Who is M-80, Grave Robber or Rap Artist Savior?

On the heels of his the release of his memoir, "100 Ways I've Almost Died...While Working In the Rap Industry" we speak with A&R Matthew "M-80" Markoff. He details his book, his views on rap economics and breaks down his battle with the late Chino XL's estate between him & his daughters, his fallout with Killa Priest and more. We kept the conversation very subjective because wtf do we know? We will let the public form their own opinions, is M-80 a good dude or does he take advantage of people? We want to hear your thoughts. Regardless of what you think, this man is very honest about who he is.

 

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Ahundredways.myshopify.com

 

 

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Episode Transcript

Speaker 1 (00:00):
Gas, chronic goals.

Speaker 2 (00:01):
This is not your average shows.

Speaker 3 (00:04):
You're now tuned into the rails.

Speaker 4 (00:17):
Welcome to the gangst The Chronicles podcast, the production of
iHeart Radio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles.
For my Apple users, hit the Purple Michael your front screen.
Subscribed to Against the Chronicles, leave a five star rating
and comment. No Limited had the Streets bruh one time.
No Limited had the Streets show. I know, cash Money

(00:38):
had a lot of really both really good labels and
impact label shit. Cash Money still going strong at the
twenty something years and the thirty something years, you know,
so you know you got to give them both they properly.
It was just a good moment for hip hop and
all yeah, step aside, It was just a good moment
for hip hop.

Speaker 1 (00:54):
Man.

Speaker 4 (00:55):
It was a lot of great songs, man, that took
me back. You know, you got to hear a lot
of good music and everything. I'm a big juvenile fan.
I love Manny Fresh and Bank, you know what I'm saying.
And I love No Limit to you. You was almost
No Limit soldier at one time.

Speaker 3 (01:08):
So who showed up for Cash Money? Who didn't show up.
And who showed up?

Speaker 1 (01:13):
Well, Wayne and Turk wasn't there.

Speaker 4 (01:15):
I think Wayne didn't come because I heard that he
didn't come because I heard Wayne didn't come because there
were certain songs that they wouldn't go let him perform
because of clearance issues as crazy as that song. You
know how you go on TV and do certain stuff.
So he was like, if I can't do them songs,
I'm not coming. So he wasn't there. Juvenile was there though,
Manny was there, Bird was there. They had the whole

(01:35):
click there. You know, Nicky wasn't there, and Frank was there.
They kind of kept it to the core, right, BG
was there. It was tight bro cash money did they thing.
Master P pretty much had everybody there. Fiend was there,
Mama Mia Mia xs there, me X showed her ass dog,
she showed her ass mea xs R. She showed her
ass on the definitely one of the coldest feet. Maaliam Cz.

Speaker 3 (01:59):
They was happening some this he at some time, you
know about a position on the tours and money wise
and everything. But it's good to see they came. You know,
everything got resolved.

Speaker 4 (02:13):
Well, this was an event from what I do know,
everybody got the handletoned business, so it usually work out
better when they're all grown people get the handleton shit.
You know exactly because at some point she don't need
a grown man speaking for another grown man but speaking man.

Speaker 1 (02:28):
So the homie hit me up.

Speaker 4 (02:30):
Man asked me, man if he was interested in doing
this interview?

Speaker 1 (02:34):
Right.

Speaker 4 (02:37):
I think this guy's reputation precedes him. He has a
new book out there, man called A Hundred Ways Out.
Almost died while working in the rap industry. Mm hmm
his you know, his mam and paups named the Matthew
Markoff Man. But the streets normous. Mmate, what's happing?

Speaker 1 (02:53):
Man?

Speaker 2 (02:54):
Heystat Mitch, you guys buer man.

Speaker 1 (02:56):
Nice man, you're too glad you can come home.

Speaker 5 (02:58):
Man.

Speaker 4 (02:59):
First of all, you know I've got to start off
with this man. Why is the title so morbid? If
you make it sound like rap industry is just a battlefield.

Speaker 6 (03:10):
And is.

Speaker 2 (03:12):
I can't. I can't change the reality of what it
is to lead to what it's been for me.

Speaker 6 (03:16):
But uh, you know, people look at the rap game like, Man,
I don't like school, I don't like this. I just
want to rap, And it's like I would much rather
pick away safe for life plight.

Speaker 1 (03:26):
But the rap.

Speaker 6 (03:27):
Industry, at least from my experience, you know, and I'm
just from a very early age by in love with
hip hop culture and you know, reading periodicals like The
Source in Double XL. I remember when I was probably
like thirteen years old, radio article with the lock talking
about we could sell a million records and not know
where our next meal is coming from.

Speaker 2 (03:46):
But it seems like the people behind the.

Speaker 6 (03:48):
Business of our music don't have the same kind of
well life struggles, and so it's like I didn't want
to give up my dreams of being an artist, but
I also didn't want to sell myself short on what
I knew I can afford me if I.

Speaker 2 (04:01):
Mastered the business of music.

Speaker 6 (04:03):
And so my my plight has not been an easy one.
But I definitely spent the majority of my life mastering
the business of music and doing everything that's you're supposed
to to really have a grasp.

Speaker 2 (04:17):
But outside of just day music.

Speaker 7 (04:19):
So you know, it's not been easy for me with
dealing with you know, hundreds of different artists in the time,
or working my way as just a suburban kid from
the Midwest, you know, and putting myself in circles, which
some of the greatest names that hip hop has to offer.

Speaker 6 (04:36):
So the morbid nature of the book is like answering
the blessing that I'm alive to even write details in.

Speaker 4 (04:43):
The present day. Well, you know, I read the book, man.
I thought it was very captivating. Man, it was very
interest in detail and descriptive. You know, you're a wild boy,
a wild dude person. Well, you know, one of the
things I was going to say make I think more
people need to educate themselves on the business of hip hop.

(05:04):
I think that a lot of people come in and uneducated.
But then you have to remember this, A lot of
guys that come into hip hop business are very young,
and they usually are from you know, they usually come
from property, right, they usually come from property. A lot
of these good guys that either just graduated high school
or haven't graduated high school.

Speaker 1 (05:21):
But you're talking about guys kids when they come into.

Speaker 4 (05:24):
Business, right, they're just usually an adult that comes on
science these guys. So I always thought the industry was
very predatory. I thought it was off often prayed for
young people and people. I know, I hear a lot
of people saying that it's age just them and hip hop.
I think what it is older guys are less likely
to love somebody to fuck them moments they don't like
feeling with.

Speaker 2 (05:45):
M hmm, yep, that's that.

Speaker 6 (05:47):
That's definitely I dirty. In my client list are Golden
era I'm seen, so it's like it's stocking as that sounds,
where it's like the youth is more susceptible, we get
taken advantage of. I'm dealing with people that have been
the game for twenty thirty years that still are presenting
questions to me and why how have you not learned

(06:09):
this in your twenty plus years of experience?

Speaker 2 (06:13):
Do There're usually questions I'd hear from someone that you know,
have you with all the MVV man won't wrap and
I want everyone else to handle the visits.

Speaker 6 (06:19):
And I hate hearing that from artists as well, because
that's also how you open yourself up to get taken
advantage of.

Speaker 1 (06:25):
And you know.

Speaker 6 (06:27):
It's it no no bounds, like you see people like
Rihanna and wesk Cleveland that had made many, many millions
of the course of their careers, like well, this person
stole this from me. This person stole this from me,
And that's what happens when you just focused on be
the artists. Every artist, whether you're an A Lister or
a Z lister, you should still want to at least
get a grasp for the business as you go. You
can't learn it all at once. That would definitely take

(06:49):
away from your focus as the artist. But the artists
that are going to have the greatest longevity and really
have the least amount of quolds with the industry are
those that took the time to learn it can work
for them, to Dar.

Speaker 4 (07:00):
Dannats, Yeah, I think a lot of artists didn't have
but choice. Like you take eight for example, Not to
get too much into it, eight, you were seventeen when
you signed your deal. Yeah, he's seventeen years old. So
he signs a deal for Samurai Si Zoki in five
thousand dollars. Not to a seventeen year old kid a
compton that's very attractive, you know, and I'm gonna get cheap.

Speaker 1 (07:22):
I got five recks.

Speaker 4 (07:23):
All he could think about is probably going to go
get the sack, an indoor sack and some khakis.

Speaker 1 (07:28):
Yeah, probably mom a few dollars, you know what I'm saying.

Speaker 4 (07:30):
He go whizz around the town and you know you're
gonna throw fifty dollars in it, sa Zoki and ride
around town all day with the homies, right, But.

Speaker 1 (07:39):
You know he doesn't know anything about publishing or tanja.

Speaker 3 (07:43):
And then times have changed, you know, to be a
young artist today, a lot of them are probably independent because.

Speaker 2 (07:59):
Going that out or hearing stories.

Speaker 3 (08:02):
You know, when I got started, I was very hip hop,
was young, you know.

Speaker 2 (08:11):
Now, as you said, as a fifteen sixteen year old.

Speaker 3 (08:14):
Kid running around gang banging and doing whatever.

Speaker 6 (08:19):
I have not.

Speaker 2 (08:22):
The knowledge was that not to say that niggas was dumb.

Speaker 1 (08:27):
Do you feel me?

Speaker 2 (08:30):
Because a lot of us had since we went to school.

Speaker 3 (08:33):
Might have not thought that we paid attention, but some
of us did.

Speaker 2 (08:38):
But knowledge of entertainment.

Speaker 3 (08:41):
Industry was far beyond somebody's reached, you feel week. So
when not at the opportunity, I know, my mama can't
pay for no lawyer to look over no contract. It
wasn't suggested by anybody that I should get a lawyer
and look at a contract.

Speaker 1 (09:02):
You get me.

Speaker 2 (09:04):
I was going to the studio every other day, and
next thing you know, niggas slapped the contract.

Speaker 3 (09:11):
I'm thinking big ship, I'm thinking of a scale of shit,
What nigga's gonna get some chains, some dollars. I wasn't
thinking of, oh I'm be a millionaire and all that
temper of ship. I was just wanting to make a
record and whatever came, whatever came, whatever came with making

(09:38):
the record, I was down they do. I didn't give
a fuck about well, didn't know anything about publishing and
all that type of shit.

Speaker 1 (09:46):
So it was just the aspect of nigga.

Speaker 3 (09:48):
I'm going to make a record and whatever it falls
be after that is whatever it is.

Speaker 2 (09:54):
When I started my career as an artists, one of
the first.

Speaker 6 (09:57):
Labels I was signed to with my group Almighty was
label called Baby Grand Records, and Baby Grand could have
been like the number one independent rap label on the
East Coat. I think that don't think people consider them
that for a while. For a while they had members
of Wu Tang, Dipset, Geni, Mar Tricks, more of me,
like they had artists that were moving, you know, one

(10:19):
hundred thousand plus you know, every record and that that
was a big deal.

Speaker 2 (10:22):
But anytime or money wouldn't come on time.

Speaker 6 (10:26):
I was the person from the camp that had an attorney,
But have my attorney call Paul. You know, you don't
have to get your attorney to call Wolf send it
right over, but they wouldn't make.

Speaker 2 (10:35):
Those money moved until the attorney would get involved.

Speaker 6 (10:38):
And don't think about, like like eight said, the other
ninety some percent of people that are just approaching it
out of the love to be an artist, to make
music and have the opportunity. And I know artists that
put out records twenty thirty years ago that still haven't
seen a scent from their shit just because their contract might.

Speaker 2 (10:53):
Have deemed you had to turn it all the.

Speaker 6 (10:56):
Guest artists, admins, the producer admin they had no idea
of what that even meant or how to go about it,
and so the label legally just hold their money until
that comes in.

Speaker 2 (11:05):
So yeah, yeah, it's uh.

Speaker 6 (11:09):
I never wanted to stop being the artist, but I
just knew that I was better suited to play the
role as the executive and I could benefit more artists
in my role as the executive. And that's really what
my plight has been. And you know, we're going to
small the bullshit I have to go through. That's, you know,
potentially the the theme of the book.

Speaker 2 (11:29):
I know, at the end of the day, I've done
far more gig than Bad Brother.

Speaker 4 (11:33):
Yeah, but you say that in your position as an executive.
Now that does have from the miss now that the
music business. I worked for a publishing company for five
years and I've really got a crash course in probably
the most lucrative part of the business, you know, right
outside of touring. I think publishing is probably the number one,
the number one cash cout for the business. Right, publishing

(11:54):
and interlas with properties? Would you say a lot of
people side yeah in the you know, in relates with properties. Right,
do you think that people think of advantage of young people?

Speaker 5 (12:06):
Cher?

Speaker 1 (12:06):
Let me think you know what before you answered, let
me pose it at this way.

Speaker 4 (12:09):
Right, you were a businessman, right, do you think is
your responsibility as a businessman to educate a younger guy
that comes in.

Speaker 1 (12:17):
For someone like new Yes?

Speaker 6 (12:20):
I do, And that's why I like I teach free
A and R some of ours on Instagram every Tuesday
that are literally open for people to attend for.

Speaker 2 (12:28):
Pre and ask their business music question.

Speaker 6 (12:30):
Because just like Ade said, growing up, yeah, we had
our basic education, but it wasn't like education in the
realm of entertainment was readily available in the poolm system
that didn't come go way later. And even to get
the real education of that, you have to go to
you know what they call higher education. Your college is,
you know, to get your bachelor's, your master's, your doctor
and stuff like that.

Speaker 2 (12:50):
So I make this an r.

Speaker 6 (12:52):
Clinic available for free because it's not this information is
not readily available to illy. I mean, it may be
on the internet, but not to someone who's lived it.
Break the down for you are than that. It's like,
you know, I when I was coming up, I'd have
to pay a ticket to go see like oh Russell
Simmons speaks somewhere, or a Leo Cohen or Rick Ruber
or something, and I'd be I'd go to all those,

(13:13):
but those are far and few. So I've been doing
the week leaves for like six seven years. But the
whole point is come here and get the education that
you otherwise could not get for free, or even if
you could, you'd have to pay thousands of thousand of
dollars for from an attorney, from executives, for whatever.

Speaker 1 (13:27):
It might be.

Speaker 2 (13:28):
And who has that kind of mind has been even
with me.

Speaker 6 (13:33):
I have my law degree, but when I have certain
legal questions, I still have to go to one of
my attorneys.

Speaker 2 (13:38):
Hey, I just want to answer for this. This is
what I think.

Speaker 6 (13:40):
Here's the paperwork, and I'm paying two or three thousand
dollars a touch to tell me I'm right. Great, Yeah, yeah,
I do throw the responsibility kind of like each one
teach one situation where it's like how well are you
going to know how to operate and navigate the terrain
and rest You're hearing from someone that's been there, done that, Hey,
you know it?

Speaker 2 (14:00):
Hip hop.

Speaker 6 (14:01):
A lot of people are very opposed to taking criticism,
taking advice, taking any kind of feedback unless you have
you have you done it yourself? Like people just talk
to talk, but I feel like people really didn't nice speak.
I'm named the three like I buy, you know, ad
records that were home runs and Grand Slams, and the

(14:23):
majority of the time I'm putting out records just to
keep me on base, keep my name of the conversation.

Speaker 2 (14:28):
But I don't regret any of these projects.

Speaker 6 (14:30):
Everything was was essential into my development as an an
r as Suner executive. Now why I believe the intellectual
property is so valuable because only your masters gives you
money for a lifetime. You can have royalty collection outside
of the publishing because that's separate, uh, you know, licensed
music for TV and film and sporting events. Because of

(14:52):
bad nature, we we've goed some projects specifically, like let's
make a song that you know the UFC would want,
Like just creating out every you want to create as
an artist, Like it doesn't always have to be about
making the best album. Sometimes you can make me to
just to fill a niche or a void. So a
lot of artists, yeah, like that's not something.

Speaker 2 (15:10):
You're going to understand as someone the brand new.

Speaker 6 (15:13):
Of the game, Like how could you possibly know that
owning this would provide you a lifetime of wealth to come?
And it wasn't just for rap artists, but music in
general dating back to you know, like the Ray Charles
Era and Duke Ellington and stuff like that. In different
genres of music, standard rap or stantic music contracts were
the label can to own the master and this is

(15:34):
your royalty right and so it's a lot like it's
it's a big deal in the present day, speaking just
to the rap executive to see artists be able to
owe their masters.

Speaker 2 (15:46):
More artists getting content license deals.

Speaker 6 (15:48):
So they may pay the ownership of their music from
the on set and are just granting a third part
of the ability to to you know, commercialize it for
a term of like five or seven or ten years
or whatever it might be. So it come along with
and that aspect, but there needs to be more people
like me that are.

Speaker 2 (16:03):
Willing to put those up and covers of one game.

Speaker 1 (16:08):
Well, the one thing that you touched on.

Speaker 4 (16:09):
I do think that the younger people are just way
more savvy, man, because the era that we in right now,
we're literally in the air to where a kid can
be in his bedroom with iPhone, like look at the
kid from out Here man with my Man from out
Here Man. The young kid might had a big record
a couple of years ago, man and recorded that song
on the phone.

Speaker 1 (16:30):
Man.

Speaker 4 (16:31):
The song blew up right and he did really well
for himself. So I think guys are a lot more savvy, man,
because it's just like it's really what the press of butt, right.
You know, you can have a song out there and
you know that's not going to happen that way for everybody,
but you know it happens. You know, we've seen that
happen a few times right now. Even that kid. He

(16:52):
may get work to a certain extent at the beginning,
but there is a lot more There is a lot
more access to information than it was before. You know,
there's not too much you change fund on the internet now,
so I think.

Speaker 2 (17:04):
People find you find any and everything.

Speaker 4 (17:07):
That's what I'm saying. It's a lot more you know,
information available, and I think people, if you say, if
you're having this similar, people definitely need to take advantage
of that. I think, just I think what it deals
in media, a lot of people aren't just interested in business.
They don't want to talk about the center, right, Yeah,
you know you have those conversations with people and that's boring.
But it's called the music business for a reason.

Speaker 6 (17:33):
And the funny thing is with me when I'm out
and about whether I'm at like a sports event or
a concert or whatever, the only conversations I want to
have are music related and the business where the majority
that they could turn off, like, hey make care we
just enjoy our night.

Speaker 2 (17:48):
And I'm like, my mind is always stinking like that.

Speaker 1 (17:51):
Now.

Speaker 6 (17:51):
Actually you're saying about the publishing, publishing is yes, that's
like your real estate in the music and publishing is
separate from like sales royalties and mechanical royalties and.

Speaker 2 (18:03):
Stuff like that.

Speaker 6 (18:04):
But a lot of people like that I've worked with,
they always respect to the back. I have zero publishing
of any record I've ever done for any artists, from
Rockim to Wuchang to Crookdi to Corrupt, Like.

Speaker 2 (18:17):
I didn't write your shit like cool, I'll keep roll
you get x y Z.

Speaker 6 (18:21):
People like not getting into your publishing, and they've always
respected that that, Like you know, I wasn't trying to
own their records and that and that.

Speaker 2 (18:29):
Element like I've owned like album masters and stuff.

Speaker 6 (18:32):
But I always give the artists the freedom of choice,
Like you know, if I'm owning something, I'm going to
pay you more for it if it's a licensed deal.

Speaker 2 (18:39):
So I let the artists have the freedom of choices
to what kind of mind they want to make right
here now.

Speaker 6 (18:43):
And sometimes the artists are happy about it, and others
they're not five ten years later when they're like, damn,
you're still eating all that and I just got this
or so you know, it's a lot to the industry,
and it's like you could only know and understand it
through trial and error. There's no way that it's not
like taking a real estate course where you get your
certificate and now you can go sell homes. Like as

(19:06):
an artist, you're only looking through child are as an executive,
it's the same thing. You know, eight came up in
an era where there one there was no iTunes, there's
no Napster, there were definitely not dreaming. And so a
lot of these artists can go back on their original deals,
like De La Soul was the best example.

Speaker 2 (19:24):
Their whole catalog streaming wasn't an element that was incorporated
into their contracts. So we're not just going to allow
you to take our records, whether you own the masters
or not, and put them on there. We want to
renegotiate what our terms are, which could be a level
of advancement, of a certain level of potential ownership, a certain
degree of publishing that that may not have been assigned
to the artists at the onset. And and that applies

(19:46):
to so many artists, like again, out of the money
to for speel to really engage a company or corporation
and fight it. You know, the artists are the ones
that are asked out at the end of the day.

Speaker 6 (19:59):
And I was just fighting a record label for three
years over them alwaying one of my artists thirty thousand
dollars in royalties, but instead of just paying the artists,
they spent over one hundred and twenty thousand to fight it.

Speaker 2 (20:12):
And it's like why why they?

Speaker 1 (20:14):
You know?

Speaker 6 (20:15):
So so labels really do the monks to keep the
artists down, and that's why I was never interested in
operating a record label. Both to the introduction is the
world's person in arm and I have different n R
services that I offer, like on a project management basis,
consultation basis to help the artists clap their albums, to
handle the ADMINISTRAI administry inside of it, like the copyrights,

(20:38):
the royalty statements to publishing, the clearances, shopping, the label deal,
the distribution deals, the aw coordination.

Speaker 2 (20:44):
The radio to touring all that. So that's you know,
I never wanted to be one of the label guys.

Speaker 6 (20:49):
So you know, not to say that they're all bad,
but it's like it's really hard to throw a rock
and not hit bad.

Speaker 2 (20:55):
You know, you got to search for the good.

Speaker 3 (20:58):
So what are labels to determine the the.

Speaker 2 (21:03):
What is their ownership?

Speaker 3 (21:05):
Putting songs on streaming sights when in a lot of contracts.
Thirty years ago there was no streaming, and now they're
putting these songs on What are they declaring?

Speaker 2 (21:15):
What are they saying that they have own shit? They
can do it, just yep, even though that's not in
your contract.

Speaker 6 (21:23):
You're only going to fight it if you have the
legal and financial resources to do so, so, like Daylock
POWs an example that did.

Speaker 2 (21:32):
But that's the language is not in ninety percent of contracts.

Speaker 6 (21:37):
If you were signed from the eighties to early two thousand,
how could it it didn't exist.

Speaker 2 (21:41):
I still give like, hey, rock Chet's manager was cracked.
We were doing a deal a.

Speaker 6 (21:46):
Cole weeks ago. Dude, they still have the ring total
language in there. I'm like, you never know when that
shit will come back, so I'm not excluding it from
the paperwork. It's always something that could be a revenue
stream if we launched, if we launched a website and
sold rock chamb Ring Joes away from just a service provider,
that could still make money.

Speaker 2 (22:03):
Ton He was lappy, like you really thought of it all.

Speaker 6 (22:05):
I'm like, yeah, like you know, like, just because something
is not making money right now, it might not be
this shit, it doesn't mean it won't come back, but
for your question, that didn't exist, so literally you could
fight this, as you know, and not to stay. You
went to a new deal, but maybe you know for
a record, hey, you give me an extra thirty grand
I'll do a new contract with you to have streaming

(22:27):
content license rights for five years across this span of material.

Speaker 2 (22:32):
But the majority of artists are unaware of that.

Speaker 1 (22:35):
That language.

Speaker 6 (22:36):
Bonderoom don't even have these contracts. I mean like there
was nothing to stand in and save. It's like, here's
your tangible a printmage. Oh yeah, buying a piece of
paper for thirty years ago was like like where's my
security card of my BIRTHARSIP game like if if they're
locked away somewhere, you're not finding you and the label
job is not to help you recumbering exactly.

Speaker 4 (22:58):
Yeah, yeah, they definitely not go volunteer that information. That
was something that we've been talking about actually is going
back and getting music to drive by those really pivotal
MC eight albums and just getting those back and really
just because we're seeing a renaissance of physical music, like
you know, if you.

Speaker 1 (23:16):
Like Homie Rock, Marciano, Yep and different guys.

Speaker 4 (23:20):
The sale with the cats, they're making a ton of
money man by selling catalog physical albums online man, and
people are buying them like the park YEP.

Speaker 6 (23:29):
I signed Benny the Butcher to hold to the productions.
Like I said, I'm not a label, but sometimes I
believe in an artists so much. I'm like, I don't
want you.

Speaker 2 (23:38):
To pay me and hire me to do my job,
like I will, I'll do it for you and we'll
win together.

Speaker 6 (23:43):
And Betty was an example, and Ben at the time
had not sold more than five Winter records.

Speaker 2 (23:47):
But I just believe you about like he looked most
talented to me from Betty Kinaway west Side.

Speaker 6 (23:55):
And we worked our playing. I hoped him up with
like my pr network and stuff. Then can thought three
drop and it's it's I've been all up since there.
And then you know, we went from five hundred records
to like, hey, this tobd me almost to give me
a million bucks and this company is a million and
I was like I knew, I knew of like a
million dollar calls are coming and uh they're they're doing
a great job. In fact, Benny is playing in the

(24:18):
O C. So if you guys will have to join
me on the first So what's that.

Speaker 2 (24:26):
Like two days? I think it's Saturday.

Speaker 1 (24:30):
Oh, this Saturday. You know what I might miss later?

Speaker 6 (24:33):
Benny ot the real you know, I bet thirty eight
Spash through Benny and Spash flew from Jersey to LA
to pay me for a popular dollar consultation.

Speaker 2 (24:44):
I was at a club.

Speaker 6 (24:45):
He literally came in the in the came to the
club with his suitcase and we had a drink.

Speaker 2 (24:50):
I'm like, this guy here and do this business.

Speaker 6 (24:52):
And like for now, I think seven years I've been
doing the in our administration for Trust Records and you
can't well I'll do like that, but you know that's
my big trust Black and you know, like I don't know,
seventy albums later between him as the artist and him
just producing for other artists, you know, with a MATHI
of almost a billion streams and you know the same thing,

(25:14):
the physicals fly. He watched his own vinyl company called
Air Vinyls at one point time just to beat the
demand and had the pressing you know, like on site.
By very proud of those guys because examples of you know,
not to say they're young like younger like in their teams,
but like they were learning as they go with their
the breeze and once.

Speaker 2 (25:35):
You know, I don't.

Speaker 6 (25:36):
I'm not like to end all be all for these artists,
but it's like I do put the battery to all
of these people's backs, and it's always like a joy
for me to see people like actually listen, I speak
and apply.

Speaker 1 (25:48):
And it win.

Speaker 4 (25:51):
Yeah, well doubt you know what you mentioned something that
we talked about the streaming, and we talked about publishing.
I was kind of doing the math in my head
when you was how does a record label not take
a piece of the publisher? You almost you know what
the way it is. I just think the whole record
industry needs. Their model is kind of outdated. Right, So

(26:12):
if you have an artist and I'm a label, almost
got to get a piece of artists show money. I
gotta get a piece of publishing. I gotta get a
piece of emergen, I gotta you know, get a piece
of damn and everything just to make my money back.
Right when I do think that they could go back
to a physical model and make it on the money again,

(26:34):
make it turn the money out every year.

Speaker 6 (26:37):
The three sixty deals would encompass all that, and you know,
without looking at like eights contract just as an example there,
he probably started to addy a portion of publishing because
the labels, even before they called a three sixty, tried
to think of what all they can attach themselves to
in your modern contracts, especially content license deals, which the

(26:58):
creator of the music main he's the ownership of the music.
The label or distributor you're signing to has the right,
whether it's exclusive or not exclusive, to commercialize it for
a term three years, five years, seven years, ten years,
But they're not touching any of the publishing and for
rest at home. Yes, publishing, this is what I was
getting to. Publishing is the real estate. But you have

(27:21):
to pay.

Speaker 2 (27:21):
Seeds in the right places.

Speaker 6 (27:23):
Like you're not making publishing money just because your record
out like that's extremely royalties, that's sales royalties.

Speaker 2 (27:29):
It's different. So when your music is used.

Speaker 6 (27:31):
In television and film and and and placements like that
for like sports and stuff, that's where publishing comes into play,
and that's where you're really speaking your money.

Speaker 2 (27:42):
So like, I never was interested.

Speaker 6 (27:46):
In owning anyone's publishing because that's one area that I
wasn't actively far filiar. I'm not like sitting here trying
to license our music out to different labels and companies
and stuff like that to be used in various product places.
And that's you know, major labels have those departments. Independent labels.
If they get like a licening opportunity, it's really by chance,

(28:08):
and they're still going to take like, you know, like
a fifty to fifty percentage of whatever that money that's
come again, but are than that unless you see it
especially written in your contract. The labels not taking publishing
like in modern contracts.

Speaker 1 (28:22):
Yeah, I didn't.

Speaker 2 (28:23):
I didn't have a publishing deal with Sony.

Speaker 3 (28:27):
I ended up doing the publishing deal with another company
after because you I remember my publishing was stolen on
the first two records, so once I really got knowledge
of my publishing and routing and all of that, I
didn't do a publishing deal on my third project.

Speaker 2 (28:49):
And then it.

Speaker 3 (28:50):
Came after I did A Minute to Society and a
straight up Minute Soul. Yes, we had a publishing deal
with p perfect example.

Speaker 6 (29:00):
You're still seeing publishing checks, you know, Chipper's Day from
that because with the commercial medium that is still you know,
like people can go buy the movie, they can stream
the movie, they can down them sou so.

Speaker 2 (29:12):
As people are buying that that's a great example.

Speaker 6 (29:15):
The song is placed in the movie, and therefore as
long as that's getting checks and after together sadtracks and
so forth, they'll always be publishing checks.

Speaker 2 (29:23):
For those on the soundtrack.

Speaker 1 (29:25):
Exactly.

Speaker 4 (29:25):
I worked for Minded Music Publishing for six years, right,
and they had a lot of that they had to
get man be a mans sure. It was a funny
thing about that, because you know how to get being
got fucked and they publishing. Man, they went and got
publish it from them, back from the owner. They started
working with the group and was able to get the
publishing back right. They've been signed to them since then.

(29:47):
But their most valuable their most valuable asset was a
song called Truck with Dykee. You know the sample We're
gonna go back way back. They made millions of dollars
off the sample, man, just the sample license a loan
after the song is earned millions of dollars. Man, y'all
brought people's it's all these different records, right, so publishing
those down and you're right, you have to create a

(30:09):
value for you know, from radio play. If you artists
that don't get radio play, or you don't get those sinks,
you're not gonna earn much publish a revenue, you know
what I'm saying, So you got to definitely build that
really stayed up one of the questions I was gonna
ask you, Right, all artists like money, and I haven't
met I haven't met too many artists that didn't have
financial troubles. Right, how often are you tasked with those

(30:33):
situations to where a guy just needs money?

Speaker 1 (30:35):
Man to point where he assigned anything.

Speaker 2 (30:39):
And it happened, I mean, it happens. That's a touching
one for me because.

Speaker 6 (30:50):
Right, you know, I have artists I work with to work,
and I have artists that I work with some of
my friends, and I will always like have their best
interested at heart, so like Cheer or foul.

Speaker 2 (31:02):
Worth.

Speaker 1 (31:04):
But no, it was my family. I know his family.

Speaker 6 (31:07):
You know, we are the other done making music, like
we're you know, hanging out and going to shows and
just like hanging out to the house and stuff like that.
But when he passed away, and certain members of his
family that weren't familiar with me realized that years prior,
I had paid for the stem cell surgery he needed
to keep him alive, and it kept him while he

(31:28):
was supposed to live for like two weeks.

Speaker 2 (31:29):
It kept him alive for extra two years.

Speaker 6 (31:32):
Their first thing was, I wonder what our dad had
to sign over to Matt that he was going to
put up the money, and when they found out nothing,
I just.

Speaker 2 (31:42):
Paid to keep my friend alive.

Speaker 6 (31:45):
That kind of like shut that bullshit down, Like you know,
I don't just just because I had the money doesn't
meet up here like now you have to give me
every one of your records and blah blahlah blah blah. No,
that didn't exist, Like that was my friend and I
as my friend. I was willing to do whatever I
could because he couldn't do for himself. Now, there's always
examples where it's like I need money right now, and uh,

(32:09):
you know, I'll like it. And the crazy thing is
like these deals never work out, like people alwould need
money and they're willing to promise you the world, and
so I just don't do them if I can help
you in the business and media, like people are like
I'll give you next five albums, and I'm like no,
because it's just it's just no. Like I'm a good

(32:30):
person to my core. I come from good parents, I
come from a good education. I feel like, I really,
like darn everything in my power to separate myself from
the pack, and that's why I so much business comes
my way. They want to work with someone you can trust,
and I don't like I roll solo, Like all the
time you see me, I'm standing on my own and like,

(32:50):
if I did bad business, I got to answer for
that business.

Speaker 1 (32:52):
But I did good business and I'm here for the praise.

Speaker 2 (32:54):
So it's like I'll do a deal, like maybe, hey man,
let's just focus on one record. I'll see you what
I can do, the float, whatever you need. But I
don't want to get into something where it's like.

Speaker 6 (33:04):
I have to then chase you and hunch you down
and remind you how I helped you in your time indeed,
and then everything you try to flip it all and
be like, oh, some kind of vulture. So it's like
either I'm gonna help you because I want to help
and I can, or I'm gonna help because there's something
in it for me, and that's you know, but I.

Speaker 2 (33:22):
Don't want it to be I like, and sometimes it
gets like that, like, you know, I gave someone in
a car and it was my car. They just needed
a car, and I have.

Speaker 6 (33:30):
Eight cars, and I'm like, look, if you're gonna get
in my car, just if it needs maintenance, just take
care of the maintenance. And then eight months later there's
like no little example, you know, like here's the maintenance bill.
They're like, oh, I can't pay it.

Speaker 2 (33:44):
Kind of shit. It's like, you know, so it's always
something so for me, if you're gonna do good, too good,
because like that's who you are, it's in your heart.

Speaker 6 (33:53):
Otherwise, like all those stories in the book, there's one
hundred stories there, why should never fuck with all those people?
But like I'll remember the good times over this little
like funck shit times we had and still want to
see you win. So it's like unless I absolutely fucking
hate you, like even the people I hate, if I
can still get some money that I do right, Like uh,

(34:14):
like if Joe Bridge chapter like when we fell out,
when people would take me up to get burses from him,
like rack as you get price to do this, and
I got a stack for him, and I'll give you
a couple hundred bucks and I can still make like
Dranda bus like little ship like that, Like okay, like
I'm not gonna stop your money train.

Speaker 2 (34:31):
I just don't want to be part of your program.

Speaker 4 (34:33):
As a business. You know, I'm glad you brought you know,
xale situation. If it's me and Sina was cool, you know,
we were real cool. I ain't gonna say we was
the best friends, but me and Sheina had been cool
and we've stayed tight over the years. We actually meet
him the Kendrick Lamar did a ricord Wow and get

(34:54):
early like early Kinder Lamor.

Speaker 1 (34:56):
This is like sex eighty.

Speaker 4 (34:59):
This is it Snati kindergot you know, I don't know
on top of them dudes man to punch and all
them dudes since they was over in cursing recording. You know,
I would like to say we got a friendship right.
And I know when I first heard about the you know,
seen a thing your name came up, it wasn't in
the most positive light, right. But I'm not a person

(35:20):
to think of emotion. I like to know the facts
that I like to hear to both sides of the story, right,
because I've had time to where I know I've been.
I know I've done it right by people only be
called only to be called later on the thief and
everything else. You know what I'm saying, so I know
how that feels. So I always like, if people are benefited,
doubt right, if they're wait for y'all man to squatch

(35:43):
all this stuff man, because I don't think family should
be bumping heads like that.

Speaker 1 (35:48):
Ain't none of my business. But it ain't got to
be a tough situation.

Speaker 6 (35:52):
It's tough because it's yeah, there's I'm at the core
of it. But the real bat is amongst the family.
So you have Cino's oldest daughter over here, and she's
the one that's not an m at fan.

Speaker 2 (36:11):
I did not know this person existed. And I've said
this so many times.

Speaker 6 (36:16):
If you're like I find that hard to believe, I'm like,
you can find it whatever the fuck you want.

Speaker 2 (36:20):
I'm telling you the truth.

Speaker 6 (36:21):
Like I did not hear Chino mention her once to
be INTEP engineers, but I knew Lyric. I knew Baladozo's
Chino's other two kids. So when after he passed, and
I'm like, what can I do for the family here, Like,
you're wrong for like excluding her, But I didn't exclude
her at first, Like I covered I paid for the

(36:41):
funeral and that had to go through her. I did
that and rocked Kim as well, like we came together
from the album royalties. I'm like, let's let's set this aside.
And they're like, well, that was rock Kim's money. I'm like,
it's my money. But anyway, we gave it to you.
We paid the funeral.

Speaker 1 (36:55):
But they have been.

Speaker 6 (36:59):
Approaching the busy your side and I'm not heartless and
I understand there's emotions in both and stuff like that.
But Immortal Technique came and told them, Hey, I'm going
to work with M eighty. I'm gonna find out who
owned the bol of Chino's music. Now this I'm going
to break down hew at Hope as well. Give two
types of artists Benny and Spash who used as earlier examples.

(37:20):
These are artists that record music whenever they feel like
recording music so they can go sell it.

Speaker 2 (37:27):
Shop it make money.

Speaker 6 (37:29):
Those are what you as an artist, You should strive
to be that kind of artist. You're creative, so you create.
Gino was not that artist. Sheino released albums every four
or five years for years. I was trying to get
him on a program to put out more music so
he would not have to complain about financial stuff like that.

(37:51):
So she know, thank god, you know, we have to
screech out because China deleted them all, so they act
like they never existed. Gino finally was on the program,
was like, I'm gonna drop three albums this year. I'm
working on five albums right now. They're the next couple
of years. So it's like, okay, cool, you're gonna avail
yourself to having more income like your fate. You're gonna
be able to tour more. Everything was more so more

(38:15):
a more techniques, like I'm gonna work with them, and
he find out who owed all these records, so she
know was an example, he was only rapping when paying him.

Speaker 2 (38:23):
To make an album, du doringa the studio because he
had a song in mind.

Speaker 6 (38:27):
And last he was working with like a top produced
her someone like like he was really good friends with
Focus from Aftermath him a focus to go in and
knocks it out whatever. But she know wasn't doing that
the other ninety nine percent of the time. So I
was able to find like get the list your ted tears,
who owes each album? So she know like Tubac left
more material in the afterlife than he released because he

(38:49):
was such a perfectionist. Nothing was ever good though, Like
he finished the album God's Carpenter because I paid stem
cell surgery that kept.

Speaker 2 (38:58):
Him live and he felt rejuvenated to recorded. He was
able to finish the record. So like, I'm thankful people
will give me credit for that.

Speaker 6 (39:09):
Then China says, we don't have like a more technique
who was offering to pay these people get the masters
and give them to the family as a whole. So
China lyric ambala. China says, no, that's not necessary because
when our father passed, we automatically own everything.

Speaker 2 (39:26):
I'm like, that's a made up wall that that does
not exist in my licensing catalog of music.

Speaker 6 (39:33):
I own records from DMX, Prodigy, Bred the God's Son,
The Jack of Matt dre Sean Price, Like, at least.

Speaker 2 (39:44):
It doesn't ortist who passed away.

Speaker 6 (39:45):
And it's like just because they pass away to the
meaning they're not mine anymore paid from their contrain and
whatever is No, it's clear you had.

Speaker 1 (39:55):
Those apples to them prior to their demise.

Speaker 2 (39:58):
Right, yeah, bear his as enter my list and cattle. Yes, okay, guys.

Speaker 6 (40:03):
So so I'm like, I don't understand why China is
not embracing a moratal technique, like, Okay, this is brilliant.
I don't know if he would have actually done he
r not, but he said he was, so I'm gonna
believe his work because he was posted with Chino as
well and did a lot of good for China's lifetime.

Speaker 2 (40:17):
Though towards the end it was kind of rocky, so
I thought I should have given the okay go ahead
and do that. And then no, we don't. We don't
need you to buy the ship. We already own it.
You don't own any of it.

Speaker 6 (40:31):
There's there's one record Chino left that there was no
business administration done that you could claim like it was
a China was doing to add an album with Mad
Living Odo and so no business ad been done.

Speaker 2 (40:43):
Sheino would still own his vocals, so that's that's you.
You can own it. But madd Live would own his beats.
Oh no, would own his beats. Do you work out
the business?

Speaker 6 (40:51):
Like I knew that this album Darkness mat of Colors,
and I'm the executive producer of that was supposed to
come out before Cheto passed, and Cheto wanted to make
a couple of weeks because of something on the Eminem
album and he thought was conflicting with his album, but
he turned into masters like it was owned by this
by the producer body Bag Ben for his company.

Speaker 1 (41:11):
And what I did was I.

Speaker 6 (41:14):
Bought the master to that album from Ben, and I
bought Chiino Left an album called Map of Bones. These
are just like two examples of like twelve Okay it works,
Chino Let.

Speaker 2 (41:24):
I bought them, look them out.

Speaker 6 (41:28):
Turned the master rights didn't contract over to the youngest daughters,
and they get accounted statements every Friday. So you got
people that are like, and maybe he actually did what
he said he was gonna do. Oh have to then
you have China. Well I'm not eating off it, so
fuck you. I'm like, but there's and other albums those

(41:51):
who too that I had ownership of cool bought and
transmit the right. I'm not doing that anymore. I did
that to show you that I'm gonna.

Speaker 2 (41:59):
Walk my tour.

Speaker 6 (42:00):
Now you guys can go do that now. It's I
wish I wish it wasn't a thing. You know, I
went the family could be together. But everything they've done
is a lie, and there's a mad Everything he's saying
is a lie. It's not like I literally Buffy's rights.
I gave it to the daughters. They get their statements.
The unfortunate thing is they've had to use all this
money in court to fight their own family.

Speaker 2 (42:22):
They've been funny. First year, let's buy cars and stuff.

Speaker 6 (42:28):
I got a car, like one of my cars I
gave to where Chino's youngest term sixteen.

Speaker 2 (42:32):
I gave it to her, and I'm like, this was
my dream car around sixteen.

Speaker 6 (42:36):
But you find your dream car, go trade it in
and then like, you know, that'll be the doubt payment
all that stuff it.

Speaker 2 (42:46):
It would be way more ideal if all of us
could work together, you know. And one of the last
texts I'd ever sent in China was I guess one
of Chino's next girlfriends had.

Speaker 6 (42:54):
Reached out to be like, look, you might not like
m Ad and how he like navigates and moves and
stuff like that, but he was there for Chi and
he he knows the business.

Speaker 2 (43:02):
I was there for all the business. I can tell
you who owns what like and against that, and not
the guy.

Speaker 6 (43:07):
I know the people that owe these records, so I
could make it to where these people would work with
the family and give them the cut.

Speaker 2 (43:15):
But they're literally like just disrespecting the fuck out of
his legacy.

Speaker 6 (43:19):
People that bought features from Gino, they're they're putting copyright
strikes on their music, and it's like people that have
these records they're.

Speaker 2 (43:27):
Trying to like shut down, and I just I don't
stand for that.

Speaker 6 (43:30):
I'm about the music, like I WoT the music to
be heard, and you know, I think about the artist
on to come up that Chino might have been their
favorite artists and spent boards trying to you know, save
money from their paychecks just to give Cheeto verse over
there now have the China side of the family kept
their shit down and like disrespect his legacy, like you know,

(43:53):
he left this for the people to hear, versus like
his youngest daughters and their mothers and their rap that
used to work pr for CHET based on up the
page to the ChFL legacy page, our chancel tribute page,
because they're actually like interested in honoring their father, and
it seems like THECHXL Pageville state they just spent literally

(44:16):
the majority of their posts about me. It's like, you
disrespect to the fuck are your pomp's legacy? Like I
was there for him, like no one else put up
as might have saved his life. I paid his backpack
to that I paid for the roop over his head,
the car he drove me into life. Someone that hit
like his car and he needed a car, and I
got the car for him. Like, and you're making me
to be the bad guy. I'm literally the best guy

(44:38):
in the scenario.

Speaker 2 (44:40):
I've never had any kind of hints.

Speaker 6 (44:42):
I have never had anything remotely like this with DMX,
I worked with for the last six years of his life.
With Sean price for I works with a decade, and
every time I go to New York, I still see
his wife for the debt, Bri the godsoens people. This
is so crazy to me because I'm the closest with
Chino and I'm getting worst.

Speaker 2 (45:00):
Shit than I have from anyone else I've worked with
ever that that has in the moment.

Speaker 3 (45:07):
But is it because is it because that that because
of projects that you had with him without their knowledge
and because.

Speaker 6 (45:17):
Of the like none of the projects were mine right
and I would do like I'd help him broke her
the deals for these projects.

Speaker 2 (45:25):
And even though I found out shit after he passed
that I.

Speaker 6 (45:28):
Was really upset about, like the last two album deals
I've broke her for him were for over like twenty
five grand, and then you said, you know, some people
are just willing to sign anything when they need money.

Speaker 2 (45:39):
I found out, you know, did a EP deal behind
my back for two thousand.

Speaker 6 (45:43):
Bucks, and I'm like, what, Like the last two features
I got you just spitting sixteen bar verses.

Speaker 2 (45:50):
Were for a p Jees apiece. So like you know
that I didn't answer to two questions. Now when people
really need it, don't do anything. But you know, I
don't have to answer, man, I don't have to answer.

Speaker 6 (46:06):
But like at this point, it's like, just do what
you're gonna do legally like or whatever, like, because there's
nothing against me.

Speaker 2 (46:12):
Like they're like, he owned our dad's publishing. I'm like,
I'll tell you what.

Speaker 6 (46:15):
I'll give you a million bucks if you showed me
that I own any percentage of publishing any Cheetos thought
of the world.

Speaker 2 (46:21):
Of course they can't because I don't. He's been taking
the royalties.

Speaker 6 (46:26):
So here here's a statement from the label that they
literally pay the youngest daughters directly. So it's like all
the shit they put out there about me, it's like
you're just trying to make me look bad for the
sake of make you look bad. But I'm the only
person in this equation with music experience, so it's not
gonna work. Like people aren't just gonna be like oh,
because you're a Cheeto's daughter, like wow, Like they want.

Speaker 2 (46:48):
The music too, they wanted to be heard and in crazy.

Speaker 6 (46:52):
To think if Cheeto has been gone up for a
year and change and it's like you're still on me,
go do Like I was really happy when they launched
a g XL merch page because now you get to
sell something and see that this million.

Speaker 2 (47:04):
Dollars you thought was at the end of the rainbow
is not there.

Speaker 1 (47:09):
Like you had.

Speaker 2 (47:10):
This was crazy to me. You know, him signed undraded
action figures. Okay, he's gone. You cannot he can't sign
anything more.

Speaker 6 (47:21):
There's one hundred action business for sale and they sold
thirty or forty, So you are coming at me for
money I touch every fucking day.

Speaker 2 (47:32):
Good for me. I work hard, I have lots of
clients to do lots of work. Yet, but you're thinking
that there's some pot of gold here that isn't. Everything's
like I did was.

Speaker 6 (47:42):
To help, you know, like I used to help kill
a Priest and me and Priest fell out, which strengthened
my relationship with she, and I'm grateful for that, but
I'm happy that you got to see it not there.
I had emails from Evan Labels when I was shopping
the Darkness in Our Car album. That's the album that
we released after she passed, and that's what the family

(48:04):
took issue with.

Speaker 2 (48:05):
It's essentially like a suicide note.

Speaker 1 (48:08):
Okay, that's what it is.

Speaker 6 (48:09):
But she worked on that album for four years, so
people got perspective to how long he'd been feeling this way.
The label that offered the most money on the likes
of the deal two thousand dollars on a seven year
licensed term. And that might sound crazy, but that's the
reality of Cheetos like that, that's his reality for what

(48:33):
his music makes. He has twenty thousand spotified Mobly listeners.
You know, New passed sixty eight million. It's a different
playing field or eighty six millions. So they find it
really hard to believe that she actually had someone in
his life that wasn't taking advantage of him, like like
even they we had a management we had a management

(48:53):
contract that she was like, I want you to represent
me like, I'm not a manager.

Speaker 2 (48:58):
I've had to manage artists in certain scenarios.

Speaker 6 (49:00):
Like Cannabis had a manager who like took this money
and did and so like if the ship was gonna run,
I got step in. Same with Cappadonnaca Wu Tang Clan.
I broke into this record deal for that, but his
manager took his cut and dipped. But we had a
tour coming up all stuff, so to make sure everything
went smoothly, I had to like help my auntie.

Speaker 2 (49:21):
We were shopping before you go.

Speaker 4 (49:23):
Man, don't you sound crazy to me? A motherfucker taking
somebody's money and just leaving.

Speaker 6 (49:30):
Yeah, like like if as if that was their endgame.
Owing backfires because when you do good business, do you
have longevity money? Why are you doing buck shit? Not
only are you putting your target on your back, but
that money will be going as soon as it came.

Speaker 1 (49:49):
That's crazy, man.

Speaker 6 (49:51):
Yes, and my after A and R and how I
started my company. The first record I ever ate R
made over a million bucks and I got two thousand dollars.

Speaker 2 (50:00):
Okay. From that moment, I'm like, I have to have
my own shit. This take can do you to happen
I can't survive like this. So when I started my.

Speaker 6 (50:10):
Company, all the deals go through me. I sit down
with like you know, corrupt or Crooked, I, plant Asia or.

Speaker 1 (50:15):
Whoever it is. Here's the deal.

Speaker 2 (50:18):
I'm gonna take X.

Speaker 1 (50:19):
You get this? You want to do this deal?

Speaker 2 (50:20):
Yes or no.

Speaker 6 (50:22):
I've paid myself so literally for twenty one years. I've
never been like, hey, each Shipley rapper team you only buddy.
It's been such a relief y you know, but imagine
getting there are two thousand bucks.

Speaker 2 (50:37):
Up a million?

Speaker 5 (50:39):
What projects did you do with? So you will can
work with the Pentagon label? Yes, I was the VP
of Pentagon for a while. Then corrupt Crup's like, all right,
we need to Like I mean we still work. Obviously
we work together. We're doing an album right now. But
he like I didn't want to work with all corrupts

(51:01):
other people. He just randomly called me every week and
be like see I got so and so on the line,
like like sneak the third person on the phone call
and we're gonna do this album. And I'm like if
they pay me, no, but this is Kindagon.

Speaker 6 (51:13):
I'm like, it doesn't work like that, bro, I will
work your records in anticipation of going to get the bag,
like rappers are supposed to do in my example with
Betty and s Fash and stuff.

Speaker 2 (51:22):
You create music to go shop it to get the money.

Speaker 6 (51:24):
Cool, Like, don't only be a rapper who raps when
you're being paid to rap if that's for a feature.

Speaker 2 (51:31):
But know that you know, like like eight right now,
could could make an A side B side.

Speaker 6 (51:38):
Single, put it on a CD or seven inch vinyl
Stamby to press three hundred these, sign them, personalize them,
and sell out in probably.

Speaker 2 (51:45):
Seventy two hours.

Speaker 1 (51:47):
Oh yeah, for sure, right, we do.

Speaker 2 (51:50):
Like the it's the creative. There's always an outlet to
get to the bag.

Speaker 6 (51:54):
But don't be one people that only wills to create
when there's a bag and play. So well, I'm like, okay, well,
if you're not gonna work all these records and you'll
just be like, you know, you're just for me, I'm like,
yet exactly like I'm not, you know, I think I
h Corupt even took me off of well the Jody
OG's and my first Generation and stuff because he got

(52:16):
mad that people were calling me more to like you
could do workship than he was calling but he's like,
I'm telling him just totally be well, yeah, we you know,
we did the Academy, we did Pentagon Riders, we did.

Speaker 2 (52:32):
Well.

Speaker 6 (52:32):
I mean his newest the Death Row record that's coming out,
working on a very very secretive record that we're going
to finish November nineteenth of New York. That's gonna be
twenty twenty six, a big, big deal. But yeah, corrupt
corrupt is one of those artists I put in like
the eighties friends category, you know, Crup crup, headlined by wedding.

Speaker 1 (52:53):
It's awesome, that's crazy. You know what, man, I'm gonna
tell you. So this is what I've noticed. Man.

Speaker 4 (53:00):
First one, they've seen those situations. I'm gonna leave that alone.
I do one percent believe Homie would want to see
his key is fighting, Like.

Speaker 1 (53:08):
No, not at all. You know, go sit down and
talk this this scene.

Speaker 6 (53:13):
I got back from a point on that because I
didn't touch on it for the longest time. They're like,
m mad is the divide. We want the family to
be together. So I'm like, Okay, I'm going to see
how this plays out. Because you know, if the estate
is he left three heirs, there's China Lyric and Bella.

(53:33):
So if they really come together, then cool. Everyone's gonna
get their money anyway. Like and when I turned when
the label turns the money over to Ericon, Bella, if
they want to give China something, they can, and the
same thing with China when they sell the action figures
or merch If she wants to get the younger dog,
why they can.

Speaker 2 (53:49):
That's that's not my business at all. I understand them.

Speaker 1 (53:52):
But the reality was.

Speaker 6 (53:56):
Kinda took the youngest to court and wanted sold control
of the estate. And when it was like, well, Lyric
is too young, She's she just turned sixteen.

Speaker 2 (54:10):
She just sits hand to time.

Speaker 6 (54:11):
Bella had a lot of medical problems early on her
and her and when her birth, and she made a
song about it on the Reconstruction album. So like Jonathan
OEPs pulled her sisters out to steal the estate, like
now it's just me, even though you have other living heirs.
So they got cut out of having a say in

(54:34):
the father's estate. I don't stay in for that. They
kept selling to the public anyone that would listen. Yeah,
like of course, it's a like we're a familial unit.
Like the money that came in for cheto like like
donations and stuff. The youngest daughters never saw a Senate do.
That's the kind of shit that makes me be like,
you guys, stay far the fuck away from me over here.

(54:56):
So I'm standing up for the youngest daughters because because Doug,
I do that, and she's lifetime, and I just have
a hard time steading up for a thirty seve year
old woman that has her own family that I never
knew you.

Speaker 2 (55:09):
I won't.

Speaker 4 (55:12):
One thing that's really important at all this I think
I was just talking to eighth of the day about this.
I think it's very important while we're sitting here, leave family.
This is equal to the common man after to sitting
at home. Don't assume that when you die your family
will get your stuff.

Speaker 1 (55:27):
You have a house.

Speaker 4 (55:28):
If you don't have your shit together the house, we'll
go into probate, and we'll go into probate. House happened
a million times. It don't matter if you and your
father and mama is in the same house. Something happened
to them. Hill are your business while you're here on
the party. Breathe all right, he was going, it's all
that's listening mental.

Speaker 3 (55:50):
Sorry, Yeah, it's just unfortunate when you know, people die
without any direction of what's to be left or what's
to go here or there, and thus you have confusion
and always seems like dickering with the family. And I'm
pretty sure if you're any kind of artist or entertainer,

(56:12):
you know, the wolves get to coming out, you know
what I'm saying, as of what the potential might be
or what they feel might get happen, you know, for
their pockets. And that's unfortunate because I'm sure if a
nigga could bless everyone, he could, but you know, their
situations that get left behind. And so when people aren't

(56:34):
doing this fortunate themselves, you know, it always presents opportunities
when when unfortunate deaths happen.

Speaker 4 (56:43):
Exactly you know, and it sounds more, but I'm gonna
tell you just on the personal note, I remember my
mom's hit me and my mom's and there set Thank god,
she's still going to laying of living man with all
her father about her her and my step pop said
us on the phone, and all the kids, and she
telling my sisters an attorney.

Speaker 1 (56:59):
She said that.

Speaker 4 (57:01):
The two guys are the administrators and everything is getting
down in the middle. Of everybody. It's getting it. Everything
is split up equally, right. And I said, Mom, I
don't want to talk about this. Take your money and
go have fun, you know, go go kick it out.
I don't need nothing from you.

Speaker 1 (57:16):
We all grown.

Speaker 4 (57:16):
We all said the same thing. She said, No, I
don't like talking about that. She said, no, this, You
need to know this, This stuff needs to know you know.
She said, your sister got all the past words, everything,
banking stuff and everything like that. So their business is
handled and hopefully we don't see that for a long time.

Speaker 5 (57:34):
Right.

Speaker 1 (57:34):
It made me go get my stuff together.

Speaker 4 (57:36):
Because I was getting around your man, it only costs
fifteen hundred calls to go get a trust man, it's
only fifteen hundred dollars. And I think you can find
other people. I think you can do it cheaper through
other people. There's ways to you know this man, because
this is really sad to me.

Speaker 1 (57:51):
It's like.

Speaker 4 (57:54):
Leave, you know.

Speaker 6 (57:54):
It was that the mental state, but like his mind
was deteriorating. Like he told me I was going to Australia.
I was gonna be gone for like two weeks. He said,
when you come back, I won't be live. And so
I called him every day from Australia and we talked
and one day he didn't answer and I was freaking out.

Speaker 2 (58:16):
Ben had got home and he called me. It was
a lot. So I wish that we could have taken
it in a couple of days to get it.

Speaker 1 (58:26):
Get it?

Speaker 2 (58:27):
What did she know?

Speaker 6 (58:27):
As a friend who I had despised, But Tito's friend
was smart enough to reach out, Hey, my dad's gonna
pass and can you help me with this paperwork?

Speaker 2 (58:36):
And I'm like, shir did like that's that's a good
thing to do. I'll do that for you, which we
could have done it, but she's mine was just not there,
you know, And.

Speaker 6 (58:45):
It doesn't matter if you have ten dollars to your
name or millions, you still should have the direction.

Speaker 1 (58:52):
You know, of all things.

Speaker 6 (58:54):
She know left some notes for his daughters, just of
like sympathy and like, hey, I'd like to see this
happened next well, you know, let them like suggestions. I
had to let them know, but I'd like to see
this happen with the music so so form like so
they eat so knowing that it's saying okay, I'm gonna
make sure to turn these masters over.

Speaker 2 (59:12):
In fact, like on the one album.

Speaker 6 (59:14):
Ben wouldn't sell it to me unless I wrote in
there that I was eventually going to turn the master
and and the profits over to Lyric, who's his youngest
and I spent the most time with she and Lyric.

Speaker 2 (59:24):
Lyric would come to all the studio sessions stuff like that.

Speaker 6 (59:28):
So that very is, you know, good on Ben's part,
and Ben like agreed today, I don't want to see
your royal uses, you know, So it's just imperative that
like even after Sheo passed.

Speaker 2 (59:37):
Like I updated my will and stuff like that, like
who I think what the most important to me?

Speaker 6 (59:43):
Who's you know, I specifically left instructions on who's to
take over the company, Like it's not it's not a.

Speaker 2 (59:49):
Family member of mine.

Speaker 6 (59:50):
It's well, miss Spartan, your mind and whether you know,
don't not if he can be trusted as to take
care of my family after that passed, when applied, I'm
willing to pull the dikes because.

Speaker 4 (01:00:04):
This book, man, I'm gonna tell you it's a good
read man, it's really entertaining it.

Speaker 1 (01:00:07):
Where cat people, who's book? Are you self publishing this?

Speaker 2 (01:00:11):
Well? This is all self publishing, you know, I like
intentionally haven't done the.

Speaker 6 (01:00:15):
Paperwork yet for Amazon and Barnes and Nobles, because like
I want, I want to do it all.

Speaker 2 (01:00:21):
Myself, Like I treated the book by the Street to
keep an album.

Speaker 6 (01:00:24):
By you know, when I'm coming to help you build
the records from scratch, I'm doing the ad then I'm
dropping it, like I wanted to really feel like, Okay,
I'll be your one stop shop eventually. I'm sure I'll
do the paperwork for Amazon and Barnes and Noble. Saw
that like maybe get twit tomorrow. But website is any?

Speaker 1 (01:00:42):
Was that okay? So it's available on your website?

Speaker 2 (01:00:46):
Yeah?

Speaker 6 (01:00:47):
The the website is that it's a shopping by account.
It's a hundred ways dot my shopify dot com.

Speaker 2 (01:00:54):
It's a long one.

Speaker 6 (01:00:55):
But on my Instagram that will you just click the
first link in the buy I'll take you right to
the book. It's a paperback and hard bound. There's two
different editions, a couple of free digital download. There is
a curated playlist we're gonna launch on release date as well.
It's twenty two tracks like the best Songs of n
R from Jouph the four to twenty five one song

(01:01:16):
per year. So you kind of have like a soundtrack
to the book, and then we're doing like this autograt
memorabilia raffle on November fourth that everyone that bought the
book during the pre order.

Speaker 2 (01:01:25):
Or or on release date November third as them should
to win.

Speaker 6 (01:01:27):
There's items some like rock Jim and Wu Tang and
corrupt and uh so much more in there. So but yeah,
the book is a concept that came up with in
twenty sixteen. But it was originally titled Who's Your A
and R? So a less morbid titled. But you know, okay,
the themes were just that was like the best stories
from my work history. This was Yo, there's game here

(01:01:50):
about like how my life's constantly major from very like
whether it's Apple work or show words or you know,
whatever these deals are. Let me just switch it up
and you know, then then you know, the last eighteen
months I really buckled down and was working like four
or five days a week, like six seven hours a night,
just buck completion.

Speaker 5 (01:02:12):
Yeah.

Speaker 1 (01:02:13):
It was just a very entertaining read. I'm not gonna lie.

Speaker 4 (01:02:16):
It was pleasantly surprised. Man, it was very entertaining. Man,
you got something right here, you know. Well, now before
we bounce, man, I'm gonna leave a link to the
book in our description, right, thank you for sure. You know,
rock Kim is probably one of my favorite rappers all
the time. I know he get there pretty out on
your list too, right, Yeah, yeah, definitely, I know my mood.

(01:02:37):
He's always in my top five or top ten. Oh yeah, round.
I kind of go back and forth with him and
camee right, But I'm gonna tell you this, man, we
can finishing up his last album, right, his last album?
How hard would have been to that collable?

Speaker 1 (01:02:53):
Man? I think that'd be dope Rock Kim and well,
I don't think for and.

Speaker 2 (01:03:00):
We outa there, we outa here. Yeah. So, like you've
read my book, so you know I wrote the book
like I'm talking to you.

Speaker 6 (01:03:09):
That's how it reads, like you feel like I'm literally
telling you a story, just like in front of your
face kind of shit.

Speaker 2 (01:03:13):
I love how I wrote that.

Speaker 6 (01:03:15):
So Kim has respect for so many people, like like
like the whole God's Network, reaperbout my mate is literally
brought Kim and his peers, and you know, so rab
like say say he was in a room talking to
eight we should.

Speaker 1 (01:03:28):
Do the soul Robert. Let's definitely do that.

Speaker 6 (01:03:32):
Rock Jim's manager always finds a way to insert himself
and make sure it doesn't happen.

Speaker 2 (01:03:36):
Well, shit, let y'all make it app and they connect
this ship. So like, that's that's the comic thing. I thought.

Speaker 6 (01:03:43):
Just even even if you read the Rock Chim chapter
my book, I'm like, oh, Rob, break every bow of
your manag's body. Hey, man, that's what you gotta do, dude.
Like I'm trying to keep the tray moving. It's not
it's not impossible. I will physically DEALI brought Kim on
on the eighteenth of the month.

Speaker 2 (01:04:03):
I'm sorry of November, so hey, maybe just a reminder.

Speaker 4 (01:04:07):
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. But Apple users find a
purple mica on the front of your screen. Subscribe to
the show, leave a comment and rating. Executive producers for
The Gangst Chronicles podcasts of Norman Steel Aaron M.

Speaker 1 (01:04:23):
C a Tyler.

Speaker 4 (01:04:24):
Our visual media director is Brian Whatt, and the audio
editors tell It Hayes. The Gangster Chronicles is a production
of iHeartMedia Network and the Black Effect podcast Network. For
more podcasts from iHeart Radio, visit the iHeart Radio app,
Apple Podcasts wherever you're listening to your podcasts