April 27, 2025 • 21 mins
Welcome to this week’s Indie Artist Music Hustle with Blonde Intelligence. I am your host Ms. Roni and I always seek to give you exquisite crainial repertoire. What does it really take to make it as an independent artist in today's music landscape? Killer D joins us to share his raw, unfiltered journey from the projects of Louisiana to the competitive Houston music scene.
Born with natural artistic talent but initially too shy to showcase it, Killer D reveals how he transformed from writing poetry in closets with egg cartons on the walls to commanding stages with confidence. His story is one of persistent evolution—holding onto a hook for ten years until finding the perfect beat for his club hit "Pop It," which unexpectedly gained radio play across multiple states including Georgia, Texas, Oklahoma, and Arkansas.
The conversation dives deep into the creative process behind making authentic strip club bangers, with Killer D explaining the cultural context that makes his Louisiana-influenced sound distinctive. We explore the crucial difference between being an entertainer versus a performer, witnessing firsthand his ability to captivate audiences even when performing acapella. His practical approach to reading crowds before determining setlists demonstrates the adaptability essential for lasting success.
Perhaps most valuable are Killer D's unvarnished insights into industry relationships. From the importance of proper collaboration paperwork to navigating local gatekeeping, he shares wisdom earned through both success and setbacks. "Artists need DJs," he emphasizes, detailing how building relationships with everyone from club owners to waitstaff creates the network necessary for independent advancement. His experiences highlight how regional scenes can simultaneously support and limit emerging artists.
Ready to hear what authentic music hustle sounds like? Listen now to gain practical wisdom from an artist carving his own path on his own terms—and catch his single "Pop It" while you're at it.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 2 (00:16):
Hello everyone, welcome to season four.
Hello everyone, welcome toseason four of Indie Artist
Music Hustle with BlindIntelligence.
And we have an artist heretoday I want to say he lives in
(00:40):
Houston, but he's out ofLouisiana.
Speaker 3 (00:42):
He sounds like.
Speaker 2 (00:42):
Louisiana.
Yeah, okay, everybody, we haveKiller D here and I want him to
introduce himself and telleveryone a little bit about you.
Speaker 3 (00:56):
I started doing music , well, I say at the age of 12.
I was walking around on akaraoke machine and rapping and
when I got older, after highschool, I started going to the
projects and recording for mycousins and stuff.
And how I got a name was for mycousin.
(01:17):
We used to just pull upinstruments and stuff because we
used to rap with egg cartonsand stuff on the wall in the
closet and everything.
So when I first started doingit, I was like I don't really
know Cause I always at first Iwas always shy and I never
really just you know, opened upto really rapping.
I was just writing like poetryand I took art school too, so I
(01:39):
was just more into that and butwhen I did start writing rhymes
and so on, I was like, oh cool.
Well, you know, because I grewup listening like a lot to tupac
and everything, like he's mybig, you know big influence on
me okay.
Speaker 2 (01:54):
So I want to ask this question because I know I had
asked before when we weretalking, I believe and I want to
know what is the creativeprocess for an artist to make a
strip club song.
Speaker 3 (02:18):
I don't know, I guess it's different.
I guess for us I mean theculture, I mean it's nothing,
but I mean where I'm from it'sdifferent, like I guess for us I
mean it's it's I mean theculture, I mean it's nothing,
but I mean where I'm from, it'snothing but jigging and dancing,
and so it's just like I don'tknow.
Speaker 2 (02:33):
I guess it's like natural to me, but the reason
why I asked that is because Ilooked at one of your videos and
I saw the women dancing in thevideo.
And I used to date a guy Ibelieve we talked about this.
He told me that I was saying itwrong.
He said it was not New Orleans.
(02:54):
It was New Orleans and I wassaying it wrong and he was
showing me some videos of somedances and he said this is the
Louisianaisiana dance.
He said this dance do notchange.
He said you can look at it 10,20 years from now and then you
can tell this is a louisianadance.
(03:15):
He said all women and youngwomen do it.
So when you said that it was,natural yeah, I understand that
it's natural from where you'refrom, but what makes it a strip
club banger?
Okay, the creative process forthat, because of course you can
put something together.
(03:36):
Slap your ass, slap your ass,all that kind of stuff.
But what is the creativeprocess?
How do you know?
Are you going to have this sizewoman, or are you going to have
this size woman, or you'regonna have this age woman, or
could it be for, for you knowhow, what?
What do you come up for?
The creative process of?
I'm gonna do this for the stripclub.
(03:56):
What do I want to show and see?
Speaker 3 (04:00):
okay.
So it's just like when I cameup with that song um, actually I
was sitting on that song forlike well, not the song but the
hook like 10 years.
So I've been I couldn't findthe right tempo and beat to go
with it, Like I kept saying, Ikept saying I couldn't find
anything.
So when COVID hit Houston realbad I moved to Kentucky Because
(04:23):
Houston shut down as far itsjobs and stuff like that.
So I moved to Kentuckytemporarily when one of my DJ
friends lives.
So I was up there recording thesong and one of my friends from
Shreveport, Louisiana he sentme like a beat pack and I went
through, literally sat there inthe studio.
I had like a four hour vlog,Literally went through every
(04:44):
single beat that he sent Just totry to find the right beat to
go with it, and I kept saying it.
Even honestly I said it tomyself Because the way I was
saying it and recorded it itdidn't sound right to me.
But when I heard the finishedproduct, when he sent it to me,
I was like, oh, wow, okay, okay,okay, okay, all right, because
(05:09):
I wanted to do something, whileother than me need another
record out.
I need to do something.
I want to do something like a,like a fun record.
I mean I don't really put outno drill or no other like crazy
type of music.
I put out either real storiesor basically just fun music.
When I got that bag and Ireleased it I was like, okay,
(05:31):
cool, because I wanted to dosomething fun.
I needed another single to getout.
Speaker 2 (05:35):
How is it doing in a strip club right now?
Speaker 3 (05:41):
It's actually good.
When I did, I think I probablydid a little small run like last
, no year before last, somethingsomewhere around up in there,
like I had went to like a few,but it was, it was going, it was
going, but and but that's noteven.
I got like O's on this, thissweat corset, and didn't pop it.
(06:04):
That's the way he works.
I liked it.
I was like okay, yeah, okay, soit's it's.
It's just I mean the wholecredit process.
I mean I write all of my songsanyway.
So it's just like I just neededsomething else to come out with
and, honestly, like it just tookall the items and didn't even
expect, expect for to do whatit's doing, because I didn't
(06:26):
honestly really test theindustry clubs as much.
I've probably maybe been likethree or four here in eastern,
like that was it.
And I just because I mainlyjust pushed it on the radio and
it was the radio, honestly, thatthat picked up on it.
It was places that I evenexpect, like columbus, georgia,
I think, for the media baseplayed like 28 times and it's
(06:47):
Corpus Christi, it was.
I think Atlanta too, it wasOklahoma, it was Arkansas, like
it was some places like I ain'teven never been, so hey, you've
never been to Arkansas.
Nope, nope, nope, nope.
What you should cut, yeah, andI think actually, yeah, it plays
(07:12):
down.
I forgot what station I thinkit's.
I think it's 965.
Speaker 1 (07:20):
I want to say yeah, yeah, yeah, 965.
Speaker 3 (07:24):
Yeah, I do remember running the campaign.
So yeah, it did pop up.
Speaker 2 (07:27):
Yeah, yeah that's down the street from me oh yeah
yeah yeah but tell me this Iwatched some snippets that you
had sent me and it's kind oflike a two-part question.
So the first question is whatis the difference?
(07:48):
Because I know that you are acreative artist.
What is the difference betweenan entertainer and a performer?
So, I watched your snippet and Inoticed that you done part of
your show Acapella.
After the show ended.
You did not get winded and youfinished it and I I like to see
(08:11):
things like that because youhardly ever see that in a live
performance.
That's why I was asking that,because I saw you finish out one
of your sets.
Yeah, and all of us have donekaraoke and got winded and and
rapping is not an easy thing,it's not, it's.
Speaker 3 (08:30):
It's not man, it's.
It's.
It's very it's difficultbecause I mean I I've had people
ask me all the time like man,how people giving no, giving no
credit to even just go up thereand get in front of people and a
lot of people don't even know.
I mean, like I said at thebeginning, I'm starting to stink
(08:54):
because I came out I was timid,I was very timid, so it's just
like I didn't even want to doany of that.
I don't know.
I guess over time I got to gointo it had to make myself.
People see like it's difficult,you know getting which it is.
I mean me, I ain't gonna lastyou.
I had me a drink or two beforeI even decided to do my thing,
you know, just so I can just getit on out.
(09:15):
I mean I'm just being honest.
It's just every show just tojust like loosen up.
You know, loosen up a littlebit.
But I mean it tastes a lot, man, because you know you gotta
look at all these people.
You gotta, because me I try toread people before I do my set.
I'll just look around and seewhat's out.
(09:35):
Sometimes I may be off as faras picking my search list,
because I know, sometimes youknow, because sometimes the
promoters they don't even tellyou what kind of crowd or who's
going to be there this and that.
So I try to do my mixture.
Speaker 2 (09:48):
You be right on that, because I remember watching
Love Hip Hop Miami and I canremember all those girls' names,
but I believe it was Sukianaand Hood Brad and another one.
But it was some guy who hadbooked the show for them and it
was like at a country westernplace and they had traveled
there and got there and itwasn't even like a hip-hop crowd
(10:10):
, Right, A country western crowdand they was there to do a
hip-hop show.
But they ended up doing theshow and that is very important
when you're booking shows andtalking to different promoters
to know what type of place it'sgoing to be in.
That is very important.
That is something veryimportant and very important to
(10:32):
know this when you're makingyour flyers or whatever you're
doing for promotion yeah,because honestly, for that last
showcase it was they.
Speaker 3 (10:45):
They said like it was kid friendly.
So I had.
My DJ friend made me twoversions.
They obviously made me likeexplicit, made me a clean
version too.
Yeah, I know my wife she didask you just like uh, are you
supposed to be kids, are yousure?
You wanted to explicit, but Iwas like I have to do.
He said yeah.
Speaker 2 (11:02):
So tell me about the music scene where you are right
now and how are you?
Are you?
Are you in unity?
Because I had an artist to tellme in hip-hop it's always a
competition.
Hip-hop is a sport.
So can you really have unityand peace?
Is a unity and peace, or howare you looking at the
(11:25):
competition right now whereyou're at?
Speaker 3 (11:27):
man, man, man, man, man, man.
Okay, so me coming from a smallcity and, um, let's not having
no studio or no place to reallyrecord it, I mean, 50 cent
obviously is doing it for us nowbecause he put everything in
streetport, but I mean nothing.
(11:50):
And coming from there andcoming here, I have to actually
build my name up and how to dealwith people.
People here, they're hang onthe line, they ask us, they hop
on any anything.
That's like what?
It was hot bro, they not going.
You know what I'm saying?
They ain't going to supportthey.
Certain DJs too, promoters too,and you can tell because they
(12:19):
book them.
It'd be the same people everytime.
I don't know about trying toget their bread, but it'd be the
same people every single time.
I was like bro, I don't knownobody else, it'd be the same
artist.
I just be like bro, it's you,because they real cool, because
they from the same hood or theyjust so you stand at the little
gate, keeping going on.
Oh yeah, big time man, it's likeI've been.
(12:42):
But I always had that mindsetof I'd never stay, even back in
Menden and Streetport, eventhough we got baby.
Like I always started outsideof baby and I was always a bunny
.
Then Like it was kind of timeto meet my music guy, because
that's what you're supposed todo, you know, you're supposed to
be up in the DJ booth, hollerat them, you know, get the done,
build that relationship, butlike that was cool.
(13:02):
But as far as just being on Hill, just being on the Houston, I
mean being on hill, just beingon a Houston, I mean being on
the menu.
You know he's like I alwaysthought outside the bus, I
always network with peopleoutside of hill and even I'll be
on in, like I, uh, I can't, Ican't do that man, I never did
see myself as just being likethis, like this local guy, like
nah, yeah feel aboutcollaborating with artists and
(13:28):
do you think there's adifference between collaborating
with artists that's in adifferent region than where you
live and then being in adifferent country than where you
live?
Speaker 2 (13:39):
so how do you feel about those two collaborations,
one with outside of your regionand then one with outside of
your country?
Speaker 3 (13:47):
um well, first off, I feel like both friends need to
have paperwork together, becauseI did collaboration with people
and it's just been like theyain't got that paperwork.
But be mad at me, don't not?
Speaker 2 (14:01):
look, I've worked with a lot of independent
artists.
Speaker 3 (14:03):
Do not want to sign a split sheet yeah they be
getting mad at me becausethey're not getting paid.
Yeah, I've had people get madat me, bro, because like wow,
I'm not getting no check.
I'm like that's not myresponsibility, like I can't.
All I could do is just makesure, like send it, send it to
you, hey, put your name down.
But as far as like getting paid, I mean, it's not on me, you
(14:24):
post that on your paperworktogether.
Man, like ain't nobody tell meI had to go read and find out
about this stuff.
I had people.
Speaker 2 (14:32):
I had people tell me all the time and people try to
talk to me like I don't knowwhat I'm talking about see,
that's how you check your ownstuff out, your blessings and
stuff like that.
Speaker 3 (14:40):
Because it's like, if you don't want to listen to
anybody I mean even even me,like if I, even though somebody
don't like my record, they mightnot just say, oh, because
everybody not gonna like whatyou put out, okay, you don't
like it, okay, cool, I'm stillgonna do.
I want to do anyway, though Isaid, because I mean that's just
(15:00):
me, because I mean I believethe record or whatever, but I'm
still gonna listen to you too.
At the same time, you know,because you might, you might be
something you probably hear, oryou know that I'm not hearing,
or and like it goes all aroundin circles.
So yeah, the whole notlistening it's not gonna get you
nowhere.
I mean you could be stuck,gonna be stuck in the same spot
(15:24):
and try to wonder, like whyyou're not going nowhere, like
why people not cause this gonnamake people not wanna work with
you as well.
Speaker 2 (15:32):
You know he don't probably don't pay, messed up a
whole deal or situation justbecause he don't want to listen
besides having all yourpaperwork in order, having all
your accounts set up and being a, I would say, professional on
paper, what other attributes, asan independent artist do you
think people need besides?
(15:53):
Because I know a part that wetalked about that may not air
was about being able to listen.
So, besides being able tolisten, what other attributes do
you think independent artistsneed to be able to survive the
music industry?
Because it is very cutthroat.
People will lie directly toyour face.
Speaker 3 (16:17):
Man Boy, you gotta keep the DJs.
Man.
I can't preach this enough, man.
Artists do need DJs.
I ain't saying you gotta kisstheir ass, killer D not gonna
kiss your ass.
I know how to.
(16:38):
I know how to make you knowwhat I'm saying.
I know how to get even with youand like in another way.
I ain't got a bad mouth and notgonna bad mouth.
You, I'll go to this dj programto wrap up under you.
I'll make sure it'll come fullcircle to where you hear about
me.
I'm gonna make sure you with me, like I'll make it, I'll make
it, I'll make it, make sure likethat.
But like you need to make sureyou're better than the djs, um,
(17:02):
the, the club owners, thepromoters, the waitresses, like
I like all them little issues,damn man.
And all of a sudden like this,so you can get yourself out
there too and do what you needto do.
But so I thought collaboratingI never just collaborate with
anybody outside the region orcountry, really.
(17:23):
So it'll be something new to me.
I'm not saying like I don't, Idon't mind, I guess it's because
I've been burnt so many timesto well, you know, come time to
paperwork, nobody, like nobodywant to do it.
Speaker 1 (17:37):
So it's just like I don't care.
Speaker 3 (17:41):
If I have to or if it's cool, like I will, on my
collaboration I collaborate, butit's like I'm not doing it.
Speaker 2 (17:49):
It's the right collaboration.
Yeah, I've asked artists aboutthat several times, about what
do you consider to be asuccessful collaboration, and is
it is finished product or theway you vibed, or if it was
successful and yes, it's a lot,it's a.
It's a lot with that too, onthat, because it's like yeah,
(18:12):
because if they don't sign up onreleasing the song, then you
just have a collaboration andyou're just stuck with it.
Speaker 3 (18:20):
And then on the label .
It makes it even worse ifthey're signed to a label too,
because you got to get thatclearance.
So it's just like it's so muchins and outs Because actually,
ok, like what's on me, me andLou's on the cash, because he
was signed like decades agothough he had a deal, but it was
(18:41):
just on the tip to where we'vebeen knowing each other since
MySpace, Like, hey, bro, justchunk me something.
But yeah, we've been cool sincethen, since MySpace days.
So I was just like, but man,still I still want you to get
your split.
Hey, let me just run this splitsheet by you.
They'll wait.
No, I'm saying like it stillwon't be no problems.
No, I'm saying, still, at theend of the day, even though I
(19:01):
still trust you somewhat, stillI still want you to get paid.
I have like now I'm currentlyworking on trying to get him a
plate just because, like, I'mjust the type of too, like you
know, you featured on the record.
You know what I'm saying.
So, yeah, I, I even with him.
I was like skeptical because Iwas like man, like, yeah, he got
(19:22):
a anthem forever, forever Ialways be a louisiana classic
song from louise, and like it'salways gonna be so, just like
man.
All right, let me just knowwhat I'm saying take care.
Take care of you, bro, butanybody else after him.
Speaker 2 (19:39):
I thank you for coming.
I want you to plug your latestsingle, who you work with on it?
Any last words, how your socialmedia handles, how to get in
contact with Killer D, where tofind your music at everything
about Killer D.
Yes, you can find me on ateverything about Killer D.
Speaker 3 (19:56):
Yes, you can find me on Instagram the real Killer D
713 underscore Sankai.
I am Killer D 713.
Killer D 713 on YouTubeeverything Killer D 713.
Check out my single.
Pop it.
Featuring Louisiana Cass.
Thank you, where's Judy?
Produced by Trunk Killers.
And shout out to you, man, um,shout out to guys for all the
(20:20):
djs that's been supporting me.
Man, shout out to you for thisinterview.
Shout out to everybody, man,there's been support me since
day one, um, and I know it's alot of people proud of me right
now, especially, you know,especially me at this level
right now.
So all my hard work is payingoff alright, alright, so you can
(20:42):
find him.
Speaker 2 (20:43):
It's killerd713.
Everything you can find usstreaming live on social media,
on all podcasts and platformsand on the website.
And don't forget about yourmerch and we will see you next
week and happy season four.
Bye, say bye.
Speaker 3 (21:03):
Bye, hey girl.
Speaker 1 (21:06):
Let me tell you about this podcast Girl.
Everybody has a podcast thesedays, but this one interviews
new and interesting indieartists.
It's called Indie Artist MusicHostel with Blonde Intelligence.
Really, where can I find it?
It's on all podcastingplatforms streams live on social
media and on RPENTradiocom.
What'd you say it was called?
(21:27):
Again, it's called Indie ArtistMusic Hostel with Blonde
Intelligence Girl.
I'm going to have to check herout.
Give it a check, girl.
Hello everyone, welcome to season four.
Hello everyone, welcome toseason four of Indie Artist
Music Hustle with BlindIntelligence.
And we have an artist heretoday I want to say he lives in
(00:40):
Houston, but he's out ofLouisiana.
Speaker 3 (00:42):
He sounds like.
Speaker 2 (00:42):
Louisiana.
Yeah, okay, everybody, we haveKiller D here and I want him to
introduce himself and telleveryone a little bit about you.
Speaker 3 (00:56):
I started doing music , well, I say at the age of 12.
I was walking around on akaraoke machine and rapping and
when I got older, after highschool, I started going to the
projects and recording for mycousins and stuff.
And how I got a name was for mycousin.
(01:17):
We used to just pull upinstruments and stuff because we
used to rap with egg cartonsand stuff on the wall in the
closet and everything.
So when I first started doingit, I was like I don't really
know Cause I always at first Iwas always shy and I never
really just you know, opened upto really rapping.
I was just writing like poetryand I took art school too, so I
(01:39):
was just more into that and butwhen I did start writing rhymes
and so on, I was like, oh cool.
Well, you know, because I grewup listening like a lot to tupac
and everything, like he's mybig, you know big influence on
me okay.
Speaker 2 (01:54):
So I want to ask this question because I know I had
asked before when we weretalking, I believe and I want to
know what is the creativeprocess for an artist to make a
strip club song.
Speaker 3 (02:18):
I don't know, I guess it's different.
I guess for us I mean theculture, I mean it's nothing,
but I mean where I'm from it'sdifferent, like I guess for us I
mean it's it's I mean theculture, I mean it's nothing,
but I mean where I'm from, it'snothing but jigging and dancing,
and so it's just like I don'tknow.
Speaker 2 (02:33):
I guess it's like natural to me, but the reason
why I asked that is because Ilooked at one of your videos and
I saw the women dancing in thevideo.
And I used to date a guy Ibelieve we talked about this.
He told me that I was saying itwrong.
He said it was not New Orleans.
(02:54):
It was New Orleans and I wassaying it wrong and he was
showing me some videos of somedances and he said this is the
Louisianaisiana dance.
He said this dance do notchange.
He said you can look at it 10,20 years from now and then you
can tell this is a louisianadance.
(03:15):
He said all women and youngwomen do it.
So when you said that it was,natural yeah, I understand that
it's natural from where you'refrom, but what makes it a strip
club banger?
Okay, the creative process forthat, because of course you can
put something together.
(03:36):
Slap your ass, slap your ass,all that kind of stuff.
But what is the creativeprocess?
How do you know?
Are you going to have this sizewoman, or are you going to have
this size woman, or you'regonna have this age woman, or
could it be for, for you knowhow, what?
What do you come up for?
The creative process of?
I'm gonna do this for the stripclub.
(03:56):
What do I want to show and see?
Speaker 3 (04:00):
okay.
So it's just like when I cameup with that song um, actually I
was sitting on that song forlike well, not the song but the
hook like 10 years.
So I've been I couldn't findthe right tempo and beat to go
with it, Like I kept saying, Ikept saying I couldn't find
anything.
So when COVID hit Houston realbad I moved to Kentucky Because
(04:23):
Houston shut down as far itsjobs and stuff like that.
So I moved to Kentuckytemporarily when one of my DJ
friends lives.
So I was up there recording thesong and one of my friends from
Shreveport, Louisiana he sentme like a beat pack and I went
through, literally sat there inthe studio.
I had like a four hour vlog,Literally went through every
(04:44):
single beat that he sent Just totry to find the right beat to
go with it, and I kept saying it.
Even honestly I said it tomyself Because the way I was
saying it and recorded it itdidn't sound right to me.
But when I heard the finishedproduct, when he sent it to me,
I was like, oh, wow, okay, okay,okay, okay, all right, because
(05:09):
I wanted to do something, whileother than me need another
record out.
I need to do something.
I want to do something like a,like a fun record.
I mean I don't really put outno drill or no other like crazy
type of music.
I put out either real storiesor basically just fun music.
When I got that bag and Ireleased it I was like, okay,
(05:31):
cool, because I wanted to dosomething fun.
I needed another single to getout.
Speaker 2 (05:35):
How is it doing in a strip club right now?
Speaker 3 (05:41):
It's actually good.
When I did, I think I probablydid a little small run like last
, no year before last, somethingsomewhere around up in there,
like I had went to like a few,but it was, it was going, it was
going, but and but that's noteven.
I got like O's on this, thissweat corset, and didn't pop it.
(06:04):
That's the way he works.
I liked it.
I was like okay, yeah, okay, soit's it's.
It's just I mean the wholecredit process.
I mean I write all of my songsanyway.
So it's just like I just neededsomething else to come out with
and, honestly, like it just tookall the items and didn't even
expect, expect for to do whatit's doing, because I didn't
(06:26):
honestly really test theindustry clubs as much.
I've probably maybe been likethree or four here in eastern,
like that was it.
And I just because I mainlyjust pushed it on the radio and
it was the radio, honestly, thatthat picked up on it.
It was places that I evenexpect, like columbus, georgia,
I think, for the media baseplayed like 28 times and it's
(06:47):
Corpus Christi, it was.
I think Atlanta too, it wasOklahoma, it was Arkansas, like
it was some places like I ain'teven never been, so hey, you've
never been to Arkansas.
Nope, nope, nope, nope.
What you should cut, yeah, andI think actually, yeah, it plays
(07:12):
down.
I forgot what station I thinkit's.
I think it's 965.
Speaker 1 (07:20):
I want to say yeah, yeah, yeah, 965.
Speaker 3 (07:24):
Yeah, I do remember running the campaign.
So yeah, it did pop up.
Speaker 2 (07:27):
Yeah, yeah that's down the street from me oh yeah
yeah yeah but tell me this Iwatched some snippets that you
had sent me and it's kind oflike a two-part question.
So the first question is whatis the difference?
(07:48):
Because I know that you are acreative artist.
What is the difference betweenan entertainer and a performer?
So, I watched your snippet and Inoticed that you done part of
your show Acapella.
After the show ended.
You did not get winded and youfinished it and I I like to see
(08:11):
things like that because youhardly ever see that in a live
performance.
That's why I was asking that,because I saw you finish out one
of your sets.
Yeah, and all of us have donekaraoke and got winded and and
rapping is not an easy thing,it's not, it's.
Speaker 3 (08:30):
It's not man, it's.
It's.
It's very it's difficultbecause I mean I I've had people
ask me all the time like man,how people giving no, giving no
credit to even just go up thereand get in front of people and a
lot of people don't even know.
I mean, like I said at thebeginning, I'm starting to stink
(08:54):
because I came out I was timid,I was very timid, so it's just
like I didn't even want to doany of that.
I don't know.
I guess over time I got to gointo it had to make myself.
People see like it's difficult,you know getting which it is.
I mean me, I ain't gonna lastyou.
I had me a drink or two beforeI even decided to do my thing,
you know, just so I can just getit on out.
(09:15):
I mean I'm just being honest.
It's just every show just tojust like loosen up.
You know, loosen up a littlebit.
But I mean it tastes a lot, man, because you know you gotta
look at all these people.
You gotta, because me I try toread people before I do my set.
I'll just look around and seewhat's out.
(09:35):
Sometimes I may be off as faras picking my search list,
because I know, sometimes youknow, because sometimes the
promoters they don't even tellyou what kind of crowd or who's
going to be there this and that.
So I try to do my mixture.
Speaker 2 (09:48):
You be right on that, because I remember watching
Love Hip Hop Miami and I canremember all those girls' names,
but I believe it was Sukianaand Hood Brad and another one.
But it was some guy who hadbooked the show for them and it
was like at a country westernplace and they had traveled
there and got there and itwasn't even like a hip-hop crowd
(10:10):
, Right, A country western crowdand they was there to do a
hip-hop show.
But they ended up doing theshow and that is very important
when you're booking shows andtalking to different promoters
to know what type of place it'sgoing to be in.
That is very important.
That is something veryimportant and very important to
(10:32):
know this when you're makingyour flyers or whatever you're
doing for promotion yeah,because honestly, for that last
showcase it was they.
Speaker 3 (10:45):
They said like it was kid friendly.
So I had.
My DJ friend made me twoversions.
They obviously made me likeexplicit, made me a clean
version too.
Yeah, I know my wife she didask you just like uh, are you
supposed to be kids, are yousure?
You wanted to explicit, but Iwas like I have to do.
He said yeah.
Speaker 2 (11:02):
So tell me about the music scene where you are right
now and how are you?
Are you?
Are you in unity?
Because I had an artist to tellme in hip-hop it's always a
competition.
Hip-hop is a sport.
So can you really have unityand peace?
Is a unity and peace, or howare you looking at the
(11:25):
competition right now whereyou're at?
Speaker 3 (11:27):
man, man, man, man, man, man.
Okay, so me coming from a smallcity and, um, let's not having
no studio or no place to reallyrecord it, I mean, 50 cent
obviously is doing it for us nowbecause he put everything in
streetport, but I mean nothing.
(11:50):
And coming from there andcoming here, I have to actually
build my name up and how to dealwith people.
People here, they're hang onthe line, they ask us, they hop
on any anything.
That's like what?
It was hot bro, they not going.
You know what I'm saying?
They ain't going to supportthey.
Certain DJs too, promoters too,and you can tell because they
(12:19):
book them.
It'd be the same people everytime.
I don't know about trying toget their bread, but it'd be the
same people every single time.
I was like bro, I don't knownobody else, it'd be the same
artist.
I just be like bro, it's you,because they real cool, because
they from the same hood or theyjust so you stand at the little
gate, keeping going on.
Oh yeah, big time man, it's likeI've been.
(12:42):
But I always had that mindsetof I'd never stay, even back in
Menden and Streetport, eventhough we got baby.
Like I always started outsideof baby and I was always a bunny
.
Then Like it was kind of timeto meet my music guy, because
that's what you're supposed todo, you know, you're supposed to
be up in the DJ booth, hollerat them, you know, get the done,
build that relationship, butlike that was cool.
(13:02):
But as far as just being on Hill, just being on the Houston, I
mean being on hill, just beingon a Houston, I mean being on
the menu.
You know he's like I alwaysthought outside the bus, I
always network with peopleoutside of hill and even I'll be
on in, like I, uh, I can't, Ican't do that man, I never did
see myself as just being likethis, like this local guy, like
nah, yeah feel aboutcollaborating with artists and
(13:28):
do you think there's adifference between collaborating
with artists that's in adifferent region than where you
live and then being in adifferent country than where you
live?
Speaker 2 (13:39):
so how do you feel about those two collaborations,
one with outside of your regionand then one with outside of
your country?
Speaker 3 (13:47):
um well, first off, I feel like both friends need to
have paperwork together, becauseI did collaboration with people
and it's just been like theyain't got that paperwork.
But be mad at me, don't not?
Speaker 2 (14:01):
look, I've worked with a lot of independent
artists.
Speaker 3 (14:03):
Do not want to sign a split sheet yeah they be
getting mad at me becausethey're not getting paid.
Yeah, I've had people get madat me, bro, because like wow,
I'm not getting no check.
I'm like that's not myresponsibility, like I can't.
All I could do is just makesure, like send it, send it to
you, hey, put your name down.
But as far as like getting paid, I mean, it's not on me, you
(14:24):
post that on your paperworktogether.
Man, like ain't nobody tell meI had to go read and find out
about this stuff.
I had people.
Speaker 2 (14:32):
I had people tell me all the time and people try to
talk to me like I don't knowwhat I'm talking about see,
that's how you check your ownstuff out, your blessings and
stuff like that.
Speaker 3 (14:40):
Because it's like, if you don't want to listen to
anybody I mean even even me,like if I, even though somebody
don't like my record, they mightnot just say, oh, because
everybody not gonna like whatyou put out, okay, you don't
like it, okay, cool, I'm stillgonna do.
I want to do anyway, though Isaid, because I mean that's just
(15:00):
me, because I mean I believethe record or whatever, but I'm
still gonna listen to you too.
At the same time, you know,because you might, you might be
something you probably hear, oryou know that I'm not hearing,
or and like it goes all aroundin circles.
So yeah, the whole notlistening it's not gonna get you
nowhere.
I mean you could be stuck,gonna be stuck in the same spot
(15:24):
and try to wonder, like whyyou're not going nowhere, like
why people not cause this gonnamake people not wanna work with
you as well.
Speaker 2 (15:32):
You know he don't probably don't pay, messed up a
whole deal or situation justbecause he don't want to listen
besides having all yourpaperwork in order, having all
your accounts set up and being a, I would say, professional on
paper, what other attributes, asan independent artist do you
think people need besides?
(15:53):
Because I know a part that wetalked about that may not air
was about being able to listen.
So, besides being able tolisten, what other attributes do
you think independent artistsneed to be able to survive the
music industry?
Because it is very cutthroat.
People will lie directly toyour face.
Speaker 3 (16:17):
Man Boy, you gotta keep the DJs.
Man.
I can't preach this enough, man.
Artists do need DJs.
I ain't saying you gotta kisstheir ass, killer D not gonna
kiss your ass.
I know how to.
(16:38):
I know how to make you knowwhat I'm saying.
I know how to get even with youand like in another way.
I ain't got a bad mouth and notgonna bad mouth.
You, I'll go to this dj programto wrap up under you.
I'll make sure it'll come fullcircle to where you hear about
me.
I'm gonna make sure you with me, like I'll make it, I'll make
it, I'll make it, make sure likethat.
But like you need to make sureyou're better than the djs, um,
(17:02):
the, the club owners, thepromoters, the waitresses, like
I like all them little issues,damn man.
And all of a sudden like this,so you can get yourself out
there too and do what you needto do.
But so I thought collaboratingI never just collaborate with
anybody outside the region orcountry, really.
(17:23):
So it'll be something new to me.
I'm not saying like I don't, Idon't mind, I guess it's because
I've been burnt so many timesto well, you know, come time to
paperwork, nobody, like nobodywant to do it.
Speaker 1 (17:37):
So it's just like I don't care.
Speaker 3 (17:41):
If I have to or if it's cool, like I will, on my
collaboration I collaborate, butit's like I'm not doing it.
Speaker 2 (17:49):
It's the right collaboration.
Yeah, I've asked artists aboutthat several times, about what
do you consider to be asuccessful collaboration, and is
it is finished product or theway you vibed, or if it was
successful and yes, it's a lot,it's a.
It's a lot with that too, onthat, because it's like yeah,
(18:12):
because if they don't sign up onreleasing the song, then you
just have a collaboration andyou're just stuck with it.
Speaker 3 (18:20):
And then on the label .
It makes it even worse ifthey're signed to a label too,
because you got to get thatclearance.
So it's just like it's so muchins and outs Because actually,
ok, like what's on me, me andLou's on the cash, because he
was signed like decades agothough he had a deal, but it was
(18:41):
just on the tip to where we'vebeen knowing each other since
MySpace, Like, hey, bro, justchunk me something.
But yeah, we've been cool sincethen, since MySpace days.
So I was just like, but man,still I still want you to get
your split.
Hey, let me just run this splitsheet by you.
They'll wait.
No, I'm saying like it stillwon't be no problems.
No, I'm saying, still, at theend of the day, even though I
(19:01):
still trust you somewhat, stillI still want you to get paid.
I have like now I'm currentlyworking on trying to get him a
plate just because, like, I'mjust the type of too, like you
know, you featured on the record.
You know what I'm saying.
So, yeah, I, I even with him.
I was like skeptical because Iwas like man, like, yeah, he got
(19:22):
a anthem forever, forever Ialways be a louisiana classic
song from louise, and like it'salways gonna be so, just like
man.
All right, let me just knowwhat I'm saying take care.
Take care of you, bro, butanybody else after him.
Speaker 2 (19:39):
I thank you for coming.
I want you to plug your latestsingle, who you work with on it?
Any last words, how your socialmedia handles, how to get in
contact with Killer D, where tofind your music at everything
about Killer D.
Yes, you can find me on ateverything about Killer D.
Speaker 3 (19:56):
Yes, you can find me on Instagram the real Killer D
713 underscore Sankai.
I am Killer D 713.
Killer D 713 on YouTubeeverything Killer D 713.
Check out my single.
Pop it.
Featuring Louisiana Cass.
Thank you, where's Judy?
Produced by Trunk Killers.
And shout out to you, man, um,shout out to guys for all the
(20:20):
djs that's been supporting me.
Man, shout out to you for thisinterview.
Shout out to everybody, man,there's been support me since
day one, um, and I know it's alot of people proud of me right
now, especially, you know,especially me at this level
right now.
So all my hard work is payingoff alright, alright, so you can
(20:42):
find him.
Speaker 2 (20:43):
It's killerd713.
Everything you can find usstreaming live on social media,
on all podcasts and platformsand on the website.
And don't forget about yourmerch and we will see you next
week and happy season four.
Bye, say bye.
Speaker 3 (21:03):
Bye, hey girl.
Speaker 1 (21:06):
Let me tell you about this podcast Girl.
Everybody has a podcast thesedays, but this one interviews
new and interesting indieartists.
It's called Indie Artist MusicHostel with Blonde Intelligence.
Really, where can I find it?
It's on all podcastingplatforms streams live on social
media and on RPENTradiocom.
What'd you say it was called?
(21:27):
Again, it's called Indie ArtistMusic Hostel with Blonde
Intelligence Girl.
I'm going to have to check herout.
Give it a check, girl.
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