The IRS Should Be Hit With The R.I.C.O

On this episode Eiht and Steele break down the economics of podcasting and rap and why the IRS are the TRUE GANGSTERS!

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Episode Transcript

Speaker 1 (00:00):
Gangs to chronic goals. This it's not your average shows.
You're now tuned into the rail.

Speaker 2 (00:17):
Welcome to the gangst the Chronicles podcast, the production of
iHeart Radio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles.
For my Apple users, hit the Purple Michael your front screen,
subscribed to Against the Chronicles and leave a five star
rating and comment, Yeah, you know what I was talking
to the real estate agent and Houston because you know,
I'm looking at them cribs and usting and stuff right right,

(00:40):
and we got to talking about it. Is that one
thing I heard about Houston you gotta be careful of
from Texas period is they got these big, old pretty
houses for cheap.

Speaker 3 (00:48):
But I heard that there's something going on with.

Speaker 2 (00:50):
Property taxes right where the property taxes go up damn
there like every year, like every time you get equity
on the house, they go up, and it's like they're
real all right. Like I heard one party was telling
me his property taxes twenty three hundred dollars a month, right,
And I said, and he said, his mortgage is now
his mortgage is twenty six hundred. But it's property taxes
twenty three hundred, right a year or a month, a month,

(01:13):
a month?

Speaker 3 (01:15):
Ain't that crazy? Yeah, that's somebody dad before.

Speaker 2 (01:20):
Well, you know what the thing about the whole thing
bothers me. It brought property taxes period. Is the same
problem I got with taxes.

Speaker 3 (01:27):
Period.

Speaker 2 (01:28):
You go buy a car, you pay tax one time
on the right. You go buy a shirt, you pay
taxes one time on everything else except a damn house.
You're paying them people year over year of taxes, right,
Like my taxes rolled into my mortgage.

Speaker 3 (01:44):
Right. But I thought about that one day. I said, Man,
that gotta be kind of criminal, yeah, because what they're
what are they?

Speaker 1 (01:53):
You know, you're paying property taxes, but you own the property, right,
you own the property. So if you own yeah, because
they're saying we still own that, and.

Speaker 3 (02:04):
That's what I'm saying.

Speaker 2 (02:05):
They might as well say you're paying a tax for
to own that land over there, because tax they gonna
come take it.

Speaker 3 (02:11):
From you exactly.

Speaker 2 (02:12):
So that's some gangster ship. Like, the whole thing about
taxes is some gangster ship.

Speaker 3 (02:16):
Broke.

Speaker 1 (02:17):
I want to hear if you went and bought a
house and this is your house and whatever whatever in
the long run. If you don't pay us that property tax,
then we can take your shit. So and the crazy
shit about these you can pay your house off, right,
you still got to pay that property tax.

Speaker 2 (02:36):
That's you call yourself doing the right thing at being prepared. Okay, man,
I'm going to pay this mug off. I don't fill
into some money. You pay it off. Depending on what
your taxes are, you might still be paying anywhere from
two to six thousand dollars a month depending on how
much failue that land that house ass. So it's some
gangs and stuff. Bro, you really don't own nothing. You

(02:57):
really don't own property off rint. That's why a lot
of people rent today. Even I watch the news, and motherfuckers,
they have all kind of shit on the news where
they do these surveys where they saying people are saying
it is better to rent nowadays than to try to
buy a home for sure. You know what. The one

(03:19):
good thing about it is, we got a lot of
equity in this house. You know, I bought this house.
I think I bought this house in like ninety nine
or two thousand one, right, you know, never took no
money against it or nothing like. And we got a
nice little penny in there as far as equity. Right,
So if I sell this house and move out, the
one thing I'm not gonna do. My wife is talking
about paying off whenever we get next. I said, no,

(03:41):
well we do that. We want to stay liquid. We
want to keep our cast. Is what if we go
down there and something happened and we don't like it. Now,
we don't put five six hundred thousand dollars done in
the house. All our money is going to tie it
up in the house and you might not necessarily get
your money back from selling it, you know. Right, that's
the one thing about California, his dad, But homes have

(04:03):
a tendency to hold value.

Speaker 3 (04:04):
But this is the crazy part about that man.

Speaker 1 (04:09):
You think that do you think the average nigga will
end up owning his own home or he'll just rent forever.

Speaker 2 (04:17):
The average nigga man probably is rent this stuff. And
I'm gonna tell you it's not a bad idea, depending
on what you got going on. Like I tell Chris, right,
if you go buy any property right now, you're twenty
four years old, right, you don't know where life will
take you. Ten years from now. You might buy a
house down in Dallas, and you may want let's say,

(04:39):
you know, ten years out line, you wind up coaching
George is somewhere, or Clemson or Alabama somewhere, you're gonna
move down there with your family. Now you've got this
piece of property in Texas, and I'm gonna tell you
owning property is not as easy as people thinking he is,
especially people written out the people man, people, especially out
here in California. People were staying your shit and not

(05:01):
pay rent up.

Speaker 1 (05:04):
Yes, and then you have to go through the processes
and trying to get rid of you know. So yeah,
An it's a diligent situation. I guess you know we're
there when I guess trying to chase the American's dream,
you know, because they tell you, you know, you own
a home and do all.

Speaker 3 (05:21):
That shit and whatever.

Speaker 1 (05:22):
But for some average person, you know, it's hard to
come up with five shit turning thousand dollars, you get me,
especially you're on the average you know, salary, and he
worked in nine to five emo and make it difficult
for a regular motherfucker.

Speaker 3 (05:42):
For me, it was.

Speaker 2 (05:43):
Worth it because my mortgage happens to be seapret average
person this paying rent.

Speaker 3 (05:49):
I had one of those. When I bought my house.

Speaker 2 (05:51):
You remember, they was giving those predatory loans like you
get up. People was getting houses, million dollar houses with
no money down. It could really couldn't afford.

Speaker 3 (05:58):
Them, right, Yeah, I remember of that phase. A lot
of them people lost houses.

Speaker 1 (06:02):
Right.

Speaker 3 (06:03):
I got a loan right from this guy. But I
did everything kind of opposite.

Speaker 2 (06:07):
I went and got something I can afford, right, and
I didn't buy it based on what I was making
at that time, because had I had idea that I
almost bought a house. Man off the fifteen, not too
far from you know where you at, right, I almost
bought a house out there, Man. It was nice, big
vaulted ceilings, ranchs out there right by the mountains.

Speaker 3 (06:28):
Man.

Speaker 2 (06:29):
That house was six fifty at the time, seven hundred
and it was going up. Right, Dude, was gonna let
me move in with no money down? Man, I wouldn't
putting nothing down. My paint was only gonna pee twenty
five hundred a month. I was looking forward to it.
I said, this is gonna be flass, It's gonna be forty.
My wife kept saying, man, you know I still got
to go to work alone beach right, because I'm not

(06:50):
putting my job and this and that, and we need
to put some money down because the one win.

Speaker 3 (06:56):
And my wife had told me all this was gonna happen.
Stuff the wand up.

Speaker 2 (07:00):
So when we found this house, she liked it and
I liked the right and I was like, well, we
ain't got to put no money down. My wife was like, no,
we gonna put some money down to knock our payments
down and lip it right. We didne put a whole
lot down. I think we put fifty thousand down on it. Man.
I got some work done to it, got some recess
lights put in there. When I tell you, when all

(07:22):
that stuff happened, man, I couldn't do the thing. God
that my wife did what she did and not listen
to her because I had a bunch of homeboys catching
the music industry.

Speaker 3 (07:30):
Man was losing their houses left and right.

Speaker 2 (07:32):
Man, the big pretty houses they had, they was buying
it a reality to a Fontana, Ontario.

Speaker 1 (07:38):
Yeah, I never I knew a lot of nigga who
was doing that that game.

Speaker 3 (07:44):
But fortunately I didn't get into that.

Speaker 1 (07:48):
You know, I stayed grounded with that because you know,
niggas like the flaws and you know a nigga can
tell me you ain't can get you in one of
them brand new motherfucking houses. They was builded out the
I and they I can get you in that motherfucker
no money down, And a lot of niggas was biting
on that shit. You know.

Speaker 3 (08:07):
Fortunately I wasn't one of those.

Speaker 1 (08:08):
I just stayed grounded because I had already been through
the phase of buying a home and doing all of
that earlier on, So I wasn't as quick to jump
at that type of shit, knowing the pitfalls of what
you can get into with mortgages and loans and all
of that.

Speaker 3 (08:26):
So yeah, but I know a lot of.

Speaker 1 (08:28):
Niggas who was flipping houses and a lot of motherfuckers
who was going that route. The homie Richie was doing
loans back then. That was something he did. So rich
was doing loans.

Speaker 2 (08:41):
He made some money too, didn't it something the only
rich did? That's what I wanted to get into kind
of the night. The finances, it not just being a rapper,
but the finances entertainment. I hear a lot of people
talk about these deals like us. See fact Joe, He's
assuing somebody because you know, it was a legs that
he had some sex misconduct to something that you know,

(09:01):
it turned out not to be true or whatever the case. Right,
I don't know the full details, but he lost a
bunch of money, and he's claiming that he lost millions
of dollars in potential ad revenue. I'm gonna tell you this.
We don't have the biggest podcast in the world, but
it's not the smartest. Our numbers are actually like in
the top one percent of podcasting. Right. I have never

(09:23):
nobody has ever approached me with no five million dollars deal.
Nobody's ever approached us with no deal that's in the millions.
Like that, you feel me? And I wonder all the
time when these people say stuff, how are they getting
the money? Because you know, when the thing about a podcast,
we don't get stream and revenue. And even if we did,
you have to get in order to make money for streaming,

(09:43):
they got to be millions of streams. Right, So we
don't get money from Spotify and Apple.

Speaker 3 (09:49):
Right.

Speaker 2 (09:49):
All of our stuff is based on advertisement. Right, So
I think about it. Now, if you somebody like Joe
Rogan that put out five episodes a week, right, he
puts off so every day, right, and he's reaching probably
two three million people every time he dropped his audio whatever, right,
you know, another four or five million when he drop
his video. Now, he may be making millions of dollars

(10:12):
every year because his ads are probably anywhere from sixty to.

Speaker 3 (10:15):
Seventy thousand dollars ad.

Speaker 2 (10:17):
When you listen to his show, he got like nine
or ten prereads, and all the people paying anywhere to
get mintioned at the top of this show anywhere from
imagine ten thousand dollars on it, maybe thirty or forty, right,
because he has a massive audience. I hear all these
other dudes, man, and I'm pretty sure not getting bigger
audio numbers. And they have some celebrity or whatever. But

(10:39):
everybody has a ten million dollar deal. Everybody has a
fifteen million dollar deal. How the hell are they making
the money.

Speaker 3 (10:46):
I don't know where it's at.

Speaker 2 (10:47):
It's just like when people talk about music and they
talk about certain people, and I say, Okay, I'm sure
they making bread. But a lot of these guys got
three sixty deals. Because the economics extreaming records, you're not
gonna be able to recoup noose twenty million dollars all
unless I got got something the streams that you have

(11:08):
to generate to get twenty million dollars back. Think about it, though,
bro yourself and records. Have you ever got a million
dollars for streaming? No, that's what I'm saying that economics
don't make sense this stuff. Man, A lot of people
is out there capping. I'm gonna tell you, dude, No,
Jumper was honest when he said we're not making no

(11:29):
money because I tell you this right here, I've been
doing this since the beginning. Hey, I've been doing this
shit a long time, so it ain't too much you
can tell me about the finances of it right now.

Speaker 3 (11:38):
Don't get me wrong.

Speaker 2 (11:38):
I'm gotta hate there's some brothers out there making good money,
but their numbers kind of validate what they're talking about.
They kept like cas not kid, he doing live He
not really podcasts, he's a live stream with them academics.
Those people have hundreds of thousands of people online when
they're there. They got a level of popularity that friends
gonna pay for. I'm gonna tell you this, it's the

(12:00):
same thing.

Speaker 3 (12:01):
Now.

Speaker 2 (12:01):
Everything is the same podcast that movies because everything equates
back to streaming now, right, I got a bunch of
partners man that got rich off to be early on.

Speaker 3 (12:10):
They made millions of dollars. That was at beginning.

Speaker 2 (12:13):
Right now, a lot of advertisers, man, they don't want
to They don't They don't care how many viewsers getting.
They don't want to have their ads. They don't want
to sponsors. Relation's material they don't want to have, like
if you a wholesome brand like Coca Cola or Pepsi.

Speaker 3 (12:29):
They don't want to turn the movie on.

Speaker 2 (12:31):
They just advertise on it somebody getting hit from the
back or somebody getting beat up, or somebody getting shot.
They don't want the same thing. Podcast stuff. They don't
want to hear about a whole bunch of nigga shit.
It's just the truth of it. It's the reality right now.
I know Charlotte Maaine and those guys are making money.
But again, the Breakfast Club is on five days a week.

(12:53):
It's radio show. They do millions of people every time
they're on the air. Rights, it's really not their relations
to new current events, right and they got music on
their right hand. They also have a level of syndication
they got around the country, so they got a lot
of people to listen to that podcast. It ain't just
all of you on video, it's the radio. They're everywhere, right, So, yeah,

(13:16):
they making millions of dollars. Some of these people, the
money they say in according to them, they make more
money than Charlotte made. I was explaining to somebody that
ain't you've been in the music industry a long time,
do you ever hear any of this stuff? And you
got to question it, like, how where the hell is
they getting the money from?

Speaker 1 (13:38):
I mean, in this day and age, you know, coming
from coming from Sword of the beginning of it. You know,
I came after the first second wave. So I'm saying
it was the third wave, you know, because you got
your first wave you know, started in New York and
all of that, and then yes, she started bringing in

(13:59):
they and the tardy t's and all of them. And
in the third wave was niggas like us and you know,
the above the laws and.

Speaker 3 (14:08):
The gang stars and the shit. Right, so you knew.

Speaker 1 (14:14):
Sort of, you know, after he'd been through the ropes
a little bit, you sort of knew the finances of
the record late of how you go right, you get
a budget and depending on who you are as an
artist or what your.

Speaker 3 (14:30):
Label or distributor was.

Speaker 1 (14:34):
You didn't get a budget up front from anywhere from
seventy five thousand all the way up to a half
to a million dollars depending on what they figured. As
a rap artist you would generate. Right, you kind of
knew what our woralties were. Right, A lot of niggas

(14:55):
knew when they would take that quarter of a million
dollars up front.

Speaker 3 (14:59):
They wasn't a thing to see a royalty check unless.

Speaker 1 (15:01):
You was selling a million two million records, and then
you knew you had royalties count.

Speaker 3 (15:07):
It was really a thin margin.

Speaker 1 (15:10):
I mean it was the artist because as artists we
only received even though the Point System and everybody know
you know the Point System, we were seven cents a point.
You know, artists will probably get anywhere between eight points

(15:30):
to twelve points an album. So in that actuality, you
probably wasn't even making a dollar record. You know, you
were probably somewhere in the fifty cent to eighty cent
range of.

Speaker 3 (15:45):
What you made as far as contractually. So if you.

Speaker 1 (15:50):
Weren't selling double triple black, mom you give me and
going on motherfucking thirty sixty day three month tours, you
probably weren't seeing nobody after your budget, right, That's what
I'm saying.

Speaker 3 (16:07):
But today, like you say, you see, you.

Speaker 1 (16:11):
Know, Nigga's got thirty cars and they driveway, and you go, okay,
but in actuality and the only sold two million records, right,
they just got the billion streams and all that, But
in actuality, Nigga only sold a million.

Speaker 3 (16:30):
Records, right, and really don't selling no records?

Speaker 2 (16:32):
You have with the equivalent of was of a million
records in the streams that I don't even understand that formula.

Speaker 1 (16:39):
And so you get to look at and question him
because you know, you see it, man.

Speaker 3 (16:46):
He got thirty cars in his driveway, and.

Speaker 1 (16:48):
You like, well you learn I got thirty houses and whatever.
You okay, but you just you know, you a regular artist,
like okay, streaming and whatever. But you know, so I
don't know how that financially works out.

Speaker 3 (17:03):
You know, I don't I know what I can.

Speaker 1 (17:07):
Accomplish from streaming and putting our records, and I know
it ain't you know, billion dollars, you feel me?

Speaker 2 (17:21):
So, so think about this, bro Right, we come from
the era where we actually sold CDs, right, it was
a lot more lucrative, right, But even that when you
think about what was your highest selling album? We Come Drap, okay,
we Come FRep maybe sold two million copies maybe Okay.
So let's say after the manufacturing and everything like that,

(17:44):
they were seeing five dollars a nap. Right, Let's say
after your advanced and everything else, they were seeing five
dollars an now.

Speaker 3 (17:50):
And then Yeah, because you worked in that department.

Speaker 1 (17:52):
And I want it down because once you though independent,
you start learning the ins and outs of okay, and
the seller's looking for seven ninety nine line, ninety nine,
ten fifty line, you know, so you start getting a
feel of like, well, god that help Sony was making

(18:14):
nine ninety nine to win, you know.

Speaker 2 (18:17):
Because they so you got to break it down like that. Right,
this is how the math going.

Speaker 3 (18:21):
Right.

Speaker 2 (18:22):
They have a manufacturing cost, but they never was going
I was never going to get the costs that they
paid for it, because these people are pressing up probably
close to half a bigger albums every year, right, and
they for.

Speaker 1 (18:34):
Somebody like Shawney or Universal, they were their own manufacturer,
that what I'm saying.

Speaker 2 (18:39):
So they probably got a pressing plan. This probably cost
them in reality to cent press up CD right blacktly
so they're making. Let's say after that, because you got
deals that you met with people, right, we may make
a deal with Red follow of their warehouse and say, okay,
we won't come strapped on all the West coast and
all the warehouse music on the west coast of the

(18:59):
end CAP eight say oh good, So we gonna get
these to you for six dollars, right, so she can
make her money on she can sell them at best.

Speaker 1 (19:08):
Always they always tried to in like that first two
weeks or so, they tried to cut the distributor as
a deal. I mean, they tried to cut the one
stops deals. So you know, instead of selling you this
motherfucker for seven.

Speaker 3 (19:22):
Ninety nine or nine ninety nine.

Speaker 1 (19:25):
The first week, we're gonna give you this motherfucker for
six ninety nine.

Speaker 2 (19:28):
Yeah, violence might say, okay, that's a good deal, but
check this out. I'm going to buy five hundred thousand copies.
She can only return twenty percent of them racally. So
I'm gonna buy five hundred thousand copies knowing that, Okay,
if it don't sell, she can only send me maybe
eight sixty thousand the motherfuckers back, right, So the labeled

(19:50):
on one right, because they only pay Remember they only
planning two center CD. They don't give a fuck, right,
so they concerned fire the album already because they know that's.

Speaker 3 (19:58):
Not coming back.

Speaker 2 (19:59):
Because let's say they did the same thing with tywer
right now, you don't ship out a million records, they
get billing on the ninety days. They got to pay
up by that, right. That's why as an independence you
always had what was called a reserve that over it
because you know some albums may coming back. Now, what
I learned the master is when I was in parent
over at ground level distribution, we had wrapped them for it. Take,

(20:22):
we had Magne Drape, he had everybody right, So that's
when I saw, right there, I won't be on that
side of the business. Then the guys making the money, right,
so pretty much you middle man and everything, like when
I was selling as and and all the snoop shit overseas,
all the dog you know, mixtapes and stuff like that. Right,
I was able to go to Japan and get seven dollars, right,

(20:45):
I was able to sell it to them for seven dollars, right,
but that was seven dollars cod. So if I shipped
out a thousand records, I got to get my seven
grand where you get them?

Speaker 3 (20:54):
Right? So before that you can take pfession. Y'all got
to get this due to.

Speaker 2 (20:57):
The cash cashiers check of cash. They can't be I
don't take personal checks, right. They got to the cash.
Here is check of cash, right, and so I would
get the money guaranteed right now.

Speaker 3 (21:08):
When I went to England.

Speaker 2 (21:10):
The striptor initially was telling me, oh, man, we're going
to give you eight dollars a record. I thought that
was good until I found out that eight dollars for
them was only four pounds. Then I went over there
and told them, hey man, I want to get paid
in British thoroughly. I want to get paid six pounds
a record that was twelve dollars. So I sold three
thousand records. I was able to go buy a house.

(21:31):
I made money because I was able to do that.
And even though I didn't have no project selling a
whole lot at one time, I was able to sell
four thousand records, five thousand records.

Speaker 3 (21:40):
I was going to go for.

Speaker 2 (21:42):
The month, and I was able to tell the Hondies,
hey man, I got a plug over here. I'll give
you six dollars a record. You got some CDs, bring
them over here. It was paid in that era. Now
I don't see how they're doing it. Everybody has to
have three sixty now, I don't care who you are.
They have to get part of that touring. They have
to get part of them version Dice, and they have
to get the part of all you other stuff. Don't

(22:02):
get me wrong, it's money being made, right, but they
gotta get a piece of that tour. And they're not
gonna give you five six million dollars and just let
you skate off or.

Speaker 3 (22:10):
We gonna get ours back on the streaming. No, we
need some of that show money. Now. We're gonna help
you do it.

Speaker 1 (22:17):
In a way.

Speaker 2 (22:18):
It's not a bad deal because you know they gonna
help pick your book.

Speaker 1 (22:20):
Yeah. Fortunately I never went through that side of it
because Sonny just was all just records, So you didn't
have to do that.

Speaker 3 (22:31):
Yeah, I didn't have.

Speaker 1 (22:32):
To give up show money and merchandise and all that
type of shit. So if I wanted to go out
and press up from MC shirts and sell them, that
was my shit.

Speaker 3 (22:43):
If I was on.

Speaker 1 (22:44):
Tour and we were selling h camped and hats or whatever,
that was my shit. Five book shows and whatever. I
didn't have to give the label or percentage of that.
But you know some niggas do that, especially when you
are a big Indy, can't.

Speaker 3 (23:00):
You know, a lot of them want a piece of everything,
even you does today. You cannot convince me because I
know the game.

Speaker 2 (23:09):
I don't care who you were, and this is not
or not because these brothers still making a lot of money.
Right if you are one, Let's say you what Drake, right,
A universal's probably giving him ten million dollars fifteen million
every album, right, and he's going out doing all this
tourn He's still making a lot of money, right, but
it's off of the shows and stuff. Those are his
business partners. They're in the business of Drake. They get

(23:31):
to participate in anywhere a dollar is made.

Speaker 1 (23:36):
Well, I'm sure when you get to the level of
being advanced, you know millions of dollars, the label or
the distributor is looking for more ownership or partnership, which
you know, instead of because that's basically how you getting
all that. You know, that's fobb behind A lot of

(23:56):
them get that bread because the labels have turned around
and said they wanted to be partners. So I'm gonna
go ahead and fronts you ten, fifteen, twenty million because
and then we gonna get that back, like you said,
because those they have those contract structure to where I'm
getting piece of the show. I'm getting piece of the merchandise.

(24:19):
I'm getting a piece of this and that. And with
Tyler Internet and streaming works and all that, I'm pretty
sure for them to go and I'm going to advance
you twenty million.

Speaker 3 (24:29):
I gotta get a piece of the part.

Speaker 2 (24:32):
You feel good, like, without a doubt, if I was
a rapper right now, I got a young dude man.
I sent them to you know that little rocking kid
I sent you. Yeah, that little motherfucker is tight. Ain't
he got some motion right now? Like he's doing some stuff,
get all that on his own, figured out some stuff,
doing good. My big part about it is he can
wrap you feel what I'm saying, reps very well as

(24:52):
if my son brought him to me, been telling me
about it. I wasn't paying no attention. When I finally listening,
I said, Okay, I sent them to my boy at
death Sam. He hit me back immediately, and you know
how they do. They don't hit you with no excitement.
You know what, I ain't really doing no albums right now,
but we can do something on the single, you know,
we go want the rights for that all that, right,

(25:13):
And so I'm thinking that my head, like, we ain't
going that route because if I was to take him
over there, I figure back in two thousand and five,
two thousand and six, you were probably able to get
one hundred thousand on a single deal right with the.

Speaker 3 (25:29):
Option for an album, and you could probably negotiate.

Speaker 2 (25:32):
Okay, if I don't put an album out within a
year or two years, I get to walk away and skate, right. Mind,
if anything I might have recorded over there, you can't
take none of that music with you, right, or if
you got some buzzs, you can negotiate different. I explained
to him like this, I said, listen, this is how
this looks, and ultimately it's up to you, right, But

(25:52):
this is what I advised. I advise for us to
set up you a label, your own label, because you've
got a little bit of motion, right, right, Let's take
you up an independent label and I'm going to go
out and start getting you some shows. Right, you don't
develop the nice little audience now these shows we're gonna

(26:13):
start off. You might start off getting five hundred dollars
a show. You may wind up getting six fifty show. Right,
That's just how it is at the beginning, right, But
it's going to allow you to do your craft and.

Speaker 3 (26:24):
You go see your stream of revenue, your YouTube money.

Speaker 2 (26:26):
And now I don't have to make no phone calls
because if we come with the right Amounu momentum, they're
going to call us.

Speaker 3 (26:35):
Now.

Speaker 2 (26:35):
It ain't gonna beat no calls about no single deals
for no twenty thirty thousand dollars. They gonna be talking about, Hey,
we want to partner up with your label. You may
get some overhead money, you may get this, but you're
in the same situation. But the only thing is they're
loaning you some money. It's a bank. The record label
is a bank, right, but you have hence then they

(26:56):
want you to come now. Man, if you're a record
label right now and you a new artist, I don't
care how good you rep. You gotta come with one
hundred and fifty thousand on your Instagram.

Speaker 3 (27:08):
You have to.

Speaker 2 (27:08):
You're doing so much in your streaming, right, you have
to be pretty much all ready to go. They don't
want to, and they don't have nobody like me working
at the label.

Speaker 1 (27:17):
No more to where else you labels, labels got out
going out looking for that next you know, superstar. You
know back in the days, you know, there were talent shows,
there were showcases.

Speaker 3 (27:34):
You give me.

Speaker 1 (27:35):
You gotta get on that plane, and you gotta get
on that road, and you gotta go to the games
and you gotta You know, nowadays, if it's they won't
ready made, they won't ready made.

Speaker 3 (27:47):
Situations, right, got it being made already.

Speaker 1 (27:50):
You gotta have your Twitter set up, you gotta have
your Instagram, You gotta have a certain amount of followers.
You gotta be doing a certain around them. Numbers are
on youtune because then they look at that and go shop.

Speaker 3 (28:03):
We don't have to do anything. You still a gamble.

Speaker 1 (28:07):
We don't have tot with it. All we need to
do is get this sewing out and maybe go to
radio or enforce it on the motherfucker. But all that
other shit we used to have to do, get out
there with posters and hitting clubs and promo tours.

Speaker 3 (28:23):
And we don't have to do that shit anymore.

Speaker 1 (28:25):
We expect the artists to have his black form already
set up and then that's when we come in and go, Okay,
you got a million followers on Twitter, you got one
hundred and something thousand on Instagram, you got a million
or two million views on the video you put out.
We Yeah, you know they're ready made.

Speaker 2 (28:49):
Do it, and I'll tell you to say it part
of fun it. A lot of people won't tell these
kids too. For I said, no, it don't sound that
sexy you're seeing I'm signed to death jam.

Speaker 3 (28:58):
But if you.

Speaker 2 (28:59):
Start label, Look, I truly believe that with my noow
and with your talent, we can build something that, if
nothing else, turns into a sustainable career for you to
where because you're gonna get better and you're gonna start
selling more and more records. The more you tour, the
more you go do something. This still comes down to
one thing. If you're a rapper, you got to go

(29:20):
out and touch the people. You gotta go on the road. Bro,
you can't be a rapper and stay at home.

Speaker 3 (29:26):
Yeah.

Speaker 1 (29:27):
Like I said, fortunately, a lot of the younger generation,
it's hard to experience.

Speaker 3 (29:32):
That like we used to.

Speaker 1 (29:34):
Like I said, we you know, we went through our
and I'm one of the niggas who came from that era.

Speaker 3 (29:41):
You know, I don't believe I influenced.

Speaker 1 (29:44):
What I would like to say is that I spoke
on situations where niggas had choices and you knew that
going down that lifestyle might bleed to.

Speaker 3 (29:57):
Going to jail or being killed or whatever.

Speaker 1 (30:01):
I never tried to glorify growing up in that lifestyle
like it's fabricated today, like oh, it's banging and all
that shit. So a lot of the young niggas they
beef a lot. You know, you see it, you witness it,
you hear it. They don't get the experience step going

(30:23):
out and touching the public because they got opts everywhere.
You get me, it's hard for me to go set
up an autograph signing at a spot where nowadays niggas
post and Instagram and live view every day. So you

(30:43):
try to go set up an autograph sign it yopsies
on their way. You give me because you've been beefing
with a nigga over the rap waves for the last
you know, and it's so simplified today.

Speaker 3 (30:57):
Because beef beef nay beef.

Speaker 1 (31:02):
Had its had its heritage of being you know, we
had our beef with other neighborhoods and that type of
shit whatever whatever. Where the hip hop got established, the
beefs came behind feeling that you was just a better
rapper than that other nigga. Yeah, then the dude with

(31:26):
nigga you wear red, I wear blue, or you over
here or fucked you or I don't like it wasn't
like you know, it was nigga, I'm good on the
mic you give me. That was sort of the beef thing.
And then we entered because of the trailings of game
Bang and all of that. But beefing was established to

(31:47):
me just off of nigga my flow and my rap
is better than yours. That's why I used to try
to discourage, you know. And for Hawaii used to tell
me he wanted to try to rap and whatever, and
I would discourage him from that because you fit into
that mold of the young niggas.

Speaker 3 (32:07):
Now this dame's being a reference.

Speaker 1 (32:09):
If you just put out a saw talking about you
and your boys, and it's gonna be a nigga from
cross Town, they go fuck y'all, fuck you niggas, And
now he going fuck them niggas over there, and this
new rappering garand nigga and who the fuck you dake?
You was in Yalls and Busters and all that, and

(32:30):
a nigga ain't never met you in his life or whatever.
It's so it's so simple Jahl's murderous intentions from other niggasse.
You know, these niggas just not like, Okay, nigga, let's
battle rap or let's lead up out of it.

Speaker 3 (32:47):
We're trying to shoot stuff up.

Speaker 1 (32:49):
These niggas is like, oh we were battling, we wrap.
Oh nigga, okay it, I'm gonna come through and I'm
gonna shoot up you, your grandma. I'm gonna shoot up
whoever you with whatever. Damn nigga are sets don't be where,
ain't even from th set.

Speaker 3 (33:05):
Nigga.

Speaker 1 (33:06):
I'm just on YouTube rapping, and now I've got an
opposition telling me fuck me because he don't feel that
the nigger across town and rap head. And that's how
we That's how I'm express my not liking your shit.
I'm just telling you, nigga, i'mnna come to do a
spray you nigga.

Speaker 3 (33:24):
Wook you bro?

Speaker 1 (33:25):
And then niggas is so durn nowadays that when a
nigga get on the microphone and YouTube and tell the nigga, nigga,
give me your location. I'm gonna pull up and spray.
Every day niggas turn around and go, nigga, we over here. So,
like I said, it's unfortunate because I promo too. Like

(33:48):
you said, like nigga, like it's like politics and campaigning.
You trying to win that spot, right, So you gotta
get out and shake the hands and kiss the babies.
And that's what we be in my era of being able,
Like you said, you got to get to the people.
We were able to get to the peep I was.

(34:09):
I was able to go to record stores and it
was two three hundred people lined up around the corner
just to get an autograph picture. You get me, And
that's what you need. By me meeting the people and
getting out and whatever.

Speaker 3 (34:22):
We got to go out there with them.

Speaker 2 (34:24):
Because now I'm pretty sure when you did them tourists,
if you got paid at all, what was you getting
maybe five hundred dollars maybe a thousand.

Speaker 3 (34:33):
Getting paid from Thromo tour money?

Speaker 1 (34:37):
What certainly wasn't giving us no money to go to
I took to send us to different states to promote
our record. With your sellest record, get paid. They gave
us per diem and for everything. But as far as
unless it was a show hooked up. Now, when I

(34:58):
would do promo tours and had.

Speaker 3 (35:00):
A show behind it, then yeah, we.

Speaker 1 (35:03):
Go to town, We go to the label, meet all
the people at the label, and you know, like we
pull up in Texas, we go to Dallas.

Speaker 3 (35:12):
We're gonna go to the label.

Speaker 1 (35:13):
We're gonna go to the corporate office in Dallas, meet
all the corporate people. Then they gonna take us to lunch,
and then they're gonna throw us in the band and
we're gonna hit every fucking record store on they motherfucking
one stop list, and we're gonna go to Mom and
Pops here, and we're gonna go to Judy's Records here,
and we're gonna go to stands over here. All day.

(35:35):
That's all we're gonna do is hit me. It was
the days though, Man, We're gonna hit record stores and
radio stations. That's what we did all day.

Speaker 2 (35:47):
You as big as Chicago, bro, Do you remember ever
going to Georgia's record run.

Speaker 1 (35:51):
We went to Georgia's all the time's. Georgia's was a
significant spot on your promo list. So if you were
an artist during that time and you were signed to
death Jam, Eppic, Universal, solely, any of those labels, you
went to Georgia's Music Grow, I would give a fun

(36:12):
if you was rapper or R and B singer or
whatever records out there. Yeah, because there were certain spot
Like I said that, every two years I released the record,
I went back to the same record stores because they
were maying staples to these labels.

Speaker 3 (36:31):
You know, they were pushing out major records.

Speaker 2 (36:34):
Remember before best Buy and all them what it was
best Buy and all them people cats out of business, right,
they start selling records for eight ninety nine, right, yeah, yeah,
And it's crazy to think, you know how that corporate
structure took over because growing up as a kid, all

(36:54):
you can remember was those local mom and pop records.

Speaker 3 (36:59):
You have records on the West Coast.

Speaker 2 (37:01):
You had George's Record Ring in Chicago, you had Dolls
Record Rapid Creations in Cleveland, you had you know, people.

Speaker 3 (37:10):
Had multiple changes. Like it was like me and the.

Speaker 1 (37:13):
Family driving to l A. And I'm going down Western
and get to Western and I'm like, man, there used
to be a record store on the corner. Lie. It
was it even even in locals record stores. You know,
they just had record stores. You money.

Speaker 3 (37:31):
You had a record store, you could make you some money.
Back in the day, of course.

Speaker 1 (37:34):
You had your you know, your warehouses and your towers
and your but everything.

Speaker 3 (37:42):
I really didn't shop in those stores to get my music.

Speaker 1 (37:46):
I shopped and there was a v I B on
Compton Boulevard that I went to as a kid, and
then Paramount swapped.

Speaker 3 (37:55):
Me to get my twelve inches.

Speaker 2 (37:57):
You know what's crazy what you say we with VFP.

Speaker 3 (38:03):
Did you go to in compon?

Speaker 2 (38:04):
You said a Rose Crans some comfortable move on over there,
you know appisodes people used to own that spot. I
used to live right away in the corner from there,
when I used to live in a neighborhood called Palmer Block,
and it was a VIP right all come and right
across the street from the toe yard where police used
tow your car.

Speaker 1 (38:23):
In the same thing. And so when I got into rap,
you know, maybe around ten and eleven, I used to
take them.

Speaker 3 (38:32):
I used to go up there and I.

Speaker 1 (38:34):
Used to just fumble through the records and I remember
the first time I was able to buy a record.

Speaker 3 (38:39):
I bought it out of that record store. Yeah, because
you know what, did you know Kleenus Anderson.

Speaker 1 (38:46):
I didn't know them, but I knew them because once
I started rapping and putting out records, I would always
visit the VIP for autograph secdays.

Speaker 2 (38:55):
Yeah, I'm gonna tell you what's funny, right, how stuff worked?
The and you had Cleavius Cleaveus on the punch him.
You had calv and uh you had car Yeah, you
had he had another brother. He owned the store. I
forget his name. He owned the store on watch. I
used to mess with him like that was my boy, right.
I remember he gave me a CD Dog app So

(39:16):
when that nigga was like thirteen and he said, man,
you need you got to hear my nephew.

Speaker 3 (39:21):
He had a song where they have flipped up.

Speaker 2 (39:23):
Never can say goodbye girl to Michael Jackson. You know
who made the beat sound Way sound Way. There was
little Kids, the producer for Kendrick and now the producer stuff.
You're the producer, right, And I had that demo Dog
and I might still have that demo some works. It
was to this day probably the best demo I ever
heard from a little kid, like from a dude that

(39:45):
was like a young He was really polished, man. He
was really polished, and he grew up in because he
grew up in the record business. He grew up working
behind the counter and them stores, so he probably imitated.
I thought he sounds a lot like jay ZN. I
think it was a dude conrap though. He sounded a
lot like jay Z And I'm pretty sure he was

(40:06):
just mimicking who he looked up to, maybe the Nass
and the jay Z's and stuff. But he was a
little kid man and it was just like them era.
That era would never be here again. I told Glasses
the other day, I said, Man, I kind of feel
sorry for y'all cats man. That came in kind of
and it came after the ninety five Dog because y'all
never got to really experience what it was like to

(40:27):
be an artist, right y'all, y'all don't go when you
took that component out and going to the record stores. Man,
I remember Big A had a had a shopping He
had a record store in comp Yep Underworld Music, Underworld Records, right.
I remember that's how me and Big A got cool
because I had a record store. I had a record store.

(40:50):
He had convinced me to open up a record store
in Paramount, right, So I had won a paramount off
of Rosecrans. We had an association of about like nine
or ten record stores and we got the labels. They
start paying for advertising space and stuff like, and it
was pretty good. Like I didn't make a lot of
money of my record store because they were small, but
I got that record store to where I was making

(41:11):
product about it grand a month back then, after I
paid for everything, after I paid for my workers, I
sold a few beaters in their dog. It was just
that time right in up. I remember Dog big A
said come down to the store.

Speaker 3 (41:24):
I went down there.

Speaker 2 (41:25):
He would have all the retailers cash money stayed in
the back of that dude's store for like a week,
because you know, he had to back with the colleges
and stuff you can every day for a week and
little Wayne and be over the.

Speaker 3 (41:36):
Plane of things.

Speaker 2 (41:37):
He was a little kid playing a game basically back there,
smoking wig. They was just in town going to go promote.
That's what they did back then. Them dudes was out
in Compton hanging out.

Speaker 3 (41:48):
Yeah.

Speaker 1 (41:48):
I could do that though, especially being our independent label,
not not be in a second, because it was everything
to be signed. You get me here down today, or
nigga be like there, fuck that, I'm independent, I'll put
our own ship on whatever, whatever. But you didn't. You
didn't get a lot of that. You know, a lot

(42:10):
of niggas didn't have the knowledge to do it, or
if they did, they didn't reach the status.

Speaker 3 (42:20):
Uh of these new independents.

Speaker 1 (42:22):
You give me like I said, you had early independence
rolling in all around this motherfucker and those were the
second wave, so to speak.

Speaker 3 (42:36):
It when we want to.

Speaker 1 (42:39):
See you got to look at it, like, look at
the early independent label on niggas. They never reached that
type of status. You give me like, I don't know
if if if if the line zones and the unknowns
and the probably the probably Like look at the tds,

(43:04):
look at the death rows, look at the bad boys,
look at the cash money's, look at the no limits them.
Niggas was independent and was sitting there four or five,
six hundred million dollars. I don't think the early independent cats. Wait,
he reached that status.

Speaker 2 (43:24):
You get it, know what I'm gonna tell you, man,
And this passed the statual limitations. Yet, See the thing was, man,
he had yay money, right, so he was able to
move around and do certain things right.

Speaker 1 (43:37):
You know, he had he got there was niggas wasn't stupid.
If you was a nigga nigga, you was like, oh,
these niggas is in the streets, like, yeah they could.

Speaker 3 (43:48):
But these niggas he came up.

Speaker 2 (43:53):
Man, you know in California, if you in the bank,
you ain't able to get something for eight hundred and
go down to New Orleans and maybe get sixteen hundred
double your money for it, right, you.

Speaker 1 (44:04):
Could triple your money taking shit back exactly.

Speaker 3 (44:08):
So you know he was doing his thing right.

Speaker 2 (44:10):
And he had enough money to run ads and murder
dog to run ads in this and they were by
them being streetcats, like babying them same thing. By them
being street cats, they didn't mind going to Compton, because
I swear it went just like this man, them dudes
was in Compton.

Speaker 3 (44:27):
Over big As store.

Speaker 2 (44:29):
Maybe a month later I got maybe about four months later,
I got a mailer.

Speaker 3 (44:34):
Cause you know I used to get this.

Speaker 2 (44:35):
They used to make these samplers of all this upcoming
stuff for the year they had cash money, had they.

Speaker 3 (44:41):
Own stuff before.

Speaker 2 (44:42):
It would look like a compilation kind of like you
would get like a snippet of all these new artists
coming out right. I remember they had Big Timers, had
BG and Juvenile and I said, Biggie is the homie from.

Speaker 3 (44:56):
The record store. They blowing up. You feel what I'm saying.

Speaker 2 (44:58):
They just signed a big deal, like the one hundred
million dollars deal with Universe, But they was coming out
here and hanging out. Them dudes was in the treets though.
They was shaking hands and kissing babies, you know what
I'm saying. They were where they had to go.

Speaker 1 (45:12):
They were kind of like the last stretch of that
generation to where, like you said, you gotta go out
and shake their hands and kiss the babies like politicians.
They were sort of like the ending era of that
because once you hit the mid two thousands and two

(45:32):
thousands and shit like that.

Speaker 3 (45:34):
I don't know if niggas was going on from on
tours anymore. Probably not.

Speaker 2 (45:38):
Man and them dudes, Man, I'm gonna tell you. I
told somebody the other days. We always talk about death ruined,
Bad Boy and No Limit Cash Money probably had the
most successful recollection of all the time. I'm talking about
as far as independence going not like the death Jams
and all that.

Speaker 1 (45:53):
But you know, they had a significant land as far
being a true independent label even though they had the
backing of Universal, even though but who didn't have the
major label backing when they when when Independence got to
the two three four hundred million dollar status Ruthless Hattie,

(46:15):
they had the backing Death Row Hattie, they had the
backing Pee ended up getting the backing from Priority Cash
made ended up getting the backing from Universal A bad
boy had, you know, arister and whatever. They would really
be significant from the backings of those motherfuckers.

Speaker 2 (46:36):
You know, I remember meeting Jesus what reasonable doubt came
up they was Independence Dog. I met him up at
the queenest of them had opened up a one stop.
They had music merchandise in Murray Park. We used to
go pick up cites all the Independence stores, right because
with queenas did As he gave all the Independence stores

(46:57):
a line of credit. Like I had a line of
credit up. There wasn't s fifteen hundred dollars, but I
could take my tools and fuse and put with that
fifteen hundred. Now I'm started up with music. He could
have had to go buy three or four pieces. I
can go buy thirty forty CDs and have him behind
the counter and actually be able to put him on
sale and do some things right, I met him, and
that it's actually a picture my boy Rod might still

(47:19):
had that. We took a picture with that dude with
reasonable doubt. That's when he had the ain't no nigga
like the one I got, the one he had with Froxy,
And I thought I didn't never imagine him being who
he is now.

Speaker 3 (47:29):
I thought he was cool.

Speaker 2 (47:30):
I said, the dude could rap, and I, you know,
because I used to hustle, I definitely doug what he
was talking about back then. You know, I said, this
dude really turn about some you know some shit, right.
I appreciated that because he was more street back then,
you know what I'm saying. Before he started coming out
with Hard Not Life and all that stuff. He learned
how to make records though he learned. He got with
Jamain Free and did.

Speaker 1 (47:52):
A lot of niggas get that formula, you know, they
get that formula to where you know, I guess, you know,
I gotta get where I'll feel in. But once I
fit in, I'm finna turn this shit intill some difference.
You get me because they just have the vision. Now,
I could stay talking about the dope game and the

(48:13):
streets and all of that, and then I'll have a
certain audience, right and I could go pop radio and
invite everybody to the party. And now you know, not
only do I got the niggas on the block still
because I'm still reference hustling.

Speaker 3 (48:30):
You get me because that's what backed me here.

Speaker 1 (48:33):
I'm gonna throw in my little phrases of my trips
in my hustling days, but the I'm gonna get motherfuckers
in the body move.

Speaker 3 (48:42):
I feel to change this whole d game aspect to
the baller game. Yeah, for real, I'm a budget.

Speaker 2 (48:51):
I'm texting Kevin right now to ask him what brother
what is brother's name was on the vip A.

Speaker 3 (48:58):
Whats what you see? Something that was real up for earlier.

Speaker 2 (49:04):
This is what people get confused, Man, I don't care
whether extremely see what this computer era donet got these
kids fucked up. That is, they think they don't have
to go on the streets no more. They think everything
begin and end on here. You've still got to quarter
and touch the people.

Speaker 1 (49:17):
Though.

Speaker 3 (49:18):
If you not pressing the people dogs, you ain't gonna win.

Speaker 1 (49:21):
And unfortunately, that's how a lot of them end up
losing their lives or get shot or some of their
people get shot. Because at the end of the day,
you're an artist, right m hmm, somebody's gonna book you
for a show or an event or a meet and
greet or something, because at the end of the day,

(49:41):
you're proclaiming that you're a artist. And even though you
beefing with ops and talking shit, there's some music that
some of these motherfuckers love.

Speaker 3 (49:51):
So as a.

Speaker 1 (49:52):
Promoter, as or whatever, as at a thing, I can
try to book a nigg Now do I know a
nigga all old record talking crazy and I'm gonna shoot
up the option nigga, fuck y'all.

Speaker 3 (50:04):
But as a promoter, fucking he can take that chance.

Speaker 1 (50:08):
Now, it's unfortunate because you in that situation, as this
new generational artist touching the people, might end up in
somebody losing their life because you're not.

Speaker 3 (50:23):
Gonna want to back down.

Speaker 1 (50:24):
You give me, it's three of us and it's fifty
of them, So maybe we shouldn't go to the club tonight.
That's on my head that they have the mentality like
I don't give a fuck. I'm a young knidiy and
you only live once, and we pull him up and
we're going to get the whole needs and whatever. And
so that's how unfortunate you You.

Speaker 3 (50:45):
You can't live your life as a true artist.

Speaker 1 (50:49):
You get me when you're beating with me, your direction is,
you know, we hear the music, we see what goes
on in this streets and the videos, and you know
where it's dangerous and all of that. And it's unfortunate
because even though they want to mention that niggas like

(51:11):
me from my era influence these kids today to be that.
And I never told niggas to beef with each other
on record. That's some of the dumbest shit that you
could do. Right, at the end of the day, you
was an artist. I want everybody to buy my music,

(51:32):
So I don't want to alienate the niggas who live
on you know, one hundred dous a thousandth streets. So
I don't want to avi eight eight niggas from not
buying my music, right because at the end of the day,
you want everybody to buy your shit, right, It's real.
That's time you come up as an artist, right.

Speaker 2 (51:53):
Yeah, you not trying to death nor kind of Hendrick
didn't come out and go.

Speaker 1 (51:57):
I'm only fnna make music for the blood. You get
me boot now. Now, that could have been the direction,
right because shout out beasts to my nigga j Rock,
but Jay Rock claimed you give me, so there might
be there.

Speaker 3 (52:16):
I love some j Ro bang j Rock all day.

Speaker 1 (52:21):
There might be some young niggas who feel because they're
trying to prove their worth to their block. I can't
bang no j Rock because he from the other side, right, mh.
But that's who my nigga is, That's who he weapons,
that's who he is. You get me as opposed to

(52:42):
like he knew. This is my direction of what I'm
I'm an artist direct and to rap on anything but nigga.
It's the who you feel me as opposed to Kendrick right.
M associate with everyone. I love where I'm from, I

(53:07):
love where I grew up, where I'm from, but I
just don't want my music to reflect where what side
I'm from because I'm claiming content, right, But I want
to be content. I don't want it to just be
like like a screen is split here. I just don't
want it to be here. You don't want it.

Speaker 3 (53:28):
And when y'all did that record, he reached out to you.

Speaker 1 (53:30):
Didn't it right because to the wedding God game on
the record to the wedding got quick on the record.

Speaker 3 (53:41):
You know, I have J Cole Records and whatever or whatever, but.

Speaker 1 (53:47):
It shows versatility when you speak to just be an artist,
and that's where I tried to come. Unfortunately, you know,
our situation were quick and then all fortune. But I
never wanted to just get prints over here, and he
fucked that, like you already got that from me just

(54:10):
growing up or whatever or whatever. When I started rapping,
like shit, I didn't want to just be the gangster
shit because it turned around and gon do a song
with Gangstar. It turned around it will do a song
with Rednck. You turn around and go do a song
with Pete Rock. So I don't want to consider myself

(54:33):
just the neighborhood type of rap, even though I'm pounding
on whatever. Like I said, are SA fortunate because a
lot of the homies now, the young niggas who rap
the first thing you see when you turn on their
YouTube video day in the hood, and then the crossings

(54:54):
out and then they got the colors on and whatever.

Speaker 2 (54:58):
Yeah, the riverhood is the major part. The streets is
always gonna be in it.

Speaker 1 (55:03):
And like I said, I don't down it because I
was one of those niggas. But as you mature as
an artist, you're gonna see that claiming the neighborhood and
rapping about the hood and beef with the niggas and
I pull the stripe on the nigga. You gonna see

(55:23):
down the long run, that's not gonna get you too
much work. They right, because I still go new shows, nigga.
I'm over fifty. I still get bookings every other month.

Speaker 3 (55:36):
I love it.

Speaker 1 (55:37):
I am fortunate that my songs didn't reflect a lot
of just this the welood shit, right. My songs reflect
their struggle. So I could I could go do it.
I could go do all of the money. Because all
of the money, they ain't talking about where you from

(55:58):
and where you're from, and we critsing we blood, I'm
talking about nigga. We trying to do what we can
do to get the money. You know, let me ask
you something.

Speaker 2 (56:09):
Eight we talking about this right when King Vaughan first
came out, he had a big buzz, right you because
you named one of his songs from when he first
came up.

Speaker 1 (56:22):
I didn't name that Nigga's songs, but I could probably
hear his ship because I had a young kid in
that and I knew.

Speaker 2 (56:31):
The Crazy Night record that he's telling the story about
something happened, you know what I'm saying, nine and I
got my nine and he got his mind, you know
where he was rapping like that all right before.

Speaker 3 (56:42):
I heard that record, Dog, I heard about him that
he was killing people. That's crazy to me, right right,
And hain't no sexual limitations on the murder murder ring.

Speaker 1 (56:54):
I heard about that too, So, like I said, it's
crazy how it's unfortunate that a lot of our young
generation of artists popularity stems from a lot of bullshit,
you get me.

Speaker 3 (57:13):
I think he wouldn't go with that. He got killed, dog.

Speaker 1 (57:15):
At a lot of young artists today. And it's crazy
because you know, we sort of knew back in our day,
like Easy Guy and Man, you know, jam Master Jay,
and but if you look at right now, it's a
hundred motherfucking little young rappers who done died and got
killed on just beef and shit, like who you.

Speaker 2 (57:37):
Don't think he had to get involved with this business though,
like I kept my sons for away.

Speaker 1 (57:42):
Can tell you so before we end this, and I
was discussing this today, it's very fortunate that we got
to the fathers to our saints, because man, I know

(58:02):
a lot of young men right now, and I llure
a lot of young men being a coach and coming up.
A lot of boys go astray when their fathers not
princon Real. It's it's a real and no disrespect to

(58:24):
you mothers out there, because it's a hard job.

Speaker 3 (58:27):
Trying to raise kids.

Speaker 1 (58:29):
On your own. Today. It's very unfortunate when a father
is not present in the household. And I'm not talking
about you know, a dad coming by the week ends
and that type or whatever whatever. It is very fortunate

(58:52):
if you're able to raise your son in the household,
because it makes a whole difference of who my son
is as opposed to the kids that I know he
could have been given me.

Speaker 3 (59:11):
And just because I at.

Speaker 1 (59:15):
That time, you know, me and his mama was that
you know, we were cool, but we wasn't like, oh,
you know, we shouldn't get married and we're just all
in love and it was just it was it was
it was a little bit more than that. But you know,

(59:35):
but I had decided that at that moment we probably
be to try to be a family unit BECAUSELS it
would be so significant and change that she gets to feed.

Speaker 3 (59:58):
Family present.

Speaker 2 (01:00:00):
As long as I don't know, you, you always got
along really good with like you know, you always got
along really good with her. Y'all do a lot of
stuff together with him, you know, And that was that,
you know, that.

Speaker 1 (01:00:10):
Was something that I stressed because you know, being a
young nigga growing up and they even having kids young,
you know, I have my daughters, and it was unfortunate
because I was on the I was on a chase,
you know, I just got a record deal. Nigga was

(01:00:30):
in nahanhood and you know that was my lifeline. My
lifeline was oh shit, and at the show this week,
another tour, another this another day. Oh we're back in
the studio making another record. Oh they cutting me another check.
So fatherhead was nonexistent to me, you feel me. I

(01:00:54):
wentn't seeing my kids and you know, tried to send
them to good schools even whatever, and even tried my
hand that you know, having my daughter stayed with me
at a point, trying to raise them and send them
to school. And you know, because once I started rapping
and I moved out and got to the big house
and you know, and the better neighborhood and all the

(01:01:17):
way out in the heels. You know, I tried to, Okay,
let me go get my kids and bring them here,
and you know, but unfortunately, you know, the connection with
mom and their mothers was already established. So you know,
you try it, and they try it, and then the
next thing, you never, they want to go back home

(01:01:37):
because that's what they know.

Speaker 3 (01:01:39):
You feel me, Yeah, you know, the daughters have a
tendency they want to be with their mom.

Speaker 1 (01:01:43):
But I just say that, you know, in the last
three weeks, I've heard stories of young men who have
been astray or young men who have lost their will
to do shit that they used to do because they

(01:02:05):
lost the connection with their fathers, their father figures or whatever.

Speaker 3 (01:02:09):
And then you look up today and.

Speaker 1 (01:02:13):
Nothing is what it should be because the fathers have
not been bret. And so that's what I was saying,
And I was talking to a motherfucker today and just saying,
it's very significant.

Speaker 2 (01:02:32):
To the stepdaddy. Shout out to all the step daddies
who are there raising kids. It ain't there with dad
that your dad's real dad. I just want to give
it up to niggas who understand that being in your
son's life, and I'm talking about like on an everyday presence,

(01:02:54):
it really makes a difference.

Speaker 1 (01:02:56):
I was able to guide my son on the every day.
I was able to know his friends, know his activities,
you get me, you know. So being able to do
that and showing him that love, he's turned out to
be a great kid.

Speaker 2 (01:03:15):
And if you talk to him, man, I'm gonna tell y'all,
some of y'all ever get a chance to meet, they
sing he wanted. The most well spoken, humble dude world.
Always got a smile on his face. He's happy.

Speaker 3 (01:03:27):
Oh the kid is happy as a motherfucker. And like
I said, it's very fortunate.

Speaker 1 (01:03:33):
So if you can, you dadce man, you know, you
know sometimes and I get it because sometimes you know,
you might not get along with the mother whatever. But
I got a great relationship with my son's mom, and
so it's not all bad sometimes. But we have dads

(01:03:58):
as fathers. And you got a son out there, man,
don't take that shit for granted. You kill me right,
try to guide them because like I said, it's hard
on the moms to try to raise a son and
give them that you just wanted the more for it
to turn out right and be a great person, because

(01:04:19):
we have to show these young men. A lot of
them you are unfortunate, like I said, behind the rap
shit and getting killed and thinking that's the lifestyle. And
I shaid, I was a young man once myself, and
I thought it was every ding gang banging and selling
dope and being in the head and all that.

Speaker 3 (01:04:37):
And don't get me wrong, I won't trade it. I
will trade it for nothing.

Speaker 1 (01:04:41):
It gave me the guidance and that taught me a
lot of shit growing up in the head and banging
for the head. And so that's why I still respect it,
and I still have respect for the neighborhood.

Speaker 3 (01:04:51):
Today, I'm gonna leave everybody with this. King Vong's who
he was.

Speaker 2 (01:04:56):
His daddy was the hit her too, so I'm pretty
sure a lot of the way he acted was him
trying to carry on the reputation of his father.

Speaker 3 (01:05:04):
You see what I'm saying. I just said it.

Speaker 1 (01:05:06):
We are the influences for them, starting from the day
they're born to the day whatever.

Speaker 3 (01:05:12):
Until you check out before them or whatever.

Speaker 1 (01:05:15):
Whatever.

Speaker 3 (01:05:16):
You set the example. And if I'd have.

Speaker 1 (01:05:20):
Been a nigga just dragged you to the fullish and
fuck everything, my son would probably be on the phone.

Speaker 2 (01:05:28):
Because even if he wouldn't didn't know you like that
and heard about you, he would for sure want to
be like his pups like you.

Speaker 1 (01:05:37):
If I was still like all day, number one active
and whatever, nigga, I'm going to the hed every week
and you know whatever, he definitely would be in that
reflection because they see you.

Speaker 3 (01:05:52):
And so that's what it was.

Speaker 2 (01:05:53):
You know.

Speaker 3 (01:05:54):
I tried to keep him away from the rap shit.

Speaker 1 (01:05:57):
That's why him growing up, he never unders stead when
niggas were gonna take pictures with me and they would
ask for all the graphs. He thought the shit was
weird as a kid, but I kept him away from that.
I didn't push that or you know, we'll go recorch
and gold records and your dad do this. I kept
him away from all that shit until he got older enough,

(01:06:19):
just started going, okay, you know, so there is they
reflect on what you do. You feel me Like I said,
you banging, They probably gonna bang nine times if you
out there hustling and serving nine times out of ten,
and they gonna pick up all that too, So you
just have to change the pattern with the kid, you

(01:06:40):
know what I'm saying.

Speaker 2 (01:06:41):
Well, that concludes another episode of The Gainst the Chronicles podcast.
Be sure to downloaded I heard app and subscribe to
The Gainst the Chronicles podcast. But Apple users find a
purple Michael in the front of your screen, subscribe to
the show, leave a comment and rating. Executive producers for
The Gangst the Chronicles podcast Norman Stilled, Aaron M c a. Tyler,
our visual media directors Bring Wied, and the audio editors

(01:07:01):
tell It Hayes. The gains the Chronicles is a production
of iHeartMedia Network and The Black Effect Podcast Network. For
more podcasts from iHeartRadio, visit the iHeart Radio app Apple
Podcasts wherever you're listening to your podcasts