September 19, 2025 • 44 mins
Today On The Breakfast Club, Hit Boy Talks Music Career; Industry, Ye, 'Software Update,' Album & Movie Collab With The Alchemist. Listen For More!
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Speaker 1 (00:00):
Don't every day up? Wait, click your ass up. The
Breakfast Club finished for y'all.
Speaker 2 (00:06):
Done.
Speaker 3 (00:07):
Yep to the world, no dangerous morning to show to
Breakfast Club? Shallamaine the god j just hilarious DJ Envy
Envy had to run but Laura le Ross and right
now we got a man.
Speaker 1 (00:16):
I want to say young legend, but you just know
legend at this point. You know what I'm saying. You
know what I mean.
Speaker 3 (00:20):
Listen, anybody that delivered nods his first Grammy, I got
a salute.
Speaker 1 (00:25):
Hit Boy is here.
Speaker 2 (00:26):
Respect morning. Appreciate y'all having me. I've been waiting to
get on here for some years.
Speaker 1 (00:29):
Man, happy to have you. Man, how you feeling this
more solid?
Speaker 2 (00:31):
Man? I feel better than ever for real? Just run
around New York? You know what I mean. We was
out late last night, so I'm dragon a little bit,
but I'm good though. Man's just I'm blessed one time
profession week. I'm just here man, moving around.
Speaker 3 (00:45):
Yeah, when did hit Boy feel like he arrived? I mean,
you produced for everybody from jay Z to be honestly
to NAS. When you look back, was it a beat?
Was the moment that made you feel like, Yeah, I'm
here to stay in this game.
Speaker 2 (00:56):
Yeah, it's crazy, man, because I you know, I was
in a in a situation. I was in a deal
for like eighteen years with UNPG Universal Music Publishing Group,
and I was just talking about how I kind of
never felt like I all the way made it because
you know it's funny, bro, you don't even notice you
tweeted something a long time ago that triggered something in
my brain. Bro, somebody says something and you tweeted like
(01:19):
this is probably twenty eleven something. You was like, hit
boy got that other worldly money because I guess I
did niggas in Piris. I did that the joints, and
I was like, hold up, I'm supposed to have other
worldly money. This is jay z first common record, you
know what I mean. And I'm like, yo, So that's
what I didn't even know. I was in a bad
deal till I made Niggas in Peris. You. I mean,
I did drop the World with my boy chasing cash
for Lil Wayne and Eminem. I did other joints, but
(01:40):
that was the first hit that was like, Okay, where
the real money at now, you know what I mean.
I was able to get some bread. I went and
did a record deal and the label deal with Jimmy.
I v that interscope, but my publishing money wasn't what
it should have been. I couldn't go get that crazy advanced.
So you triggered something in me. I'm like, man, I'm
supposed to be touching.
Speaker 1 (01:59):
Who do you have.
Speaker 3 (02:00):
That conversation with because a lot of times, man, especially
when when you're black, you don't like to tell people
you don't know something.
Speaker 2 (02:05):
Yeah, yeah, who had you know? It's crazy though, because
that's bro Jimmy Iveen. I went to his crib when
I was about to sign my deal, just chopping. They
were eating food, you know, just connecting, and I'm just
telling him like, bro, I don't know nothing about none
of this shit. And he was like, you know, that's
actually the smartest thing you ever said, because everything I
do you can learn, but what you do I can't learn.
Speaker 1 (02:23):
That.
Speaker 2 (02:23):
You just got that in you so that you know,
that was just like a little moment where I mean
but I mean, bro, it's just been it's been a journey.
It's been a hell of a journey. And I got
out my deal just this past July, two months ago,
so I felt like I made it when I got
out my deal, you know what I mean?
Speaker 3 (02:37):
It was Jimmy Iveen who got you on the right track. Man,
Well that's just handed you a piece of paper saying, oh,
just sign this.
Speaker 2 (02:42):
Well, I mean, well that's kind of what happened. He
handed me the papers, He gave me a couple of m's.
I'm like twenty four years old. I wanted did the
most nigga shit I could do, got a crib and
moved all my homies in and just like turned up
and you know I was able to make some hits. Yeah,
I mean, but basically, uh, jay Z was the one
who got me out my deal. Jay Z and Desiree Perez,
they stepped in. I was being managed by them like
(03:04):
twenty twenty one, and at that point I was in
my deal for fourteen years and I was like, yo,
I need to get out this deal, and they was like, well,
the best we could do is you know, you can
go from here to twenty twenty five, and you know,
July twenty twenty five hit you'll be out your deal.
And I just did them last four years. So I
was in my deal for eighteen years.
Speaker 4 (03:20):
July first, twenty twenty five. What did you wake up
feeling like.
Speaker 2 (03:24):
A new man? A new man? I'm just like, man,
the pressure that dark cloud is just gone now. Like
it was like I didn't realize I was depressed. Like
I've been doing therapy, you know what I mean. I
realized a lot like a shout out Melissa Doumaan as
my therapist, Like she made me realize I never had
boundaries and that made me go back to like, oh
that's why I was like just basically handed people around
(03:44):
me the same life lifestyle. You know, I'm taking twenty
thirty people out to dinner, I'm doing all this all
the young niggashit periods, so just you know, basically just
to be in this place now. I'm just feeling refreshed.
Speaker 1 (03:57):
Man, How are you now with that? Though?
Speaker 2 (03:59):
Right? Good? I'm good. Circle small, it's like a dot,
it's not a circle no more. It's like it's just
small now, you know, so just more condensed than you know.
I got the right people around me that I don't
really care about me versus just letting anybody hang.
Speaker 3 (04:13):
What did jay Z and Dads do exactly to get
you out of your situation? Everybody likes to blame Rock
Nation for the bad shit.
Speaker 2 (04:18):
Right right right? Nah? I mean bruh that they did
what they did. I don't know. They bossed up and
went in there and figured it out. You know, they
got me a nice little advanced twenty twenty one. It
was like, well, you know, you can get this advance,
but you still got to do four more years. And
I just took it on the chain and just stugged
it out, you know what I mean.
Speaker 1 (04:32):
So now you can do a new publisher deal.
Speaker 2 (04:34):
Now I could do whatever I want to do free man.
For the first time, I signed my deal one year
out of high school. I was nineteen years old, you
know what I mean. And I was in that deal.
I'm thirty eight now, you know what I mean. It's
been some time, so I'm just I feel refreshed. I
feel like I just started though, you know what.
Speaker 4 (04:47):
I mean, done so much, Like yeah, like, what's the
offers like on the table? Because they're not heard about?
Speaker 2 (04:52):
You getting offers is nice to be a better I mean,
I ain't gonna say all that, you know what I mean.
We are we are we are working our way up
to that because I'm you know, I'm expanded. Rogers bought
a horse shout my boy DJ from Blue Bucks playing
crazy group from the West Coast. But my boy just
started messing with the horses and he like he put
me on like you know, gaming me up about how
(05:14):
to get money with that, and it's like it's a
whole different world.
Speaker 1 (05:17):
Agriculture yeah, racehorse, Yeah, racehorses.
Speaker 2 (05:20):
It's like it's like you buy DNA, you know what
i mean. We basically like trying to find Michael Jordan mom,
like you know what I mean, Like they can't you
know what i mean, all they kids didn't want races
if like you know, if their kids or their dad
won races. It's just, you know, the value goes up.
So learning that type of stuff and you know, expanding
on into film. I'm doing some stuff with Alchemists, the
homie Alchemist producer. You know, were going back and forth
(05:42):
just wrapping on each other beats and got a couple
other people in the mix, and we did a movie
to go with the uh with the album too. So
I'm hype on.
Speaker 1 (05:49):
That because you and out rapping.
Speaker 3 (05:51):
Okay, how do you balance being seen as one of
one of the greatest producers with still being hungry?
Speaker 1 (05:56):
And I guess chasing the next sound maybe.
Speaker 2 (05:59):
I mean, it's not that I'm chasing, It's just that's
just that's how I keep myself entertained. Man Like. Producing
is always just been fun for me. It's just been
like a replacement for video games because I started when
I was like fifteen sixteen, and I stopped playing video
games to start making beats. And I'm glad, I did,
you know what I mean?
Speaker 1 (06:15):
Yeah, yo, you.
Speaker 5 (06:16):
Still look so young, you talking like that's you're still
young thirty eight?
Speaker 2 (06:21):
Yeah, I felt twenty five.
Speaker 5 (06:24):
For sure, right, and then hearing you say right, you
feel like you're about to just start all over.
Speaker 2 (06:29):
Yeah, so with more knowledge, just way smarter, way flyer,
way richer, you know.
Speaker 5 (06:36):
So. But the way you make it sound is like
you haven't enjoyed any of it at all.
Speaker 2 (06:42):
No I have. I have. I have been you know,
I've had some good times. But you know, I just
I've just been chasing like something within myself, like just
trying to push myself to be like great, like you
know what I mean, Like I look up to the greats,
you know what I mean. I look up to the
to the jay Z's, to the Ya's, to nas is,
like you know, and it's like it's more to get
you know, when.
Speaker 3 (07:02):
You talk about going to see a therapist. Was it
just a bad publishing deal that had you?
Speaker 2 (07:05):
Nah? Nah nah, I've been dealing with you know. It
made me realize a lot just a boy my childhood.
You know, my pops had got out of prison a
couple of years ago. People kind of saw the splash.
But I've been dealing with that, you know, since I
was three years old. That's something that you know, my
mom and my grandma, they did a great job like
raising me, you know, making me a respectable young man
and all that. But you know, I just still felt
(07:26):
some type of void with my dad. And you know,
every time we get out, we start to make some stride,
we start to move, and then it's like boom, he
back in there. He's doing another three years right now.
Dang yeah, crazy man.
Speaker 3 (07:37):
Did you feel like you wanted to be in hip
hop because he always had that dream I wanted to be.
Speaker 2 (07:41):
A Nah nah No. I just I just love music period,
you know, because my uncle was in a group called
Troop back in the day. My grandma I was just
talking about.
Speaker 1 (07:50):
Just talking about you.
Speaker 2 (07:52):
So my grandma is the one who started there when
my my uncle was like thirteen, like he found some
kids from his high school and then she was the
one who whipped them in his shape to where they
got a record deal. I had a couple number ones
and all that. But you know, I got to see
early in my life. I got to see a lot
because I lived with him when he was at his height.
Me and my mom. I'm like two, three, four years old.
I'm hearing all this like R and B, I'm hearing
(08:13):
soul for I'm hearing NWA against the West Coast music,
and living pretty nice up until I was like five,
and then you know, my dad was dealing with my
dad being in prison. But living with my uncle, I
got to see a high level lifestyle. But then I
also seen how it started to be new R and
B groups and it sound switched and Troop wasn't what
it once was. And it was like we went from
(08:35):
living in nice condos to now we living in a
one bedroom altogether, you know what I mean in Pasadena. Yeah,
so I got to see highs and lows. Man. That's
why I keep it just humble, I keep it cool.
Speaker 1 (08:45):
Right.
Speaker 5 (08:45):
I was gonna ask, how how has that shaped you?
Because you lived that pretty early.
Speaker 2 (08:49):
Yeah for sure. Yeah. Man, just visiting prisons and then
going back to my uncle condo where you got an
elevator in the spot in a pool, like it was
just like I'm being tugged in a bunch of different
you know ways. But it just kind of kept me
balanced at all times. Like I come from a super humble,
cool family too, so you know, I'm always just pushing man,
pushing it.
Speaker 3 (09:09):
I was just talking about Troop last week, and so
I forgot somebody sampled with. All I do is think
to you a couple of people and played the last Friday,
and they was like, that's B five. I'm like, fine,
but then it's really.
Speaker 2 (09:22):
Troops just they stronghold, they went crazy on their version.
Speaker 3 (09:27):
Now you got Grammy wings, you got plaks, you got accolades.
What do you feel still hasn't been said about your
legacy yet?
Speaker 2 (09:35):
On what hasn't been said? I mean I can't really,
I don't really know. I'm just I'm just living it,
you know what I mean. Like me, i feel like
I'm the most I'm the least like technical producer.
Speaker 1 (09:45):
Ever.
Speaker 2 (09:45):
Everything has just been coming flowing through me. It's coming
from the soul. Like that's why I just I don't
feel like people could pinpoint my sound. I can go
from Beyonce to Knaves, or go from Nas to Beaver,
or to Beaver to Drake or whatever. It's like, I
just make music. I don't got one thing that I
specifically do. So I feel like people still haven't even
like I got family members that don't even know like them,
you did trophies for Drake, or you did right here
(10:08):
for Beeber and Drake or you you know, It's like
people still don't even know what I've done yet for real.
It's something. It's some people that still think Kanye originated
the niggas in Paris beat, you know what I mean,
Like there are still.
Speaker 5 (10:19):
People that told you I literally thought that.
Speaker 2 (10:21):
Yeah, So what I'm saying, there's still people that don't
even know I was associated with niggas in Paris, So
I still got you know, my story is yet to
be fully told.
Speaker 4 (10:30):
Break the association down with you in the song for
people who don't know.
Speaker 2 (10:32):
I mean, I produced the song, made the beat, you know,
I just uh yeah, I worked on that and I
worked on a lift off from Washington Throne too, but
we had did a bunch of other songs. I was
out here in New York. We just had soho you know,
it was in the Mercer Hotel, just doing songs, and
I'm hype on all these other joints that we was
working on. I like hearing jay Z vocals and Yay
vocals on my beats. I was losing my mind, you
(10:53):
know what I mean. But none of them songs seen
a lot of day. They just so happened to go
to Paris, and I guess they was lit. Yay went
through his emails and hurt that beat. It just they
was turning up and it went crazy.
Speaker 3 (11:04):
You you know, you started a trend, right well, I
wanted it to be a trend, right like when you
and Nas got together and started creating all of those
dope projects.
Speaker 1 (11:15):
I was like, that's what I want to see happen.
Speaker 3 (11:17):
I want all of these legendary mcs to get with
younger producers who probably grew up on they sound and
understand they sound and know what they need.
Speaker 1 (11:25):
Yeah, why do you think that didn't become more of
a thing.
Speaker 2 (11:27):
I mean, I think I think it did kind of,
you know what I mean. I feel like we inspired
a couple movements that's happening, you know what I mean.
But I just the game is just different now. Man.
I feel like, you know, people don't care as much
about producers, you know what I mean, even just like that.
You know, it's like me doing my own music and
wanted to like push my stuff forward. It's a lot
(11:49):
that's like that goes into that. Like I just had
a song drop last Friday right with Tia Karin and
Jig that I produced. Made the whole beat by myself
be crazy as hell energy, And I didn't know the
song was dropping until I looked on Twitter. But my lawyer,
my manager was reaching out to the label, like, Yo,
we're supposed to get primary credit on this, We're supposed
to get our payment taking care of mind you the
(12:11):
song came out, I still ain't even been paid for them,
you know what I mean. You know it just came out,
But still it's like I just that part of the game.
I feel like producers are the most disrespected, like period,
you know what I mean. Like we like I might
do a song for somebody, they can go take it
on a whole tour. I ain't even got my fee yet.
I ain't even got an upfront, just measily why they
get compared to what y'all out there making. But I'm
(12:31):
trying to break down that. I'm trying to like get
more respect put on producers' names. And I know we
got people that's pushing in Metro, having successful albums. Just
a lot of people that's doing they thing. Mustard going
crazy being on the super Bowl Like that's good looks,
It's like, but I feel like it's still a lot
of respect that we don't get put on our name.
Speaker 3 (12:48):
That's crazy to say that because I come from the
era where all the producers did you know what I mean,
the Swiss Beads, the Temples, the premiere, Like you knew
all of them.
Speaker 2 (12:57):
And they was getting chilly, it was getting preived back.
Speaker 1 (13:00):
Have the name drops in the song, Yeah, yeah, you
just knew it with them. It was in the music videos.
They were everywhere.
Speaker 2 (13:08):
I mean, shit, I'm on that same way now I'm
about to push my movement forward. Man, this a movie
with Alchemists and uh, just all the other stuff I'm doing.
It's just I feel like people gonna look at me
in a whole new light.
Speaker 1 (13:19):
Why nots? What was it about?
Speaker 2 (13:21):
No? Man? He just wanted to work, you know what
I mean, these niggas be on bullshit, Like I'd be
like I link with people all playing beats. You know,
they'll take beats or they'll come record stuff and then
never use it. Nas just kept coming through and kept
using the music I was providing. And it was that simple.
Like I just kind of was like, if he gonna
dedicate his energy, this is NAS. You know, he don't
even have to be doing this ship like he already solidified.
(13:42):
But it gave me a chance to like really just learn.
Like it's like being in the gym bro. We was
just put we put it. We dropped eighty songs in
three years, you know, I mean six albums, So it's
like that was a lot of a lot of practice,
you know, and just, uh shit, we made it happen.
Speaker 3 (13:58):
We want to gram me what what did y'all unlocked
in each other creatively that the industry probably didn't even
see coming.
Speaker 2 (14:05):
I think, just empowering each other. Man, Like, you know,
he was open to the ideas I was bringing him, Like,
you know, I had certain like hooks, like I had
the Don Tolliver hook already. You know, I had like this,
uh Anderson pact hook that he used on the first album.
That's just like he was just opening my ideas and
it's like, you know, I'm a shooter, man. Everybody that
pull up, I try to get these ideas off and
(14:26):
most people don't understand it. But he understood what I
was on, and you know, we just felt the vibe.
Speaker 1 (14:30):
How much you're sitting off from them? Watch the Thrown sessions.
Speaker 2 (14:33):
How much I'm sitting on what just extra music? I
mean through I was so long ago. Man, It's like
I got stuff that just that's just sitting. But I
don't really got nothing with their vocals. Okay, you know
what I mean. I might have beat ideas and stuff
I was working on at that time, but yeah, no,
they you know, they ain't letting the music out like that.
Speaker 5 (14:50):
Who was the best person you worked with? He was saying, well,
what was the best experience with experience?
Speaker 2 (14:56):
Man, it's been a lot of good ones. I mean,
I guess I would say working on Beyonce album in
twenty thirteen, the Beyonce album, that job. I did a
bunch of stuff on there. She like, she, you know,
let me have that opportunity. And we went to the
Hamptons and we worked and I was just like that
was ill. No, that was that was a Beyonce album.
(15:17):
They don't want the pink.
Speaker 5 (15:18):
Oh okay, I see you this, sorry, but nah, just
being out there seeing that level of lifestyle and just
like how she creates a community with the creators that
she brings around, like making everybody have dinner together and
you know, tell each other about themselves and just like
really you know, getting to know the people that's around her,
Like that was ill.
Speaker 2 (15:39):
Yeah.
Speaker 4 (15:40):
What's your relationship with Kanye today?
Speaker 2 (15:43):
I don't really got one, you know what I mean?
But I mean I love that dude. Man, he funny
is a motherfucker than me. Bro, Like everything he say,
everything he do will be hilarious. And he I mean
he ad genius obviously, you know he got crazy vision
and uh, if he ever you know what I mean.
If we tap in, we tap in. But it's all love.
Speaker 3 (16:00):
Is it a collaborative thing when you're in there with
him is more of a.
Speaker 2 (16:03):
Non its it's everything, Bro, I'm bringing them. I was
bringing them beats, were sitting down making stuff together. We
was you know what I mean. He was having me
flip songs that he had, like putting my take on
it's it's everything.
Speaker 3 (16:15):
I mean, I didn't I didn't realize you come from
such a musically inclined family. Like I knew your dad,
but then I know I didn't know your uncle. Yeah, yeah,
Do you remember the first time you fell in love
with music?
Speaker 2 (16:25):
Fell in love? I mean I remember one specific time.
I must have been four years old, maybe five, and
uh we was riding. My uncle had this green Mustang.
It was ill, like, you know, green rims and all that,
and he had the top down and he was playing
NWA music and I just remember like hearing all these
cuss words. I'm a little kid, but I was like,
but it just sounded so ill like I was just
(16:46):
like I was a mesmerized by like you know what
I was hearing.
Speaker 1 (16:50):
Do you feel like you.
Speaker 3 (16:53):
Have to do for an artist from the West Coast,
like an old gie artist from West Coast, or maybe
not even oldieutist in the West Coast, but you have.
Speaker 1 (16:59):
To do for them what you did for nas.
Speaker 2 (17:02):
I mean that's got to be a dream though, right, Yeah.
I mean I did like five six songs on Snoop
Dogg back on Death Row, and you know, I worked
with Snoop. I work with Game, I worked with a
bunch of different I did a bunch of bunch of
stuff on what was the album that he dropped because
I worked on Easy with a Kanye Game, So whatever
album that was on, Uh dramatic, Yeah, the bunch of
(17:22):
shit on there. Yeah, but uh, hey man, whoever want
to lock in? And it makes sense Like the Nash
it was just it was just a genuine moment, like
you know, it wasn't like we chasing some industry thing
or it's like, bro, I need you to putt He
wasn't putting no pressure on me. I was putting the
pressure on myself more so to be like, let me
deliver for nas, you know what I mean. And that's
what pushed us to make so much music. Lights is hidden.
Speaker 5 (17:44):
Are you like nervous at some point working with because
he is a great and you know he's very particular.
Speaker 2 (17:51):
Yeah, I mean he kind of he laid back and
humble and chill like me. So it's like it was
it was pretty easy, you know what I mean. It
was It was never no ego. That's why we was
able to do so much stuff. And I feel like
that's half of the thing. Like with rappers, especially like Ego.
You know, you see a lot of people that had
hits with big producers and then they start working with
them and then they don't make no more hits like that,
(18:11):
and it's like, Nigga, why didn't you just keep working
with this producer?
Speaker 4 (18:14):
That's right, you know, for a producer like you who
can do so many different people from different places. How
do you feel about the regional identity conversation that Metro
was having, Like like we artists need to have a
certain sound from you.
Speaker 2 (18:25):
Yeah, I mean in this day and age, just just
kind of all mixed in, especially with social media. It's
like everybody see how everybody dress, everybody see how everybody
talk from different places, and it's like everything is just
being put into this melting pot. So I don't know,
you know, but it's like, I mean, you got your mustards,
you got me, you know, but I mean I kind
(18:46):
of do different sounds and shit, but you got you
got people that's locked in on what they do. And uh.
But I feel like it's a new day. It's a
time to experiment and exploring and take advantage of that
melting pot and just like pull from different places, like
I've been working with a lot of deeper troit artist
Shout Baby Trying. You know, I didn't work with T
Grizzly Rio, the young o gps, like all the hood niggas,
(19:06):
you know what I mean. It's like I'm pulling from
that and then I'm bringing him into my world and
just kind of messing it together.
Speaker 3 (19:11):
So if the lyrics that influenced the production, or production
that influenced the lyric.
Speaker 2 (19:15):
It's all one thing. It's all one thing. I feel
like people want to hear if you hear that right
beat as an artist, you know, like it's like it
just comes to you. You ain't got to overthink it.
Speaker 5 (19:25):
I feel like, if it works, it works every every producer, can't,
you know, dipping dab and every genre of music or
have because none of your none of your stuff sound
the same.
Speaker 1 (19:33):
That is creative.
Speaker 2 (19:34):
That's dope, right.
Speaker 5 (19:35):
But going to so you were saying metro Booming said
that you're supposed to or not you're supposed to, but
producers that one particular sound.
Speaker 4 (19:42):
Yeah, because he's basically saying that, like, because of social media,
everything's mixed in and it's and it's we're kind of
losing the feeling of like Atlanta sounded like Atlanta, New
York having a sound like that type of thing.
Speaker 1 (19:52):
Yeah, I think if it worked, it worked. You're one
of the examples of it working.
Speaker 2 (19:55):
Yeah, for sure.
Speaker 1 (19:56):
I love I love Metro Lives project that futuristic some yeah.
Speaker 2 (19:59):
Man, take me through that man. I went to the
most Hood club in La last week. I just be
moving around. They was playing that and the way they
was turning up. I put that on my playlist, like
that'sh it hard.
Speaker 1 (20:10):
I just like it because of the nostalgia that he provided.
Speaker 3 (20:12):
They really do sound like like a future thirteen twenty fifteen. Yeah,
but but it sounds like naw I see what he
did they didn't and the Walker Flocker records on there super.
Speaker 1 (20:23):
Slept on it or who do you want to work with? Now?
Speaker 5 (20:26):
Like who do you because you work with a lot
of artists that are people's dream artists to work with.
Speaker 2 (20:31):
Who I want to do an album with Kodak black Man?
But I think that shit be soulful fly like he
really be rapping, he really be saying ship.
Speaker 1 (20:38):
You know.
Speaker 2 (20:39):
I haven't got to really connect with him, but a
rock with dude, for sure.
Speaker 3 (20:43):
I always say Kodak is like I would say Kendrick's
evil twin with Kendrick.
Speaker 1 (20:51):
Evil a twin a while. Du you you you haven't
reached out to him with nothing Kodak.
Speaker 2 (20:58):
I have. He he rapped on the song I did
on Big Sean last album, but I ain't connected with
them on some like you know, let's really tap in,
but you know I want to do that for so.
Speaker 3 (21:07):
You ever people feel like you ever feel like people
don't give your flowers because you're not like a loud
personality in the industry.
Speaker 2 (21:14):
I mean it could be that, but man, I'm over
that whole conversation. I'm over I'm over listing rankings and
flowers and all that shit. Bro, I'm just making the fly.
I know I'm better than I ever been, and that's
where my that's where the bars at for me. Like, Okay,
if I could just keep getting better off, like I
know that I can like create more headspace in my
beats now. My eight oays literally blew out the fucking
(21:36):
sprinting speakers last night, like my oas is hidden so crazy,
but not in a disruptive way, in a way where
that shit has punched you in the chest and It's
like I'm excited to just dig into that more, you
know what I mean, just creating the sonics. That's just
like I know I've advanced personally.
Speaker 3 (21:52):
You know what's the I guess most trash beat you've
ever made.
Speaker 2 (22:00):
I wouldn't say trash, but I would say look, I
would say, bro. I didn't know niggas in Paris was
about to be what it was about to be. I
really didn't. Man. I had my homeboy, Chili Chill I
used to be rapping with, and you know, just working with.
He was about to put that song out, that beat
out on a mixtape of his, like literally a few
days before. I got the email from don Cee. Don
(22:20):
See was like, y'all, I need you to send me
the files to this beat and I was like, damn,
O the hommie was just about to drop something on
this Let me let me see. Then I got an
email from Yan and he was like, bro, me and
Jay was in Paris. We made this song. He was like,
when this song dropped, your life about to change. So
but I didn't even bro. I still didn't know until
I really heard the song and got around. I went
to the planetarium where they did the listening party and
(22:41):
Cali was there and a bunch of people was there,
and the way they reacted when Niggas in Paris came
on now was when I first understood what it really was,
you know, so, but I didn't know. I didn't know
that she was about to be that big.
Speaker 3 (22:52):
I know a program director who went to a washing
Throne listening party and I was like, how was that album?
And it was like, it's dope, but it ain't no
radio hits on there. And then I remember, I remember
when Niggas passed. I'm like, did you go to the bathroom?
Speaker 2 (23:07):
That's funny, man.
Speaker 5 (23:08):
Also, this ain't no question Click as well. Click is
one of my favorite songs.
Speaker 1 (23:15):
How was that?
Speaker 2 (23:17):
Yeah? Yeah, man, just again just getting back into I was,
you know, signing good music at the time. So I
was just working on everything I could for Ya and
with Ya and his artists, and I think it was
in London we started working on that song and the
original beat was actually a beat I had gave Dom
Kennedy and uh he actually put it out. It was
(23:38):
a song called CDC and they did the original demo
to that beat and I ended up having to tell Ya, like, man,
my boy dom. Kennedy just dropped the song on his beat,
so we just flipped it, took some of the sounds out,
adding more sounds, and just turned it up, made it
what it was.
Speaker 5 (23:52):
Look the vocals in the beginning, right, who is that?
Speaker 2 (23:55):
That's James foonn Leroy legend man know that sound? Yeah?
You know you know James Joint on the anti a
Rihanna album that's about that's named after James.
Speaker 5 (24:06):
Okay, so he made those vocals specifically for Click.
Speaker 2 (24:10):
Yeah he did, yeah, yeah, yeah he yeah took that
Joint like Yay, just gave him a bunch of stuff
and that was something he did over that.
Speaker 1 (24:17):
Yeah. Man, you said he was signing good music.
Speaker 2 (24:20):
Yeah I was. Yeah, that was the time too. I
had to sacrifice because I was already signed to Paul
on the Don and his managers was managing me, so
I was giving him twenty percent. Then when I got
around Yay, him and his team was like, well, we
want to manage you, and I was like this, you know, young, humble,
loyal guy. So I'm like I stuck it out with
my other team. But I also did a thing where
(24:41):
I was getting given twenty percent to Good music. So
I made a sacrifice to get that brand energy just
to be around and just like you know, I got
niggas and pairs out of it. Click, I got a
bunch of stuff out of it. But I sacrificed. I
was giving up like forty percent of my money at
that time.
Speaker 1 (24:54):
Why you wasn't making no money?
Speaker 4 (24:56):
Yeah?
Speaker 2 (24:56):
I mean, man, you know, shout out to no Id
like he always called it brand energy. It's like me
being associated with a lot of good came from that too.
I sacrificed, but you know, it also landed me in
this place where, you know, if I want to go
sell my catalog, if I want to you know, move
my music around, I can. I can do that and
I can make some real money. Now.
Speaker 1 (25:15):
I didn't know the polo the dumb situation even.
Speaker 2 (25:17):
Yeah, I was signed a polo on Universal since I
was nineteen years old and I just got out in July.
Speaker 1 (25:22):
So would you produce with polo.
Speaker 2 (25:23):
Like I was? I mean I was h I produced
like certain little stuff with him during those days when
he was you know, in his heyday. But I was
more so just signing him as a producer, and his
managers was managing me, so they was they had a
whole situation going, but they.
Speaker 4 (25:40):
Couldn't just release you, like once you realized it was
a baddy.
Speaker 2 (25:44):
I'm sure they could have, but they didn't want to,
you know what I mean, they like, shit, no, we
got him early and were about to extract as much
as we can. And you know, how.
Speaker 1 (25:52):
Does that make you feel? Like?
Speaker 3 (25:53):
Does that does that something you take personal? Or you're
just like, you know what, that's business. That's what I signed.
Speaker 2 (25:57):
I mean at this point. Yeah, but I mean, bro,
I was I've been depressed for years many I've been
depressed going to lawyers and they're like, Yo, this is
the worst deal I've ever seen, you know what I
mean stuff like that, and they're like, well, they don't
want to let you out the deal or they don't
want to give you an amendment or whatever the case is.
And it's like that was you know. I was like
chasing like maybe if I make a bigger song than
(26:18):
Niggas in Paris, that I can get out this deal,
you know, And it's like I probably fucked up certain
relationships like that, like just trying to put pressure on
different artists and trying to like just just do too much.
I guess you know what I mean. But it never
was about that. I was just in that contract. That's
just what it was. That's why I'm just happy at
hell to be out now man.
Speaker 1 (26:39):
And all that.
Speaker 2 (26:40):
Yeah he did, damn yeah he did for sure.
Speaker 1 (26:43):
Great business, great for sure.
Speaker 2 (26:45):
I mean I did too, though, you know, it is
what it is. I just talked to Polo last like, man,
solid dude, got love for him. He gave me opportunity.
I've made a lot happen with that opportunity, and I'm
just taking that knowledge down to the to the next phase.
And that's why I'm starting this foundation. I just started
a foundation called the Next Hits. So it's like the
next Hit Boys or the next Hit Songs, however you
want to look at it. Just you know, helping underserve
(27:08):
communities and kids. That's like got dads that's locked up
like my dad was locked up and teaching them about
the business, the business side, the engineering, recording, producing, whatever
they want to do.
Speaker 1 (27:20):
Up.
Speaker 3 (27:21):
His name is always coming up and I didn't know
he was. He signed h came Brown, No, No, he
got it here man, he'd be out here for sure.
Speaker 1 (27:30):
So when did you get out the good music situation?
All of this this happened.
Speaker 2 (27:32):
No, no, no, I was. I was only in a
good music situation for like two years, for like two years,
and just you know, ran through that. But I mean
even with my deal, like Yay wanted to be involved
in that. And I went to Jimmy iving you know,
he went to Jimmy Iveen too, and it was basically like, well,
Jimmy told him like this is up to hit Boy,
(27:53):
And Jimmy came to me like, well, do you want
to be your own man? Do you really want to
learn the game or do you want to keep being
up under somebody else? So I just like kind of
I lost that brand energy, but I just got to
really get on that road to learning about you know,
running a labels. You know how the money is being
spent marketing and all this shit. Like I understand it
a lot better now, so you know, I just you know,
I had to. I just been pushing for these last
(28:14):
you know, however many years.
Speaker 5 (28:17):
So you got you're dropping a solo album. You got
you got some projects coming out out on this in October,
but you're dropping a solo album in November.
Speaker 2 (28:23):
Software update, software updates. Just like That's where I'm at period.
Just update myself, like the therapy aspect, like you know,
being a better dad, being a better you know what
I mean, just dressing better, whatever the case is. Just
update my software, you know, I mean, getting smarter, educating
myself more, whatever it is.
Speaker 1 (28:40):
How do you protect your mental health? And the industry
that's all about constant output. They always want something from you.
Speaker 2 (28:46):
Yeah, I mean I lived my real life. Man. I
had got off of social media for like the whole
twenty twenty five since like January. I just got back
on in July, and man, it made me realize a lot,
like I'm actually living an incredible life, you know what
I mean. You might look at somebody else and be like,
oh man, this person got a bigger mansion. This person
got a you know, a bigger fleet of cars, Like
(29:06):
none of that shit matter, you know what I mean.
If I look around like I got my son, I'm
a real dad. I got my son full time. Like
if you if this was in LA, he'll probably be
sitting right here with us, you know what I mean,
He's everywhere when I got him. So yeah, man, life
is a life is amazing.
Speaker 3 (29:22):
Right now, say understand boundaries? Yeah, what did that look
like what did that looks like.
Speaker 2 (29:28):
Being taken advantage of? You know what I mean, just
anybody who needed something at any time, you know, even
if they deserve it. I just was open arms, just
giving to people and like even family whatever, you know,
just learning how to say no, learning how to just
understand that I'm not the worst person in the world
if I do say no. You know what I mean,
it is what it is like. You know, I'm out
(29:49):
here hustling, I'm out here doing what I gotta do.
I'm pushing around. I'm in New York doing interview at
the interview and just like session after session, like you know,
I got to take care of myself, make sure my
mind's straight first. And when I do got it, I'm
I'm a very generous person, you know what I mean.
I help a lot of people. I do a lot
for people, but I got to make sure i'm straight first. Well,
I think the best go ahead.
Speaker 5 (30:09):
I think the best thing that you're doing is that
foundation that you just you just name the name of it.
The next hits the next I think that's helping, you know,
kids who want to learn the business, you know, does
not have their father that you know, I think that's
pretty dope and proud of you.
Speaker 2 (30:22):
Appreciate that. Yeah. Yeah, we just getting started, man, and
going to push it to the max. Yeah.
Speaker 4 (30:28):
What have your conversation has been like with your dads?
Just about the business side of it since you've come
up out of the things you said with my dad.
Speaker 2 (30:35):
Yeah, but that's the whole thing right there, man. Like, man,
he got out, we hit the ground running. He was
making bred I was trying to educate him. I'm taking
him to my accountant and wealth manager offices. And he
just lives a different life.
Speaker 5 (30:49):
Man.
Speaker 2 (30:49):
He don't differentiate prison from real life like he can.
I'm cool in here, I'm cool out there, you know.
And it's like I don't live like that. Like I
can imagine being around niggas all day. I couldn't. I
couldn't imagine it. So it's like, that's that's just him.
And I try to, you know, show him, teach him,
put him on like put him in the most comfortable
situation possible, and that still couldn't change his mind. And
(31:11):
that was like my eye opening for me. Like, and
you know, you could do anything for a person, and
if they're not ready to accept it, they're not ready
to move forward with how they think there's nothing you
could do about it, you know, so that just how
does that? How does that hurt you? Oh?
Speaker 1 (31:26):
Man?
Speaker 2 (31:27):
I mean every time it's like worse and worse. Because
this time when he got out, Bro, he do a song.
He was on the fucking stage with Kendrick at the
pop out holding my son. It's a picture Kendrick, my
son and my dad on stage at the pop out,
did songs with Snoop Dogg, did a whole album with
the game that went number one on iTunes. He did
a bunch of shit, and for him to go back
(31:48):
this time, it probably hurt the worst cause I'm like, Bro,
like you actually was gett into it, getting respect, getting love,
getting money, all the shit, and it's like you still
ended up back in there. It's like that's where the
software update comes from. Like I got to update my software.
I gotta start playing with my life. I gotta just
take me more serious, you know, instead of always pouring
into everybody else as much.
Speaker 1 (32:08):
As I do. Have you offered him help, like you know,
listen many not for sure?
Speaker 2 (32:13):
We didn't, man, Bro, We didn't talk about it at all.
Like I'm like I might have to take him to
the most random middle of America city and just like
where it's no action, and bring a therapist and just
like work out all day and make music. Man Like,
that's probably the only way to save him, you know
what I mean, He'll probably find some bullshit out there
if everybody still finds something to get into the institution.
(32:37):
He is man for shure, I mean, bro, Like, he
had a plea deal to not even have the three
years he just got now, and he said he would
rather be in prison than be on the streets on
probation because he can get washed up for a longer
time that way, I guess, but I couldn't imagine that, man,
you know what I mean. And it's like, well, you
don't want my health, then, you know what I mean,
I pay for the Lord to get you the plea deal.
(32:59):
You want to, you know, do your thing. So how
A mean when you get out, bro? How mean when
you get out?
Speaker 1 (33:03):
What kind of friction is that cause between the father
and the sundow get the business?
Speaker 2 (33:07):
Yeah? No, I mean it's deep, bro, It's deep. And
that's the friction where it's like, I'm all I've always
been forgiven, I've always been like, you know, their form,
sending breasts, sending help, whatever the case is. And this
is the one time where I'm like, it's got to
be tough. Love, bro, holl at me when you get out,
because I did everything. I paid for the high priced lawyer.
I flew to North Carolina where the case was God
on the stand, talk to the judge, spend my time
(33:29):
out there, time away from my son, all this shit,
and you still win against everything that I, you know,
put the energy into. And I'm like, well, bro, I
gotta focus on me. Period.
Speaker 1 (33:40):
Does he have a sentim entitlement?
Speaker 2 (33:42):
I'm sure you do. Yeah, yeah, show And I made
it so easy all these years, and it's like, yeah,
no I can't. I can't play them games no more.
Speaker 4 (33:50):
Mm hm so crazy.
Speaker 2 (33:52):
Yeah.
Speaker 1 (33:52):
What do you think about AI?
Speaker 2 (33:53):
Man?
Speaker 1 (33:54):
Like, how's AI gonna impact the production process?
Speaker 2 (33:56):
Man? I think it's a dope tool man. Don't use
it as a crutch. Don't press a button and then
get a person to beat and be like that shit.
Like you know, if you press that button and you
hear something dope, try to flip it as if you
was just listening to a sample off the radio or
a sample off a record, whatever the case is. Just
it's a tool. Man, I'm rocking with it.
Speaker 1 (34:13):
Oh you know when you say press a button, what
do you mean?
Speaker 2 (34:15):
Like it's like you could just literally programs where it's
like you could type some in press the button and
it give you like an outline of what you typed in,
whether it's a like make a hit boy beat, make
an East Coast hip hop nineteen ninety nine type beat,
and it'll give you something that's in that area type
you know, vibe. But you know, I don't think you
should just take that and be like, oh boom my
eight this. I mean you could. I'm sure it's happening.
(34:37):
I'm sure i'd be hearing music on the radio. Like, man,
it sounds like it could be a sometimes, but you know,
I don't know. But yeah, I think it's an ill
tool if you use it the right way and just
use it as a tool, not a crutch.
Speaker 1 (34:48):
So it's has sparked some creativity, yeah for sure.
Speaker 2 (34:51):
Like you know, it's like I use it kind of
like how I would use MIDI Like, if I play
a piano progression and I want to turn into some
like strings, I could just bo and run it through
that and I could take them strings and then chop
them up and make it, you know, into his own thing.
What do you think about artists though? Artists? I mean, man,
I feel like K pop, Demon Hunters, is AI, you know,
(35:12):
all the kids. It sounds like I can't even get
one song off in the card no more. I be
trying to play my music. My son, like, nah, play
a soda pop play you know. I'm like, man, damn it.
It's humbling, you know what I mean. But it's also
eye opening, Like, man, this is doing numbers? Like what
am I missing? But I don't know, but it sounds
like you to me.
Speaker 4 (35:33):
I don't know, but I know everything they do is
just like magic.
Speaker 1 (35:36):
Like it goes up for them kids.
Speaker 5 (35:39):
Numbers you're listening with the different pair is though you
got producers something.
Speaker 2 (35:45):
I'm just I'm just listening. I'm messing around with AI
and the listening to that, it just it sounds like
it's an AI and it might not be. I don't
want to disrespect the creatives that's behind that, but it's like,
you know, that's just how I feel.
Speaker 3 (35:57):
I've got a couple more questions you have. You have
a give an artist beat you knew was dope and
they just completely wasted.
Speaker 2 (36:02):
It plenty times. I ain't gonna put no names out there,
but you know I was. It was. It's certain songs
that I just wish would have been like actual hits,
like Watch and Learn for Rihanna, like every girl I
run into, like that's my favorite Rihanna song and it's like, damn,
that should have been a hit, or like right here
with Justin Bieber and Drake, Like I don't understand why
(36:22):
them songs wasn't like top ten or whatever, but that's
part of the game.
Speaker 1 (36:26):
You know.
Speaker 2 (36:27):
Learn is my jazz.
Speaker 1 (36:29):
I wish. I mean, you know, we all wish, but
I wish Nipsey had to pass on.
Speaker 2 (36:35):
Oh man, come on man. I feel like Racks in the.
Speaker 1 (36:37):
Middle was a perfect follow up the Victory bro.
Speaker 2 (36:40):
That was his whole vision. Like he came to me
and uh, I was actually about to put that song out.
It was gonna be It was gonna be on my
production album. I was about to do like a calid
esque type album, different feature and different artists, and that
was gonna be me featuring Roddy Rich. Rddy had a
verse on there, and we was about to we literally
starting the paperwork process, and I low key had Nit
pull up. I wanted to him to throw a verse
on it. He heard the song, he was like, Bro,
(37:02):
run that back. I ran it back. He's like, man,
let me get this joint.
Speaker 1 (37:05):
Bro.
Speaker 2 (37:05):
He was like, this could be the perfect song to
like push, you know, into my next rollout you know,
post victory lap. And I'm like, I'm just like cool,
let's run it, you know what I mean. And he
came through. He did the song. It was a movie
like him doing three verses talking about the stuff he
was talking about and laying it on the line like that.
And for that to play out that way, it was
just a movie for me, man like insane and I
(37:26):
was looking for I was talking to Nip every day.
We texted at six in the morning, you know, top
of the morning, just like sending samples back and forth.
I'm sending him beats I had just made. We talking
about He's telling me he wanted me to be involved
in this next project heavy and for that to you know,
you know happened, how it happened. It was super fucked
up man, sad time for real.
Speaker 1 (37:43):
Yeah, because on rack that's what he talks about your fat.
Speaker 2 (37:47):
Yeah yeah, yeah, that was airy, bro. It was in
a way to beat sound with the choirs and all
that and just him walking through the graveyard like man,
nuts nuts. It was dope though. I don't know. At
the video shoot, I got to meet his grandmother. We
was on the private jet kicking it. They drinking champagne.
I was flying, like being able to experience that.
Speaker 1 (38:08):
I remember that picture. Yeah, I remember when he posted
that picture.
Speaker 2 (38:12):
I was there. I'm in the video. I mean, that
was my that's my mcclearen, like next to the other
car in front of the private jet.
Speaker 1 (38:23):
That's what you would have ended up, like what you
did with NAS, that would have been I agree.
Speaker 2 (38:28):
I don't think I think we would have did damage
the damage man. Like, I feel like Racks in the
Middle is still one of the most like revolutionary West
Coast beats from the modern era, you know what I mean.
I feel like that's where if I was to think about,
like if Dre was actually gonna make Detox, I think
it should sound like Racks in the Middle level like,
you know, because it's got that that West Coast like,
(38:48):
you know, drag on it, but it's still sound new,
you know, you got to push it forward.
Speaker 1 (38:52):
You want me for that too.
Speaker 2 (38:54):
Yeah, we did a bitter sweet man crazy. But but
the good thing is like when we made the song,
you felt like that. We felt like, man, this is
Grammy level. We was playing that joint back to back.
We was turned up in the stool. Was really feeling that.
So for it to it was just validating like them,
like Nip was on, he was right on, spot on,
you know what I mean.
Speaker 3 (39:12):
People really embraced the loss of people really realize how
big of a lost that was, especially for the West Coast.
Speaker 2 (39:19):
I think, so I think the world, you know, you know,
I feel like, you know, obviously when you know it's
fucked up, and when people passed, they get even bigger.
More people tap in. So it's like, you know, his
legacy is spreaded, and you see what Black Sam doing.
He's taking a brand and just like turning it into
you know, a monster.
Speaker 1 (39:35):
Man.
Speaker 2 (39:35):
It's amazing. So yeah, man, it's crazy.
Speaker 5 (39:39):
I'm glad that you are like making yourself seen and
I hope you do a lot more present because I'm
tired of.
Speaker 2 (39:46):
Googling your name. Stories of boys actually being hit come up.
Speaker 1 (39:53):
Yeah.
Speaker 3 (39:53):
Yeah, it's that time for sure, what's hard at making
a beat that gives a rapper of a hit or
making a beat that gives them like a career.
Speaker 1 (40:06):
I don't want to say revival with like resurgence.
Speaker 2 (40:09):
It's all the same thing. I'm just making music. I
don't I never meant to make a hit. I just
made music that I felt, you know. And most of
my hits that that y'all would know me for it
came from me just being in the stool, just damnar
by myself, just cooking up, having fun.
Speaker 1 (40:22):
Man.
Speaker 2 (40:23):
That's what this production shit has always been about for me,
just literally having fun.
Speaker 3 (40:27):
At this point in your career, are you making music
for money, for legacy or just because you you can't stop?
Speaker 2 (40:31):
It's what you know, all the above uneath the bread
I'm trying to you know, I mean the legacy, that's
just it's gonna shape up. It's gonna be what it's
gonna be, and I just I just love to do it,
you know what I mean. Like I said, like, I
love when I feel my own growth. I love when
I feel myself advancing and being able to do certain
things that I wanted to do five years ago musically
that I can now accomplish and now I can now
(40:52):
you know, fully manipulating being these sounds as the ways
that I can make them do whatever I want to.
Speaker 1 (40:59):
Yeah, And if hit Boy stop producing to day, what
do you think? What do you think the game would lose?
Speaker 2 (41:05):
Man? Some authenticity. It's just like just raw like you
know my I mean, bruh, I just like I said,
I shoot from the hip every time, like I don't.
I don't know how. I don't know how to make
a hit. I'm just making music and it should just
be coming. What is becoming like, you know, just being
able to see some of these songs performed in stadiums
and watching Beyonce, watching whole watching you know, Travis Kendrick
(41:28):
doing backseat freestyle still on his tour like it's ill,
you know what I mean, just like and it's still
rocking as if it just dropped. It's like, man, you
just gotta make what you feel in it. You know.
I've been making some stuff that's you know, timeless. Have
you got anything but Kendrick tuck Away. I'll be chopping
them with bro man. That's why I'll be telling people, man,
it's crazy. So my little was my son at he
five years old. Now before his fourth birthday, he made
(41:50):
he made a song. He made his first song because
he was in most of the sessions with me and I.
I was just sitting in the back. Didn't realize he
was taking this all in. Told him, you know, I
asked him, did he want to make a song for
his birthday? Put him on the mic. He literally freestyled
with contexts. I was laughing. It was crazy. But put
the song out with a video, and I think it
was the day not like us drop. And that's how
I knew Kendrick was just like this was light work
(42:11):
for him. This whole ship. Like he text me about
my son video like go ahead, nephew, Like you know
what I mean? You know what I mean. It's like
bro like in the middle. I'm like this nigga Like
he crazy? He really crazy? He cool though, well hip
boy and spank Niitty James, y'all got y'all coming out
of Shout my boys, spank Man, shout out him man
the whole Inland Empire.
Speaker 1 (42:32):
Whatsank where you from?
Speaker 2 (42:33):
He's from him He's from deep into II.
Speaker 1 (42:35):
Yeah.
Speaker 2 (42:35):
Show that's in like east of l A, like like
an hour east of LA. That's where we all kind
of came up. I grew up in Pasadena, but when
I was thirteen, I moved to the I E. And
that's where I learned how to make beats and all
that shit. So it was vital. But I was sad
when I first moved out of Dina for sure. But yeah,
the II, that's you know, a lot of homies out there.
Speaker 1 (42:54):
And then but you and Alchemists got it. I'm coming
out October twenty fourth.
Speaker 2 (42:57):
Yeah, we got an album and a movie you that
I feel like it's gonna make people look at us
in a whole different light.
Speaker 1 (43:03):
Yeah, and then a solo I'm called Software Update.
Speaker 2 (43:11):
I mean, I'm excited, bro. It's like it's it's it's genuine.
It's coming from a place of like this shit coming
from our soul. Man. So like I'm just like looking
forward to, you know, letting people see me in a
different light and just like pushing you know what I've
done forward.
Speaker 1 (43:25):
Yeah, and you're free now Free.
Speaker 2 (43:28):
It's amazing, hit Free. I just threw like a million
dollar party in the l A last week and shot
a video with az Chike Baby trying to spank and
that was the illest we had Marathon Burger up there.
We had this whole eat Couch activation because we got
the song called eat Couch and it was it was crazy.
It's like smashing the girl on the couch from the
back of her faces in the couch. So she eating
(43:50):
the couch.
Speaker 1 (43:59):
Pillow for that. Here's a pillow.
Speaker 2 (44:00):
No no, no, no, I sink is just funny. When
he said he couch, man, that's that just had me
laughing so hard. I'm like, we got to put this
joint out, man.
Speaker 1 (44:08):
Why the hell is the party a million dollars because.
Speaker 2 (44:10):
It was a celebration eighteen years. Man, I'm like, I
gotta go all out. I just went crazy. I just
had all types of activations. I had, you know, hood
Taco spots, Marathon Berger, you know, just a lot of
fly ship going or man.
Speaker 1 (44:23):
That's what it's hit boy, man, thank you for coming, my.
Speaker 2 (44:26):
Brother for suw appreciate you, man, Yes, sir, every day.
Speaker 1 (44:32):
A week, click yours up the breakfast club. You're finished
for y'all dumb
Don't every day up? Wait, click your ass up. The
Breakfast Club finished for y'all.
Speaker 2 (00:06):
Done.
Speaker 3 (00:07):
Yep to the world, no dangerous morning to show to
Breakfast Club? Shallamaine the god j just hilarious DJ Envy
Envy had to run but Laura le Ross and right
now we got a man.
Speaker 1 (00:16):
I want to say young legend, but you just know
legend at this point. You know what I'm saying. You
know what I mean.
Speaker 3 (00:20):
Listen, anybody that delivered nods his first Grammy, I got
a salute.
Speaker 1 (00:25):
Hit Boy is here.
Speaker 2 (00:26):
Respect morning. Appreciate y'all having me. I've been waiting to
get on here for some years.
Speaker 1 (00:29):
Man, happy to have you. Man, how you feeling this
more solid?
Speaker 2 (00:31):
Man? I feel better than ever for real? Just run
around New York? You know what I mean. We was
out late last night, so I'm dragon a little bit,
but I'm good though. Man's just I'm blessed one time
profession week. I'm just here man, moving around.
Speaker 3 (00:45):
Yeah, when did hit Boy feel like he arrived? I mean,
you produced for everybody from jay Z to be honestly
to NAS. When you look back, was it a beat?
Was the moment that made you feel like, Yeah, I'm
here to stay in this game.
Speaker 2 (00:56):
Yeah, it's crazy, man, because I you know, I was
in a in a situation. I was in a deal
for like eighteen years with UNPG Universal Music Publishing Group,
and I was just talking about how I kind of
never felt like I all the way made it because
you know it's funny, bro, you don't even notice you
tweeted something a long time ago that triggered something in
my brain. Bro, somebody says something and you tweeted like
(01:19):
this is probably twenty eleven something. You was like, hit
boy got that other worldly money because I guess I
did niggas in Piris. I did that the joints, and
I was like, hold up, I'm supposed to have other
worldly money. This is jay z first common record, you
know what I mean. And I'm like, yo, So that's
what I didn't even know. I was in a bad
deal till I made Niggas in Peris. You. I mean,
I did drop the World with my boy chasing cash
for Lil Wayne and Eminem. I did other joints, but
(01:40):
that was the first hit that was like, Okay, where
the real money at now, you know what I mean.
I was able to get some bread. I went and
did a record deal and the label deal with Jimmy.
I v that interscope, but my publishing money wasn't what
it should have been. I couldn't go get that crazy advanced.
So you triggered something in me. I'm like, man, I'm
supposed to be touching.
Speaker 1 (01:59):
Who do you have.
Speaker 3 (02:00):
That conversation with because a lot of times, man, especially
when when you're black, you don't like to tell people
you don't know something.
Speaker 2 (02:05):
Yeah, yeah, who had you know? It's crazy though, because
that's bro Jimmy Iveen. I went to his crib when
I was about to sign my deal, just chopping. They
were eating food, you know, just connecting, and I'm just
telling him like, bro, I don't know nothing about none
of this shit. And he was like, you know, that's
actually the smartest thing you ever said, because everything I
do you can learn, but what you do I can't learn.
Speaker 1 (02:23):
That.
Speaker 2 (02:23):
You just got that in you so that you know,
that was just like a little moment where I mean
but I mean, bro, it's just been it's been a journey.
It's been a hell of a journey. And I got
out my deal just this past July, two months ago,
so I felt like I made it when I got
out my deal, you know what I mean?
Speaker 3 (02:37):
It was Jimmy Iveen who got you on the right track. Man,
Well that's just handed you a piece of paper saying, oh,
just sign this.
Speaker 2 (02:42):
Well, I mean, well that's kind of what happened. He
handed me the papers, He gave me a couple of m's.
I'm like twenty four years old. I wanted did the
most nigga shit I could do, got a crib and
moved all my homies in and just like turned up
and you know I was able to make some hits. Yeah,
I mean, but basically, uh, jay Z was the one
who got me out my deal. Jay Z and Desiree Perez,
they stepped in. I was being managed by them like
(03:04):
twenty twenty one, and at that point I was in
my deal for fourteen years and I was like, yo,
I need to get out this deal, and they was like, well,
the best we could do is you know, you can
go from here to twenty twenty five, and you know,
July twenty twenty five hit you'll be out your deal.
And I just did them last four years. So I
was in my deal for eighteen years.
Speaker 4 (03:20):
July first, twenty twenty five. What did you wake up
feeling like.
Speaker 2 (03:24):
A new man? A new man? I'm just like, man,
the pressure that dark cloud is just gone now. Like
it was like I didn't realize I was depressed. Like
I've been doing therapy, you know what I mean. I
realized a lot like a shout out Melissa Doumaan as
my therapist, Like she made me realize I never had
boundaries and that made me go back to like, oh
that's why I was like just basically handed people around
(03:44):
me the same life lifestyle. You know, I'm taking twenty
thirty people out to dinner, I'm doing all this all
the young niggashit periods, so just you know, basically just
to be in this place now. I'm just feeling refreshed.
Speaker 1 (03:57):
Man, How are you now with that? Though?
Speaker 2 (03:59):
Right? Good? I'm good. Circle small, it's like a dot,
it's not a circle no more. It's like it's just
small now, you know, so just more condensed than you know.
I got the right people around me that I don't
really care about me versus just letting anybody hang.
Speaker 3 (04:13):
What did jay Z and Dads do exactly to get
you out of your situation? Everybody likes to blame Rock
Nation for the bad shit.
Speaker 2 (04:18):
Right right right? Nah? I mean bruh that they did
what they did. I don't know. They bossed up and
went in there and figured it out. You know, they
got me a nice little advanced twenty twenty one. It
was like, well, you know, you can get this advance,
but you still got to do four more years. And
I just took it on the chain and just stugged
it out, you know what I mean.
Speaker 1 (04:32):
So now you can do a new publisher deal.
Speaker 2 (04:34):
Now I could do whatever I want to do free man.
For the first time, I signed my deal one year
out of high school. I was nineteen years old, you
know what I mean. And I was in that deal.
I'm thirty eight now, you know what I mean. It's
been some time, so I'm just I feel refreshed. I
feel like I just started though, you know what.
Speaker 4 (04:47):
I mean, done so much, Like yeah, like, what's the
offers like on the table? Because they're not heard about?
Speaker 2 (04:52):
You getting offers is nice to be a better I mean,
I ain't gonna say all that, you know what I mean.
We are we are we are working our way up
to that because I'm you know, I'm expanded. Rogers bought
a horse shout my boy DJ from Blue Bucks playing
crazy group from the West Coast. But my boy just
started messing with the horses and he like he put
me on like you know, gaming me up about how
(05:14):
to get money with that, and it's like it's a
whole different world.
Speaker 1 (05:17):
Agriculture yeah, racehorse, Yeah, racehorses.
Speaker 2 (05:20):
It's like it's like you buy DNA, you know what
i mean. We basically like trying to find Michael Jordan mom,
like you know what I mean, Like they can't you
know what i mean, all they kids didn't want races
if like you know, if their kids or their dad
won races. It's just, you know, the value goes up.
So learning that type of stuff and you know, expanding
on into film. I'm doing some stuff with Alchemists, the
homie Alchemist producer. You know, were going back and forth
(05:42):
just wrapping on each other beats and got a couple
other people in the mix, and we did a movie
to go with the uh with the album too. So
I'm hype on.
Speaker 1 (05:49):
That because you and out rapping.
Speaker 3 (05:51):
Okay, how do you balance being seen as one of
one of the greatest producers with still being hungry?
Speaker 1 (05:56):
And I guess chasing the next sound maybe.
Speaker 2 (05:59):
I mean, it's not that I'm chasing, It's just that's
just that's how I keep myself entertained. Man Like. Producing
is always just been fun for me. It's just been
like a replacement for video games because I started when
I was like fifteen sixteen, and I stopped playing video
games to start making beats. And I'm glad, I did,
you know what I mean?
Speaker 1 (06:15):
Yeah, yo, you.
Speaker 5 (06:16):
Still look so young, you talking like that's you're still
young thirty eight?
Speaker 2 (06:21):
Yeah, I felt twenty five.
Speaker 5 (06:24):
For sure, right, and then hearing you say right, you
feel like you're about to just start all over.
Speaker 2 (06:29):
Yeah, so with more knowledge, just way smarter, way flyer,
way richer, you know.
Speaker 5 (06:36):
So. But the way you make it sound is like
you haven't enjoyed any of it at all.
Speaker 2 (06:42):
No I have. I have. I have been you know,
I've had some good times. But you know, I just
I've just been chasing like something within myself, like just
trying to push myself to be like great, like you
know what I mean, Like I look up to the greats,
you know what I mean. I look up to the
to the jay Z's, to the Ya's, to nas is,
like you know, and it's like it's more to get
you know, when.
Speaker 3 (07:02):
You talk about going to see a therapist. Was it
just a bad publishing deal that had you?
Speaker 2 (07:05):
Nah? Nah nah, I've been dealing with you know. It
made me realize a lot just a boy my childhood.
You know, my pops had got out of prison a
couple of years ago. People kind of saw the splash.
But I've been dealing with that, you know, since I
was three years old. That's something that you know, my
mom and my grandma, they did a great job like
raising me, you know, making me a respectable young man
and all that. But you know, I just still felt
(07:26):
some type of void with my dad. And you know,
every time we get out, we start to make some stride,
we start to move, and then it's like boom, he
back in there. He's doing another three years right now.
Dang yeah, crazy man.
Speaker 3 (07:37):
Did you feel like you wanted to be in hip
hop because he always had that dream I wanted to be.
Speaker 2 (07:41):
A Nah nah No. I just I just love music period,
you know, because my uncle was in a group called
Troop back in the day. My grandma I was just
talking about.
Speaker 1 (07:50):
Just talking about you.
Speaker 2 (07:52):
So my grandma is the one who started there when
my my uncle was like thirteen, like he found some
kids from his high school and then she was the
one who whipped them in his shape to where they
got a record deal. I had a couple number ones
and all that. But you know, I got to see
early in my life. I got to see a lot
because I lived with him when he was at his height.
Me and my mom. I'm like two, three, four years old.
I'm hearing all this like R and B, I'm hearing
(08:13):
soul for I'm hearing NWA against the West Coast music,
and living pretty nice up until I was like five,
and then you know, my dad was dealing with my
dad being in prison. But living with my uncle, I
got to see a high level lifestyle. But then I
also seen how it started to be new R and
B groups and it sound switched and Troop wasn't what
it once was. And it was like we went from
(08:35):
living in nice condos to now we living in a
one bedroom altogether, you know what I mean in Pasadena. Yeah,
so I got to see highs and lows. Man. That's
why I keep it just humble, I keep it cool.
Speaker 1 (08:45):
Right.
Speaker 5 (08:45):
I was gonna ask, how how has that shaped you?
Because you lived that pretty early.
Speaker 2 (08:49):
Yeah for sure. Yeah. Man, just visiting prisons and then
going back to my uncle condo where you got an
elevator in the spot in a pool, like it was
just like I'm being tugged in a bunch of different
you know ways. But it just kind of kept me
balanced at all times. Like I come from a super humble,
cool family too, so you know, I'm always just pushing man,
pushing it.
Speaker 3 (09:09):
I was just talking about Troop last week, and so
I forgot somebody sampled with. All I do is think
to you a couple of people and played the last Friday,
and they was like, that's B five. I'm like, fine,
but then it's really.
Speaker 2 (09:22):
Troops just they stronghold, they went crazy on their version.
Speaker 3 (09:27):
Now you got Grammy wings, you got plaks, you got accolades.
What do you feel still hasn't been said about your
legacy yet?
Speaker 2 (09:35):
On what hasn't been said? I mean I can't really,
I don't really know. I'm just I'm just living it,
you know what I mean. Like me, i feel like
I'm the most I'm the least like technical producer.
Speaker 1 (09:45):
Ever.
Speaker 2 (09:45):
Everything has just been coming flowing through me. It's coming
from the soul. Like that's why I just I don't
feel like people could pinpoint my sound. I can go
from Beyonce to Knaves, or go from Nas to Beaver,
or to Beaver to Drake or whatever. It's like, I
just make music. I don't got one thing that I
specifically do. So I feel like people still haven't even
like I got family members that don't even know like them,
you did trophies for Drake, or you did right here
(10:08):
for Beeber and Drake or you you know, It's like
people still don't even know what I've done yet for real.
It's something. It's some people that still think Kanye originated
the niggas in Paris beat, you know what I mean,
Like there are still.
Speaker 5 (10:19):
People that told you I literally thought that.
Speaker 2 (10:21):
Yeah, So what I'm saying, there's still people that don't
even know I was associated with niggas in Paris, So
I still got you know, my story is yet to
be fully told.
Speaker 4 (10:30):
Break the association down with you in the song for
people who don't know.
Speaker 2 (10:32):
I mean, I produced the song, made the beat, you know,
I just uh yeah, I worked on that and I
worked on a lift off from Washington Throne too, but
we had did a bunch of other songs. I was
out here in New York. We just had soho you know,
it was in the Mercer Hotel, just doing songs, and
I'm hype on all these other joints that we was
working on. I like hearing jay Z vocals and Yay
vocals on my beats. I was losing my mind, you
(10:53):
know what I mean. But none of them songs seen
a lot of day. They just so happened to go
to Paris, and I guess they was lit. Yay went
through his emails and hurt that beat. It just they
was turning up and it went crazy.
Speaker 3 (11:04):
You you know, you started a trend, right well, I
wanted it to be a trend, right like when you
and Nas got together and started creating all of those
dope projects.
Speaker 1 (11:15):
I was like, that's what I want to see happen.
Speaker 3 (11:17):
I want all of these legendary mcs to get with
younger producers who probably grew up on they sound and
understand they sound and know what they need.
Speaker 1 (11:25):
Yeah, why do you think that didn't become more of
a thing.
Speaker 2 (11:27):
I mean, I think I think it did kind of,
you know what I mean. I feel like we inspired
a couple movements that's happening, you know what I mean.
But I just the game is just different now. Man.
I feel like, you know, people don't care as much
about producers, you know what I mean, even just like that.
You know, it's like me doing my own music and
wanted to like push my stuff forward. It's a lot
(11:49):
that's like that goes into that. Like I just had
a song drop last Friday right with Tia Karin and
Jig that I produced. Made the whole beat by myself
be crazy as hell energy, And I didn't know the
song was dropping until I looked on Twitter. But my lawyer,
my manager was reaching out to the label, like, Yo,
we're supposed to get primary credit on this, We're supposed
to get our payment taking care of mind you the
(12:11):
song came out, I still ain't even been paid for them,
you know what I mean. You know it just came out,
But still it's like I just that part of the game.
I feel like producers are the most disrespected, like period,
you know what I mean. Like we like I might
do a song for somebody, they can go take it
on a whole tour. I ain't even got my fee yet.
I ain't even got an upfront, just measily why they
get compared to what y'all out there making. But I'm
(12:31):
trying to break down that. I'm trying to like get
more respect put on producers' names. And I know we
got people that's pushing in Metro, having successful albums. Just
a lot of people that's doing they thing. Mustard going
crazy being on the super Bowl Like that's good looks,
It's like, but I feel like it's still a lot
of respect that we don't get put on our name.
Speaker 3 (12:48):
That's crazy to say that because I come from the
era where all the producers did you know what I mean,
the Swiss Beads, the Temples, the premiere, Like you knew
all of them.
Speaker 2 (12:57):
And they was getting chilly, it was getting preived back.
Speaker 1 (13:00):
Have the name drops in the song, Yeah, yeah, you
just knew it with them. It was in the music videos.
They were everywhere.
Speaker 2 (13:08):
I mean, shit, I'm on that same way now I'm
about to push my movement forward. Man, this a movie
with Alchemists and uh, just all the other stuff I'm doing.
It's just I feel like people gonna look at me
in a whole new light.
Speaker 1 (13:19):
Why nots? What was it about?
Speaker 2 (13:21):
No? Man? He just wanted to work, you know what
I mean, these niggas be on bullshit, Like I'd be
like I link with people all playing beats. You know,
they'll take beats or they'll come record stuff and then
never use it. Nas just kept coming through and kept
using the music I was providing. And it was that simple.
Like I just kind of was like, if he gonna
dedicate his energy, this is NAS. You know, he don't
even have to be doing this ship like he already solidified.
(13:42):
But it gave me a chance to like really just learn.
Like it's like being in the gym bro. We was
just put we put it. We dropped eighty songs in
three years, you know, I mean six albums, So it's
like that was a lot of a lot of practice,
you know, and just, uh shit, we made it happen.
Speaker 3 (13:58):
We want to gram me what what did y'all unlocked
in each other creatively that the industry probably didn't even
see coming.
Speaker 2 (14:05):
I think, just empowering each other. Man, Like, you know,
he was open to the ideas I was bringing him, Like,
you know, I had certain like hooks, like I had
the Don Tolliver hook already. You know, I had like this,
uh Anderson pact hook that he used on the first album.
That's just like he was just opening my ideas and
it's like, you know, I'm a shooter, man. Everybody that
pull up, I try to get these ideas off and
(14:26):
most people don't understand it. But he understood what I
was on, and you know, we just felt the vibe.
Speaker 1 (14:30):
How much you're sitting off from them? Watch the Thrown sessions.
Speaker 2 (14:33):
How much I'm sitting on what just extra music? I
mean through I was so long ago. Man, It's like
I got stuff that just that's just sitting. But I
don't really got nothing with their vocals. Okay, you know
what I mean. I might have beat ideas and stuff
I was working on at that time, but yeah, no,
they you know, they ain't letting the music out like that.
Speaker 5 (14:50):
Who was the best person you worked with? He was saying, well,
what was the best experience with experience?
Speaker 2 (14:56):
Man, it's been a lot of good ones. I mean,
I guess I would say working on Beyonce album in
twenty thirteen, the Beyonce album, that job. I did a
bunch of stuff on there. She like, she, you know,
let me have that opportunity. And we went to the
Hamptons and we worked and I was just like that
was ill. No, that was that was a Beyonce album.
(15:17):
They don't want the pink.
Speaker 5 (15:18):
Oh okay, I see you this, sorry, but nah, just
being out there seeing that level of lifestyle and just
like how she creates a community with the creators that
she brings around, like making everybody have dinner together and
you know, tell each other about themselves and just like
really you know, getting to know the people that's around her,
Like that was ill.
Speaker 2 (15:39):
Yeah.
Speaker 4 (15:40):
What's your relationship with Kanye today?
Speaker 2 (15:43):
I don't really got one, you know what I mean?
But I mean I love that dude. Man, he funny
is a motherfucker than me. Bro, Like everything he say,
everything he do will be hilarious. And he I mean
he ad genius obviously, you know he got crazy vision
and uh, if he ever you know what I mean.
If we tap in, we tap in. But it's all love.
Speaker 3 (16:00):
Is it a collaborative thing when you're in there with
him is more of a.
Speaker 2 (16:03):
Non its it's everything, Bro, I'm bringing them. I was
bringing them beats, were sitting down making stuff together. We
was you know what I mean. He was having me
flip songs that he had, like putting my take on
it's it's everything.
Speaker 3 (16:15):
I mean, I didn't I didn't realize you come from
such a musically inclined family. Like I knew your dad,
but then I know I didn't know your uncle. Yeah, yeah,
Do you remember the first time you fell in love
with music?
Speaker 2 (16:25):
Fell in love? I mean I remember one specific time.
I must have been four years old, maybe five, and
uh we was riding. My uncle had this green Mustang.
It was ill, like, you know, green rims and all that,
and he had the top down and he was playing
NWA music and I just remember like hearing all these
cuss words. I'm a little kid, but I was like,
but it just sounded so ill like I was just
(16:46):
like I was a mesmerized by like you know what
I was hearing.
Speaker 1 (16:50):
Do you feel like you.
Speaker 3 (16:53):
Have to do for an artist from the West Coast,
like an old gie artist from West Coast, or maybe
not even oldieutist in the West Coast, but you have.
Speaker 1 (16:59):
To do for them what you did for nas.
Speaker 2 (17:02):
I mean that's got to be a dream though, right, Yeah.
I mean I did like five six songs on Snoop
Dogg back on Death Row, and you know, I worked
with Snoop. I work with Game, I worked with a
bunch of different I did a bunch of bunch of
stuff on what was the album that he dropped because
I worked on Easy with a Kanye Game, So whatever
album that was on, Uh dramatic, Yeah, the bunch of
(17:22):
shit on there. Yeah, but uh, hey man, whoever want
to lock in? And it makes sense Like the Nash
it was just it was just a genuine moment, like
you know, it wasn't like we chasing some industry thing
or it's like, bro, I need you to putt He
wasn't putting no pressure on me. I was putting the
pressure on myself more so to be like, let me
deliver for nas, you know what I mean. And that's
what pushed us to make so much music. Lights is hidden.
Speaker 5 (17:44):
Are you like nervous at some point working with because
he is a great and you know he's very particular.
Speaker 2 (17:51):
Yeah, I mean he kind of he laid back and
humble and chill like me. So it's like it was
it was pretty easy, you know what I mean. It
was It was never no ego. That's why we was
able to do so much stuff. And I feel like
that's half of the thing. Like with rappers, especially like Ego.
You know, you see a lot of people that had
hits with big producers and then they start working with
them and then they don't make no more hits like that,
(18:11):
and it's like, Nigga, why didn't you just keep working
with this producer?
Speaker 4 (18:14):
That's right, you know, for a producer like you who
can do so many different people from different places. How
do you feel about the regional identity conversation that Metro
was having, Like like we artists need to have a
certain sound from you.
Speaker 2 (18:25):
Yeah, I mean in this day and age, just just
kind of all mixed in, especially with social media. It's
like everybody see how everybody dress, everybody see how everybody
talk from different places, and it's like everything is just
being put into this melting pot. So I don't know,
you know, but it's like, I mean, you got your mustards,
you got me, you know, but I mean I kind
(18:46):
of do different sounds and shit, but you got you
got people that's locked in on what they do. And uh.
But I feel like it's a new day. It's a
time to experiment and exploring and take advantage of that
melting pot and just like pull from different places, like
I've been working with a lot of deeper troit artist
Shout Baby Trying. You know, I didn't work with T
Grizzly Rio, the young o gps, like all the hood niggas,
(19:06):
you know what I mean. It's like I'm pulling from
that and then I'm bringing him into my world and
just kind of messing it together.
Speaker 3 (19:11):
So if the lyrics that influenced the production, or production
that influenced the lyric.
Speaker 2 (19:15):
It's all one thing. It's all one thing. I feel
like people want to hear if you hear that right
beat as an artist, you know, like it's like it
just comes to you. You ain't got to overthink it.
Speaker 5 (19:25):
I feel like, if it works, it works every every producer, can't,
you know, dipping dab and every genre of music or
have because none of your none of your stuff sound
the same.
Speaker 1 (19:33):
That is creative.
Speaker 2 (19:34):
That's dope, right.
Speaker 5 (19:35):
But going to so you were saying metro Booming said
that you're supposed to or not you're supposed to, but
producers that one particular sound.
Speaker 4 (19:42):
Yeah, because he's basically saying that, like, because of social media,
everything's mixed in and it's and it's we're kind of
losing the feeling of like Atlanta sounded like Atlanta, New
York having a sound like that type of thing.
Speaker 1 (19:52):
Yeah, I think if it worked, it worked. You're one
of the examples of it working.
Speaker 2 (19:55):
Yeah, for sure.
Speaker 1 (19:56):
I love I love Metro Lives project that futuristic some yeah.
Speaker 2 (19:59):
Man, take me through that man. I went to the
most Hood club in La last week. I just be
moving around. They was playing that and the way they
was turning up. I put that on my playlist, like
that'sh it hard.
Speaker 1 (20:10):
I just like it because of the nostalgia that he provided.
Speaker 3 (20:12):
They really do sound like like a future thirteen twenty fifteen. Yeah,
but but it sounds like naw I see what he
did they didn't and the Walker Flocker records on there super.
Speaker 1 (20:23):
Slept on it or who do you want to work with? Now?
Speaker 5 (20:26):
Like who do you because you work with a lot
of artists that are people's dream artists to work with.
Speaker 2 (20:31):
Who I want to do an album with Kodak black Man?
But I think that shit be soulful fly like he
really be rapping, he really be saying ship.
Speaker 1 (20:38):
You know.
Speaker 2 (20:39):
I haven't got to really connect with him, but a
rock with dude, for sure.
Speaker 3 (20:43):
I always say Kodak is like I would say Kendrick's
evil twin with Kendrick.
Speaker 1 (20:51):
Evil a twin a while. Du you you you haven't
reached out to him with nothing Kodak.
Speaker 2 (20:58):
I have. He he rapped on the song I did
on Big Sean last album, but I ain't connected with
them on some like you know, let's really tap in,
but you know I want to do that for so.
Speaker 3 (21:07):
You ever people feel like you ever feel like people
don't give your flowers because you're not like a loud
personality in the industry.
Speaker 2 (21:14):
I mean it could be that, but man, I'm over
that whole conversation. I'm over I'm over listing rankings and
flowers and all that shit. Bro, I'm just making the fly.
I know I'm better than I ever been, and that's
where my that's where the bars at for me. Like, Okay,
if I could just keep getting better off, like I
know that I can like create more headspace in my
beats now. My eight oays literally blew out the fucking
(21:36):
sprinting speakers last night, like my oas is hidden so crazy,
but not in a disruptive way, in a way where
that shit has punched you in the chest and It's
like I'm excited to just dig into that more, you
know what I mean, just creating the sonics. That's just
like I know I've advanced personally.
Speaker 3 (21:52):
You know what's the I guess most trash beat you've
ever made.
Speaker 2 (22:00):
I wouldn't say trash, but I would say look, I
would say, bro. I didn't know niggas in Paris was
about to be what it was about to be. I
really didn't. Man. I had my homeboy, Chili Chill I
used to be rapping with, and you know, just working with.
He was about to put that song out, that beat
out on a mixtape of his, like literally a few
days before. I got the email from don Cee. Don
(22:20):
See was like, y'all, I need you to send me
the files to this beat and I was like, damn,
O the hommie was just about to drop something on
this Let me let me see. Then I got an
email from Yan and he was like, bro, me and
Jay was in Paris. We made this song. He was like,
when this song dropped, your life about to change. So
but I didn't even bro. I still didn't know until
I really heard the song and got around. I went
to the planetarium where they did the listening party and
(22:41):
Cali was there and a bunch of people was there,
and the way they reacted when Niggas in Paris came
on now was when I first understood what it really was,
you know, so, but I didn't know. I didn't know
that she was about to be that big.
Speaker 3 (22:52):
I know a program director who went to a washing
Throne listening party and I was like, how was that album?
And it was like, it's dope, but it ain't no
radio hits on there. And then I remember, I remember
when Niggas passed. I'm like, did you go to the bathroom?
Speaker 2 (23:07):
That's funny, man.
Speaker 5 (23:08):
Also, this ain't no question Click as well. Click is
one of my favorite songs.
Speaker 1 (23:15):
How was that?
Speaker 2 (23:17):
Yeah? Yeah, man, just again just getting back into I was,
you know, signing good music at the time. So I
was just working on everything I could for Ya and
with Ya and his artists, and I think it was
in London we started working on that song and the
original beat was actually a beat I had gave Dom
Kennedy and uh he actually put it out. It was
(23:38):
a song called CDC and they did the original demo
to that beat and I ended up having to tell Ya, like, man,
my boy dom. Kennedy just dropped the song on his beat,
so we just flipped it, took some of the sounds out,
adding more sounds, and just turned it up, made it
what it was.
Speaker 5 (23:52):
Look the vocals in the beginning, right, who is that?
Speaker 2 (23:55):
That's James foonn Leroy legend man know that sound? Yeah?
You know you know James Joint on the anti a
Rihanna album that's about that's named after James.
Speaker 5 (24:06):
Okay, so he made those vocals specifically for Click.
Speaker 2 (24:10):
Yeah he did, yeah, yeah, yeah he yeah took that
Joint like Yay, just gave him a bunch of stuff
and that was something he did over that.
Speaker 1 (24:17):
Yeah. Man, you said he was signing good music.
Speaker 2 (24:20):
Yeah I was. Yeah, that was the time too. I
had to sacrifice because I was already signed to Paul
on the Don and his managers was managing me, so
I was giving him twenty percent. Then when I got
around Yay, him and his team was like, well, we
want to manage you, and I was like this, you know, young, humble,
loyal guy. So I'm like I stuck it out with
my other team. But I also did a thing where
(24:41):
I was getting given twenty percent to Good music. So
I made a sacrifice to get that brand energy just
to be around and just like you know, I got
niggas and pairs out of it. Click, I got a
bunch of stuff out of it. But I sacrificed. I
was giving up like forty percent of my money at
that time.
Speaker 1 (24:54):
Why you wasn't making no money?
Speaker 4 (24:56):
Yeah?
Speaker 2 (24:56):
I mean, man, you know, shout out to no Id
like he always called it brand energy. It's like me
being associated with a lot of good came from that too.
I sacrificed, but you know, it also landed me in
this place where, you know, if I want to go
sell my catalog, if I want to you know, move
my music around, I can. I can do that and
I can make some real money. Now.
Speaker 1 (25:15):
I didn't know the polo the dumb situation even.
Speaker 2 (25:17):
Yeah, I was signed a polo on Universal since I
was nineteen years old and I just got out in July.
Speaker 1 (25:22):
So would you produce with polo.
Speaker 2 (25:23):
Like I was? I mean I was h I produced
like certain little stuff with him during those days when
he was you know, in his heyday. But I was
more so just signing him as a producer, and his
managers was managing me, so they was they had a
whole situation going, but they.
Speaker 4 (25:40):
Couldn't just release you, like once you realized it was
a baddy.
Speaker 2 (25:44):
I'm sure they could have, but they didn't want to,
you know what I mean, they like, shit, no, we
got him early and were about to extract as much
as we can. And you know, how.
Speaker 1 (25:52):
Does that make you feel? Like?
Speaker 3 (25:53):
Does that does that something you take personal? Or you're
just like, you know what, that's business. That's what I signed.
Speaker 2 (25:57):
I mean at this point. Yeah, but I mean, bro,
I was I've been depressed for years many I've been
depressed going to lawyers and they're like, Yo, this is
the worst deal I've ever seen, you know what I
mean stuff like that, and they're like, well, they don't
want to let you out the deal or they don't
want to give you an amendment or whatever the case is.
And it's like that was you know. I was like
chasing like maybe if I make a bigger song than
(26:18):
Niggas in Paris, that I can get out this deal,
you know, And it's like I probably fucked up certain
relationships like that, like just trying to put pressure on
different artists and trying to like just just do too much.
I guess you know what I mean. But it never
was about that. I was just in that contract. That's
just what it was. That's why I'm just happy at
hell to be out now man.
Speaker 1 (26:39):
And all that.
Speaker 2 (26:40):
Yeah he did, damn yeah he did for sure.
Speaker 1 (26:43):
Great business, great for sure.
Speaker 2 (26:45):
I mean I did too, though, you know, it is
what it is. I just talked to Polo last like, man,
solid dude, got love for him. He gave me opportunity.
I've made a lot happen with that opportunity, and I'm
just taking that knowledge down to the to the next phase.
And that's why I'm starting this foundation. I just started
a foundation called the Next Hits. So it's like the
next Hit Boys or the next Hit Songs, however you
want to look at it. Just you know, helping underserve
(27:08):
communities and kids. That's like got dads that's locked up
like my dad was locked up and teaching them about
the business, the business side, the engineering, recording, producing, whatever
they want to do.
Speaker 1 (27:20):
Up.
Speaker 3 (27:21):
His name is always coming up and I didn't know
he was. He signed h came Brown, No, No, he
got it here man, he'd be out here for sure.
Speaker 1 (27:30):
So when did you get out the good music situation?
All of this this happened.
Speaker 2 (27:32):
No, no, no, I was. I was only in a
good music situation for like two years, for like two years,
and just you know, ran through that. But I mean
even with my deal, like Yay wanted to be involved
in that. And I went to Jimmy iving you know,
he went to Jimmy Iveen too, and it was basically like, well,
Jimmy told him like this is up to hit Boy,
(27:53):
And Jimmy came to me like, well, do you want
to be your own man? Do you really want to
learn the game or do you want to keep being
up under somebody else? So I just like kind of
I lost that brand energy, but I just got to
really get on that road to learning about you know,
running a labels. You know how the money is being
spent marketing and all this shit. Like I understand it
a lot better now, so you know, I just you know,
I had to. I just been pushing for these last
(28:14):
you know, however many years.
Speaker 5 (28:17):
So you got you're dropping a solo album. You got
you got some projects coming out out on this in October,
but you're dropping a solo album in November.
Speaker 2 (28:23):
Software update, software updates. Just like That's where I'm at period.
Just update myself, like the therapy aspect, like you know,
being a better dad, being a better you know what
I mean, just dressing better, whatever the case is. Just
update my software, you know, I mean, getting smarter, educating
myself more, whatever it is.
Speaker 1 (28:40):
How do you protect your mental health? And the industry
that's all about constant output. They always want something from you.
Speaker 2 (28:46):
Yeah, I mean I lived my real life. Man. I
had got off of social media for like the whole
twenty twenty five since like January. I just got back
on in July, and man, it made me realize a lot,
like I'm actually living an incredible life, you know what
I mean. You might look at somebody else and be like,
oh man, this person got a bigger mansion. This person
got a you know, a bigger fleet of cars, Like
(29:06):
none of that shit matter, you know what I mean.
If I look around like I got my son, I'm
a real dad. I got my son full time. Like
if you if this was in LA, he'll probably be
sitting right here with us, you know what I mean,
He's everywhere when I got him. So yeah, man, life
is a life is amazing.
Speaker 3 (29:22):
Right now, say understand boundaries? Yeah, what did that look
like what did that looks like.
Speaker 2 (29:28):
Being taken advantage of? You know what I mean, just
anybody who needed something at any time, you know, even
if they deserve it. I just was open arms, just
giving to people and like even family whatever, you know,
just learning how to say no, learning how to just
understand that I'm not the worst person in the world
if I do say no. You know what I mean,
it is what it is like. You know, I'm out
(29:49):
here hustling, I'm out here doing what I gotta do.
I'm pushing around. I'm in New York doing interview at
the interview and just like session after session, like you know,
I got to take care of myself, make sure my
mind's straight first. And when I do got it, I'm
I'm a very generous person, you know what I mean.
I help a lot of people. I do a lot
for people, but I got to make sure i'm straight first. Well,
I think the best go ahead.
Speaker 5 (30:09):
I think the best thing that you're doing is that
foundation that you just you just name the name of it.
The next hits the next I think that's helping, you know,
kids who want to learn the business, you know, does
not have their father that you know, I think that's
pretty dope and proud of you.
Speaker 2 (30:22):
Appreciate that. Yeah. Yeah, we just getting started, man, and
going to push it to the max. Yeah.
Speaker 4 (30:28):
What have your conversation has been like with your dads?
Just about the business side of it since you've come
up out of the things you said with my dad.
Speaker 2 (30:35):
Yeah, but that's the whole thing right there, man. Like, man,
he got out, we hit the ground running. He was
making bred I was trying to educate him. I'm taking
him to my accountant and wealth manager offices. And he
just lives a different life.
Speaker 5 (30:49):
Man.
Speaker 2 (30:49):
He don't differentiate prison from real life like he can.
I'm cool in here, I'm cool out there, you know.
And it's like I don't live like that. Like I
can imagine being around niggas all day. I couldn't. I
couldn't imagine it. So it's like, that's that's just him.
And I try to, you know, show him, teach him,
put him on like put him in the most comfortable
situation possible, and that still couldn't change his mind. And
(31:11):
that was like my eye opening for me. Like, and
you know, you could do anything for a person, and
if they're not ready to accept it, they're not ready
to move forward with how they think there's nothing you
could do about it, you know, so that just how
does that? How does that hurt you? Oh?
Speaker 1 (31:26):
Man?
Speaker 2 (31:27):
I mean every time it's like worse and worse. Because
this time when he got out, Bro, he do a song.
He was on the fucking stage with Kendrick at the
pop out holding my son. It's a picture Kendrick, my
son and my dad on stage at the pop out,
did songs with Snoop Dogg, did a whole album with
the game that went number one on iTunes. He did
a bunch of shit, and for him to go back
(31:48):
this time, it probably hurt the worst cause I'm like, Bro,
like you actually was gett into it, getting respect, getting love,
getting money, all the shit, and it's like you still
ended up back in there. It's like that's where the
software update comes from. Like I got to update my software.
I gotta start playing with my life. I gotta just
take me more serious, you know, instead of always pouring
into everybody else as much.
Speaker 1 (32:08):
As I do. Have you offered him help, like you know,
listen many not for sure?
Speaker 2 (32:13):
We didn't, man, Bro, We didn't talk about it at all.
Like I'm like I might have to take him to
the most random middle of America city and just like
where it's no action, and bring a therapist and just
like work out all day and make music. Man Like,
that's probably the only way to save him, you know
what I mean, He'll probably find some bullshit out there
if everybody still finds something to get into the institution.
(32:37):
He is man for shure, I mean, bro, Like, he
had a plea deal to not even have the three
years he just got now, and he said he would
rather be in prison than be on the streets on
probation because he can get washed up for a longer
time that way, I guess, but I couldn't imagine that, man,
you know what I mean. And it's like, well, you
don't want my health, then, you know what I mean,
I pay for the Lord to get you the plea deal.
(32:59):
You want to, you know, do your thing. So how
A mean when you get out, bro? How mean when
you get out?
Speaker 1 (33:03):
What kind of friction is that cause between the father
and the sundow get the business?
Speaker 2 (33:07):
Yeah? No, I mean it's deep, bro, It's deep. And
that's the friction where it's like, I'm all I've always
been forgiven, I've always been like, you know, their form,
sending breasts, sending help, whatever the case is. And this
is the one time where I'm like, it's got to
be tough. Love, bro, holl at me when you get out,
because I did everything. I paid for the high priced lawyer.
I flew to North Carolina where the case was God
on the stand, talk to the judge, spend my time
(33:29):
out there, time away from my son, all this shit,
and you still win against everything that I, you know,
put the energy into. And I'm like, well, bro, I
gotta focus on me. Period.
Speaker 1 (33:40):
Does he have a sentim entitlement?
Speaker 2 (33:42):
I'm sure you do. Yeah, yeah, show And I made
it so easy all these years, and it's like, yeah,
no I can't. I can't play them games no more.
Speaker 4 (33:50):
Mm hm so crazy.
Speaker 2 (33:52):
Yeah.
Speaker 1 (33:52):
What do you think about AI?
Speaker 2 (33:53):
Man?
Speaker 1 (33:54):
Like, how's AI gonna impact the production process?
Speaker 2 (33:56):
Man? I think it's a dope tool man. Don't use
it as a crutch. Don't press a button and then
get a person to beat and be like that shit.
Like you know, if you press that button and you
hear something dope, try to flip it as if you
was just listening to a sample off the radio or
a sample off a record, whatever the case is. Just
it's a tool. Man, I'm rocking with it.
Speaker 1 (34:13):
Oh you know when you say press a button, what
do you mean?
Speaker 2 (34:15):
Like it's like you could just literally programs where it's
like you could type some in press the button and
it give you like an outline of what you typed in,
whether it's a like make a hit boy beat, make
an East Coast hip hop nineteen ninety nine type beat,
and it'll give you something that's in that area type
you know, vibe. But you know, I don't think you
should just take that and be like, oh boom my
eight this. I mean you could. I'm sure it's happening.
(34:37):
I'm sure i'd be hearing music on the radio. Like, man,
it sounds like it could be a sometimes, but you know,
I don't know. But yeah, I think it's an ill
tool if you use it the right way and just
use it as a tool, not a crutch.
Speaker 1 (34:48):
So it's has sparked some creativity, yeah for sure.
Speaker 2 (34:51):
Like you know, it's like I use it kind of
like how I would use MIDI Like, if I play
a piano progression and I want to turn into some
like strings, I could just bo and run it through
that and I could take them strings and then chop
them up and make it, you know, into his own thing.
What do you think about artists though? Artists? I mean, man,
I feel like K pop, Demon Hunters, is AI, you know,
(35:12):
all the kids. It sounds like I can't even get
one song off in the card no more. I be
trying to play my music. My son, like, nah, play
a soda pop play you know. I'm like, man, damn it.
It's humbling, you know what I mean. But it's also
eye opening, Like, man, this is doing numbers? Like what
am I missing? But I don't know, but it sounds
like you to me.
Speaker 4 (35:33):
I don't know, but I know everything they do is
just like magic.
Speaker 1 (35:36):
Like it goes up for them kids.
Speaker 5 (35:39):
Numbers you're listening with the different pair is though you
got producers something.
Speaker 2 (35:45):
I'm just I'm just listening. I'm messing around with AI
and the listening to that, it just it sounds like
it's an AI and it might not be. I don't
want to disrespect the creatives that's behind that, but it's like,
you know, that's just how I feel.
Speaker 3 (35:57):
I've got a couple more questions you have. You have
a give an artist beat you knew was dope and
they just completely wasted.
Speaker 2 (36:02):
It plenty times. I ain't gonna put no names out there,
but you know I was. It was. It's certain songs
that I just wish would have been like actual hits,
like Watch and Learn for Rihanna, like every girl I
run into, like that's my favorite Rihanna song and it's like, damn,
that should have been a hit, or like right here
with Justin Bieber and Drake, Like I don't understand why
(36:22):
them songs wasn't like top ten or whatever, but that's
part of the game.
Speaker 1 (36:26):
You know.
Speaker 2 (36:27):
Learn is my jazz.
Speaker 1 (36:29):
I wish. I mean, you know, we all wish, but
I wish Nipsey had to pass on.
Speaker 2 (36:35):
Oh man, come on man. I feel like Racks in the.
Speaker 1 (36:37):
Middle was a perfect follow up the Victory bro.
Speaker 2 (36:40):
That was his whole vision. Like he came to me
and uh, I was actually about to put that song out.
It was gonna be It was gonna be on my
production album. I was about to do like a calid
esque type album, different feature and different artists, and that
was gonna be me featuring Roddy Rich. Rddy had a
verse on there, and we was about to we literally
starting the paperwork process, and I low key had Nit
pull up. I wanted to him to throw a verse
on it. He heard the song, he was like, Bro,
(37:02):
run that back. I ran it back. He's like, man,
let me get this joint.
Speaker 1 (37:05):
Bro.
Speaker 2 (37:05):
He was like, this could be the perfect song to
like push, you know, into my next rollout you know,
post victory lap. And I'm like, I'm just like cool,
let's run it, you know what I mean. And he
came through. He did the song. It was a movie
like him doing three verses talking about the stuff he
was talking about and laying it on the line like that.
And for that to play out that way, it was
just a movie for me, man like insane and I
(37:26):
was looking for I was talking to Nip every day.
We texted at six in the morning, you know, top
of the morning, just like sending samples back and forth.
I'm sending him beats I had just made. We talking
about He's telling me he wanted me to be involved
in this next project heavy and for that to you know,
you know happened, how it happened. It was super fucked
up man, sad time for real.
Speaker 1 (37:43):
Yeah, because on rack that's what he talks about your fat.
Speaker 2 (37:47):
Yeah yeah, yeah, that was airy, bro. It was in
a way to beat sound with the choirs and all
that and just him walking through the graveyard like man,
nuts nuts. It was dope though. I don't know. At
the video shoot, I got to meet his grandmother. We
was on the private jet kicking it. They drinking champagne.
I was flying, like being able to experience that.
Speaker 1 (38:08):
I remember that picture. Yeah, I remember when he posted
that picture.
Speaker 2 (38:12):
I was there. I'm in the video. I mean, that
was my that's my mcclearen, like next to the other
car in front of the private jet.
Speaker 1 (38:23):
That's what you would have ended up, like what you
did with NAS, that would have been I agree.
Speaker 2 (38:28):
I don't think I think we would have did damage
the damage man. Like, I feel like Racks in the
Middle is still one of the most like revolutionary West
Coast beats from the modern era, you know what I mean.
I feel like that's where if I was to think about,
like if Dre was actually gonna make Detox, I think
it should sound like Racks in the Middle level like,
you know, because it's got that that West Coast like,
(38:48):
you know, drag on it, but it's still sound new,
you know, you got to push it forward.
Speaker 1 (38:52):
You want me for that too.
Speaker 2 (38:54):
Yeah, we did a bitter sweet man crazy. But but
the good thing is like when we made the song,
you felt like that. We felt like, man, this is
Grammy level. We was playing that joint back to back.
We was turned up in the stool. Was really feeling that.
So for it to it was just validating like them,
like Nip was on, he was right on, spot on,
you know what I mean.
Speaker 3 (39:12):
People really embraced the loss of people really realize how
big of a lost that was, especially for the West Coast.
Speaker 2 (39:19):
I think, so I think the world, you know, you know,
I feel like, you know, obviously when you know it's
fucked up, and when people passed, they get even bigger.
More people tap in. So it's like, you know, his
legacy is spreaded, and you see what Black Sam doing.
He's taking a brand and just like turning it into
you know, a monster.
Speaker 1 (39:35):
Man.
Speaker 2 (39:35):
It's amazing. So yeah, man, it's crazy.
Speaker 5 (39:39):
I'm glad that you are like making yourself seen and
I hope you do a lot more present because I'm
tired of.
Speaker 2 (39:46):
Googling your name. Stories of boys actually being hit come up.
Speaker 1 (39:53):
Yeah.
Speaker 3 (39:53):
Yeah, it's that time for sure, what's hard at making
a beat that gives a rapper of a hit or
making a beat that gives them like a career.
Speaker 1 (40:06):
I don't want to say revival with like resurgence.
Speaker 2 (40:09):
It's all the same thing. I'm just making music. I
don't I never meant to make a hit. I just
made music that I felt, you know. And most of
my hits that that y'all would know me for it
came from me just being in the stool, just damnar
by myself, just cooking up, having fun.
Speaker 1 (40:22):
Man.
Speaker 2 (40:23):
That's what this production shit has always been about for me,
just literally having fun.
Speaker 3 (40:27):
At this point in your career, are you making music
for money, for legacy or just because you you can't stop?
Speaker 2 (40:31):
It's what you know, all the above uneath the bread
I'm trying to you know, I mean the legacy, that's
just it's gonna shape up. It's gonna be what it's
gonna be, and I just I just love to do it,
you know what I mean. Like I said, like, I
love when I feel my own growth. I love when
I feel myself advancing and being able to do certain
things that I wanted to do five years ago musically
that I can now accomplish and now I can now
(40:52):
you know, fully manipulating being these sounds as the ways
that I can make them do whatever I want to.
Speaker 1 (40:59):
Yeah, And if hit Boy stop producing to day, what
do you think? What do you think the game would lose?
Speaker 2 (41:05):
Man? Some authenticity. It's just like just raw like you
know my I mean, bruh, I just like I said,
I shoot from the hip every time, like I don't.
I don't know how. I don't know how to make
a hit. I'm just making music and it should just
be coming. What is becoming like, you know, just being
able to see some of these songs performed in stadiums
and watching Beyonce, watching whole watching you know, Travis Kendrick
(41:28):
doing backseat freestyle still on his tour like it's ill,
you know what I mean, just like and it's still
rocking as if it just dropped. It's like, man, you
just gotta make what you feel in it. You know.
I've been making some stuff that's you know, timeless. Have
you got anything but Kendrick tuck Away. I'll be chopping
them with bro man. That's why I'll be telling people, man,
it's crazy. So my little was my son at he
five years old. Now before his fourth birthday, he made
(41:50):
he made a song. He made his first song because
he was in most of the sessions with me and I.
I was just sitting in the back. Didn't realize he
was taking this all in. Told him, you know, I
asked him, did he want to make a song for
his birthday? Put him on the mic. He literally freestyled
with contexts. I was laughing. It was crazy. But put
the song out with a video, and I think it
was the day not like us drop. And that's how
I knew Kendrick was just like this was light work
(42:11):
for him. This whole ship. Like he text me about
my son video like go ahead, nephew, Like you know
what I mean? You know what I mean. It's like
bro like in the middle. I'm like this nigga Like
he crazy? He really crazy? He cool though, well hip
boy and spank Niitty James, y'all got y'all coming out
of Shout my boys, spank Man, shout out him man
the whole Inland Empire.
Speaker 1 (42:32):
Whatsank where you from?
Speaker 2 (42:33):
He's from him He's from deep into II.
Speaker 1 (42:35):
Yeah.
Speaker 2 (42:35):
Show that's in like east of l A, like like
an hour east of LA. That's where we all kind
of came up. I grew up in Pasadena, but when
I was thirteen, I moved to the I E. And
that's where I learned how to make beats and all
that shit. So it was vital. But I was sad
when I first moved out of Dina for sure. But yeah,
the II, that's you know, a lot of homies out there.
Speaker 1 (42:54):
And then but you and Alchemists got it. I'm coming
out October twenty fourth.
Speaker 2 (42:57):
Yeah, we got an album and a movie you that
I feel like it's gonna make people look at us
in a whole different light.
Speaker 1 (43:03):
Yeah, and then a solo I'm called Software Update.
Speaker 2 (43:11):
I mean, I'm excited, bro. It's like it's it's it's genuine.
It's coming from a place of like this shit coming
from our soul. Man. So like I'm just like looking
forward to, you know, letting people see me in a
different light and just like pushing you know what I've
done forward.
Speaker 1 (43:25):
Yeah, and you're free now Free.
Speaker 2 (43:28):
It's amazing, hit Free. I just threw like a million
dollar party in the l A last week and shot
a video with az Chike Baby trying to spank and
that was the illest we had Marathon Burger up there.
We had this whole eat Couch activation because we got
the song called eat Couch and it was it was crazy.
It's like smashing the girl on the couch from the
back of her faces in the couch. So she eating
(43:50):
the couch.
Speaker 1 (43:59):
Pillow for that. Here's a pillow.
Speaker 2 (44:00):
No no, no, no, I sink is just funny. When
he said he couch, man, that's that just had me
laughing so hard. I'm like, we got to put this
joint out, man.
Speaker 1 (44:08):
Why the hell is the party a million dollars because.
Speaker 2 (44:10):
It was a celebration eighteen years. Man, I'm like, I
gotta go all out. I just went crazy. I just
had all types of activations. I had, you know, hood
Taco spots, Marathon Berger, you know, just a lot of
fly ship going or man.
Speaker 1 (44:23):
That's what it's hit boy, man, thank you for coming, my.
Speaker 2 (44:26):
Brother for suw appreciate you, man, Yes, sir, every day.
Speaker 1 (44:32):
A week, click yours up the breakfast club. You're finished
for y'all dumb
The Breakfast Club News
Hosts And Creators
Charlamagne Tha God
DJ Envy
Jess Hilarious
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