, you know,
out in Hollywood right.

Speaker 1 (26:51):
Somewhere really you know, somewhere real tight right now. Shit,
you damn that we have to put motherfuckers in the
motel six.

Speaker 2 (26:58):
Yeah, you're gonna be had to comfort then, nigga, you
get your little get your little complimented and rebreakfast in
the morning, and.

Speaker 3 (27:07):
Jay gonna have to have a room with y'all exact
y'all that free breakfast before the clock, you know, yeah,
before tad you get that freak out of that, or
get you some powdered eggs, little orange juice, make you
under waffles in that bag.

Speaker 1 (27:25):
They can flip it over, take it up to your robe.
You all good? You got just talking ship man boy?

Speaker 2 (27:33):
Now keeping that maybe they felt like before we started
doing that, it just killed the whole ship. And that's
been to save us what a couple of million every
year from not putting that shot.

Speaker 3 (27:47):
And it's gonna save on nothing, losing no potential sponsors
because this is just the facts. Now. I hate saying it,
but whenever you put I'm trying to stop cursing. So
if you hear me say in words, I'm talking sing
and mea. You know, whenever nia's doing something, man, it's
always a chance that they gonna go left with something.
They don't care if it's live on TV. If they

(28:09):
got a chance and they got beef with so and so,
they go going in talk crazy, it might be a
whole melee on live TV. You can't do nothing about it. Now,
you don't lost a couple of million dollars of sponsorships
because people looking like this, like what the hell is this?

Speaker 1 (28:22):
This is what I've been.

Speaker 2 (28:25):
I haven't watched it you know, not that not that
you know, it hasn't been you know, good show and
good performances. You know, I've heard a few things about
some people's performances, some of the Legacy Awards giving out whatever.
But you don't you don't hear, you don't you know,
you didn't hear and generate that vibe like it did.

(28:49):
And I don't want to keep talking about a certain
era of hip hop, but you know there was this
you don't there was a certain atmosphere.

Speaker 1 (28:57):
O't know, kid?

Speaker 2 (28:58):
You know shit? Who goes to the BT hip Hop Awards?
You know where do they hope half of that in Atlanta?

Speaker 1 (29:06):
La? Where Where was the last one? Hell? Still shoot
the I think it won't won't say Atlanta. Has it
been there a few times? You know what?

Speaker 3 (29:18):
This last one was in La? The BT hip Hop
Wars was in LA this year. I think it was
in Atlanta last year because they was talking about having
me and you come. Remember that the last minute they
were trying to get me and you to go down
there for that. Remember we talked about that ride. Pause
right quick? Somebody at my door, see your door, trying
to sell you something?

Speaker 1 (29:38):
Oh man, it's the worst ain't it.

Speaker 2 (29:41):
You try to say, they're trying to sell you some shit, right,
and and the crazy shit is, motherfucker doesn't been here
a thousand times already, so soon as you look out
the door, you already know what they about.

Speaker 1 (29:54):
And they try to run a different story. We're gonna
be doing some.

Speaker 2 (29:58):
Work down the street in the neighborhood, so we just
letting all the neighbors know. What are you letting me
know that you're finelna be doing work for him? You're
not a city worker, So what do you want?

Speaker 1 (30:09):
Oh?

Speaker 2 (30:11):
And do you notice then he increasing in your best
See I said, dude, I don't want no solar panel.
Get up out of here. Oh well, I'm just trying
to see any get to asking about how much is
your bill been increased and all this other.

Speaker 1 (30:24):
And all that stuff. Man, Yeah, get on. You know
what's crazy, though, bro, I bought something from somebody before.

Speaker 3 (30:33):
I think I got some water from a dude before, right,
But the bill got way too expensive. It was way
more than what he initially said. For a few weeks
it was a cool price. Then they came back here
talking about they want two hundred dollars, but well for
your machine.

Speaker 1 (30:45):
Real.

Speaker 3 (30:46):
I said, man, you know what, y'all take all this
ship with y'all right now. I put all that shit right,
y'all gonna take it right now, get up off my land,
you know, on some other stuff real quick. You know
Cardi B was messing around with homie Stephan Diggs right right,
they say she got a baby on the way. Now, Oh,

(31:08):
that ain't I don't even think that's on on our
on our that ain't even that ain't even something that
we even give a damn about. I don't you know
what's crazy about doing I'm gonna leading to something else. Right,
When you're a professional athlete, dog or rapper or whatever,
you can't make a move without the world being in

(31:30):
your business thog like you can't like like like like
let's say that he is the case right, Well, that's
just that kind I used to tell niggas that, you know, unfortunately,
you can't pick what comes with uh your your artistic
uh ship.

Speaker 1 (31:49):
Right.

Speaker 2 (31:50):
Some people choose to try to lay load. That's why
you you know, you you never see those big you know,
you might catch them coming out of coffee shopping every
now and then. But some people stay secluded. They don't
make themselves very accessible to people. Some people feel that

(32:10):
they need to because I want to stay in the
public's eye. I want to always be talked about, I
want to always be seen. But then they be the
first ones complaining that people are all up in their business. Well, unfortunately,

(32:31):
when you choose the status of celebrity, it's your choice
the way you move, right, m hm. Right, from the
biggest to the little, from the biggest to the minor.
Start right, It's all about the way you move. Here's
your choice. You you you You didn't see Michael Jackson

(32:52):
at the park down the street with the kids, right.

Speaker 1 (32:56):
Oh no?

Speaker 3 (32:56):
And the thing about it, look back on it, Mike
had a lot of bros.

Speaker 2 (33:00):
Dud, you didn't see. You don't see. You know, you
only catch a glimpse of people that are very important
or like I want to say, it could be major. Mind,
you only catch glimpse of people when you want to
be accessed like that. Of course, you have to go
out in the public and you have to move around,

(33:22):
and you have to you know, whatever or whatever. But
you know, every day living is every day living. If
you choose to start fucking with a nigga, then you
have to understand male or female that you know, eventually
it's gonna come out who you who you fucking? So
some people choose to flock that. Some people try to

(33:44):
keep that under wraps until they can't keep it under
wraps anymore.

Speaker 3 (33:49):
Well, I'm gonna tell you like this, homegirl got an
album coming out that's emotion. You know, Stefan Digg's a
well known player, you know what I mean, that's proo
or whatever, or maybe even somebody in her let's say
CARDI wanted to keep that private. Right now, somebody in
her record come you know about that. They're gonna leak
that information because hey, this is a good promo. Then

(34:11):
people don't give a damn about your personal life.

Speaker 2 (34:14):
No, when they think it can help generate anything successful
in the dividends, then that's the name of the game.
When it comes to fame, you get me. You can't
act to be famous and not be accessible to the
fans that are putting you there. The people who are

(34:36):
working for the people to generate this income. You know,
it's their job to make you accessible, make you see,
make you her. You know, every little thing that we
need to do to keep you in the in the
public's eye right, that's going to help us eventually with income.

(34:59):
So you know, it might be your motherfucking person that
you think is your friend, a cool person at the company.

Speaker 1 (35:06):
Yeah, they gonna leak some shit because that's the way
we have to do shit.

Speaker 3 (35:12):
Yeah, you know what, man, it's like right now. It's
getting kind of out of control though, man, because like
you said, I don't even remember a time somebody having
a baby as being news. Now. It always was something
like when Beyonce was pregnant with Chazy's things. They go
mixing the things. Oh, they're about to have a baby.
America's couple about to have a baby. That's cool, dog,

(35:33):
But it's interesting.

Speaker 2 (35:35):
It's interesting gossip and noise to people because you are
fucking nick nigga. You know, it's like street gossip or
street chat to motherfuckers. You get me, like like the
homegirl used to go with so and so, and then
now she fucking with the nigga.

Speaker 1 (35:53):
You know this new nigga.

Speaker 2 (35:55):
Everybody gonna chit chat and you know, and so that's
what it is.

Speaker 1 (36:00):
You get me.

Speaker 2 (36:02):
You was fucking this nigga, you have two three kids,
and next thing you know, y'all broke up.

Speaker 1 (36:08):
And I don't know.

Speaker 2 (36:08):
I guess you know people and people look at today's
society and think, like I guess if you split up
or whatever, that that's it you're getting. You're never supposed
to get with anybody else. You never supposed to do anything.
You know, You're just supposed to be indebted to this

(36:29):
person like this. Ain't the fucking sixties and fifties.

Speaker 3 (36:33):
Well, you know what though? The thing about the public
though to eight to them in their mind she was
just with off set, right of course, And they don't.
They've really been broke up for a few years now.

Speaker 1 (36:45):
Dog. They was hard.

Speaker 2 (36:48):
They was having the ship go around with Vanessa and Kobe,
and how long am I know? Kobe being passed. It's like,
oh no, you can't go fucking nothing. Then you can't
go well, okay, so what I'm just, well, what am
I supposed to do?

Speaker 1 (37:06):
Like, I'm gonna tell.

Speaker 3 (37:06):
You, Like this, man, whether niggas like it or not,
somebody was tapping that ass on the low. Probably within
the year after that Nigga died.

Speaker 2 (37:15):
I'm not I'm not gonna even put that on my
nigga's memory because I'm gonna say it ain't I don't
even I ain't even want to cross his path like that,
with that negativity.

Speaker 1 (37:27):
So I'm gonna say you don't say, yeah, I'm not
gonna say after a year, because you know, you.

Speaker 3 (37:35):
Know what, probably not at the year, but like eventually
somebody is because she's a human.

Speaker 2 (37:40):
But like you said, if you know, if she choses
down the road to get involved with someone, that that's
that's her ship. If she chooses not to because she
feels obligated, that's another thing.

Speaker 3 (37:55):
It don't make her necessarily a bad person. Now if
she them out like a week later or even a
year later, and she pup, you know, she should have
some type of discretion right now. But if she chooses
to move on with her life, she should be allowed to.
You feel what I'm saying. But like I said, that's
just say you like this. You got a woman you love, right,

(38:20):
I got a woman I love right If something happened
to me though, we still feel you know, we getting
up there, dog. But I don't want to read to
be by herself, like I don't. I'm gonna be gone.

Speaker 2 (38:30):
Yeah, I don't know, I don't you know, I can't
say some women do some women don't. I know when
my mom got you know, separated, divorced from moth Pops.

Speaker 1 (38:45):
She never remarried.

Speaker 2 (38:47):
Now, did she have a boyfriend or two or whatever,
of course, but did she ever settle down and remarry
someone else? No, she never took that route. Yeah, I
don't thin, to be honest with you, I don't would either.

Speaker 1 (39:04):
I don't. Yeah, I don't. I don't know.

Speaker 2 (39:05):
Some people some people would, some people wouldn't. I don't
know if this all depends on who the person is,
but you know what I'm saying, and that's just you know,
I guess that's all in if they ever came across
somebody who would, you know, make them feel a different
way than they were, and then some people feel like, nah,

(39:25):
I'm good, you know, I'm just cool.

Speaker 3 (39:32):
Well, I tell you like this, man, I cannot wait
till twenty twenty five years over with.

Speaker 1 (39:38):
This has been a year, dooxy of course? Well, pretty
it's gonna.

Speaker 3 (39:45):
Turn out to beef when this decade is probably it's
probably been the messiest decade the history of the planet.

Speaker 2 (39:51):
Dog, it's been a it's been a rocky the twenties.
You get me, uh get We're at the COVID, you know,
and like you said, hip hop has taken, you know,
a turn and seems like you know, from waking up

(40:12):
with the news of canceling you know, one of the
big shows that we've had, like you said, we've we've
been we've been canceling out shit, you know, from from
they tried to cancel it from the beginning and the
inception and then think it was gonna last. We've been
around fifty years, but within that fifty years we have

(40:34):
been getting our collars tugged on.

Speaker 1 (40:38):
You feel me.

Speaker 2 (40:39):
You know a lot of the hip hop shows showcase
the artists and their records and their videos, and you know,
the puppet ups and the rap cities and Yo n
TV raps and the basements and you know, all of

(41:00):
our show, all that shit had its run, right, shall
shoot you?

Speaker 1 (41:06):
Now?

Speaker 3 (41:06):
Do I think it's gonna come back? You you know
where I think we are now? Eight I think we're
in this weird era, right, you've ever seen that show?
My wife watched this show all the time. I don't
know what this. I don't know if this is a
YouTube show or what. But these people don't here popping balloons.

Speaker 1 (41:23):
Mm hmm.

Speaker 3 (41:25):
You've seen that they got this thing. My wife be
watching it where it's like, you know, you come out there,
introduce yourself and it maybe five or six women. If
they pop their balloon, that mean they're not interested in you.
Oh yeah, clips on on all that and that man.
From what I understand though, that show generates millions of dollars. Now, yeah,

(41:47):
I'm sure now the dope Partly, I wish I'd have
thought of that motherfucker because they they probably got two
cameras out and that motherfucker some people with balloons. It's
gonna come for free anyway, because everybody want to try
to be famous nowadays.

Speaker 1 (42:00):
Right, of course, they got a.

Speaker 3 (42:02):
Dude my wife told me that be on there cussing
women out and talk them crazy. He's been on the
show maybe five or six times, he said it. Don't
never get picked by nobody. So he's become a part
of the cast, so to speak. The messiest dude, Right,
does he gonna talk shit about the women like when
they don't pick him up, Papa balloon on him. Most
guys are nice, right, most women are nice on that,

(42:24):
they're not really rude. But you've got some people in
there that ignorance. Hell, now, think about that they probably
spend It probably cost them two hundred dollars to take
that show, right, if that right, and they're making all
this money just from that, right. I think we in
this era dog to where yeah, we probably go get
a hip hop show again, probably have some stuff like
the basement and stuff like that, you know, the YOEMTV

(42:47):
raps type of stuff, but low budget stuff, independent stuff.
I think it's going back to the underground. Dog, It's
going back to the underground, And I think I know
for sure I want to be a part of that shit.
I think I got some ideas I may not be
able to I think trying to do in a war
so it's real ambitious. I'm not gonna try that because

(43:08):
that's that. Do you think that has to do with
the resurgence of a lot of old school artists, veterans
releasing projects, the fact that they you know what, man,
it's a possibility, right, I know. One of the things

(43:30):
always talked to you about it. I never did like
the idea of just relegating a dude back to the
record he put out twenty years ago, because I've heard
you know, I don't get me wrong. For the most part,
I've heard the ogs when they put up their new records,
they sound cool, you know what I mean. Some of
them are good, some of them are actually good. Some

(43:50):
of them don't sound that good. But I think that
I don't think you can put an age on a
rapper dog because it's like this. It's not like football
or bad basketball, where you're talking about somebody's you know,
somebody's whole style being you know, totally depending upon their
physical attributes. Right right now, if you had to go

(44:11):
out as a rapper, I would imagine that Bust the
rhymes at the age of seventy, when he turned seventy,
he's not gonna be able to go on stage and
do the stuff that twenty two year old Bus and
Bus did, but he could probably walk there and still
rock and crowd right all the stuff that they doing,
all the moving around and stuff him is splippy doing.
Even when I last saw a Buster on the Reward Show,

(44:32):
his he rocked it, but he was sweating like a motherfucker. Yeah,
you know, he was up there put me in some work.
He was sweating, dog. You know, he had this costume on.
He was up there sweating. His look his head dripping
down and stuff. You know, what I'm saying it is
just like.

Speaker 2 (44:48):
Hey, knock out shit and I don't do all that,
and I get on stage and any mother fucking tell
you touring Japan, Europe, you know touring. You know on
the eight you're doing thirty forty five minutes, sixty minute shows.

Speaker 1 (45:05):
Yeah, you gotta be in.

Speaker 2 (45:07):
You got to be in shape, you gotta be healthy,
you gotta be all of that because that shit will
take a toll on you at the heat. You in,
you feel me, you got you got twenty five. No
more running around sipping forty ounces all night, fucking around.

Speaker 1 (45:24):
Clubs and broads and shit.

Speaker 2 (45:27):
Nigga niggas be trying to get off the stage and
back to the room and rest up, because that's a lie.

Speaker 3 (45:33):
Oh yeah, everybody I've seen that was brand new, that
winning the road at first, always giving them first five nights, right,
you know everybody else going back to them to their room,
go to sleep because they know you go hear that
at three in the morning. You know what I'm saying,
Three thirty in the morning, four o'clock in the morning, right,
so by the time you look at the back of

(45:54):
your hourley is right, they knock on the door for
you to go to the next city.

Speaker 1 (45:57):
Right.

Speaker 3 (45:58):
I always look at the little young homies, right, they
running around. They's doing this, they chasing this and that.

Speaker 1 (46:05):
Man.

Speaker 3 (46:05):
I got the girl from the fact she comes over, like, man,
you better go to sleep. You don't know who that
chick is. Then you get a story. Man, I got robbed,
they stole this from me, or somebody go get left
and miss the bus. Because I tell people. I tell
my artists all the time. I say, man, listen, if
you not the main artist and you get that niggas heype. Man,

(46:26):
if you not on this buss. If you not, if
you're not here at five point thirty when that bus
put off, then you going to take you a little
for damn money, Get you a ticket and go on.

Speaker 2 (46:36):
Old I thought I used to do to bath and
chill and there. I used to just slide they tickets
under the door and they would they would get there
the next day. Because I used to get like, we
gotta get up out of here, so shit. I knock
on the nigga's door. They wouldn't answer. Knock on it again,

(46:57):
they don't answer. Call the room, they don't answer. I'm like, okay,
let me slide to these tickets up under the door.

Speaker 3 (47:07):
Now today, you ever get an attitude with you because
you had to bounce No, not at all.

Speaker 2 (47:14):
No two because I used to tell they knew me,
they knew that I'm going back to my room and
going to sleep. Y'all can't hang out through what y'all
gotta do. But y'all know we leave it that five
and no more. Yeah, And I'm gonna tell you I'm
not missing the plane, especially especially when it's time to

(47:34):
go back to LA and then on the road for
about three weeks. Man, please, Man, I'm.

Speaker 3 (47:40):
Gonna tell you this because age you are messed around
and all the money. See, people don't understand the dynamic
the economics of the show either.

Speaker 1 (47:48):
Right, So.

Speaker 3 (47:50):
You're going to Japan, You're going to go do fifteen cities. Right,
Let's say you getting just for the sake of number,
you get them ten thousand and shu. Right, you're really
only getting five a show because they gave you the
deposits on the show when they first booked the motherfucker
six months ago or whatever. Right, so you got you

(48:11):
on the man, you got fifty thousand dollars that you're
gonna make off the show and the rest of that. Now,
then you got your merchandise. Let's say you're doing a
thousand night of merchandise. That's another ten, right, there's just
hypothetical numbers. Right, So you got sixty thousand dollars due
time that you miss a plane to go back to
the States. That promoter not about the front of the bill.

(48:33):
He gone all that taking you up to eating all that,
he gone, He's on you gonna have to hold Yeah,
you missed your plane. Hopefully you can get a standby.
But then anything after that, hotel, food, all of that,
that's that's only old bill. Yeah, after the show was over,
last show, that's it from over out of here. Yeah, man,

(48:56):
because I remember, man, the first time, the first first
time Dazz every went to Japan was with me, right,
so you know it was a doozy. We took the
homie DJ head. This is his first time in Japan.
He DZ for glasses, his glasses, first time about the country.
It's dazz It ain't his first time about the country,
but it's his first time in Japan. Even with all

(49:17):
the CDs in death Row, he had never been in
Japan yet, right, so he there the Homie big a
is there. Right, We all there. The one thing I
will give dazz is he held up, hele be up
in the morning. He gonna beat you in the lobby, right.
He gonna be there till he's professional. Right, he gonna
beat you in the lobby.

Speaker 1 (49:32):
Right.

Speaker 3 (49:34):
So we down there, man, we're doing our thing now.
The thing I tell people about Japan, there's two places
you don't play at. You don't mess around in Japan,
and you don't mess around in Dubai. That you're not
an Arab em rights dog. You mess around out there,
you throw some trash from the ground, You're going to
jail right right. To go out there trying to trying
to mess with one of they women, they gonna get

(49:55):
your ass. They don't want nobody if you're not a Muslim,
they don't want you messing around with their people.

Speaker 1 (49:59):
Right. So we go to the airport. Man.

Speaker 3 (50:02):
We in Japan. It's raining like a mothersucker, man, and
Dad's got about thirty thousand yen in his pocket. You know,
he's got a bunch of money, you know, money busting
out of his pockets and socks and all kinds of stuff.
This nigga takes an umbrella, Like you know, they got

(50:23):
the little stuff that they selling them. The thing I
see him when he's doing he walk around there and
two umbrellas sticking in this thing real quick, and I'm thinking, now,
this niggas got a gang of money in his bracket.
Why he just didn't buy an umbrella?

Speaker 1 (50:36):
Do we know?

Speaker 3 (50:37):
And I told him, I said, man, listen, all of
us are on the same manifest together. That's what people
don't know. If me and you go over there together
eight they have a list over a customs with me
and everybody that's in our party. They all ought the tickets,
do the same thing. They're together. If you go do
some dumb shit, they coming to grab me. Ain't none

(50:57):
of us going back on that plane. It ain't like
we could say, well that was on him, we leaving. No,
everybody's gonna be there in trouble, right, So I told man,
when he did that, man, I went to the other
I've moved to me a whole nother section. I said, man,
I don't want to have nothing to do with this man,
because if we get in trouble. I was so nervous, man,
because I don't think they understand. Have you ever been

(51:18):
to jail overseas hell. Nah, you ain't trying to go.

Speaker 1 (51:23):
Dog.

Speaker 3 (51:23):
I'm gonna tell you, I've had homies do the dumbest
shit in the world. I've had homies try to smoke
weed on a plane. This nigga, dass we going to Osaka.
That's when I first saw them pins, when they first
came out with the little pins right here. Yeah, that
dads have put a whole cofft on his head and

(51:46):
take it down, smoke coming all out of his nose
and stuff.

Speaker 1 (51:50):
Man.

Speaker 3 (51:50):
The people looking at they ain't saying nothing. I'm like, man,
this nigga is really trying to get us put in
jail over here. Man. So all the little brigs you know,
made to be gone so you can't afford to stay,
to be staying no country, dog, I like honestly, after
a while eight I got to where, when I was
doing tours and stuff, man, I started really limiting the

(52:12):
amount of homies that you could take on a trip.
I said, man, listen, I ain't trying to police your ship,
but if you want to bring somebody outside of your
DJ and maybe one other person, which is usually something
like like a cube, go he go take his girl right,
but most dudes do you know, you talk about cub
as a season dude though, right, you are season gut.

(52:35):
When you start talking about people bringing a bunch of people,
you're responsible for them people.

Speaker 2 (52:39):
Bro.

Speaker 1 (52:40):
Yeah, you have to.

Speaker 2 (52:44):
You know, you have to start like you know, once
you you know, like once you get when you first
get started, you know, everything exciting and new, and you
want to take the homies and y'all go around the
country and you know, you just want to be representing
that hood and all whatever. But as you look, sure
you start, you know, find me out or more socialized

(53:08):
than others. Right, you know it was just fake cause
some of the homies just don't give a fuck you
get me, and that's and that ain't they fault, you know,
it's just that's the homie nigga. He always ready to
go on, you know, on point, like don't give a
fuck about rules or none of that shit. Fuck the establishment,

(53:29):
fucking the police and all that type of shit. And
then you got niggas who you know, man, we you know,
we're in a different state, we're in a different country.
It's different rules. Oh yeah, nigga, we we we you know,
So you start taking niggas you know, you know down
the road who you feel like like niggas who go

(53:53):
on the road with me.

Speaker 1 (53:54):
Now they ain't like.

Speaker 2 (53:55):
You know, little homies out the hood who ain't never
been before. I'm taking niggas who I done took on
the road for the last fifteen years. You get there, well,
you know, mature niggas, mature, mature, grown ass niggas who
ain't scared the tump if it's time the thump. But

(54:17):
God sens to know, I'm not finna be smoking in
the hotel lobby or some shit like that.

Speaker 3 (54:23):
You know, yeah, because it could cost you money. Because
think about it like this. Let's say you just at
the beginning of a tour, right and everything is on
a tight schedule. You miss around and miss a plane,
you might have to cancel the show the next night,
you know what I mean.

Speaker 2 (54:37):
That's why I always gave the tickets to the travel dude.
And if we have to bounce, leave their tickets at
the front desk or slide them under their door, and
then we're gonna get up out of here because I
can't afford to miss the show.

Speaker 1 (54:57):
They can't, you get me, because don't.

Speaker 3 (55:00):
Make them responsible. For paying any differences in their flight
or whatever it's it's on there.

Speaker 2 (55:05):
If they gotta miss a flight or they got usually
they go stand by, and usually that take a couple hours, right,
because yeah, you can pay and get on that guaranteed flight.
But most of the time, no, they not gonna pay
because most of the time they get per diem for
being on the road, so they don't want to spend
their per dem So they just gonna go stand by

(55:27):
until they can get on the flight.

Speaker 1 (55:29):
If that happens to be two or three hours later,
then so be it.

Speaker 2 (55:33):
But I can't miss that original flight because like you said,
there are always things set up. You know, you gotta
get in town and next morning at ten o'clock, then there's.

Speaker 1 (55:44):
A let's here's a breakfast.

Speaker 2 (55:47):
Then you gotta go buy a record store, and you
gotta go by the radio station. Then you gotta go
buy another radio station, and then you gotta go do
an interview or two. You know, it ain't just you know,
that's what that's what touring used to be for me.
When I used to go on tour back in the days,
it was a list of things when you got in

(56:08):
the town. So, like I said, you can't or be late.
I'm not tripping if you know. Like I said, I
took the homies because shit, we getting about the hood,
and you know I can afford.

Speaker 3 (56:21):
Let them experience that shit with you. Let me not
to cut you off, bro, But did you ever have
anybody that you just had to cut off? Like I said,
eventually with tarring, you start everything switches up, right. I'm
not taking I'm not probably dealing with the same you

(56:44):
fot niggas that I was dealing with when I was
eighteen nineteen nigga on our time forty, I'm dealing with
different niggas, still homies.

Speaker 2 (56:54):
But niggas have got lines and shit. Niggas just ain't
in the hood hanging and banging no more. Niggas got
obs and families and workings. So now you have to
adapt that you meet new people and and and that's
when your roster may change. You feel me like, oh shit,
new charity, dude, new DJ.

Speaker 3 (57:15):
New.

Speaker 2 (57:16):
I can't take me who I was taking, you know,
thirty years ago, because now he got a wife and
grandkids and got a business and I can't be calling
him up.

Speaker 1 (57:27):
Nigga.

Speaker 2 (57:27):
We finla hit the road for two weeks, nigga, like, huh,
I got it going nowhere.

Speaker 3 (57:34):
You know what I you know what I figured out
would have though. You learn a lot, right the road
is where you learn your lessons. I remember, man, we
was out of England and we had a week layover,
like we was on this MTV based tour, you know
the MTV base right right, and uh we were staying
in a cool spot, right, But it was when I

(57:54):
tell you the time we was in with real boring
dog and it was windy and rain and all the
time you were here this bill like like a block
and spell like bing bing and it cirt. It was
kind of spooky a little bit, right, you're here to
win and stuff. You'd be like, damn, lights might go
off for a minute.

Speaker 1 (58:11):
Man.

Speaker 3 (58:11):
You be in there like thinking like what the hell
is going on? So I'm out there with Kochie he
get the tripping on his girl? Does he called? And
then she not? You know you got some dudes that's
like go call and like check up on they people
all the time every five minutes, right right. He talked about, man,

(58:31):
let's go home, and I'm like, dude, we like we
gotta be back here in a week, right, like like,
this is a Tuesday. We got to be back here
by Sunday. We leaving Sunday. This dude convinces me. I'm like, well,
the record company paying for this stuff. So we tell
them to get us some tickets back to La. We
go back to La, get to stay here all the
two days and then go back. Right, Man, I got

(58:54):
my check right, and I'm looking at all my statement
right and it charges me eight thousand dollars.

Speaker 1 (59:00):
I'm like, what is this y'all showing me my bread?

Speaker 3 (59:03):
Like, well, that flight did y'all wanted to take that
same day that y'all did y'all wanted to just have
to go back home?

Speaker 1 (59:08):
You paying for that? Oh definitely, never again.

Speaker 2 (59:14):
Man.

Speaker 3 (59:14):
I started telling people, Man, if you've got to go
home and stuff, you lose yourself, you pay for that home.
If you got to go back early, you take care
of of yourself.

Speaker 1 (59:21):
Man.

Speaker 3 (59:22):
But I think I think it's right now. Dog touring
is way. It is probably the most important thing for
artists right now with a magic man, especially with the
way this streaming shit is.

Speaker 2 (59:35):
Yeah, I'm mean for any artists you want to do shows,
I mean that's first, it's your libili that you want
to connect with fans. But you know, that's uh, I
don't know, you know, depending on what the situation you
got with your label or streaming or whatever. But it's
a it's another source of income. And when you're an artist,

(59:57):
you got to generate all kinds of streams of revenue,
whether you're doing shows, putting out records, whether you're streaming, podcasting,
selling merchandise, you know, doing whatever. You got to generate
a few streams of income to stay valuable in the

(01:00:18):
hip hop area today.

Speaker 3 (01:00:21):
Well, that concludes another episode of The Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
The Gainst the Chronicles podcast. But Apple users find a
purple micae on the front of your screen, subscribe to
the show, leave a comment and rating. Executive producers for
The Gangst the Chronicles podcasts Norman Steel, Aaron M.

Speaker 1 (01:00:37):
C a Tyler.

Speaker 3 (01:00:38):
Our visual media director is Brian Wyatt, and audio editors
tell It Hayes. The Gainst the Chronicles is a production
of iHeartMedia Network and The Black Effect Podcast Network. For
more podcasts from iHeart Radio, visit the iHeart Radio app.
Apple podcasts wherever you're listening to your podcasts,