JT The Bigga Figga Talks Dame Dash Stealing & Much More

Episode Transcript
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Speaker 1 (00:00):
We like to welcome you to another episode Against the
Chronicles podcast and I'm with my dog. Yeah, and again
for like the umpteenth week in a row, we have
our special guest co host journalists extraordinary Mster Soren Baker.

Speaker 2 (00:14):
Thank you for having me. Glad to be here and.

Speaker 1 (00:17):
Live you know via saturllite San Francisco, not via satall
like it's he live here in person. Say to you
the bigger figure, the world's greatest hustling.

Speaker 3 (00:26):
Come on with it, Saluke.

Speaker 1 (00:27):
Happy to be here for sure, for sure, Man, do
me your favorite brother, grab the Michael a little bit
more towards you if you can.

Speaker 4 (00:33):
We want to make sure we definitely hear and everything,
yes sir, yes, sir, make sure we're hearing everything you can.
So you know, we've been talking about these top fifty
gangster rap albums of all time. We would kind of
put that on pause this week because we do have
a special guest in the house. First thing I want
to ask you, man, is where did you develop your

(00:54):
work ethic.

Speaker 5 (00:56):
I'm born and raised San Francisco, Fillmore District. I come
up under rapid fote hewmc as the forefathers in my neighborhood.
Learning the independent game. Coming from where I'm from, I
got to say two short e forty as the pioneers
of I'm pressing up my own product and I'm putting

(01:19):
it out myself. So that was my first example of
my pursuit in this independent game was that I had
to create the product which was recorded, and then I
had to get the money to manufacture.

Speaker 3 (01:32):
Manufacturing.

Speaker 5 (01:32):
My first product was in June nineteen ninety two, and
I always remember the price. I paid six hundred and
forty nine dollars for five hundred cassettes that were duplicated
at this place called Music Annex in the Bay Area.
And I never knew that manufacturing you can pay.

Speaker 3 (01:53):
But back then I wanted.

Speaker 5 (01:54):
A record deal because I thought the record label pressed
up the tapes. I didn't know there was a plant
that they hire.

Speaker 3 (02:03):
So I got that knowledge at a young age.

Speaker 5 (02:06):
So that was my first order pressing up my own
five hundred tapes. At that time, a cassette tape was
ten dollars, so to make the inserts I paid maybe
two hundred and fifty more dollars. I used the Polaroid camera.
This is all independent, This is my independent beginning. When
I seen that I did this myself, it put the

(02:28):
confidence in me of what I heard eve forty and
two sure doing. But as a teenager I paid for this.
It ain't a bunch of tapes, but at one time pressing.
Four months later I dropped another tape, and this time
it was fourteen songs. These fourteen songs, Now I had
my big homie since I put this five hundred out

(02:49):
and the hood messing with me. I give you the
money to press up five thousand tapes. So the five
thousand tapes. Now I got a full color wrapped in
plastic cassette tape. I went to in a minute or
Music People Distribution and then Walchers Zelnick at.

Speaker 3 (03:09):
City Hall Distribution.

Speaker 5 (03:11):
These were the two points that if you get your
product there, it can go to the stores.

Speaker 3 (03:16):
But before.

Speaker 5 (03:18):
Just going to the distributor, I knew where record stores
was at myself. So for me to go sell one
hundred cassette tapes for five hundred dollars, but I paid
less than a dollar for the cassette tape, but to
make five dollars per unit, So I'm looking at twenty
five thousand dollars potentially off of five thousand. My big

(03:41):
homie launched me probably seven thousand. I was able to
give him back his seven thousand with another five added on,
so he got twelve thousand out to twenty five. I
don't think I made the whole twenty five because I
was given some out. But the concept for a teenager
to make twenty five thousand dollars legally, that is what
I think stuck with me throughout all my years. That

(04:03):
no matter if I get a deal or not, I
learned the secret of let me go.

Speaker 3 (04:06):
Press my own.

Speaker 5 (04:07):
And then that same concept went to when I make films,
shoot my own.

Speaker 4 (04:12):
Film, and I got to print up DVDs.

Speaker 5 (04:14):
Back then it was dhs, then it went to DVDs,
so it was like casseette tapes.

Speaker 4 (04:20):
Then now a CD costs.

Speaker 5 (04:23):
In the store sixteen dollars, but to manufacture was a
dollar twenty five. So just one thousand CDs is twelve hundred.
That's how we did our math. Like a drug dealer.
Even if I don't have enough to press up a lot,
if I need to pay my rent or if i'm behind,
I can remember I don't have a job, So let
me make a new project and go just sell a

(04:45):
certain amount of copies to get the money, and then
a CD getting half the money was the concept. If
I take it to the store, I'm getting eight dollars,
so one thousand discs I can make eight thousand, and
I'm selling my whole thousand pack because I ain't got
no room no more to give them out for free.

Speaker 3 (05:05):
To get my name.

Speaker 5 (05:06):
Going once, your name once, you got just any kind
of fan base, I said, I could feed this to
this population to keep some money. This would kept me
from drugs, and this would make me have so many
different albums and joint albums and compilations because every one
of them represented a certain amount of money as soon
as I print them up, you know what. So that

(05:27):
that uh that that hustling, grinding't do it your self concept.
And I got to get credit to the Honorable Minister
Lewis far Khin because he had the Brothers of the
Nation and Islam coming out. And that's when I start
seeing the brothers with the papers on the corner of
the pies. But they will always say something about, uh,
do for self, black man, start a business, black man,

(05:50):
like you know, telling the young people that. But you know,
we in the streets, we hustling. You know, I'm part
time rapping. I'm still trying to sell some weed, you know,
a little potter try to make some coke into.

Speaker 4 (06:00):
Some rocks or something. But it never worked good for me.
The music worked it good.

Speaker 5 (06:06):
I remember printing up ten thousand discs and I'm finna
go pick up eighty thousand dollars. But this type of
number in the streets for a kilo dealer, that's that's
basic numbers. But to a teenager with discs, I'm going
to pick up kelo money. R.

Speaker 4 (06:23):
Kelo.

Speaker 5 (06:24):
Guys started to look up to me, and I'm younger
than them, but they had kilo money. The benz is
the plug for the powder packs and all you know
the weed.

Speaker 3 (06:33):
You know how ballers get.

Speaker 5 (06:35):
But that came a penitentiary time and the minister said, brothers,
you are being used as a distributor for drugs. But
instead of a kilo of cocaine, how about you cook a.

Speaker 3 (06:50):
Kilo of yourself. Look at yourself as the kilo.

Speaker 5 (06:55):
That means you have to create a product that you
can sell yourself, whether that's selling dimer And you know
how to make your chicken or your fish taste good.
Some people have a barbecue grill that been having smoked.
It been ten thousand barbecues been in there. When they
cook in here, it have a taste. People buy that barbecue.
They know when I buy this plate for the ten

(07:15):
or the fifteen or the twenty. The same concept of
making the album that I'm making in my mom house.
In my bedroom, I didn't put my bed out. I
don't have no furniture all. I got a studio equipment
in this room and I sleep on the floor because
I'm so excited that if this next album w't mak it,
I got access to make some thousands. So the concept

(07:36):
of just doing it yourself, I gotta say, Minister Farkhan
and the brothers when I heard them say, instead of
cook Aquilo of dope, cook aquilo of yourself, did you
know black men, brothers, did you know that you full
of talent and all your ideas is the money?

Speaker 4 (07:53):
The money, not the money. It's your idea that's the money.

Speaker 2 (07:56):
It's the currency.

Speaker 4 (07:58):
Like literally that I say, damn okay. He said, do
you know when you pray to God for something that
he might give it to you in the dream, but
you still got to fulfill it. You might have had
the dream of yourself seeing yourself.

Speaker 5 (08:12):
But now you might have to sleep on the floor.
You might have to sleep, you know, you might have
to h wise dishes. You might have to work at McDonald's.
You might can't hang on the block no more. Wire
My dreams so important. I can't gamble selling dope right
now to go to the pen in nineteen ninety three,
you get caught with a fifty shot a crack in
San Francisco, you could do five to ten years. When
when Bill Clinton and that Hillary Clinton made that thing

(08:35):
and something about from part of the crack or something, man,
I said, I'm I'm out I could sell I could
sell a thousand dish and make eight thousand. Now that's
ninety three, ninety two. I made my mind up when
I made them first five hundred cassette tapes. When I
sold that, and I probably made about maybe eighteen nineteen hundred,

(08:55):
but I literally doubled my money right from my studio time.
And then the fifteen hundred or the seventeen hundred that
my homeboy gave me. Because I'm like, I'm not selling
doughe I'm gonna ask somebody who got the money to
help me to pay for my stuff. When I was
able to pay them back, then one of my other
homeboys came and said, let me give you more money.

Speaker 3 (09:15):
Because I want to be part of your new album.

Speaker 5 (09:17):
But I knew I want to be on my own
label though, So I learned from Sugar Knight, Herry Go
Doctor Dre. I looked at the components. I looked at
the movie Crush Groove Russell Simmons. His brother is a rapper.
He don't got the money, his family don't believe in him.
But he brought five thousand from JB. But he didn't

(09:40):
pay JB back on time in the movie, and he
was getting beat.

Speaker 4 (09:43):
Up onto the movie. So I learned from that movie,
if you bought the money, you got to pay the
money back. I don't know what he was thinking about.
They had already got some money. JB was like, I
want to be part of the deal. Now I'm part
of the whole thing now, Yeah, for sure.

Speaker 5 (09:56):
So the concept that's the movie that taught me get
a money back. Mm hm, that's the movie taught me.

Speaker 4 (10:03):
Don't play with somebody who even trust you, even if
it is a long shark.

Speaker 3 (10:06):
If you agree to the terms, pay accordingly.

Speaker 5 (10:09):
Because each person that gave me some money, I had
to have a conversation and an understanding, and it wasn't
on contract.

Speaker 4 (10:15):
It's whatever we say right now, that's the deal words.
That's how going boy listen. So in my hood, I
didn't do no plan, but I was trusted if JT
need money for any one of y'all, could get JT
some money and he gonna bring back that plus some play.

Speaker 1 (10:31):
And I'm pretty sure some of them ballers up there
and Frisco saw how you was just getting that money
without the stress of text when you say, dope, you
can't sleep at night.

Speaker 5 (10:39):
That's the part of the dream that I had wanting
to be, Like, damn, I want to be like big Bro. Now, man,
they got the packs, they you know, the money coming in,
they got the guns.

Speaker 4 (10:49):
Is yeah, they got everything that looked that be every
nigg little nigga's vision in the hood. You see the
big time nigga, it's like, man, shit, you don't be
like I want to be the doctor, the lawyer or
none of it. Like shit, them niggas down the block
got it all.

Speaker 5 (11:05):
That's exactly that, just just like you say, that's in
every black neighborhood.

Speaker 3 (11:10):
Whoever was popping with the packs, and I won't end
on that. I want to.

Speaker 5 (11:15):
But then I started to see the avenue of people
that will say, well, I don't want to have to
wait to hustle.

Speaker 3 (11:21):
I'm gonna break in a baller.

Speaker 5 (11:23):
House, I'm gonna break in this dash spot or he
been fronting him, and shit, we gonna get on him because.

Speaker 4 (11:31):
We know you getting it from him. That's the only
reason why you got it.

Speaker 5 (11:35):
So that concept of breaking the house and find your
riches and start your career. But there was groups of
guys and I never forget this made me don't want
that life no more. A group of our young generation
sixteen seventeen eighteen, they hit a nigga that's probably thirty
twenty eight or a little older whatever, but he got

(11:56):
the money.

Speaker 3 (11:57):
Everybody know he brought out of control.

Speaker 5 (12:00):
This group of seven or eight broken the spot, hitting
for about folk kylos, about a hunting bands, some guns,
some jury and whatever other little stuff.

Speaker 4 (12:08):
They get away with it. These dudes all go buy cars.
None of them had the money, and that it was known.

Speaker 5 (12:17):
These the dudes that did it one by one, he
killed them niggas or sent somebody to kick however, went
until all of them was did bro.

Speaker 3 (12:26):
This man killed all them.

Speaker 5 (12:27):
Dudes and the hood never you know, I'm pretty sure
they family won't get back whatever.

Speaker 4 (12:32):
But for the.

Speaker 3 (12:33):
Concept of man, niggas hit, but you hit your own folks.

Speaker 5 (12:38):
And I watched that man didn't sleep till all them
niggas was dead. All them cars and jewelry they had
because their name was pop. It might have been a
little bit more because they always able to buy cougars
in and sky larks with candy paint. Now and niggas,
where did you get candy paint money?

Speaker 4 (12:54):
How did you buy such and such car? So the
word you know, it ain't no secrets in the street.
So all these niggas got money now, all of a sudden,
one by one.

Speaker 5 (13:06):
That killed my thought process of because I saw a
few niggas in my hood that I felt like shit,
I breaking this shit.

Speaker 3 (13:14):
That ain't the move. So I stayed on the music.

Speaker 5 (13:18):
But I watched others hit licks and become, you know,
the guy that we wanted to become. They got bricks
now or they got the weed, They got the whole,
they got the druid, they got the cars, they got
the clout, They got the name buzz it, but the
price tag for that. The music definitely kept me. And
that's why I think I developed so much with people.
Be like, Bro, you just hustling that nigga. I say, Bro,

(13:39):
I don't sell weed. I don't sell pussy. I don't
sell credit cards. I don't steal. I want God blessing
off my talent. And sometimes you know, the hunger kicking
and things ain't going right, and then that shit do
look good.

Speaker 4 (13:53):
The other option, the other word, fuck it.

Speaker 5 (13:55):
Just sell weed. It's legal, yeah, but when you I
live in Atlanta, you know what I mean? CALLI niggas
got in Atlanta bringing packs. The first five they bought,
it was good, the next five it was good. The
next time it's ten, it's good. It's about to be
a twenty five pack coming in. That's when they get killed.

(14:17):
That's that's that's the way. And I'm pretty sure Cally
niggas do them niggas when they come here and thinking
shit sweet or whatever. But the weed at one point
was coming from right here, and one of them pounds
down there in Atlanta was going for five thousand. So
niggas saw that as the golden ticket and a lot
of men were able to.

Speaker 4 (14:35):
Golden sick golden. It's always the golden ticket though coming
from here with the work, going out of state somewhere,
you can always double your money. So that that'd be
the ambition of a nigga who don't, unfortunately have that
talent to be an artist or whatever, you know, typical

(14:56):
or basketball nigga or yuckball or whatever. Some niggas just
and then some niggas don't know their potential. Like you say,
some niggas just be stuck in the neighborhood because that's
that be the life to them. You know what I'm saying.
It is the life, that's the life. And shit, you
know a lot of us at some point, Uh was like,

(15:17):
that's the life for me to be the nigga down
the block with all the work and like you say,
the bitches and he got all the cars, and he
and niggas got the nigga. Dayton's was fresh out and
niggas was on Dayton's hand paint. And you you, your
ambition is to be that nigga. Don't fucking be no
cause niggas, it'll be niggas in in your in your

(15:38):
click or your hood, whatever and they be like rapping
nigga making music. Nigga better get with this hustling and
its claiming the neighborhood and shit. So yeah, it's kind
of difficult to set yourself apart from you know, from
from the typical als of of the neighborhood. You feel me?

Speaker 3 (15:58):
You know, go ahead, jayg No, That I was what
I was gonna say.

Speaker 5 (16:03):
I think I got very lucky that I always was like,
I want to be a CEO. I want to be
like shit Night, I want to be like goddamn Eat forty.
I want to be like too short, I want to
be like ice Cube. Because this is a reality that
can happen if you pursue your shit. It happened for them,
So it was like evidence you feel me.

Speaker 6 (16:23):
So then how did the vision expand from the in
a minute city hall to trying to go throughout California,
throughout you know, the Pacific Northwest.

Speaker 5 (16:36):
At that point in time, you know, when cassette tapes
CDs you could see the logo of the major label
or whatever label, right, I.

Speaker 3 (16:47):
Wanted to have one of it.

Speaker 5 (16:48):
When I seen Eat forty slash JIB three million dollars,
He's sitting at the coffee table.

Speaker 4 (16:52):
With his feet up.

Speaker 3 (16:53):
I'm like, God, damn it.

Speaker 5 (16:55):
But I end up doing a deal with Priority for
half a million, with no marketing, no district or only distribution.

Speaker 4 (17:01):
And they just gave me a shot.

Speaker 5 (17:03):
But I was so young, I didn't comprehend the workload
of having a national distribution, where now I got to
have reps or some type of asset or communication with
people in other parts of the country. But back then
it was no Internet. It was no uh, it wasn't
no Facebook or no email.

Speaker 4 (17:22):
You had to do that.

Speaker 2 (17:24):
You had to work, and you had.

Speaker 5 (17:27):
To use a Yellow Pages and make a phone call,
and if that didn't work, you had to call the
operator and say, can you patch me to New York
I'm looking for this record label or I'm looking for
this record store. You know, can you tell me some
record stores.

Speaker 3 (17:41):
In the area.

Speaker 4 (17:42):
Man, that that workload is way different than somebody workload
now posting something on their page and now it's you.

Speaker 3 (17:49):
You can get pre orders off of that from the
world expanding and wanting that.

Speaker 4 (17:56):
Once I got that distribution, though with Priority, I felt good.
Then I felt more pressure than I ever felt because
I got the dream deal. Man, Doctor dre chronic album
came through here you.

Speaker 3 (18:09):
Know nwa hes q all this shit.

Speaker 5 (18:12):
You feel Me jay Z when I signed, he signed
through a company called Freeze. It wasn't even Rockefeller Records.
It was Freeze through Priority. It didn't even say Rockefeller
on it. And I remember him and Dame Dash's first
show was in film and I got that footage and
I just when I look at it and see the

(18:34):
little ass chain, just the beginning they trying to get
on you feel me our conversation. When that didn't go right,
I was forced to go back to what people expected
of me, JT, the bigger figure Independent. So now I'm
back in what I said that I wanted in the
first place, but now I'm actually stuck in it. But

(18:56):
I never lost the drive, So I continue to do
different type of products, joint albums, everything, independent, whatever type
of collaboration, compilation. Then I start spinning over to the
movies when I see going doing movies in CALLI okay.

Speaker 3 (19:13):
It was a little baby impact.

Speaker 5 (19:14):
It was a matter of fact, it was a big
impact because master P came out when I'm about it,
and then I came out with be Where Those a
few months later and that was the first hip hop
rap movie with a rapper from the Bay. Then moving
to Atlanta some years later and making movies down there.

(19:36):
That's when I got to feel like a movie star
because bootlegging movies down there. They still had stores, but
they were bootleg stores.

Speaker 3 (19:46):
Some guy that got all the.

Speaker 4 (19:47):
Movies and DVDs up in here and all the albums,
some of them bootlegs, some of them got plastic on it.
But he got his own burning machine right there. Any
album you want, he can make it right on the spot.
So when I would make my films at first, I
was trying to sell them to the stores. Right I
would come to the store, they got all my movies
wrapped in plastic, they burned them. Back in the day,

(20:10):
that would have would have been a no note. I
come to press the MC eight album and I got
it in my store, that would have been a no note.
If you would have heard if any of that going
on when you was doing it, you would have had
oh yeah, it would have been It would have been
dangerous for the person who's.

Speaker 5 (20:24):
Doing it, because like nigga, you actually stealing, yeah, nigga.
But then Stanning became okay. When they made the machines,
the bootleg a cassette tape. They didn't have bootleg cassette
tape machines. We had a Panasonic with two a tape
deck right here, what you're gonna record, and this the
one you record on, and this high speed ubbing. I
remember that exactly. But you still had to wait one

(20:46):
at a time.

Speaker 2 (20:47):
You feel it wasn't mass duplication, yeah at all.

Speaker 5 (20:50):
But once it went to d DVD or CD and
they got this tower, you put ten of them in there,
hit the button, and.

Speaker 3 (20:58):
Now I got your whole album.

Speaker 5 (21:00):
They writing the name on it, put it in a
little slip so down South made me famous with the movies.
I didn't get the money at first, but I got
the fame because now my product is feeding them. But
they promote me because any new movie, the Bootlegger, that's
what they thrived for to get it first.

Speaker 1 (21:19):
You actually put out something that actually became a really
pivotal project for independent filmmakers. You had something to do
with Snow on the Bluff.

Speaker 5 (21:27):
Yes, snowing a bluff one somebody else did that was
the mecca. But for me to redo it and rehook
up with Curtis Snow and activate them back in the
game and made Part two and then Snoop played the
part up in there. It caused big controversy, it caused lawsuits,
it caused all type of shit.

Speaker 4 (21:43):
But for the think the problem.

Speaker 5 (21:44):
Was that the fact of that the man ran off
with all the money on Kurt for the first one
because Kurt didn't had nobody like me to talk, so
we approached him about doing part two. Then he started
talking about all his money, but Curt only did a
deal for Part one, so Part two we done, but

(22:05):
he put it in paperwork for trademarking it and then boom,
it caused copyright infringement. So I had to change the
name from Snowing the Bluff Too to Summertime in the
Bluff because it's like, it's not his movie, but by
calling it part two, it tied to his movie, and
that caused the problem. You feel me do the initial

(22:26):
project what I'm sorry, some dude I don't even know
his name, some dude helped him make that. But when
I made Part two, that was smacking smack dab as
a continuation of what you've seen in the first one.
That's what boosted me as a certified filmmaker. Like JT
shot that and I edited no Help and I shot
it on the iPhone. M whole movie, and YO was

(22:50):
on your way to make some ms with that and
in traf Flicks. That helped kick my trafflicks platform off.
Once I did Trafflics app, I caught the traff Flicks
because Netflix rob Kirk and he was famous from snowing
the bluff on Netflix.

Speaker 3 (23:07):
So I'm like, bro, we independent man fucked them.

Speaker 4 (23:09):
We're gonna start Trafflix and we gonna make an app
like they shit.

Speaker 3 (23:14):
And God really blessed me to make it.

Speaker 5 (23:16):
I had made all these movies and had no place
to take them because Netflix only offered fifteen thousand dollars
per film. I had ten films that I made in
twenty fourteen. When I made these films, I'm on fire
in the streets either I'm doing a deal with somebody.
When I got they offer fifteen thousand for five years

(23:36):
per film. That's one hundred and fifty thousand, and don't
come back and ask for no more money for five
no red and I can't go nowhere else.

Speaker 4 (23:42):
I was like, man, I don't think I know what
they're gonna tell you. Will you should be happy to
have your film on Netflix. That's exactly what was the concept.

Speaker 5 (23:49):
But I'm like, I want to actually, I'm from the
independent game, like we supposed to make some money still,
and to just give me one fifty, even though I
know I probably didn't even pay five thousand per movie.
I probably didn't even pay two thousand dollars per movie.
But I knew if I signed this a scept the money,
it's gonna be like a rapper signing a three sixty
deal or a rapper signing an artist deal.

Speaker 4 (24:10):
You happy to get the deal, you got your big
check in front, but you know that might be the
last one for a long time, and a lot of
rappers have went through that. So me hearing them the
horror stories, I just felt, I know these movies could
be more valuable for me.

Speaker 3 (24:25):
I rejected the deal.

Speaker 4 (24:27):
I started track.

Speaker 5 (24:28):
Fleix, I invested into a team to build me an app.
I put my movies on my app, and from there,
my reputation went up.

Speaker 1 (24:37):
As this motherfucker right here, I tell you how influential
it was. This ain't a mental, no controversy or nothing,
but a lot of people have taken your intellectual liberties
with your intellectual property have taken certain liberties because I
remember when Dame Dash first came out with this app,
right we built it. I'm hearing it like he got

(24:58):
the technology from you, and he he just kind of.

Speaker 5 (25:00):
Ran off and didn't give me a dollar. I got
to put him on blast and tell the truth. But
I don't use that as a campaign of crying about
what a nigga did to me. I made it known
to the public and then I stopped me and Snoop
had some words, but I respect Snoop and that he
helped me more than hurt me.

Speaker 3 (25:20):
I don't know if it was his team, but.

Speaker 5 (25:24):
Once the people who did the first and on the
bluff saw Trap Flecks was under Calvin Brotis and it
didn't had my name, he went straight at the Snoop.
He never even came back, even said a word to me.
I don't know if Snoop authorized that or did his
label or his management jumped the gun and registered the

(25:46):
company without my name. It looked like it was about
to be a money grab without me, right, but the
loss who came and flouded and me and Snoop never
really got to communicate as brothers again because he disappointed
at the lawsuit. I'm disappointed that my name ain't on it.

(26:06):
We both having something to feel some kind of way about.
But I always wanted the people to know. I thanked
Snoop for taking me around the world multiple times, showing
me how a megastar lived, showing me how a multi
millionaire had.

Speaker 3 (26:22):
To move the dudes and the don'ts so I don't have.

Speaker 5 (26:27):
Nothing, and I shot brother out, brother Snoop, my big
bro out, and thank you for all the help and
teaching me the things that I do know right now
and how to conduct myself.

Speaker 4 (26:37):
And to be real.

Speaker 1 (26:38):
When you're dealing with a mega entity that is a
Snoop Dogg bringing, it could have been very much somebody
on his team that just jumped the gun and went
and did some stuff without.

Speaker 5 (26:47):
Us, without us having our agreement in place. And that's
what I was heard about. And I think when Dame
Dash saw me and Snoop had that issue right there,
He's like, oh, I don't got to respect.

Speaker 3 (27:00):
I'm gonna just run off with this software. And he
did his thing, and then I.

Speaker 5 (27:06):
Was vocal about it for a few days, and then
at a certain point, I say, man, it's gonna look
like I'm mad at snooping Dame, these two niggas I
look up to. I don't like how it turned out,
but I'm not that mad. And if I'm really truly
JT the bigger figure, do it again. And then and
then some time went by, and that's how I ended
up going to Africa for a number of reasons. Number one,

(27:27):
they invited me to come and ask for me to
bring my JT skills to Africa to help their young
population with the independent game. That was impressed with the movies.
They impressed with me making books, albums, being part of
so many influential people's careers, playing parts from the background.

Speaker 4 (27:45):
But the other part. Somebody told me, JT. You know
you got trap flicks? Do you know in Africa?

Speaker 5 (27:54):
They got software guys that live in the village and
he might look poor as ever, but he can make
anything with the computer.

Speaker 1 (28:03):
You gotta find them that technology over there for them
young brothers.

Speaker 3 (28:07):
Now nah, they definitely, they definitely they listen.

Speaker 5 (28:11):
Whatever knowledge is that, whoever get to it first is
who's gonna benefit because a lot of times knowledge don't
have the money right skin.

Speaker 3 (28:21):
That's like a dope ass rapper.

Speaker 5 (28:22):
Some dude right now, rap better than jay Z and
Little Baby put Together and Drake. But we don't know
him yet. He raw as ever right somebody know him.
He ain't connected to the right person yet. That's what
I found in Africa, the dudes who made my software.
You would think these just some poor guys.

Speaker 2 (28:41):
So how did they come to invite you? Like, how
did that happen?

Speaker 4 (28:44):
Man?

Speaker 3 (28:44):
Somebody I don't know.

Speaker 4 (28:46):
I don't even know how to Africa because I know
nobody in Africa. But one of the big people called
for a delegation from Black America Entertainment, film, entertainment, entrepreneurship,
a basketball coach to see they basketball dudes to see
if they can get some type of thing or baseball basketball.

(29:10):
They had a doctor dude that was part of the
delegation to try to bring how to help them with
the malaria or different you know, illnesses, sicknesses.

Speaker 5 (29:20):
So I was just part of a delegation that represent
music and entrepreneurship.

Speaker 4 (29:25):
So they did their background on me. They like, we
want him.

Speaker 5 (29:29):
So I'm like, shit, I'm on first class round trip,
I'm on Hotel fool everything you feel me. I wasn't
charging them, but they like we'll pay for all of
that for you. We want you their bag. So when
I go, I'm thinking I'm finna go over here and
I'm finna hit them for some money. I end up
going to a place that's really poor. I'm not finna
get the bag. I'm thinking, you know, Africa, I'm knowing.

(29:49):
I heard about his rich and his poor, but I
landed in the real poor. But I felt a certain
kind of way, like maybe these people need me. So
I asked them, how can I help? You know, I
got a few dollars. I wanted, you know, what can
I do to help? And he called a meeting with
the chiefs and they came back from the meeting say well,
we don't want your money, but if you want to

(30:10):
help us, we need water.

Speaker 4 (30:12):
Look at this place. If you could help us with
a water well, all of our villages, all the tribes
could benefit off this water well.

Speaker 3 (30:21):
I say, how much is it? Six thousand?

Speaker 5 (30:23):
I said, Man, I can pay for that right now, Man,
I pay for that water well.

Speaker 4 (30:27):
Man.

Speaker 5 (30:28):
Do you know within twenty four forty eight hours, a
truck pull up. I see this big stick come out
I'm talking about. They put a thing on it instantly
straight to the ground. I'm trying to figure out how
like where the water coming from.

Speaker 3 (30:42):
You know a waterwell.

Speaker 5 (30:42):
I thought they dig a hole and bring the water
to fill it. They're like, no, the water's under the ground.
The water a thousand feet, we're really nine hundred feet.
We could go three hundred feet JT for three thousand dollars,
but the quality of the water might not be right.
But if we spend the six thousand, we can go
down nine thousand I mean nine hundred feet, and that's

(31:04):
where we could get the purest water.

Speaker 4 (31:06):
Probably the best water you ever had.

Speaker 5 (31:07):
And listen, I say gonna go, go, go down. I
want to get the good water. Man, when that water
taste that water, I mean it took it took him,
It took him some hours. But I'm just tripping on
how they putting this metal stick down. I'm like, damn,
so the water fing it come out from right here
in this dry ass looking like desert type. Man, if
we just had enough money to pay for all this drilling,

(31:30):
we could have the water.

Speaker 4 (31:30):
I'm like, why y'all just don't do it for your people.

Speaker 5 (31:33):
Y'all got a truck right here, because the truck man
want money, and we can't pay for it. Imagine a
whole village full of people. They can't afford six thousand
dollars to pay for a water with cause they still
got to buy food, and they got to pay for
the internet, and they still got to pay their rent.
And it's so collectively chipping in money. I would think

(31:55):
six thousand dollars shit. I see three four thousand people
right there.

Speaker 3 (32:01):
This is poor.

Speaker 4 (32:02):
This the real poor. JT.

Speaker 5 (32:03):
So this water you about to donate for us? I say,
I want to put my mama name on it.

Speaker 4 (32:07):
I want to call this mama Pearls water well, so
I can call my mama, tell him I'm doing something good.

Speaker 3 (32:12):
I want her name to go on this. Mama.

Speaker 4 (32:14):
Look all these people finna get clean water. Now. Look
right over here at this dirty water with goats and
cows and people taking baths and different shit.

Speaker 3 (32:21):
They gotta get this water to cook with tonight.

Speaker 5 (32:25):
I said, uh uh, So I switched my heart from
what can I get from them? To man six thousand, Bro,
you could blow that money in Atlanta on the weekend
going to get some outfits, you know, some bottles, some
sections like you could blow five thousand in California.

Speaker 3 (32:40):
I'm pretty sure on it. With nothing to show for it,
but to pay for that.

Speaker 4 (32:46):
I think that was what every day. You know what
I'm saying.

Speaker 3 (32:49):
Every day that money disappeared into the.

Speaker 4 (32:51):
Night, fucking thirty thousand in the strip club to some
naked assholes and shit like it's nothing and shit but.

Speaker 1 (32:58):
Won't give a dollar if you tell if you called
over there and asked them, same cats, hey, bro, donate
five hundred dollars each, they'll look at you like you
was crazy.

Speaker 3 (33:05):
Hell yeah, they'll look at you.

Speaker 5 (33:06):
You know the the I think in my whole life
that was the best thing up to that point that
I ever did in my life, because I'm like, damn,
this little bit of money and they talking about this
water well should last years, not like the water do
went out? It's a lake up under there once they
put that suction thing and whatever lake is under there, man,

(33:26):
they putting that water up.

Speaker 1 (33:28):
When did you you know I want to go back
to something I want to go back to because we
talked about Atlanta right the ground eas side. Everywhere you
went seemed like you purchased property, Yes, sir, what neighborhood
was there?

Speaker 3 (33:40):
Or was that?

Speaker 4 (33:41):
Alabama? Where you bought a whole city block that was Alabama.
And it wasn't a whole city block.

Speaker 5 (33:47):
It was like a half and it wasn't a big block,
but it was big enough for me, you know what
I mean.

Speaker 3 (33:51):
It had a building on it.

Speaker 5 (33:52):
And but before that, I bought land in west side Atlanta,
Dixie Hills, Bankhead with Ti and then from and they
were selling houses for twelve thousand and eight thousand, ugly
beat up houses.

Speaker 4 (34:05):
This twenty ten. I was there for two years.

Speaker 5 (34:09):
I bought my first house was twenty five thousand for
my homeboy he bought ten houses. I'm like, damn, you
only uh twenty eight years old and I'm out here
struggling in the Bay paying this rent and you down
here owning ten houses. He like, bro, you should leave it,
you know, come to Atlanta, boy, because it's like you
can own a house and the music popping.

Speaker 4 (34:29):
And zaytovein that's my little brother. I taught Jay tooven,
how to make beats. He knew how to play video.
Yes when and then I just said forget it, man.
I moved in the house. I paid the rent. I
remember it was one thousand dollars.

Speaker 5 (34:42):
I moved out there with two thousand to my name,
I just knew I was going to the right place.
I didn't know exactly how I was gonna make it,
but I had a magazine that me and Snoops started
called Mandatory Business. I said, I gotta get my first customers.
I got some samples to show the magazine because at
that time, magazine still was popping. But I had to

(35:02):
get people to believe in my magazine and pay me
so I could press the magazine up. I remember it
took me about four months to get my first customer.
Once I made that firste hundred dollars, I said, boy,
I'm never gonna forget you. You the beginning stages of
me being independent in Atlanta. My first hundred dollar transaction
off of something I'm selling and it ain't dope. I'm

(35:26):
finna put this nigga at give him his own page
in my magazine. It costs five thousand dollars for five
thousand full color magazines.

Speaker 3 (35:36):
UV coding, eighty pound paper, sixty pages. You know, I
know my math.

Speaker 5 (35:43):
I'm selling pages for a hundred two hundred. I'm selling
the front cover for two three thousand. I sell it
for a thousand because I can give you your copies
with you on the front and give another guy his
with his covers on the front.

Speaker 3 (35:56):
So my printer was working with.

Speaker 5 (35:58):
Me, and that's how I was able to have the
extra money to feed my family. And then my catalog
was going through digital distribution, paying me a check every
thirty days. So I balanced them two things together, and
that's how I was able to maintain and build up
some money. But I'm like, I can't keep paying those
thousand dollars a rent. I'm gonna buy this house for
twenty five thousand. I built up enough. I gave him half.

(36:22):
I was giving them two thousand here, fifteen hundred, you know,
till it was paid off. The land across the street
they wanted nine thousand, about a little less than an
acre directly across the street. I'm like, if I buy this, boy,
I'm finna be on the man agreed to sell it
to me. Now I got a house and I got
this land right in the middle of the hood of

(36:44):
fucking all this gang shit dope dinner and I'm talking
about this is but I'm like, shit, I feel right
at home because this is my house, and this the
shit they say you supposed to shoot somebody fork. Now
if nobody bothered me here, I'm good. But I remember
the first niggas that came, and I remember they were
breaking in the train and my wife called me because
I put cameras up and say, babe, it's two niggas

(37:04):
outside in front of the house. They looking at the train.
I say, I'm on my wife. I come back over there.
I'm like, hey, bro, I bought this house and this
property right here, woo woo, and like, yeah, man, were
on the train. I say, now, that's cool, you know,
but my wife calling me bro, y'all on the side
of my house right here. You feel me like, man,
we've been robbing trains from here for years. But I say, bro,
I got kids and shit up and he like man,

(37:25):
I say, all right, stay right here. When the house
got my strap came out, the niggas say, come on,
bro to start walking. They start walking down the street.
I just start shooting in the air.

Speaker 4 (37:34):
Don't never come back up here no more, nigga, because
the boy to have my wife call me and I
got babies in this house, man, and I'm in a
new hood.

Speaker 5 (37:43):
This is my first altercation. I'll say nigga at my house.
I'm shooting, so I just want a nigga.

Speaker 4 (37:48):
No.

Speaker 5 (37:48):
Now, I know they could have came back, did whatever.
I'm like, Nigga, this is my land, though, Nigga, this mine.
I'm going all gas, no breaks. A couple of the
og saw what happened. They told them, niggas man fall
back from that nigga up there broke because he up there,
he gonna shoot, but he ain't been bothering nobody around here,
you feel me? So I started meeting more niggas. Then
we all kind of got cool. But I just that

(38:09):
was my introduction niggas.

Speaker 1 (38:11):
I noticed some in Wonder films. You had all of them, dudes,
if you really wanted to, you could have probably signed
what's the boy's name? This got hot, this fish creased down.

Speaker 5 (38:21):
Young dug, migosgos, all the huge shits your movies. Haven't
meeting them, dudes, They always just in the area. I'm
just a people person, so I'm a network the young
niggas like Figg.

Speaker 4 (38:35):
You should work with him.

Speaker 3 (38:37):
I'm like, Damn, this nigga looks strange as hell, this
young thug character. Bro.

Speaker 5 (38:42):
Fuck with him. Bro, the people love him bro, like
he's somebody I'm telling you fuck with him, so I
start fucking him. I looked past the weird shit, and
you know, it was cool. Our music and the shit
we did it was impactful. The Migos. When Gucci Me
and Gucci Man did an album, he signed some dudes
called the Migos, but they was getting so much trouble

(39:03):
off setting them going to jail, different shit. Then Gucci
Men ended up going to jail, so he sold them
to QC P.

Speaker 3 (39:12):
They had another label at.

Speaker 5 (39:13):
That time, but when they signed Me Migos, they say,
these guys is good enough to put the real bag behind.
They started a new label called QC and then that
shit took flight. So just being part of this, you know,
I remember paying Future thirty five hundred to come do
my birthday party. That was in twenty thirteen. I was
turning forty years old. I had been in Atlanta for

(39:36):
three years. My name was going up. I got some
money coming in. It's like I'm getting planning into the
the environment. I did so much work. Niggas started thinking
I was from Atlanta. How I had motion going down there.
How I'm moving and moving through them blocks. I'm doing
all them, but they're like, man, what is this nigga.
It's just I wasn't scared. It wasn't that I'm tough

(39:57):
for a gangster or nothing. It was just that I'm
so hood on and I'm so comfortable with God and myself.
I'm not here to cause a problem. But I know
jealousy or a nigga pressing me by being in their hood,
it can happen at any moment. So I already signed
up for it, and nigga pressed me, I'm pressing back.
If the nigga get on me, I'm getting on the
nigga back and from them time my first altercations and

(40:20):
niggas seeing how I responded, it's like it wasn't like
they could have piled up on me, like nigga, you
gotta get up out of here. Nigga can't fight back, Nah, nigga,
that's between me and this nigga.

Speaker 3 (40:30):
So most times the hood never added theyself.

Speaker 4 (40:34):
You know, nigga's gonna disagree, or somebody try to run
off with some or a nigga stole some. You know,
like different little shit where you're getting your manhood tested.
It ain't worth crashing out. But sometimes shit happened. That
can make it easy to make you.

Speaker 5 (40:49):
Be like, man, I'm finna crash out on these niggas,
But that wasn't I didn't go down there for that.

Speaker 3 (40:52):
I went down there for success.

Speaker 4 (40:54):
Because you had altercation down there, because you got shot down. Yeah,
I got shot two different times. Both of them attempted
robberies that I wasn't just agreeing to because I know,
once you get robbed, nigga, that's it, hang up, hang
up the street. Shit you is knew you a lunch meal.

Speaker 5 (41:09):
Now every nigga who was somebody who had little studies
and once they got robbed, they start becoming the target.
With multiple robberies now, multiple attempts, niggas testing them both minds.

Speaker 4 (41:21):
I wasn't going and then I wasn't tough. I just
already signed up for it. Like bro, don't just cause
a nigga got a gun, don't mean because a nigga
point you supposed to just hair up and gil shit up.

Speaker 5 (41:31):
Sometimes it ain't no bulletsing the motherfucker. It's a fifty
to fifty chance. But when somebody that you showed love
to try to rob you.

Speaker 3 (41:38):
You might resist a little bit more like bru, what
is you doing?

Speaker 4 (41:41):
Bro?

Speaker 5 (41:41):
I'm robbing you today, robbing me today. You know, imagine
the nigga you've been fucking with two three years and
one day he say, Bro, I'm robbing you today. I'm like,
hold on, You're like what the nigga, Bro? They kept
asking me for the money? Now, real robber, shoot you
in the legs, say, bitch ass niggas, ain't no game, nigga,
Come on with it. Okay, you know what it is.

(42:02):
But when the nigga like, Bro, you gotta give us
something for ten damn. There fifteen minutes of asking this
ain't a robbery, nigga, You're already trying to rob me
for my manhood.

Speaker 3 (42:12):
So Jack could be able to say we ribe feed,
but what ended up happening.

Speaker 4 (42:15):
I just kept praying our lot of one Master frod Muhammad,
the one minister Farcid told us, brother pray to how
we pray, how you Elijah Mohammed prayer? How you think
we protected?

Speaker 3 (42:26):
I lie?

Speaker 5 (42:26):
Real, you got the call on him, but you can't
depend on him when you think you just in trouble.

Speaker 3 (42:31):
You gotta talk to him beforehand, and you gotta do
some good.

Speaker 4 (42:35):
So I was feeding people. I'm trying to go do
the good work all that.

Speaker 5 (42:39):
Imagine me feeding people, and right after our feed then
niggas come talking about the robbery shit. But I've been
in here for three four years, so I could have
gave it up. All they had to do was hit
me in the head a couple of times with the pistol.

Speaker 3 (42:53):
Then I would have gave it up. It wasn't that.

Speaker 4 (42:55):
It was the demand with the pistol and the words
and the threat of it. I had a baby the
day before. There was no way possible.

Speaker 5 (43:03):
I'm going back to the hospital or bringing my wife
home or my brand new daughter and all my kids.

Speaker 3 (43:08):
I got ride for our money.

Speaker 1 (43:10):
And what's so cool? He threw all that in the movie.
I had to That's how I knew about it was
like the real life thing.

Speaker 4 (43:15):
You saw something my real guts, the real surgery, the
real morphine, and oh we gotta do emergency surgery. They
got their cameras out. I'm like, what fuck? That gave
me my camera? Because I ain't dead right now.

Speaker 5 (43:29):
I don't know what's gonna happen, but I know y'all
got y'all hands in my guts and nobody gonna believe
that my stomach split open like this, and they and
there talking about we.

Speaker 3 (43:37):
Gotta stop the bleeding.

Speaker 5 (43:39):
So I'm like, shit, let me put this on my
That was just another thing of my type of mentality.

Speaker 4 (43:45):
Of turn it into something. You gotta turn your pain
and your ill into something. If you do that, that's
the most powerful thing. Is a man who his wife
left from or something, and now he got to use
that pain to go further. Or the Homies betrayed you,
like nah, not the bros, Like yeah, the bros played

(44:06):
me bro Okay, you can't call on them no more.

Speaker 5 (44:09):
You actually got to do it on your own. That'll
drive a nigga to become successful exactly.

Speaker 4 (44:15):
Then DJ Quick say.

Speaker 5 (44:16):
Some of his song about he had the Homies and
something in the studio or something, and he came back
to the studio was gone. He's like, oh shit, I'm
gonna make me a way. Next thing, you know, we
got a whole new hit record.

Speaker 1 (44:27):
And it's always those closest to you because you've seen
to always be in the right place at the right time.
Because I heard one of my partners was telling me,
I don't know, I don't remember where I heard it
from actually, But when Pe was in the Bay and
he first started doing this thing, wasn't nobody really messing
with him? They said, you was the first one to
step up and say, you know what, I'm aa fuck
with this dude.

Speaker 5 (44:46):
He'm gonna give him a chance because he was garbage
and I'm gonna keep it real. He became a better
artist that we appreciated. But in the beginning, like bro,
that ain't it them songs?

Speaker 3 (44:57):
Ain't it? Then? Beats? Ain't it in the way you're rapping.

Speaker 5 (45:00):
He's from New Orleans, so he had We wasn't used
to a rapper with a different voice.

Speaker 3 (45:04):
First of all, that's number one, you got a whole.

Speaker 6 (45:07):
South was We wasn't used to that not coming out
of our section.

Speaker 5 (45:11):
We was used to it coming from So we looked
at him as one of us. We didn't know you
born and raised down there.

Speaker 4 (45:17):
You the gangster, You a real gang You a real
gang member.

Speaker 3 (45:21):
From Nigger to Calio projects.

Speaker 5 (45:24):
When I worked it with him and put the stamp
and showed him how to go get his graphics done,
how to go get his uh uh, how to put
the album covers on the inside. If you got something new,
put it on the inside. I taught him all of that.
They used the hell out of that for many years
and listen.

Speaker 4 (45:40):
And that was the beautiful He was the king of
that album coming out and that concept.

Speaker 5 (45:46):
I'm the first person to put out ten albums in
one year, you feel me. So that being in the
right place at the right time. I think what it
is is given a person that looked like Underdog a
chance at the right time, like the rapper of the game.
It was four hundred rappers. Minister Farcan said, I want

(46:07):
all the rappers to come see me with me and
Russell Simmons. We want to talk to you all about
the independent game, how not to get tricked in the industry,
some more knowledge about the hit in hand and the
plots and plans, you know, so that we could look
out and watch out. When I walked in that room,
it was four hundred rappers in this room. He the
only rapper that I got the phone number from and said,

(46:29):
this the next motherfucker for the West Coast. I'm the
first person to say it, but for it to actually happen,
that was and I was hurt. I wasn't part of it,
but I was happy to know that my skills set work.

Speaker 4 (46:44):
I told the world. I put him with Nad's Escabar
on QB. The Compton, Me and Dad Dilling just just
did long beast to fill mo so off that buzz
finding a new artists, how do I launch them?

Speaker 5 (46:55):
My man's had eight unreleased NADS songs. I say, man,
let me get them songs. I'm gonna blend it with
my new artist the game and called it QB. The
Compton Nas in the game to the people would look
like they together. But Nas was having beef with jay
Z with Ether and uh whatever them two songs and
niggas were going back and forth. Right in the middle

(47:16):
of that beef is when I dropped the game Shit
and it made them hot, fishing grief.

Speaker 3 (47:20):
Nas was on the cover of Double XL. On that
cover is the game.

Speaker 5 (47:29):
The Black Wall Street Shit that I had and the
albums that I got coming out the.

Speaker 3 (47:34):
Next issue fifty cent Doctor Dre eminem on Double XL cover.

Speaker 5 (47:39):
If I would have waited one mo month to put
me an Ad out because I went with the Knaves
because it was hot, I didn't know Doctor Dre. And
then was Finna grab fifty cent and it was Finna
be a cover that was their biggest cover ever. But
long story short, finding Game and marketing him in the
double XL on a national scale, he was able to

(48:01):
take the songs that I paid for and go shop
around and then do new songs up the mixtape circuit.

Speaker 3 (48:08):
He went got his own deal. I can't claim that
he went.

Speaker 2 (48:12):
He went four way with you.

Speaker 3 (48:16):
Small world.

Speaker 4 (48:17):
It is small world.

Speaker 5 (48:19):
That that whole concept, that whole concept. How that really happened.
People got to say j T the first he predicted it.
I couldn't say it was for sure. I just said
he is the prototype. He he he tall, he rapping
like fabulous. He sounded like shine. But he talking la

(48:42):
gang Bang raps. To me, I thought, I'm like, this
is him sure?

Speaker 3 (48:48):
And then he became that.

Speaker 5 (48:50):
So when I work with young Thug, this is years later,
this is this is me and Game was two thousand
and two and Me and Thug was twenty twelve, So
like ten years later, I take a chance. He ended
up becoming something great. Me and Future. I bring Future

(49:11):
out here. You know, we bring the migos to the bay.
They like, who the hell is these guys?

Speaker 3 (49:15):
Man?

Speaker 5 (49:16):
Two months letter man, bro, what man give me another,
give me Kuavo number, give me I say, bro, I
brought Future. Y'all didn't care nothing about the future, the
migo or young Thug. But as soon as they hit
the radio station out here, that's when everybody like.

Speaker 4 (49:31):
Man, that's who the dudes dig brung out here. J
T brought them dudes.

Speaker 3 (49:35):
Man.

Speaker 4 (49:35):
All they in the movie was, ah, that's the same dudes.

Speaker 1 (49:38):
Yeah, m yeah, you didn't one thing about it though.
You ever recorded a lot of songs with the game?
You owned the Masters?

Speaker 4 (49:46):
Correct?

Speaker 5 (49:47):
Okay, so he was able to get some retribution. Then
I had to go. I had to go do it.
I know, whack one hundred. He wasn't happy, you know,
all these years letters saying that I was stupid. But
I was, like, I told Game, give me two hundred
and fifty thousand. When I went to Afterman, first of all,
told them bring them to the Masters in a copy
of my contract.

Speaker 3 (50:06):
They seen it. They say this authentic. But we don't
want to buy this album.

Speaker 5 (50:10):
Were working on a new album, and if we buy
this album from me, it's gonna come out of Game's budget.
And he don't want to authorize that. But if he
wanted to get me out the way. That was what
the smart thing to do. He didn't want to see
me get no money at all, like, oh that shit
is old man, that shit ain't nothing. Then I went
straight to Cotch sold it to them. HM Game called

(50:34):
me before I sold it and said I give you
seventy five thousand and just go away. I said, I
don't want seventy five. I want two fifty. That's a
fair number, nigga, they just gave you all this money.
You with the biggest people.

Speaker 4 (50:44):
In the world. Two fifty ain't nothing.

Speaker 5 (50:47):
So when Whack one hundred did an interview not too
long ago, he was saying JT was stupid for that,
I said, well, first of all, I invested twelve thousand
dollars to do all them songs, studio time, hotel bitches
for them, couple outfits, some weed, twelve man's forty songs.
All I wanted was two hundred and fifty thousand. I

(51:09):
ended up making over the life of that album over
five million dollars because I sold it to Cotch before
digital kicked in, And then when digital kicked in, I
took the album back from Cotch and I put it
back out and then I get to check every money.
They thought I was stupid. I wasn't that stupid nigga.
I only signed for albums and records and cassette tapes.
I didn't sign for iTunes and Spotify. And most people

(51:33):
now they try to send season and decision. But I'm like,
I ain't listening to that shit. I got the shit
loaded up. This is my shit game. Can't say nothing
to white men, not no, no prejudic shit.

Speaker 4 (51:44):
But they was talking to white men power shit JT
JT thing. I say, hold on, man, I just signed it.
It don't say iTunes on my contract. It don't say
nothing about streaming. It only say records, cassette tapes, vinyl
for distribution worldwide.

Speaker 1 (52:02):
And they could have kept doing that if they wanted to.
But you go take the digital rights and do what
you want to do.

Speaker 5 (52:06):
Because digital I don't even care about a cassette tape
or a CD no more. Once it went to that,
I was smart, I'm like, shit, well I'm going digital.
I'm not arguing with them. But how many tapes did
we sell? How many we shipped? They line you know
how to recollect?

Speaker 4 (52:20):
Oh we shipped this and we paid for that, and
we all man yeah, and then we got a whole eighty. Man.
If you don't get up out of here with this game,
shout out to digital. Whatever money be made they take,
they cuts into your rest. I like that now if
they scam it, it's working because I like a check
every month.

Speaker 5 (52:40):
They don't even got to be a big one. It
just got to be a check. And it ain't even
a check, it's a direct deposit. So on the first
of the month, everybody with Digital Council, we all feel
happy because whatever's in it, something is on your in
your bank account.

Speaker 4 (52:55):
So I do a lot of niggas hate digital.

Speaker 5 (52:57):
They hate digital for the lack of the quick turnaround
time based upon putting your shit out digitally. There isn't
a revenue that comes in for months. A lot of times,
even if you just pay for promotion. Imagine you spend
thirty thousand dollars on promo of your new album, and

(53:20):
you spend ten thousand recording and making it, and so
you had about forty maybe ten more, so you had
like a fifty.

Speaker 3 (53:29):
That album might not do nothing.

Speaker 5 (53:31):
You might be making thousand dollars on the first month
if that, because it's still take time to catch unless
you're a person with a buzz already, so niggas without
that buzz, you not finna be getting no ten bands
every month or no fifteen bands yet, it's not gonna happen.
If you put your album out and you're thinking you're
about to make all the money from one album, then

(53:54):
you're mistaken if you're not working your YouTube channel in
conjunction with your digital distribution deal, which also feeds your
digital distribution deal. But if you if you turn on
your YouTube account properly, then your digital distribution check money
from this particular stream goes to that and then another

(54:15):
YouTube check comes to you personally as the YouTube owner.
But if you signed your whole YouTube over also, then
you don't get that. That's another downside to artists. When
you have a hot song, it ain't just paying no
DJ to play your song or pay for a playlist.
These are the other elements that I watch companies do

(54:38):
like Empire Orchard. If a song that you're trying to push,
they will load it on a YouTube channel four or five, six,
seven different ways. The extended version, the audio version where
the words is coming on, the actual video version, the
song planned with just some random stuff happening in the

(54:59):
back ground. But why do they do that because this
random stuff has a title, but it's playing your song.

Speaker 3 (55:05):
But you still get credit for every spin.

Speaker 4 (55:07):
So that's what you call creative marketing within your streaming
to make the money come in.

Speaker 3 (55:14):
You see what I'm saying. And I have failed to
do this all the way.

Speaker 4 (55:18):
But when I go in the back office and see
they got somebody sitting there and they taking this whole
album and they finish chopped, they finna make this album.

Speaker 2 (55:26):
It's ten songs. They got forty five videos.

Speaker 4 (55:29):
Did you just hear me? It's the same album. It's
forty five with creative type.

Speaker 2 (55:35):
Lyric video like lyric video, ric video, the.

Speaker 4 (55:39):
Real video, the dirty ricks with the clouds cloud that's
the lyric video. Yes, the emotional other videos to the
motherfucking song. It won't even beat the video. It'll just
be some clips of you man, and it'd be like
that is the other part that most rappers is not doing,

(56:00):
and or the label who has the rapper.

Speaker 1 (56:02):
And you can't forget about the fan videos because fans
now sit up there and make videos.

Speaker 3 (56:07):
Get credit for your money.

Speaker 2 (56:10):
Come to YouTube if you register properly, did you.

Speaker 4 (56:13):
Hear that the registration of the song very important because
your YouTube money and your streaming money.

Speaker 3 (56:21):
On my YouTube account.

Speaker 5 (56:24):
I had not set it up right, so if I
played one song, it could be my song. All the
money from this video go to that one song, even
if it only come on for ten seconds, if that
song played within your YouTube or anybody's song. So I
was like, how come I'm not getting my YouTube credit
but it's going to the distributor because I want my

(56:46):
YouTube money kind of like to come to me. But
my man's was like, you got to set it up right.
I want my YouTube money to come to me, and
I want to distribute money because.

Speaker 4 (56:55):
That check come to me too. But I want my
shit to be separate because you're supposed to get paid off.

Speaker 1 (57:00):
You know what's funny. You know what's funny about you
saying that. I told them I managed Rapping and Glasses Malone,
and I told him, I said, bro, you ain't never
got to check from your YouTube channel. He got videos
on there getting million, Tupac Munchs died two million views.

Speaker 4 (57:13):
Right million.

Speaker 1 (57:14):
You didn't even get that check, And I said, dog,
I asked the distributor, I said, why are you claiming
videos off of this. You didn't upload this, you didn't
do it. Well, you know we part of distribution. He
uploaded that himself.

Speaker 3 (57:25):
You didn't do no work for they got access to
the channel.

Speaker 1 (57:28):
So we got that fixed. We got everything snacked from
them and got them snatched off of there. Now he
getting his checks now. I said, bro, that's all your money.
I told ate the same thing I told eight when
I saw his channel, I said, bro, you got this
up there, you need to have MC eight on there.
So I'm in the process now going to go get
all these other twenty five hundred fake MC eight pages

(57:49):
to where somebody probably have been paying their house note, card,
note and everything else for the past few years.

Speaker 4 (57:54):
You know, dinner time is over now now denter.

Speaker 5 (57:56):
Time got to be over because the proper registration is
only a mistake of an artist, the lack of adding them.
That one album with ten songs, but on YouTube, that
thing got forty five different variations that all paid.

Speaker 3 (58:12):
It pays the person it pays. So it's people that
have a.

Speaker 5 (58:18):
Song and all they got is girl's booty shaken from
YouTube or from Instagram. You know how they got the
girls to do their They take them videos, but the
audio is what the distributors claiming. But this video, whoever
on the YouTube channel, that portion of the money goes to,
so it's a separate. But there's guys that all they're

(58:40):
doing is putting booty girls on a fucking song. And
I'm like, bro, these girls ain't dancing to this song.
But the way they edited it, they mixed it.

Speaker 4 (58:50):
They mixing it. It's the part of the song two
hundred thousand use.

Speaker 5 (58:56):
If the Booties wasn't on there, I don't think it
probably would have did them numbers. But since them Booties
on there, it's the same song. But it got the
booties playing that concept or against the song. And you
see Hella shootings or something. Somebody got the dry Bys
or something. You know, the gangster rapper, he's showing clips
from all that they downloaded, but his song is playing.

Speaker 3 (59:19):
That concept.

Speaker 5 (59:21):
Is like, you could take your whatever last album you
put out and do that same concept right now with
just video visuals, with your music playing on the channel,
and when you load it up money, don't putting nothing
in between a different video of something else.

Speaker 4 (59:36):
Nope, take the dead two or however long to fill
it up.

Speaker 5 (59:40):
So you could release them and they all stand order
like you didn't put nothing else in between it. It's
like a bundle pack for you present you representing this
album again, but it had.

Speaker 3 (59:51):
A whole other video that it might be you might
not be you back in the day.

Speaker 1 (59:56):
Remember how we used to do the Maxi singles. You
do a single, you might have two or three re
then you might have another version which you rapping on there.
You feel what I'm saying. It's a single off feature purposing. Yeah, yep,
repurposing the thing. You know what? It reminds me of Man.
I remember shout out to the homies that rap a Lot.

Speaker 4 (01:00:12):
Right.

Speaker 1 (01:00:12):
I ain't gonna say my man's names. I don't want
to get him in trouble. Yeah, but my man who
wound up waiter on going to rap a Lot. He
was telling me we was coming from Vegas. That's when
we had did to deal with high seat down there
rap a Lot. So we coming from Vegas, right, and
he was telling me, man, I miss E and my
He used to be an executive E and I and
he told me that. You remember, at one time everybody
had million dollar budgets for videos, half million dollar budget

(01:00:34):
and videos. He told me, man that it was just
him and maybe two other people worked in the LA office.
So what they started doing, they had so many people submitting,
you know, for music for deals and stuff. Remember they
had E and MY music distribution. They were signed cast
to deals, right, but there wasn't a real deal. They
never recorded album. They just let him go in the
studio and they say, oh, this didn't work out. But

(01:00:56):
in the meantime they got a budget for it. They
ran that ten fifteen times. Bro never put out no projects.
And then what he told me too that they would
do they had they had a real artist. Oh man,
you donna sold fifty sixty thousand. They get a whole
separate bar code on the record ship off forty fifty
thousand copies. Dude, don't know nothing about it because it
sound skin say okay, you so you scanning twenty five.

Speaker 3 (01:01:18):
Yeah, it's a different bark call.

Speaker 4 (01:01:20):
It's cool. But meantime, meanwhile they running it up over
there with the other thing.

Speaker 5 (01:01:25):
Now that that back door in the music industry, go
back to Marvin Gay and them.

Speaker 3 (01:01:29):
And before I was about to say this, before that,
because it's.

Speaker 5 (01:01:32):
Always back next our generation nineteen ninety two, I remember
the news report that came out that said, uh Biz
Marquee and Rob based DJ Easy Rock two albums that
came out. They both sold a million records. The copyright
infringement came in. They didn't get none of the money.

Speaker 4 (01:01:56):
Joy and Pain.

Speaker 3 (01:01:58):
Who was that rank?

Speaker 4 (01:02:00):
Okay, Frankie right. They took the whole song Frankie Beverly
and just wrapped on top of it and looped it.

Speaker 3 (01:02:07):
They didn't change nothing.

Speaker 5 (01:02:10):
That is when I got scared in ninety two not
to rap on samples my tape that came out in June.
My man had got a couple of old records and
we looped at how y'all was doing y'all thing right
when that happened.

Speaker 4 (01:02:24):
That happened around July August.

Speaker 5 (01:02:26):
By November December when I dropped my tape, I had
interpolation so I would play something over and I never
had to pay a copyright off.

Speaker 4 (01:02:35):
So we did we you know, it laid a lot
of my shit over once that lawsuit. Shit started, like
you would put your album out, then they come take
all your money.

Speaker 2 (01:02:44):
Oh No.

Speaker 1 (01:02:45):
I worked for a publishing company and I remember when
they was about to hit Dre and them for the
one song, all these niggas and all those because they
had sampled what was that dunk dunk.

Speaker 4 (01:02:54):
Dumb, that's motherfucker looking for that good stuff.

Speaker 1 (01:02:58):
Let me tell you, I worked back, work back. I
worked for Minded Music. They owned the publishing for that
because what they did was Minded Music did. And it
was funny how Karma come back on people, all the
cats to rob the Gap band and then Minded Music
came and got his ass right, so they had all
the gap on the record label. Yeah, they had all
the gap the gap bands published and they had the

(01:03:21):
Fat Back Band. What was cold about that though, is
they had hit after Math up several times. They didn't
want to take trade of court, but he just kept
ignoring them. Then when it came time for the actually
go to court, he was in their sleep. A million
dollars man, Trey was in their sleep. He didn't give
a fuck. He got walked out like he didn't care,
like it.

Speaker 5 (01:03:37):
Was just a waste his time, because it did because
he actually had sampled it, or he actually used it.

Speaker 4 (01:03:42):
Yeah, he actually used it. I don't give him the money.

Speaker 3 (01:03:43):
Man.

Speaker 4 (01:03:44):
We still we're still on tours and we still.

Speaker 1 (01:03:46):
Because that's what John said. I said, you can put
a season desists. He said, no, why would I do that?
This record is doing phenomenal. I said, well, when we
go take him the court? He said, we go. Wait,
he said, I think it's approaching platinum.

Speaker 4 (01:03:55):
Yeah, wow wow.

Speaker 3 (01:03:56):
Then the check was.

Speaker 6 (01:03:57):
Bigger speak gonna rap a lot. Jay Prince told me
that too. With the he had signed the producer seven
and when he was doing all this stuff with he
was signed to Rap a Lot as a producer, and
when he was doing all the stuff with Murder was
actually signed. So he said, all my way till jar
Run and Shanti through their business, then I'm gonna go.

(01:04:20):
He goes, why am I gonna step to him?

Speaker 2 (01:04:22):
Now?

Speaker 4 (01:04:23):
That's the game, and people do do that though, because
Young Thug was signed to five different record.

Speaker 5 (01:04:28):
Labels when the big blow up. So you know, I'm
pretty sure everybody got compensated. But I just if you
sign a deal for this album, everybody get a deal
and then this producer or this executive he fall off
or they go separate ways.

Speaker 4 (01:04:45):
Whatever.

Speaker 5 (01:04:46):
Another dude coming, like, I put the money behind Thug
drop a mixtape. Okay, that came out, then that didn't work.

Speaker 4 (01:04:54):
Another guy come, I put some money up, So thug
was like, shit, whoever got some money to.

Speaker 3 (01:04:59):
Put a record out?

Speaker 5 (01:05:00):
But then within that contract though, there were stipulations.

Speaker 3 (01:05:04):
That you are my artists in some form of fashion.

Speaker 4 (01:05:08):
So once he got the big deal, all the dudes
that had a contract, they would know he's my artist.
Now he's my artist.

Speaker 5 (01:05:14):
But it's so much money involved them. All them dudes
went away. Whatever check got handed out, it just went silent.
Sometimes it's just a matter too them. Niggas all got
that money. You two fifty, you go get seventy five,
you gonna get yeah, yeah, just go away.

Speaker 4 (01:05:27):
You know what I mean? Yo?

Speaker 5 (01:05:28):
Yeah, because some people like shit, getting two three hundred
thousand from a nigga and you you gave him twenty
five thousand two three years ago, and now it's finna happen,
and it's finna be a quarter.

Speaker 2 (01:05:39):
Million, and so that's good money.

Speaker 4 (01:05:41):
It's a good investment.

Speaker 3 (01:05:42):
That's all I'm trying to say. That's it right there.

Speaker 4 (01:05:45):
You know what I'm saying.

Speaker 5 (01:05:46):
All way, don't never come back. It's over for two fifty,
Come on with it.

Speaker 1 (01:05:51):
Yeah, let me ask you this broke because you've been
around for a long time, you don't saw all the
incarnations of just like everything go from having the Street
Team to the where it's on the internet. Now, Man,
what do you think about the client that we and
now man to where we actually content creative, we stip're
having a constructive interview, you know, constructive conversation, right, what

(01:06:11):
do you think about this era manic where people get
online wild and then doing everything Now he's on that line.

Speaker 3 (01:06:17):
I think.

Speaker 5 (01:06:19):
I think the internet really just opened the door for
people to be show they asks you feel me, and
that will become the new content like Jerry Springer.

Speaker 4 (01:06:29):
But now every day, all day with random people's Jerry Springer.

Speaker 5 (01:06:32):
And it's not just per se the shock of you're
not the father or you are the father.

Speaker 3 (01:06:37):
It's the nigga with the gun.

Speaker 4 (01:06:39):
It's the girl doing something nasty, it's it's anything that
that's not considered your mom and dad or granting them
you wouldn't do this in front of them. I think
the art of the Internet and people longing to be
famous has made people just really go to through all

(01:07:03):
kinds of steps to be a celebrity, and they don't
even have to be like we consider celebrities like artists,
like ourselves, movie stars, or you know famous sports figures.
Motherfucker a bit slapping herself with a cake and shit
on on Instagram. Now is the form of being famous,

(01:07:27):
that's right, that's right, A regular, a regular person. You know,
people do all these outrageous acts now to become famous.
And that's because I say, our generation, uh don't accept
being normal anymore.

Speaker 3 (01:07:46):
Don't me.

Speaker 4 (01:07:48):
Back when I was a kid, you know, my uncle
worked at the gas company.

Speaker 3 (01:07:53):
He was a normal motherfucker.

Speaker 4 (01:07:54):
You know, he didn't have visions of I gotta be
the next you know, Wesley, or I gotta be the
next you know. You know my auntie worked as a nurse.
She didn't go fuck. You know, I gotta start taking
I gotta get in Playboy, or I gotta be in Pinout.

Speaker 3 (01:08:13):
You know what I'm saying.

Speaker 4 (01:08:14):
Some people were just regular, our the generation now I
think because of like I said, everything is monetized.

Speaker 3 (01:08:21):
Now.

Speaker 4 (01:08:22):
You give me YouTube and only fans and Instagram and
everything you can make a dollar out of. And then
it's ridiculous as the steps people are take. Like I said,
nobody's comfortable with being normal. You get me a job,
because before I discovered that I could write a song

(01:08:44):
or tell a story or whatever. My visions was to
be a normal motherfucker, you know, until I was introduced
to the gang life and selling dope and whatever whatever.
But like I said, I didn't plan on, you know,
being MC eight or being a famous whatever. When my
father worked at General Motors. My mom's worked as a

(01:09:06):
as a CNA or a nurse or whatever. So your
visions of being a normal kid, that's what it was.
I think now growing up with all this fucking like
you say, motherfucking put a studio in his house. Today,
motherfucker can film movies on his phone. Females, can you know,

(01:09:26):
go get their asses done and take pictures on Instagram
and their their Instagram models the only fans playing with
themselves all day or dude, to get a shit. You
can be famous by fucking a regular motherfucker who cooked
dinner for his family.

Speaker 5 (01:09:43):
Do you know what I want to say? That who's
single handily? I think who's single handily? Now when I'm
hearing you say that, we gotta say, look at this
word YouTube right right. First, it used to be films

(01:10:05):
that somebody make to show us. But somebody said, how
about we make a platform where you gonna be on
the tube the regular person.

Speaker 4 (01:10:16):
I think that was a thought. Let's take the camera
off of let's let's create it ourselves. We're gonna put
the camera on the regular people and thet's see what
they do. Because that's crazy, as he when I just
listened what you're saying. And I think before social media.

Speaker 5 (01:10:36):
It was YouTube was a big thing where you can
be somebody, right, and that's how they market it. YouTube
it's about you upload your yourself doing your life.

Speaker 1 (01:10:50):
We I'm gonna give you us both some game and
I'm gonna tell you what they're doing. Rupert Murdock, I
think is the guy owns Fox. Right, Yes, these platforms do.
I'm gonna tell you what YouTube's grand plan is.

Speaker 4 (01:11:03):
Right.

Speaker 1 (01:11:03):
YouTube also has YouTube TV where they have a bunch
of fast channels on that right, a bunch of channels.
Black people are good for bringing attention to stuff, right.
You know we're consumers, right, We a lot of us
are consumers, not owners. We bring attention to stuff. So
now you got guys like, let's say, like our YouTube

(01:11:24):
channel got like a couple hundred thousand people on the right,
he might have fifty thousand, his may have three hundred thousand.

Speaker 4 (01:11:30):
Right.

Speaker 1 (01:11:30):
When you add that up all these music channels, you
got people that are own they're now right, that are
signed up for YouTube. If you notice, they're starting to
crack down a lot of stuff. You seeing people get
their channel snatched down left and right right with that bullshit. Okay,
we're letting you go. They're building it up, bro, They're
using other people to build their platform, right, and they
gonna snatch you all this away from everybody else pretty soon.

(01:11:51):
I'm gonna tell you what's really crazy about this is
that people that get caught up in YouTube. I got
nieces and nephews. That's all they've been raised on is
YouTube because their mama or daddy give them the tablet
in the morning instead of going out taking them outside
the play. Remember we used to go outside and play football,
basketball and stuff. Now people just give their kid the tablet,
and it makes it people to think that that's real life.

(01:12:12):
That's not the real world, right. I get a lot
of people that come to me because they just think
I could make somebody's podcast pot. They don't understand the
work that goes into it. They don't even understand the
audio component on it. Me and we made ten times
the amount of money on audio that.

Speaker 4 (01:12:28):
We do on YouTube.

Speaker 3 (01:12:28):
Am I right?

Speaker 4 (01:12:29):
Egg right?

Speaker 1 (01:12:30):
And my line is talking? You mean yeah, just talk
to y'all, just audio, just playing audio. So I get
people come to me because everybody thinks that, oh, it's
just easy. They get up there talking. They don't know
about Yoh, you gotta do research. You gotta have something
to actually converse with these people about when they come on. Right,
So I get people to get mad when they see
me working with somebody. I don't sign everybody. I don't

(01:12:52):
sign people no more because it's too much of a
headache because I can do no right with that. It
don't matter if I change your life or not. I'm
gonna wind up be an asshole. I get to see
all that to say. I get this text message the
other night from a random number. I don't know who
this is?

Speaker 4 (01:13:05):
Man?

Speaker 1 (01:13:05):
Why you put that ugly hell on? I respond back with,
who is this She is trash, she's boring. You should
have fucked with me again? Who is this man?

Speaker 4 (01:13:16):
She canceled.

Speaker 1 (01:13:17):
I just blocked the number because he hasn't revealed himself.
People aren't even men nowadays in this culture because they
can hide behind the screen right. Have you ever noticed
that you may have a fan that's talking shit to you,
and then once you acknowledge him, like, what the fuck
is it that you want?

Speaker 4 (01:13:33):
Dude? I don't even know you. Oh, I just wanted
to talk to you.

Speaker 3 (01:13:37):
Man.

Speaker 5 (01:13:38):
I didn't have people come on my page and say shit.
And then I'm like, let me go hit this motherfucker director.
I ain't gonna respond. And then I go to my
messages and he didn't have messages months ago praising me
or something that he wanted to interact. But this message
that made me look on his page was some negative.
But when I go to send them a message, it's

(01:13:58):
messages that I never respond into.

Speaker 4 (01:14:00):
That David trying to work with me, you probably didn't
even know you had. I'm a bitch ass nigga open
in my on these messages. Man, what's up? Bro? Hook
up with me? That's connected. Dudes like that just be
want your attention. I get that sometime. And then once
you acknowledge, because like you said, I'm not gonna get
on you know, platform, in front of everyone, So you'll

(01:14:21):
go to a messaging motherfucker and as soon as you
say something to a motherfucker, they'll be instantly Oh my
bad man, you know what I'm saying. I was just saying, man,
you know, you know I hold I dig your work
and all this. So I'm really a fan. People just
be wanting. Like I said, everybody wants their five minutes

(01:14:41):
of fame. You can. You can watch whatever platform, and
you see people doing all kinds of shit just to
get that five minutes of fame. And that's why I say,
nobody wants to be in this day and age, Nobody
wants to be a regular motherfucker. Everybody wants to be
a podcast or an artist, or or a fucking comedian

(01:15:04):
or or a fucking content that's what they call content.
Content creator. Everything is a content creator. Now there's no
other word for influence. It is funny. I'm an influencer. Yeah,
I'm an influencer and the content creator. And like you
look on the motherfucker's page and you look on the
females page and they be half naked or doing their

(01:15:25):
modern dance or whatever whatever, and then they go out.

Speaker 3 (01:15:28):
I'm an influencer.

Speaker 4 (01:15:29):
Your affluence in motherfuckers to be neckdake ass. I mean,
that's your content that you bring.

Speaker 1 (01:15:36):
You never take the time out to learn the business.
Everybody think is they got a YouTube channel, they got
a thing. First of all, I've seen people go out
in the vista enormous amounts of money into YouTube, right.
The first thing I tell let me say, Okay, you
spent fifty thousand dollars on building this elaborate sit right,
got you a building you're paying rent on every month.

(01:15:57):
It's cool that you're making that YouTube money, but what
happens when you YouTube? Besides that they no longer want
to fuck with this nigga? Snatch some shit down, man.
I went through that. I was up to almost one.

Speaker 5 (01:16:06):
Hundred thousand, right about to graduate from my first plaque,
and I got hit, hacked or whatever the hell, right,
and that's the second time I got my JT. The
bigger figure page took in twenty sixteen. I was like
about sixty some thousand at that time. But that was
good for me because for what I do, that's more

(01:16:28):
than enough for what I'm selling. Right, Shit, if a
thousand people out of sixty thousand was tunked in, I
was happy with just a number of people. Right when
that channel got took and I really realized how many
people don't even have my direct number, and how many
people I don't I can't. I don't know their number
because I was talking to them through Instagram.

Speaker 4 (01:16:50):
You know.

Speaker 5 (01:16:50):
That was my way of communicating. Losing that shit is
losing your money. Losing your account is losing your money.
So part of why I have this traffics at right now.
Trap flicks for me is something I can continue to
upgrade now. But going to Africa, I found the developers
because I said, and in the very near future, you're

(01:17:13):
gonna have to have your own platform, because they gonna
they gonna community guidelines you to death if you say
this or if you don't they don't agree with Someone
talked about that earlier, like Nick hold on, I just
repost somebody shit, how I'm getting flagged over some I
thought it was dope or I thought it was this. Nope,
that's against our community guideline. I say, oh no, in
a minute, they gonna charge us to go live because

(01:17:35):
that's too much access.

Speaker 3 (01:17:37):
We not taking advantage of posting shit.

Speaker 4 (01:17:39):
Watch when it's tightened up and it costs money to post,
and you gotta put credits on your account. Exactly, you
can't go live. You ain't got no more credits. That's
about to happen.

Speaker 5 (01:17:48):
Boy if right now they told all of us it's
nineteen ninety nine, right now to have a deluxe Instagram
account where you can still go live, we'll all pay
the nineteen dollars. If they got a billion subscribed, Theykka's
made twenty billion dollars in one month. Because nobody's gonna say, oh,
I don't want my Instagram account no more. You're gonna
pay that money.

Speaker 1 (01:18:08):
Like when they start opening for Motherfuckers to Blo the
Blue Chicks, which I thought was ridiculous. I said it,
and you saw everybody ego, the ego of the person.

Speaker 3 (01:18:16):
Listen. Did you know when you go listen bro at
down South?

Speaker 5 (01:18:23):
World Star hip hop was very important to your campaign
live mixtapes. World Star two components that you paid to
put your album to get your buzz right, one thousand
dollars to put your video on world Star on the
regular box. Hell of people paying a thousand to get
their video. You want to be on the big box,

(01:18:46):
the middle box, next one up, thirty five hundred. You
want to pay for the bigger box five thousand and
six thousand and seven thousand dollars and you can be
guaranteed to make a million plays or whatever. Right, And
I look at everybody who dropping in the big box
always land at a million one point two to one
point five.

Speaker 4 (01:19:05):
Little did we know? No, it ain't just because it's
a bigger box. They got an algorithm set up on
this box that's going to hear a million views. So
we like me.

Speaker 5 (01:19:14):
Paying for that. Those are the bragging rights down south
is how many views you got? Oh, you're in a
big box. Okay, he got his shit must be popping.

Speaker 3 (01:19:24):
Okay.

Speaker 4 (01:19:25):
We pay for the ego of being able to say that.

Speaker 5 (01:19:28):
I got a million views. I don't hear people talking
about paying for world stars like how I used to hear.
But that was a way to get your your video
out JT.

Speaker 6 (01:19:38):
This brings me to a question. A lot of what
you've been talking about is different cities, different stages, different eras.
What made you want to and actually move so much
and be in so many different places because so many
people stay in one area their whole life.

Speaker 5 (01:19:55):
I think what I learned is that the mistake I
made and the wind that Matt P made is that
even though his kickoff for master p was the Bay Area,
it wasn't down south. First, it was us, but he
saw this ain't big enough, and it's other places that
we can go that we can have an impact and.

Speaker 4 (01:20:18):
His money go further down there and be able.

Speaker 5 (01:20:21):
To become something that's not there. And that is the
mistake that I made. I never forget Master P Silk
the Shocker see murder King George.

Speaker 3 (01:20:34):
They pull up to my house.

Speaker 5 (01:20:36):
They going on the promo run to go to Milwaukee, Tennessee, Oklahoma.
It's about ten twelve days and they invited me to come.
And I can only remember paying master P five thousand
dollars to deteck my posters and my flyers and put
them up wherever he put his shit up at.

Speaker 4 (01:20:56):
I don't know if he did it or not. We
paid them the five thousand.

Speaker 5 (01:21:00):
That was a big fucking mistake because I would have
been known in them places if I just would have
did the promo. But since it wasn't paid and Pete
toombout going on promo tour, it didn't sound exciting to me.

Speaker 3 (01:21:15):
That was a big mistake.

Speaker 5 (01:21:17):
When I saw his results in sales and all these
other little country towns in different places, and these are
places that I should have went to go at least
do a campaign run. I didn't know nobody and none
of these other cities. But Master p knew these people
from going on the promo run. So I was seeing
the results of that through the priority deal. How it

(01:21:38):
helped him to be national because he drove to them
places and passed out shirts and tapes and CDs and
put up posters and that mistake. In twenty ten, I
finally left the Bay Area. Many years later, that's like,
what fifteen years later, I finally dined on me j T.

(01:21:59):
You got to get out the baby, bro. Just because
I'm big out here, that shit don't mean nothing. This
ain't bringing no income for me. I had to go.
So going to Atlanta was a challenge. It was difficult,
but the reward is I got a fresh kickoff in
the rap game again, brand new from scratch. It was
like I was a new artist. They didn't know how

(01:22:20):
old I was. They didn't really know the level of.

Speaker 2 (01:22:24):
The same thing happened with Short when he moved to Atlanta.

Speaker 5 (01:22:26):
Now that's the other thing too. Short moved out to
Atlanta and got a brand new start. Yeah, fucking with
Little John and them. Eve forty moved to Atlanta and
got a new start. That's Oakland, that's Valeo, I represent Fresco.

Speaker 4 (01:22:39):
So forty moved to Atlanta. Yeah, he stayed out there
for about two years. Yeah, fucking with little just card Yep,
I'll never forget it.

Speaker 5 (01:22:50):
Like damn forty Water came back harder when he came back,
too short, came back with the vengeance. But he left
because that war that was happening in Oakland was deadly
and he didn't want to be no parts of that shit.
He took hisself up out of that and I had
to do the same thing. War happening in my area, Like, man,

(01:23:10):
I ain't part.

Speaker 4 (01:23:11):
Of this war. My hood, all my bros that that
we loved each other, now they all want to kill
each other and then started doing it, and I'm like, man,
I ain't part of this shit. I'm taking film Mo
with me. Y'all can have Field Mod the Gang. I'm
i'ma gonna make film Mode the game independent Gang. Yeah,
we're gonna be known.

Speaker 5 (01:23:28):
I want Field More to be known as what used
to be us Hella entrepreneurs.

Speaker 4 (01:23:35):
Then he went to gang banging and killing.

Speaker 5 (01:23:39):
Gangbanging killing have dominated us for the last Damnar fifteen
twenty years. No motion of entrepreneurs taking flight from our projects.

Speaker 3 (01:23:49):
The best thing happened.

Speaker 5 (01:23:50):
From our hoods so far is the mayor of San
Francisco London Breed is from fill mo out our projects.
Let's do so that's the biggest example of somebody who
come from a real project, Like she went to our school,
everything with us.

Speaker 4 (01:24:05):
She the fucking mayor. Now that should make some other
people who want to go in that vein. You know,
I don't want politics, but just for somebody from the projects.

Speaker 5 (01:24:14):
Now, I know the dude she was. She was planning
a position and the and the current mayor had died.
She was the closest person to the mayor, and I
guess the people said, how about give her a chance?
And then some other people were bigger money like, nah,
we don't want her. But the people remember her from

(01:24:36):
being with the mayor that died. She fucking along got
the job. That's a dope store. He died and she
wasn't linked up to be no mayor.

Speaker 4 (01:24:47):
She knew all the business of how the fucking dang
run because she was under the mayor, the city, all
the ins and outs, and.

Speaker 3 (01:24:58):
They trusted her so yeah, and they trusted her son.

Speaker 1 (01:25:02):
Before we wrap it up over here, man, I want
to ask you this, man, do you get a lot
of cash wanting you to consult for them?

Speaker 5 (01:25:10):
Ever since the No Jumper interview, I think the No
Jumper interview and this is crazy to me. The whole
time I was in Africa, I've never saw a black
American rapper or even a black American go to the
slums of Africa and do what the fuck I did.

Speaker 4 (01:25:30):
I built three water wells. I'm feeding thousands of people.
Do you know it was zero press on me. Nobody highlighted. Man,
this motherfucker JT is in the fucking Burkina fossil They
blowing up busses over here. They killed fourteen villagers over there. Meanwhile,
I'm like, man, you could die in America at a

(01:25:52):
gas station, Nigga. This seemed most safer to me with
terrorist attacks in Africa than being in Atlanta, jo or
La or San Francisco because of the murder rate and
the robbery. Nigga will see this watch and lose their
whole life over just this watch right now, or some
ear rings or even your shoes dawn there. So the

(01:26:17):
consultation part of me successfully doing that Africa shit and
coming back and now for ten months i've been back
in America.

Speaker 3 (01:26:28):
The No Jumper ship was the first thing to highlight.

Speaker 5 (01:26:30):
Me a big platform to say j T. Bro, my people,
you know Item twenty two hit me. I've been wanted
to go on there. I just didn't know how fucking
around he hit me direct talking about man. My people said,
I need to talk to you and get you in here.
They telling me you got a story that they ain't
been told and I need to be I'm like, damn,
that's crazy fucking right. He like, I need you here

(01:26:52):
three days. I'm like, I'm coming. I drove from Atlanta
to come here. But my folks and I felt it
was gonna be good.

Speaker 3 (01:26:59):
Too, right.

Speaker 4 (01:27:00):
I say, Bro, this shit gonna seem like a fake
ass story, but it's a real story because it seemed
too good to be true all the elements of my
life and what I've been through.

Speaker 5 (01:27:11):
And I have a NonStop career of thirty one years.
From June ninety two to right now, I never went
to sell dope again, even though a few thirsty moments
niggas had a few pounds.

Speaker 4 (01:27:22):
Yes, I did grab a few pounds. The prophet wasn't
good and I didn't like that.

Speaker 5 (01:27:26):
I said, nigga, I can go to jail for these pounds, nigga,
And that's all the profit off each pound.

Speaker 4 (01:27:31):
Oh no, that's a movie in itself. Man, exactly.

Speaker 1 (01:27:34):
You know before we go, Man, I want to ask
you just one more question, man, Tupac. I think people
forget a lot of times. He's from the bay. He's
a baby dude, you know, came up with ray Love
and all of them cats. Shout out Ray Loved, humboyant
dog and all them cats. Right, they finally man done
what the streets.

Speaker 4 (01:27:52):
New for years?

Speaker 6 (01:27:53):
Right?

Speaker 1 (01:27:53):
They put Keefy d in jail? How many years later?
Twenty six twenty six years? Do you think this is
a publicity stunt? Do you even think it makes sense?

Speaker 5 (01:28:04):
Do you know every podcast I just went on they
said something about it and nicking. My answer to that,
I think that shit fake in some kind of way,
because why would you do something that you know there's
no statue of limitations?

Speaker 4 (01:28:16):
Right?

Speaker 3 (01:28:17):
I think he got paid to say he was in
that car.

Speaker 4 (01:28:20):
Bro.

Speaker 5 (01:28:21):
Now, the streets being in La jt Nah is confirmed,
I say, But why would he go tell this shep
and then keep trying to confirm that he handed a
gun at a murder of a famous.

Speaker 3 (01:28:35):
Cloud or he got paid.

Speaker 4 (01:28:38):
It's either he wanted to credit the sheet so bad
because they said something about he got immunity.

Speaker 5 (01:28:45):
Tell us who killed Tupac Anderson? He's dead, will do okay?
Case should be closed, right, So that is probably what
gave him more strength or confidence to talk to.

Speaker 4 (01:28:56):
V Lad that we all know.

Speaker 5 (01:29:00):
Whatever you sit on that motherfucker you you you got
to you got to stand on that. Then they say
he wrote a book where he detailed it.

Speaker 4 (01:29:07):
Again. I say, bro, that shit can't be real. What
street nigga gonna say they did this ship right?

Speaker 3 (01:29:13):
It's money involved? Okay?

Speaker 5 (01:29:15):
Well, how well he go? Another theory that's going around
that you probably heard. He's so mad at P Diddy
nigga for not getting his money. He don't mind going
down if he could take P Diddy down. You think
might go to jail for this ship if it's true,
because how do you supposed to give me a million

(01:29:36):
dollars in a nigga you get a million dollars too?

Speaker 3 (01:29:38):
He run off?

Speaker 4 (01:29:39):
So does that mean P Diddy paid because the money
didn't make it to him, So how could he go
down for it if the other nigga ran off with
the money?

Speaker 3 (01:29:48):
Yeah, but that make him almost like if this is
all true, that makes him a.

Speaker 4 (01:29:52):
Conspiracy A conspiracy man, I don't I don't know what
it is. So it's crazy. It's crazy. Can people get
X you at bro Man? They could get at me?

Speaker 5 (01:30:02):
First of all, I would ask anybody who watched this interview,
if you want to support me? Man, I'm about to
be fifty years old and a few more days god willing,
I said, I don't want to be rapping at fifty,
So I want to be like Bill Gates and Steve Job.
Both of them started out with not that much. Both
of them didn't graduate, but they got the hold to

(01:30:25):
some coding. Bill Gates didn't write Microsoft. Another person did,
and he bought it. And once you could buy the
intellectual property, you can have engineers build on it.

Speaker 3 (01:30:36):
Right.

Speaker 5 (01:30:37):
Steve Jobs didn't write the Apple code. Steve Wisniak is
the other Steve that you don't hear about. He the
one that wrote it. So what did I learn from
these two dudes? Buy my own codes for software so
that I can be able to license my software and
grow from that. So I want everybody to download my
app Trafflicks. Man, I'm proud I just got it back.

(01:31:00):
Going shout out to my people in Nairobi, Kenya, all
the developers who developed it for me, because it's original coding.
That means that if you guys ever have a problem
with the app you getting made and you like this
new version of what I got, I can license this
over to you.

Speaker 4 (01:31:16):
You can tafinitely build after.

Speaker 1 (01:31:17):
This show, bro, Because yeah, y'all go be able to
find a link for trap flicks down below right there
in the description.

Speaker 3 (01:31:23):
This iOS platform and on the Google androy phone is free.

Speaker 4 (01:31:27):
We will have the Google platform and the iOS platform
down there and JT the bigger figure Instagram them two
things right there. Man.

Speaker 3 (01:31:35):
That's how we tap in. And I appreciate y'all boys
man for having no real shit.

Speaker 4 (01:31:40):
Ain't listen.

Speaker 3 (01:31:41):
I told my man, I said, I supposed to go
back to the bay, but I remember me and you talked.

Speaker 4 (01:31:45):
I say, I better text things. I said, man, what
it was? Somebody told him?

Speaker 1 (01:31:49):
They said, you know how the internet is, why you
couldn't go on the black platform. I don't know why
they'd be just and I said, well, I said, well,
he said, none of the brothers invited me. I said, hey, man,
we're black over here. That's why I'm like, oh yeah,
I forgot. I did have somebody.

Speaker 3 (01:32:03):
That's why I had to come down here and make
sure I pulled up in box.

Speaker 1 (01:32:07):
I wouldn't go because you know how the internet is,
they want to get all involved in this stuff.

Speaker 4 (01:32:12):
So if you hear me direct and I told you,
I say, nah, no disrespect you did.

Speaker 3 (01:32:16):
I forgot.

Speaker 4 (01:32:17):
And I didn't know. Remember, I didn't know who you was.
I didn't know if this you was real. When we
was pulled up, I said, man, let me get my
pistol I real quick, make sure this is the real guys,
because I didn't know. Remember, I don't know your face.
But when you say eight, I'm like, well I know
that man right there. He had been like, man, you
got to call because he stayed on the internet.

Speaker 3 (01:32:35):
Man, Okay, he still salute my.

Speaker 4 (01:32:41):
Okay, okay, So yeah, brother, nah man and and and
whatever knowledge that I did get, because what you was
showing me you already y'all already own it. But I
want to give you what I got from Africa. Yeah,
for sure, that I want to give it to you what.
I don't want nothing for it. I want to give
you the information, and I guarantee whatever information y'all are
already got, you're gonna be able to balance some shit

(01:33:01):
out and be like, oh, we didn't have this piece
or that piece of that.

Speaker 1 (01:33:04):
In a minute, bro, none of this stuff is gonna
be available on YouTube outside of the clips.

Speaker 4 (01:33:08):
He can tell you. I'm taking my shit off too.

Speaker 1 (01:33:11):
I spent twenty four thousand dollars how many years ago
was that bran that was doing the one app, only
to realize I didn't have enough money to do exat
So I didn't look at that twenty four thousand as
a waste.

Speaker 4 (01:33:22):
I looked at it as an education, right.

Speaker 3 (01:33:24):
You know what I'm saying, education, because that's exactly I
ran through. Brother.

Speaker 5 (01:33:28):
When you're dealing with software that is more cut thought
than the goddamn dope game and the rap game put together.

Speaker 4 (01:33:35):
You know why money.

Speaker 5 (01:33:36):
Because the person who's developing you got to give him
access to your server, so that's passwords. You got to
get him access to your Apple developer account and your
Google developer account.

Speaker 3 (01:33:49):
They got to have passwords.

Speaker 4 (01:33:51):
So when they building something that you're paying for anything
you unsatisfied with. They already planning it in your shit.
We ain't gonna get these cast listening to all okay, okay,
we're gonna talk about that all my fault. We're gonna
get up out of here. We will see y'all next week.

Speaker 3 (01:34:05):
We out hit the.

Speaker 4 (01:34:06):
Linklow picture real quick, Carlos.

Speaker 1 (01:34:08):
And also and also against the Chronicles merch coming out
next week designed by MC eight.

Speaker 4 (01:34:14):
We got it.

Speaker 3 (01:34:15):
Come bright here and get one. Oh oh, ship me
this picture right.

Speaker 4 (01:34:19):
Here lit good. Yeah, we ain't getting no good one.
They got a few turn This is this issue right here, man,

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Norman Steele

MC Eiht

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