MC Eiht Talks last album

MC Eiht goes into detail about what possibly could be his last album.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Gangs, the chronic Goals. This is not your average shows.
You're now tuned into the.

Speaker 2 (00:06):
Rail Welcome to the gainst the Chronicles podcast, the production
of iHeart Radio and Black Effect podcast Network. Make sure
you download the iHeart app and subscribe to Against the
Chronicles For my Apple users, hit the Purple Michael your

(00:28):
front screen. Subscribed to Against the Chronicles, leave a five
star rating and comment oak share what's the deal man?

Speaker 1 (00:34):
And ship cracking? Shame or shit? You know what I'm
gonna do.

Speaker 2 (00:40):
Yeah, you know you don't never plug your own stuff,
but man, I'm gonna talk about it just for.

Speaker 1 (00:44):
A little bit. Not the teams too much, man, but
I can't wait for this album drop. Bro. Yeah, they're
getting a lot of positive feedback whatever you want to shay,
you know, shire and they ain't really been you know,
with what's going on in hip hop, I tend to

(01:06):
question should a nigga still be grabbing the microphone or whatever?
Not because the aide shit. You know, I know how
some people trying to discriminate against the age of I'll
call us pioneer artists. You know, some people discriminate a

(01:30):
gift that but you know it is what it is,
so I've been contemplating, you know, even if it's worth
even giving it a go around. So that's why I've
been focused on, you know, doing other shit, do the podcast,
trying to you know, look into getting some maybe trying
to get a dispensary started or so we're looking for investors,

(01:55):
you know, if y'all want to get out, so I
will be there tripping off the music shit. And what's
been going on, Like I'll say, in the state of hippop,
you know, the last ten years has been a little
uncomfortable as far as grabbing the mic is concerned. You know,

(02:16):
you don't know what fans want today. And I know
that there's a younger generation, you know that's at the
forefront of trying to establish what we call hippop. But
I don't know if it's you know, with'restanding as long
as a ice cube or you know whatever. You know,
I don't know if I don't know if Nigga's gonna

(02:37):
be listening to some of these what they call mumble
rap artists, you know, fifteen years now, so probably not.

Speaker 2 (02:48):
You definitely got music that stood, they stood the test
of time, right. I hear a lot of people still
banging the albums? Man, where would you bring this?

Speaker 1 (02:56):
Like?

Speaker 2 (02:56):
Do you ever rank your albums like months? Except like
what's your favorite MS? Yeah, I'll right my shit. I've
I tried to put out whenever I put out. Some
of my hope is quality. Like I said, doing music
twenty five years ago, we were all a certain criteria

(03:17):
as people would call us gangst the rappers, whatever, and
then you see the change or whatever that music has
taken from me putting out the music to drive by,
as opposed to artists that put their music out today,

(03:40):
a lot of auto tuning, a lot of people say
mumbo rap stuff.

Speaker 1 (03:46):
And I don't know if those artists feel what we feel.
You know, when people call us too old, or people
used to label us gangst the rappers, you give me
now they're labeled mumbo rappers. You feel me? Yeah, I
don't know how sustainable that is. You feel me? My

(04:07):
era people like to hear stories, stories of realness or
situations or you know, that's whe had the Eights, we had,
the slick ricks, we had the you know, we have
the two pots, we had the biggies. Niggas told stories.
You know, some niggas rap, you know, just did hip

(04:28):
hop in the hole, but you had a lot of
storytellers that came from our era. Oh yeah, for sure.

Speaker 2 (04:34):
Like you mentioned the I was telling you the other day, Man,
when you start talking about storytellers, I definitely gotta put
you up there man, at the top of that you know,
at the top of that list. Man probably eagerly top
five as far as storytellers, right, cats telling stories and raps.
I know you ain't gonna never rank yourself. That's where
I got you. That's my personal opinion, right. I think

(04:56):
Glasses Malone is really good at telling stories too, of them.
He just dropped this record called Band from Vlad TV
where he tells a story and it's a real life
story about him and bad Blad called him wanted to
borrow a gun? Glasses told him no, and you know,
it led to a whole bunch of other stuff. But
the story was really detailed. And I really appreciate a

(05:16):
rapper when they put their time in the telling a
really detailed story, right, And I wonder why more rappers
don't go into actually writing scripts and stuff like that.
I know, men, you got a little manuscript we've put
together hopefully go along with this album, and I really
hope we can get that to the world because this
is a good story. You know, I think most rappers,
at least from I would like to say our era,

(05:39):
and it's a few cats today.

Speaker 1 (05:40):
They get busied.

Speaker 2 (05:41):
It's nice with the stories, but you don't hear it
as much, you know, right, you just don't hear it
as much. Cats is putting out records that's like a
minute in thirty seconds. Man, it's like the records getting
faster and faster.

Speaker 1 (05:52):
Yeah, that's true.

Speaker 2 (05:53):
Shorter and shorter, rather shorter than shorter rather, you know,
I've seen Cats put out records.

Speaker 1 (05:58):
Man, it's a minute and thirty second as mom. Yeah
that that. A lot of that came about too, the
quick one minute and fifty raps songs and ship you
look or or or the double rebeat bursts. You know,
a lot of that came into our into this era,

(06:21):
of this new era. Would you say that, because if
you've noticed lately, we've seen a lot of resurgence of
iconic artists or or pioneer artists, especially on the East Coast.
Not to say not here either, but you see Ray
Kwan drop something, you see now as drop ship, you

(06:45):
see mob Deep just dropped Vicious, Slick Rick drop, Public
Enemy dropped some ship yahm Premo is working on the
record with Now there's a few I know that Mass Appeal,

(07:07):
you know, was putting out like seven iconic artists, you know,
Snoop Drop, Snoop Drop, the Rector, Dazz drop the record,
Cube Drop the Rector. So basically you've just been sitting

(07:29):
back listening to what's been what's been hitting the airwaves lately.
You see the clips drop the record also don't want
to forget about them. Yeah, Clips album was nice. I
like Clips album. I'm I'm heavy on the Mob Deep
record right now. I try to give everybody a listening
just to because when you plan on going to the

(07:51):
studio and you trying to make music, you want to
hear a little something from everybody so you can at
least be diverse with your ship. And so you know
with lixtlan's all lacking with having a little no I
guess a little fire under you. I start going back
into the studio just recording I don't know particular because

(08:17):
I was like, shit, I'm probably gonna just be done
with this rap shit, and so started going back to
the studio. Ended up doing maybe three songs three turn
in the nine nine turn into eighteen. So I think
we're up to about forty songs right now.

Speaker 2 (08:37):
That's crazy, And that's crazy when you say, oh, lots
a person forty songs that are.

Speaker 1 (08:43):
Shit, they all keepers. Now is just I'm finally gonna
pull the motherfucking anchor up, so to speak, and set sail.
I think we've recorded enough guest appearances. We got plenty.
Production wise, we got plenty. It's a diverse record, some

(09:11):
shit that you know we were doing, and shit we got.
We got classic copters, most wanted shit. We got a
street valuable shit for niggas who still love the street shit.
We got maturity growth music for motherfuckers who say, okay,
you've been music to drive by it and we come

(09:33):
strapping and death threatening, and so what's the growth in music?
Everything can be about drive by miss days. He's a
selling on the corner as shit. So you gotta mix
in a little bit through some shit in there. Maybe
that motherfuckers can kick back in the club and Bob too,

(09:55):
but not necessarily some club shit, but just on some
some feel good ship. And that's where we try to
take it. So the records. B I'm not pretty good.

Speaker 2 (10:06):
You think this is really the last one? I listen
what you say, you think this is really the last one.
I'm just you know, it is what it is. Man
Like I said, unless something change.

Speaker 1 (10:18):
And we are we are, you know, we find a
way around all this dumb stream and ship and niggas
can really collect money. And you know, if if, if
we can get to the point of whether it's dealing
with a major or or dealing with independency, whichever way
we want to go, we just want to make sure

(10:39):
the ship is promoted good. You feel me.

Speaker 2 (10:43):
That's the biggest that's the biggest thing. Sure something's promoted properly.
Because I'm just seeing a lot of records just drop
out of nowhere. And I heard I heard one of
these major artists say something like, man, stop setting up records,
just put your record out. And I was thinking, that's
easy for you to say you want a major label.

Speaker 1 (11:06):
Yeah, it's easy for you. Need to shut up. You
need to let people know at least that your project
is coming out. Hopefully they'll reach enough people. Damn money,
Carl out, sorry going off.

Speaker 2 (11:24):
It don't sound too bad, make it sound authentic, Make
it sound like woe conference.

Speaker 1 (11:28):
Somewhere hopefully you know what I'm saying, people, People just
can accept for what it is. You know what I'm saying.
It's been a lot of bullshit going around. Last said
a lot of fans said a lot a lot of fans.
You know, don't get to access your shit because as

(11:48):
an independent motherfucker, you know whatever, it takes dollars and cents.
You know what I'm saying, whether you independent or on
a major, it cost to promote your shit. You feel me.
People think because you got a couple of followers on
Instagram and Facebook and and X and whatever, that that's

(12:10):
enough to sustain. Whether it's not. People look at your people,
look at your page and go, damn, you got two hundred,
three hundred thousand followers. It should be easy for you
to you know, but how many of those followers are
real motherfuckers? You give me three thousand motherfuckers? Shit, Sometimes

(12:34):
you might only get a hundred people to come in
and look at it.

Speaker 2 (12:37):
Do you see it all the time like we've seen
it with the podcast stuff, because I think we've done
live events with no problem when we pulled like one
hundred some people in there, a couple hundred people with that, right,
have all these massive followers, they can't get twenty people
to come to the place. You see a recording artist
who they have these big, huge followings online, but they

(12:58):
do a showing ten people. Sure, right, So my thing is.

Speaker 1 (13:06):
And I'm not necessarily because I've been there, done that,
dealing with the majors and shit. At this point, you know,
it's the music speaks for it self aspect. You know,
I'm to the point of where it's like my very
first time getting on the record. I don't know what

(13:27):
you expect. All I know is I'm gonna try to
do some good shit and hopefully motherfucker's like what's being done.
I'm not predicting shit. You get me. Record sell ten copies,
of sell ten coppies, record sell a million, is sell
a million. That's all in what you can do for

(13:47):
yourself as an independent artist and an independent motherfucker. You know,
I think is there the chances that it could be
a major able project? Of course, if the music is there,
the quality is there, the verses are there, the stories
are there, the club is there, the radio is there.

(14:12):
It's just sometimes niggas might want to go a different route,
you know what I'm saying, to save themselves from the
agony of defeat. You feel me.

Speaker 2 (14:23):
I definitely think that this record, man, this album is worthy.
And I haven't even heard everything, right. I would like
to see more MC eight albums as the fandom, but
that would have to be something that's like a personal decision,
because I feel you in the music industry. This industry
has changed the whole bunch. So I remember when the
physical thing was in. I had the physical distribution like

(14:47):
mashed down to a science. For the point where I
was helping the Dog Pound release they stuff over in Europe,
I was helping out a whole bunch of major people
right get their albums out of the country. You know,
guys wanna major label, they may not necessarily be able
to release records when they want to write, and so
you know, if that's how you make your money, you

(15:08):
don't really want to wait two years in between the release.
So I would have cats coming to meet, like, hey,
I got this album, but I can't put it out.

Speaker 1 (15:14):
Can you get this over in Europe? From you? It
was easy to slide stuff over in Europe, you know.

Speaker 2 (15:18):
And I always had a thing to wear if it
was somebody that was really big, we wasn't gonna press
up no more than five thousand copies. If you was
gonna get those five thousand off, then if the coast
is clear, try to get another thousand off. You know,
you didn't want to dump fifteen twenty thousand records out
there and you get cracked by somebody, you know, right,
they're definitely gonna treat you like you see, they put
trauma in jail behind that stuff. And he was putting

(15:39):
out mixtapes people that he actually got from the label.
He actually got those mixtapes from the artists and was
actually doing them in conjunction with the label sometimes and
they can't that man in jail. Ain't that some crazy shit?

Speaker 1 (15:51):
Yeah, it's a tricky business man. It's been since I
first got into it. So gotta be general money. And
if thing heals, they kind of the record business has
always been ran by kind of unscrupulous people, right, you know,
since the Mob days. Right, you know you're about a

(16:12):
lot of black companies start with loans the Mob, stuff
like that, Right, So I used to hear about everything
from cats taking albums with different barcodes and selling one
hundred thousand overseas real quick, you know, so they don't
have to count with the artists even now. And it's
kind of right in our face. You know.

Speaker 2 (16:32):
Spotify is owned by all the labels that's owned by
like Warner Brothers, Universe that, so they all that to
whos together and say, okay, we can create the streaming
channel and go collect the subscription fee, and we go
pay the artists really pennies on the dollar. And if
you're independent artists and don't get so many streams, we
can take your money that you got on there and

(16:53):
just up back to the top five percent earnings or
whatever right there. So it's like a it's really no bro.
I think they need to look at some legislation or
something because this shit is out of control.

Speaker 1 (17:05):
Bro. Yeah, it's like I said, I don't know how
Like I said, if they've been in co hoops with
shit for years and it's a good thing, and people say,
you know, press up your own music, put it on

(17:25):
their own website. Fuck Spotify and all them and the
streaming and whatever. But what if you press up a
thousand records and you can't even sello record? You ere
eventually gonna put your record on the streaming site because
now you're gonna need that check for three four hundred

(17:45):
dollars whenever he come in. So it's like a gift
in the course with the stream and shit, I heard
my nigga, I heard my nigga Dazha, you know, because
daz was like, Nigga, I'm not fucking with them. All
shit is getting pressed up. Order your CDs off my website,

(18:07):
and then the record was on the streaming sites. But
he made it clear that like, oh, I use the
motherfuckers for promotion. You almost have to.

Speaker 2 (18:18):
It's too much traffic coming through on Spotify and Apple
Music not to really put your stuff on there.

Speaker 1 (18:23):
So I use them as motion because motherfucker could not
know that I got this new REDU. You know, everybody
don't be on Instagram all day or Facebook or whatever.
And if your shit ain't playing on the radio and
it's not all you know that top Max, then it's

(18:45):
a chance you put it on the streaming site. The
motherfucker listening to that category of music. One of your
new songs might run across the page Somarama for going,
oh this just the new so and so so. Like
I said, it's again fill the curse because that is true.
You can use them as promotion because once you put

(19:07):
it on stream, you go, once you digitalize it, it's
gonna go to every stream in sight. So you know,
you're on Pandora, you're on Spotify, your title, you on
Google Music, Yahoo Music, whatever it is. If it's in
that criteria of what you fit, if it's in the

(19:29):
criteria of an eight A Cube, Snoop Dog, dub C,
Spice one, it's gonna run across that page one day.
And you could even put in somebody's independent shit, and
a shit don't come out, then the next shit don't
come up, and then who knows, maybe five songs down
the road, you're independent gonna come up because it's in

(19:51):
that category.

Speaker 2 (19:57):
Well, you know one thing I did see. I actually
went back and revisited that scatter log because I said,
you know what, I haven't really heard none of his
albums all the way through. I was listening to him
and supported all of them, right, but I've never just
sat back and just vibed out and listen to a
whole work.

Speaker 1 (20:14):
And I kind of changed my mind.

Speaker 2 (20:15):
I think Temper Butterfly was one of his best albums, right,
I like that, and Good Kid Mad saying Temper Butterfly
was hard.

Speaker 1 (20:22):
Yeah it was. It was real dope.

Speaker 2 (20:26):
But going back and listen to Good Kid Mad City,
I would say that's probably his best overall album, probably
because he was new and that energy. Right, And I
noticed that as soon as the song you on You
on the Mad City, You on the title track, Right
as soon as that song went off, one of your
records came on.

Speaker 1 (20:42):
I think, yeah, follow that. Yeah, they'd say, yeah, they
follow that trend. So right up, you know what I'm saying,
They followed that trend. So that's what I'm saying. If
if and I get the I can get that you're
presenting the case of fuck those streaming sites because yeah,

(21:07):
of course, like you said, we get pennies on the
doll instead of getting what we deserve. And especially after
especially if they playing songs that are over thirty years old,
you get me, that's my shit, without a doubt. Are
you cutting to deal with them? They don't own that
motherfucking shit no more. Those are my songs, So y'all

(21:30):
need to be hollering at me while you got my
shit up there on your streamer sites, because you deal
with Sony.

Speaker 2 (21:36):
Still those records are over thirty years old. So now
so you know, are you looking at gon to go
snatch all that back?

Speaker 1 (21:47):
Yeah? I want own my shit unless they want to
cut a deal for all my hood took me under
and growing up in their heads and straight up medicines
and all for the moneies and we come straps and
bid miss days he's and straight checking of them.

Speaker 2 (22:03):
And all things I want to do. You know, we
talked about I ain't gonna lit them.

Speaker 1 (22:08):
And then and then I'm a nigga who wrote all
my lyrics. I didn't and produce half of the projects.
Because when we started Half House Productions, I started producing
some of the ship. I would have my nigga come
over play keys for me, put drug tracks to them,
and then I would send them to Slip. So we

(22:28):
formed Half House Productions. Half House Productions produced straight up minutes,
we produced, we come strapped the album, and I think
Death Threat Ship I probably produced majority of the songs all.
I produced half songs on Death Threats and then I
brought any other producers and then me and Slip got

(22:50):
back together on Last Man Standing and did a few tracks.

Speaker 2 (22:54):
I think every artists still learn how to produce, and
I just come from that era. I think, come from
the era we come from. It wasn't a whole bunch
of producers necessarily around, so you you had the local
neighborhood DJ who was like running the records back for
you and stuff like that, and they would wind up
getting the drum machine. So I actually started producing out
of necessity because it wasn't nobody else around. So I

(23:16):
had my mama went and bought me a little realistic keyboard.
You remember the keyboards they used to sell in the
Wilson at the radio shack. Oh yeah, they had a
little keyboard that had like a two or three stay
at these little past the sample like two seconds, right.
I actually made some cracking beats on their dog. I
had a little four track in my room. I'll play
the drum track, and you had to play over that

(23:37):
because it wasn't no sequence. It wasn't no sequence right
like it is now right, So I would have to
play the baseline through a whole two minute record, through
the whole drum line.

Speaker 1 (23:47):
Right.

Speaker 2 (23:48):
Sometimes the part mess up you had to punch in
and you feel what I'm saying, You messed up on something,
So it was like, really really, but I wouldn't trade
them times for lenning in the world because they actually
helped me out now because I don't have no classic training,
not pretty much replay anything. It is almost to a point,
but I know when to go get the Tate boys

(24:10):
where I call, Like I got a homeboy. Man, shout
out to my homeboy, Steve bo and Atlanta. He's Steve Kids.
If I need something real intricate, I'd call him and say, man,
you know what, I ain't got time to be sitting
up here for two hours messing with this. I can
call him and he can knock this out real quick,
and I just tell him what I want. But I'm
definitely like I was telling Cocaine the other day, Cocaine

(24:32):
has his own streaming site. Right, you got to go
to his website, man, download all his records. And I
was telling him, I said, Coco, I understand the stance
that you're taking against the machine, right, I get it right,
because he's made a lot of money off his site.
He's made a lot of money. But I told him,
I said, you would make that much more if you
had your stuff on the streaming sites as well.

Speaker 1 (24:55):
Yeah, at this point, you got him. Uh, you gotta
manipulate everything, so out in your website, they can buy CDs,
they can listen to shit on your website, and then
fuck it, my shit come up on Spotify, Pandora, title,
Apple Music, It come up everywhere, so that you just

(25:18):
got to play the game, because until the you can
try to stop the machine. But then, like I said,
it's too it's too powerful, you just get rolled over.
Or so you might as well cheaking of. Well, if
a motherfucker didn't believe in you, ain't give you this
and give you that and give you this, why the
fuck they sign you? You get me A lot of

(25:40):
that shit be right offs from motherfuckers. You give me,
we gotta make a certain quota. We gotta do a
certain thing, so you know, it's select the police. We
got to write a certain amount of tickets. We gotta
sign some acts. You give me now don't necessarily mean
that those acts are gonna blow up and be the
next Mega superstar, but we need to some and as

(26:01):
you get me.

Speaker 2 (26:02):
Yeah, with those record labels, bro, they make so much money.
I'm talking about so much money that they can afford
the trick off a couple of million dollars every year artists.
Because for every artist that you're here, that's a major artist,
you got ten or fifteen dudes signed to a label
that you ain't never heard of. It's just kind of

(26:22):
they're just sitting. And that's why I'm careful with going
to go sign people. You know, everybody think they want
a major deal until they get stuck in one. I
just have to explain that to my artists. You know,
we got artists now, right. And I had to explain
that to him because we got a little situation on
the table and he was kind of upset because I
told him, I said, well, we may not take it.
We may do this in the third before we go

(26:45):
that route. Because if I get you over there now,
you gonna be You're going to be over there for
good three to five years. And that don't mean you
gonna necessarily release a record, and you know five years
to be the end of your career. You get you
get an artist to twenty five, man, you look up
twenty five, you know, twenty eight, thirty years old. It
ain't put out a record. It's kind of like this.
I ain't gonna say it's over, but it's a lot

(27:07):
of time, it's been wasted.

Speaker 1 (27:10):
Yeah, well you could have put out a project like
I look at the homies like rock Marciano.

Speaker 2 (27:15):
Man, he's making a lot of money selling his own
He got his own ecosystem going. He's selling his own
music on it online. But he's on all the streaming
sites as will, and he tours a lot. He's stay
going over to Europe.

Speaker 1 (27:28):
Oh yeah, you you have to be able to do
all kinds of shit if you want to sustain yourself
in this hip hop business, especially if you're not getting
the accolades and the recognition that some people get. Oh,
you have to just you have to. You have to
put in the groundwork and if that comes to being,

(27:51):
you know, you got to be the executive. You got
to be the producer. You gotta be the raffer. You
gotta be the motherfucker who put together the record, album covers,
the design. You gotta go on tour, you gotta sell merchandise,
you gotta do promotions. You gotta, you know, get on
a couple of other niggas records that might be still sustainable.

(28:14):
And you know, there's generating some noise. It's like a
motherfucking ferris wheel. You gotta keep going, to keep going
until the day you can't go no more. And that's
what any hustle, right, because that's what this is. You know,
it's a hustle at this point. Those who are gifted

(28:35):
to still generate and make good music, you know, bless them.
But it's a hustle for motherfuckers. It's just like podcasting
that it's a hustle for motherfuckers. You know. Me, some
sh it ain't about journalism and trying to tell news
and people's stories and and you know, informing the public

(28:59):
of real shit. Sometimes this shit is shit, you know,
Niggas is like shit. Nigga, it's a hustle, nigger, Let
me get in and see if somebody that throw me
some dollars and some sponsorship. That's real, man. As quick
as they come, a lot of them quick as they leave,
because you know, they think it's the new hustle. I'm

(29:19):
gonna go around here, cop me a sack. I'm gonna
hit the block. And nigga, you're thinking you're gonna be
Tony Manchala in a month. You look up in a month, nigga,
you still on the same corner, Like what did you think?
Shit ain't easy, nigga. This shit takes determination of years
and hooking up with motherfuckers and dealing right and not

(29:41):
motherfucking calls in no rips and burning bridges and shit.
This shit ain't no nigga. Like like motherfucking flower dope.
You get me, go, get you some flour from the dough,
cook it up, put it in the oven, become bread
in an hour or some shit. No, nigga, that shit
don't work like. This is a real This is real.

(30:02):
This is real entrepreneurship, and that takes a lot with
your hustle, you feel, take a lot.

Speaker 2 (30:07):
One of the things I was thinking about, man, I
think you could tour?

Speaker 1 (30:13):
Would you?

Speaker 2 (30:13):
Would you ever look at doing an extended tour, like
really going through like certain regions. I'm not talking about
doing fifty days in the room. I'm talking about maybe
doing ten in the West, maybe ten in the South,
maybe ten on the East coast.

Speaker 1 (30:26):
Man. At this point, you know, shit, if I'm back
to where it is, what it is, you gotta do
what you gotta do. You know, I'm I'm a little
older and mature, but shit, the energy and the spryingness
is still there because I know what it takes to
get out there and conjure up the hustle and the fans,

(30:47):
and you gotta you know, you just like motherfucker running
for president, You gotta hit those motherfucking promo stops. You
got a motherfucking kiss the babies and hand shake the
men and slap the women on the ass and you
feel me and keep them moving to the next town.
That's how you generate fans and new fans and and

(31:12):
and on top of that, having good product you give me.
If you got your motherfucker's gonna buy your product, ship, man,
we gotta say you more said. I can turn around
and create a mop the mock. You can mop your
kitchen with. It's a thousand mops out there, right, But
if I create one that motherfucker's like and they want,

(31:33):
and they see a nigga pushing that shit and pebbling
it and making them believe, nigga, this is the best
mop you're gonna have. I don't give a fuck about
the other ship that's on the market right now. This
motherfucker on tell you market your ship, and you promoted
people gonna go, yeah, let me get that, let me
get that. So that's in your hustle. It's the way

(31:54):
you hustle. You present your motherfucking product and how you
get it to the consumers. Shit, And if it's sometimes,
if it's good product, it's gonna go word of mouth.
If these motherfuckers don't get it, and then when they
neighbors and friends come over and they see it or
hear it and listen to it, our nigga, this motherfucker

(32:16):
is cracking right here. Y'all. Ain't got one of these
in y'all house, nigga, Next thing you know, they gonna
go buy one. And then if somebody over they crib
go see it, they gonna buy one. That's how you
start generating word of mouth.

Speaker 2 (32:30):
But they gotta be some good chick, you know, worshit
because word mouthful. Fuck you there too. You give me
you mentioned something that's real. Kick you said product. Right
when I go out and I see rappers on the road,
right and I'll be looking at how much money they
leave on the table by not having T shirts they're
with them, by not having.

Speaker 1 (32:50):
See these and stuff.

Speaker 2 (32:51):
So because you figure if you go on the road
and you go do twenty shows, right like, if you're
to have see these over in Europe with you.

Speaker 1 (32:58):
How many days did you do when you was over
in Europe? And shit, I did about two weeks over there,
maybe two and a half weeks, yeah, almost three weeks,
so you had about fifteen days then? Yeah, did you
think you could have sold the lead two hundred the
CDs at every show? The shit, I was selling a
hundred T shirts at every show. That's what I'm saying.

Speaker 2 (33:21):
Imagine if you would have had some CDs out there, right,
and you could have sold two hundred every show, get
a magazine if you sold two thousand CDs and at
the show, the price goes up, price definitely goes up.

Speaker 1 (33:32):
Right.

Speaker 2 (33:33):
The price at the show is like the price for
a senior on the website that might be effected at
the Show's a c no, right, because you get to
sign it.

Speaker 1 (33:40):
You there with the secretary, they might take a picture
and your we it right. So it's the experience right now,
just a maxine that we weren't being greedy, be sold
all them CDs seventy five dollars off the road, two
hundred the night. Oh you know how much Briggs you
coming along with?

Speaker 2 (33:55):
Exactly at that point, it don't even matter what you're
getting paid on the show is right, because you're only
getting your The thing about touring, it's the people who
understand you only picking up the second half of your money.
The first half of that money was spent months earlier. Right,
you really went out there to pick up your second half.
You can mess around and make more money selling your CDs.

(34:15):
Then you get it to actual show, CD and T shirts.
You and you put a package together. And you put
a package together, right, you tell them, Okay, y'all got
the CD for you, and I got a T shirt
for you. You mess around, sell that shit for one
hundred dollars. Dog, you coming home with some recks.

Speaker 1 (34:33):
Let me do that.

Speaker 2 (34:34):
Do the math on that two hundred times fifteen. Man,
that's three thousand CDs time. Man, you're talking about damn
near a quarter million dollars. You can come home with
a lot of money.

Speaker 1 (34:51):
Dog.

Speaker 2 (34:51):
We gotta, we gotta, really, we gotta revisit the way
we do business because it's about having a tangible product,
right right, we need to have a table lot there,
bro like thing, Y don't care if it's me out there,
I'll go work all them shows.

Speaker 1 (35:04):
We get us a table right there. Eight, So people
out there. Hey man, this is what it costs.

Speaker 2 (35:08):
Right, we get this right, you get an you get
a city by itself, it's gonna be seventy five. But
you buy a city and a T shirt. We a
boon one hundred and twenty, you feel what I'm saying,
or one hundred dollars. We just trying to get them off.
We're trying to leave everything there. We're trying to get off.
We got a if, we got a thousand CDs, were
trying to sell all thousand left right right, I'm getting

(35:29):
so much money. That's one thing I tell about that
when I wanted you're paying with him?

Speaker 1 (35:34):
I saw that.

Speaker 2 (35:35):
Man, oh lod, I have a box of City yeah
five from the CDs and sell them off, get them
all off fifty dollars a pop.

Speaker 1 (35:48):
Yeah, you said, like shit, that's what we was doing. Shpit,
we are. We're more fucking having table and shit. We
have like three four different varieties of T shirts, sometimes
from the hats, some motherfucker CDs and after I get

(36:08):
off stage, motherfucker give me about twenty minutes, let me
go back to the back. You know, dry off nigga
be specting dry off chain shirts and put on something
comfortable and there, Shit, nigga, we go out to the
table and we start serving.

Speaker 2 (36:28):
You know, we canna have two things. We gotta have
the table to serve it, and we gotta set the
meet and greets up right. And so I'm letting y'all
know this year ain't going back out on the road,
and we're gonna be hav a meet and greet setup.
So if you want to come meet the homie and
get your special, you gonna be able to get a
CD with that. On the meet and greet, it's gonna
include a city at T shirt and you get to
come back and you know, kick it with only a

(36:49):
little bit, you might be able to come back.

Speaker 1 (36:50):
You know what I'm saying, Chop it up a little
bit for rappers.

Speaker 2 (36:53):
You know, we don't want to hear y'all going back
kicking the freestyles and stuff in againt the time for
all that.

Speaker 1 (36:57):
But you know we for sure got to doc. I'm
gonna tell you I saw it take nine to take
nine get busy with his tourist. Bro. Now, all you
gotta do is, like you said, if you're gonna go
back out there, you just need to be able to
get on and significant, and even if you're doing spots
by yourself, just make sure they significant. Make sure the

(37:22):
fans know you promoted good enough so that fans who
are fans want to come out and at least support.
Like you said, you know, sometimes you'll go to a
spot man and let's you know, ship it's twenty people.
You get me, and that's just that's that's just the

(37:45):
that's just the nature of the beast man with this
music business. Like I said, the nigga have a million
followers online and put a show together and it'd be
a hundred people there. Yeah, everybody ain't got money go
to shows, bro, That's just how That's what I'd say.
It's hard to get people to come up the house. Last,

(38:05):
it depends on who your your favorite artist is, because
you know, there's there's the mega there's the mega dudes
who can fill up stadiums and ship you feel me
and there, and then there's the local motherfucking independent motherfucker
who can just fill up the local club. You give me,

(38:26):
so you gotta think what you can get you.

Speaker 2 (38:28):
Definitely there's more love overseas, for sure. I think overseas
catch appreciated it a lot more.

Speaker 1 (38:37):
I've all, I've been overseas four or five times, Japan,
all over Europe. You definitely get a different appreciation for
the work you have put forth, not just saying that

(39:00):
fans at home aren't as generous and on as overwhelmed
with with your with your career in the presence of
doing the stage show, whatever. But you know, when you
come from I guess when you come from a place
where hip hop is respected in a different way, I

(39:27):
guess you know you see the results of that. When
you go overseas and you do shows. Most of them
are always sold out. People are really into and they don't.
It don't matter what form of hip hop you represent,

(39:50):
gangst the wrap back back, just the lyricist or whatever.
It's never a situation of it's less or or a
few because of your content. Shit. You know, I spit
the real shit, and it'd be a thousand motherfuckers in

(40:12):
there on the real shit. You get me. I tend
to go to overseas and do large clubs, maybe a
motherfucking festival every now and there, but for the most part,
clubs one thousand people, fifteen hundred people, sometimes five hundred people,

(40:33):
sometimes twenty five hundred people, whatever spot it is, it's
always wall to wallpack, shoulder to shoulder. Motherfuckers's got on
content hats and MC eight shirts and you know, and
whatever song I perform, it always it always seemed to

(40:56):
receive a greater applause. Then sometimes you might do a
show in the States. You get me. Yeah, I think
you gonna remember when them eight they don't see you
and I don't. That's nothing wrong with it. Nigga might
just want to come back, kick back and just watch

(41:17):
the ship all up. Yeah, you know, all right ship?
That shit was cool. Oh yeah, yeah, yeah, yeah eight
That shit was cracking. That was you know, you don't
you know, because you know how niggas is still. You
know how we are. It's his brothers. You know how
that go down, beggas. See, especially if you were bigger
from that era, in that walk of life, you might

(41:40):
not use dudes to applaud and chill for anohing Nick,
You get me. When the last time you've been in Japan?
I think I went to Japan, and I want to
say twenty eighteen, Yeah, we.

Speaker 2 (41:57):
Gotta go again, because I'm gonna tell you, man, seeing
them dudes out there, they dressed up like crips. They
dressed up like bloods. They all riders out there. They
really going, they really going all in.

Speaker 1 (42:09):
I think the time all went over, took one of
the homies with me and we went over there for
about two two three weeks. Man, every almost every town
we went to. I'm talking about classic ol niggas in
fifty seven, niggas in six ones, everything, sixty three, six

(42:33):
six and anything you can imagine that a nigga was
wronging around with in the head or or and down.
Ritshaw real all that. Now, are you going, Chris Shaw?

Speaker 2 (42:42):
And it's nineteen eighty nine outside, cause I'm gonna tell you,
rest in peace to Homie deal Dog. Half of them
dudes probably bought their cars from Deal because he was
selling old.

Speaker 1 (42:51):
He was selling. He was whipping the cars out left
and right. Yeah, they was selling for massive, massive bread.
You know what, I'm test the thousand on one of
the motherfucker.

Speaker 2 (43:03):
That's all I'm gonna tell you. Some of them dudes
come over and drop seventy five, some of them drop
a hundred. And you gotta remember that's not including them
having the shit back over there and pay for all
of the other stuff right there. So if you're paying
a hundred, you might mess around and be out of
pocket one hundred and forty when it's all said and done,
by the time you pay the fees and you don't
kick this person down on that person down. You don't
pay some serious money. And they got their stuff imaculate. Man,

(43:26):
So they want to experience that whole culture like so
they want to dress up like you. And what's the
craziest thing I've seen. You will see somebody out there
wrapping the stuff word for word, but they don't speak
of lick angels.

Speaker 1 (43:37):
Oh yeah, that's how that's how it beat. When you
go over seas. Some places in Europe I go, we
always have an interpreter with us because so when I
take my road manager and go on the road over seas, jeez,

(43:58):
he's actually German, so he he was born over there.
You know, he knows how to speak the language. And
every day. Shano, my nigga told yeah, I've been over
to Europe about three four times with Toby and it's
always a good experience. You know what I'm saying. Over

(44:19):
in Europe. He was gonna say Germany. Yeah, probably German.
But I've been all over I've been the it elite Germany,
I've been the Sweden, Denmark, I've been, I've been. I've
been all over in Europe and I can say, oh,
no matter where it is, I've always had a good acceptance.

(44:42):
And you know, Coppts most wanted MC eight half a
large following in Europe, and so I appreciate that that
my music was able to get over to them. Being
on a major label like Soavie at one time, and
you're able to your music gets a lot of places

(45:05):
dealing with the majors, so definitely get a good spread.
So I think that's why, you know, being able to
finally go to places like Japan and then Europe and
people have people were buying my records for the last three,

(45:25):
four or five years and so we actually were able
to jump on our first tour and go to Europe
around Music to Drive by time. So I think that
was big and it just continued and carried over. Oh
so so you so you went out there when actual
movie it came up with music, when Music to Pride,

(45:47):
you went to Europe. I went to Europe right before
I did Letus. I'm think in ninety two. I went
to Europe for the first, and that was with That's
when Ren had his chis My Black Ass project out?

(46:09):
Remember that? Yeah, I remember that, but only Bob can't
produce that? Sw dj Bobcat what was that around ninety
two ninety three, So yeah, I think we had straight
checking them out. I had did Growing Up in the
Hood for Boys in the Hood movie and we were

(46:29):
getting ready to dry music to drag By and I
did my first tour in Europe. It was supposed to
be with Red, but Ren didn't make it, so we
did the whole tour by ourselves.

Speaker 2 (46:41):
Prompted us most water man, that's crazy that Ren don't
like doing shows. Let me ask you, you know one
thing about it? Who throw that album cover?

Speaker 1 (46:50):
Man? That's probably one of the most iconic album covers
ever nsic to drive By? I just started the concept,
you know, because around that time that era gang Bang
into Me was very active and strong around the early

(47:17):
night late eighties, early nineties, and I was heavy into
the shit. So niggas was doing draft byes, right, we
get a little right on there, No niggas who's doing
drive bys? I mean that was a fact down give
fuck where you were niggas, who's doing drive by? So

(47:45):
I just put the concept on wonder what niggas is
listening to when they do put the drive by? Are
they listening to music? Or so that was me. I
was thinking, like, hmm, that might be a good concept,

(48:09):
music to drive by, but then it's it's a it's
a it's a. It's one of those double meanings, right,
m h because it's music to drive by, right mm hmmm,
in the sense of nigga, we're finna go do a

(48:32):
drive by and this where we bumped. But then it's
music to drive by, right, It's music that was hard
to do. So that was my thinking when I came
up with music to drive by. It's music to drive by,

(48:53):
but then it's also music to drive by. That's due,
that's real due, because you know what you had, you
had twelve gage in the back of the concept of
the artwork was just listening to the type right, music
to drive by. So shout out my man Peter Donkas

(49:18):
was a photographer in Hollywood, and I think he came
up with that pancept just listening to music, just hearing
that music to drive by and then knowing halfas most wanted,
you know, because we had dealt with Peter on a
lot of photo shoots. So just the fact that, Okay,
these niggas are real gang bangers, they're doing records whatever.

(49:42):
And then the title of the record is music to
drive By, so let's get a rag top six four
And I said, yeah, he came up with the idea
of shooting it overhead, you know, and then that's that.
That's that. That my shit, because now we're gonna set

(50:04):
the album cover in the back seat, like that's what
y'all listening to. And see the record wasn't even out yet,
so how could you do that? Right? I can? I
can put a record back there when we don't. So
he put a record. He took an album and covered

(50:24):
it with white paper. Who had it in the back seat,
so that way when he got the photo he could
keep and he imposed it onto that blank white cover,
so it looks like music to drive By. But also
we got the record in the back seat, so you
get it. It's music to drive By because we got record.

Speaker 2 (50:48):
So yeah, every little detail he got Homie with the forty,
is that shield, that's that's Mike T.

Speaker 1 (50:56):
That's Mike T. So Mikey T got the forty in
his hand. You want to stand will man, it was like,
y'all really going to go do some niggas in ye. Yeah,
that was the concept. He's going to pull the drive
by and I always say, yeah, this is crazy.

Speaker 2 (51:11):
This and King T's album covered When was that act
of food were walking down the street with the khaki
suit and the games gae gauge.

Speaker 1 (51:19):
Yeah, that was like I was. That was you know
before uh record companies started getting spoop with the idea
that these are actual niggas in the streets and so
that's you started getting all the banning and k K

(51:40):
can't put can't put pistols on covers no more, can't
put pistols in videos anymore because they wouldn't play your ship.
This definitely, man was at a time. This definitely was
one of them times. Man with that was at the

(52:02):
time when it was fresh and they didn't know what
they were dealing with. You get me. Of course, the
music was firing off, you know what I'm saying. So
as an executive, you want a piece of that part.
But you dealing with niggas who come and friendship after hoods,

(52:24):
So in one sense you might have to deal with
those attitudes one day and I think that's what started
happening when they started having to deal with niggas bringing
the homies with them to meetings, having to deal with
niggas who were upset about not having certain things were

(52:45):
walking in your offices. Now you got thud niggas on
your floors and thrill. Niggas are stealing shit and taking
CDs and tapes and walking out with a thousand dollars
worth of music. And you know, and the niggas get
the bus and windows and breaking plaques on the walls

(53:06):
because niggas is upset and they got the homies widdle
and next thing you know, the nigga gets shot or confrontations.
They started hearing about niggas having fights at shows and
a video ship, so they got scared. So oh no, no,
no more guns on record album because then you started

(53:27):
getting people protested. And you know that's when motherfuckers. You know,
all these niggas is duds and they call them girls
bitches and all its up over. Yeah, that was that
time when when we were proun to pull for being
you know, reality mother, because it was real, like none

(53:48):
of this ship is make believe and I don't even
give a fuck if you was a make believe nigga.
You was in that era where this ship was real.
It was by you. You know what? Hey they thought,
you know, I guess they thought, giving niggas a check,
what's gonna change outcome? But no, you ain't do nothing

(54:12):
but help me buy a fanacy car, moved to a
fancy place. I'm still I'm still the stained street nigga.
Then get bigger guns. I'm still gonna be carrying game,
smoking weed, nigga on the block. You don't. I'm just
gonna be pulling up on the block in a in
a big Mercedes. I might have to get on the
freeway to go home, but I'm still going back to

(54:34):
the neighborhood. You get me, So don't. And when they start,
they started seeing that shit was running them up. They
started getting scary. And we don't even know the type
of music out. I remember, man, I remember you used
to be able to walk up in the record company.
I remember you used to be able to walk in
take the elevator up to where he was going to go.
After that era, adult, you gotta go show your I

(54:57):
D downstairs. You just can't.

Speaker 2 (54:59):
You just not gonna build a walk up the niggas
them days. He used to be really artists, running up
in these labels, tearing shit up.

Speaker 1 (55:05):
Oh, definitely.

Speaker 2 (55:08):
Priority used to get Rent up here man, maybe twice
a month. That's when they put the homie. Wooer was
the homie man. Woo was the homie man. He has
the way rest peace.

Speaker 1 (55:17):
I hate. I can't remember his name, but they had
him up there kind of to keep niggas at bait.
You feel what I'm saying. They had the other homie,
bigger Bea. He was kind of blocking, you know, they
keep niggas outside. I remember Record Company wanted to give me.

Speaker 2 (55:31):
A job man, and I was telling them, if y'are
trying to just give me a job to be security,
but just giving me an an R title, just to
be just to keep niggas from up and getting their money,
y'all got the wrong one. If somebody went up in there,
I'm gonna let the homies go do what they gotta do. Now,
they walked out.

Speaker 1 (55:45):
Hire you to be the bosper so that they could
send all the niggas with problems to you, so you
could have to deal with that. They was gonna keep
everything else on this side. And when those motherfucking niggas.
Come up here. Oh there's the A and R, the
big black guy right there, Go deal with there, Go
bust up some shit in his office and see you

(56:07):
get me. So yeah, that's why they wanted to hire you.
So basically, that's how they want to run the game.
We're gonna send all the rowdy nigga street here and
see how they got it because we already know he's
not gonna act so and it's specific.

Speaker 2 (56:23):
It's like that today because most black executives or record
companies have no power. Now you do have a few
people that do have power, and they do their thing right,
But for the most part, those dudes are there that
buffers in between the artists and the label.

Speaker 1 (56:38):
The people actually got power because they're not playing no game.
You know. They go see those cats, they go see
those guys when they got a problem, right, Oh we
go sing you to go see this person over here,
and that's what they do. Man. It's crazy, man.

Speaker 2 (56:51):
And after death Row, I think it got even more
tighter because it was tight before.

Speaker 1 (56:56):
But once shug In them got activated, man, it was
a wreck. Yeah they yeah, but it was around that
era when niggas were feeling fun. You know, Royal g
payments weren't right, niggas was getting fucked over and missus
by labels. So it was around the era when niggas

(57:17):
was like unfed up. And so now this is what's
gonna happen. So what you say, you ever run up
son I mean I didn't have to. Sony never had
a problem with paying. They maybe pay you late, you
give me you know, they may be pay you ninety
days after they should pay you, but they never had

(57:38):
a problem. You know, people are still up there that
was there when you were there, right, I'm sure I'm
up there. I would have been trying to keeping my
job for all these years that ship. Well, you know,
I was just up there maybe two three weeks ago.

Speaker 2 (57:56):
Right, And one of the guys made the come and
one of the guys came down from Sony side because
I was playing a record. He wanted this dude to hear, right,
you know, that dude said, Man, that guy built by
the halls in these buildings. You know it's really nice.
You know, that's that's crazy. That dude said.

Speaker 1 (58:18):
I did my part at Sony and and like I said,
I still deal with them today. On payments and shit.
So I didn't walk out of Sawny on a burnt
bridge aspect. I never disrespected anyone up at the label.

(58:42):
I tried to keep it cordial, you know if I
I That's why I said, I never had any issues
maybe just with Hell. Shit for more than it should
have been with Hell. Like I said, I just re

(59:02):
I just got recontacted back with Sony maybe about a
year ago old payments that they hadn't sent over a
of teen years. So that that was a blessing. That's
a beautiful thing. You know, we still have a cool relationship.

(59:26):
Like I said, I never walked out of there and
had to bust up anybody offices or whatever. Sony pretty much.
You know, if they want to fuck something, they will pay.
Now on the back end, will you be promoted accurately?

(59:53):
Who knows? Sony may be different today than they were
thirty years ago.

Speaker 2 (01:00:00):
To give a conversation, to give a context, right, I
won't say where it was at, right, but I was
with one of the homies one time, and he's an executive.
He was in the office and he pretty much was
going bad. And the radio guy because he said many
why is he he was showing them the Billboard charts, right,
he was showing you, showing them like number five, number ten,

(01:00:22):
number twelve, number fifteen, but they don't have no radio play.
He said, why are you not out doing your job?
Like what are you doing? Like these guys are selling
a lot of records. Just imagine how much more they
would sell if you were supporting them radio wives. So
I think it's still the same thing. I think black
music period, man, And I think the thing that messed
a lot of that up is with rhythmic music. It's

(01:00:44):
a little less payo. It's still some payo, a little involved,
but it's a little less right.

Speaker 1 (01:00:48):
You can have a real record that can grow a
game with rhythmic but urban, bro, it's all about the money.
You got to walk in with cash if you want
that record play. Definitely, it's cash money, man. But shoot
on that note, man, we out of here. Before we
get out of here, man, Yeah, let's shot out girl.
You know, rest in peace to DiAngelo. Oh for sure,

(01:01:11):
I almost forgot Relo. You know, one of our one
of our, the better of our R and B patrons
always put off good music. You are. It's sad for
you know. He had three kids. One of the kids

(01:01:33):
was by him and Angie Stone. So you know that
would be a fucked up situation to have both of
your parents pass. She died or accident, and then he
died from I believe pancreatic cancer. They've got to cancer.
You know what. That's what I want to do.

Speaker 2 (01:01:50):
I want to put a message out, brothers, make sure
you go get your checkups.

Speaker 1 (01:01:56):
Man.

Speaker 2 (01:01:56):
You know that that impacts us. Stuff like that impacts
us as black people look to more than other people.
Oh definitely, because it's that everything else.

Speaker 1 (01:02:04):
Man. Make sure you're taking up a lot of you
hip hop niggas too. That's that's enough. He's saying. Niggas
got fancy made bax cars and all kind of shit
that top trunk too. You giving me no health insurance.
Health insurance ain't cheap, man, but it's more affordable. Because

(01:02:30):
I could say as a young artist coming up during
my twenties and nineteen's and the twenties, and I didn't
I didn't stress health care at all. You get me.
I'm one of those niggas who gets sick and I'm
relying on a grandma home remedy. Not that that didn't work,

(01:02:50):
but to have health care and have insurance would be valuable.
So you know, a lot of you, you're a artists
who out there and getting your ones and twos or
your moneys or whatever you're doing, make sure before you
go by that motherfucking and a thousand dollar chain you

(01:03:11):
got that motherfucking diod insurance because you gonna you could
get either one. You ever know, cause niggas be doing
all kinds of shit. You get me. Niggas do a
lot of shit them smoke weed, you feel me? Oh yeah?

Speaker 2 (01:03:24):
Let me ask you, bro, what age was it that
you started getting me? Like the record companies actually off reassurances?
Can you get if you signed to a label, can
you get insurance to them?

Speaker 1 (01:03:35):
Always thought about that. I've always thought that since you
worked for them in a sense, but what or they
might consider you a private contractor.

Speaker 2 (01:03:45):
You get me so but s You know though, even
if you were like a private contractor you're paying them
a little bit every month for it, it would seem
like you would want your artists and the best of health.

Speaker 1 (01:03:55):
But check this shout if I ever walked that line again,
or I would definitely say I want that in my
contract that whatever you whatever, you getting how you able
to get health insurance through Sony or whoever label or
whatever it is. How the regular worker who coming up
in here and swiping their key card to come to

(01:04:17):
work every day they get health insurance.

Speaker 2 (01:04:19):
Right, I need some of that include that in my
deal one hundred percent. Because I think I heard something.
I think product you had it in his is because
you know the homie head of bloopis so he was
sick a lot, right, so I think he had that
in his contract, like his later contracts.

Speaker 1 (01:04:40):
That definitely would be a smart move, Like, Okay, I'm
going to sign this contract and I'm gonna do what
three four albums for As an artist, I'd be like, okay,
can we discuss health insurance because I know, yeah, you're
people if giving up health insurance to the execs or
to the their employees, right, they're getting help, they're getting

(01:05:03):
it taken out of their checks every month. So I
need some of what they get. Let's let's include that.
That would be smart As an artist.

Speaker 2 (01:05:13):
Rapids got families, right, you have you a whole you
go start a job, and you got insurance. You can
sign your wife up for you your kids, right, I
would have.

Speaker 1 (01:05:22):
A thing for you, especially if you're coming from the
lower coming from poverty and it's hard, you know, to
get that good insurance and you have to get a
fucked up h M MO or some shit like that,
and having to wait three to three weeks to to
a month to be seen by somebody. That that would
be great for your family and your kids, especially, like

(01:05:45):
I said, a lot of us come from that walk
of life. Well, we don't have those we don't have
those privileges, So why not include that. Oh yeah, give
me that healthy assurance that I can shine up and
put my kids on and bucket if it's where.

Speaker 2 (01:06:02):
If you're gonna be signed of this label, because man,
these labels on average, they want you there for five albums.
So if I'm gonna be here for sign I need
this the term of my contract as long as I'm here,
I need this.

Speaker 1 (01:06:12):
To be active. Man.

Speaker 2 (01:06:13):
I made five years guaranteed, So no matter what you
do to me, you gotta let me keep this cup
this yeah, five years while.

Speaker 1 (01:06:21):
You're gonna you're gonna negotiate for it, you know, because
I don't know how many I don't know how many
motherfuckers will be smart enough to negotiate for that as
far as cash in their deal. Okay, five years at

(01:06:41):
three four hundred a month, that's gonna cost me. Walk,
you walk, put that in my pantry. I need that
in cash so I can go pay for help insurance
for the next five years. So regardless of if I
don't put out another record, I've still got to look
to catch in my track that I can go pay

(01:07:02):
for help your surance for me and my family for
the next five year. Geg because it can't be just
for you. You gotta have because you gotta look at that.

Speaker 2 (01:07:09):
That's your job, man, and the thing needs when you're
a rapper, you putting yourself at risk all the time.
You have to go travel places. You gotta be somewhere
you don't know, and you're putting yourself on the public eye,
and you gotta go. You gotta go to Chicago, to Cleveland,
to Detroit and do all this other stuff.

Speaker 1 (01:07:26):
Man.

Speaker 2 (01:07:26):
Hell yeah, for sure, that's a good game for your
artists out there. On that note, we gonna really time
Jim Well. That concludes another episode of the Gainst the
Chronicles podcast. Be sure to download the iHeart app and
subscribe to the Gangst the Chronicles podcast for Apple users.
Find a purple micae on the front of your screen,
subscribe to the show, leave a comment and rating. Executive
producers for The gangst The Chronicles podcast Norman Steel, Aaron

(01:07:49):
M c a Tyler. Our visual media director is Brian Watt,
and audio editors tell It Hayes. The Gangster Chronicles is
a production of iHeartMedia Network and The Black Effect Podcast Network.
For more podcast from iHeartRadio, visit the iHeart Radio app
Apple Podcasts wherever you're listening to your podcasts