Episode 17: Between the Laughs and Beats: Digital Age Quirks and Music Industry Controversies

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
airplane mode.
Yeah, this airplane.
You know, I don't need to turnit all of the connection but,
you ain't gonna get nothingcoming.

Speaker 3 (00:07):
Yeah, no signal, no notification.
It's, all you do is cut thesignal.

Speaker 2 (00:10):
That's all you do.
What about Texas?
Nothing nothing.

Speaker 3 (00:12):
Nothing comes through .

Speaker 2 (00:13):
But do you get a voice if I leave nothing?

Speaker 3 (00:15):
nothing.
Nothing until you cut it backon Nothing yeah.

Speaker 2 (00:21):
So the clock is still work.

Speaker 1 (00:22):
the clock work.
Yeah, you can look at stuff,okay that's.

Speaker 3 (00:25):
That's why do not disturb is you get them, but
they don't bother.
Your phone, yeah, it don'tvibrate, don't alert, no,
nothing.
But he said his do not disturbhe got people on his favorite,
that will come through, that'llcome through.
Yeah.

Speaker 2 (00:37):
Oh, okay, that will come through Okay.

Speaker 1 (00:39):
But the airplane mode eliminates all signal coming
through the phone, but you canstill look at your phone.

Speaker 3 (00:45):
you can look at pictures like your phone's on,
it's just no signal.

Speaker 1 (00:49):
And if you got mute, if you like, you got something
saved.
Download yeah, if youdownloaded a podcast.

Speaker 3 (00:55):
You still connected the internet.

Speaker 1 (00:56):
You can, you can hear those things, oh I only freaked
out when I accidentally put iton.

Speaker 2 (01:01):
I'd be like, oh shoot , I'm on airplane mode but I
never really used it.
Well, when you fly on the plane, you gotta turn it on.

Speaker 1 (01:07):
Yeah, turn it on all the way, I just turn it off.

Speaker 2 (01:09):
Yeah, I about to say.

Speaker 3 (01:10):
I turn it off.
It just don't search for asignal.
That's all it does.
It saves your batteries too.
If you go somewhere you knowit's dead signal, it's best for
you to turn that on so you don'tkill your battery.

Speaker 2 (01:17):
So when I go to Haiti , I just turn it on like when
you know, when they say you havenow entering portal.

Speaker 3 (01:23):
That's when.

Speaker 2 (01:23):
I'll turn it on and you'll get that alert.
It'll go over from whateversignal we have to, like
Digi-cell or not.

Speaker 1 (01:29):
Call me or let you know if they don't have i-brands
over there.

Speaker 2 (01:33):
No, you got Digi-cell and not come for internet
providers.
There you go, there you go,belen the house.

Speaker 1 (01:41):
Hey, tell her, tell the global zoo about how you did
with the bumble.
He had a whole nice commercial.
He had a whole nice commercialtalking about the bumble.

Speaker 3 (01:58):
Oh, the bumble man, I bought a blue favours, the blue
raspberry.
I think that word.

Speaker 2 (02:05):
Oh, you bought a bumble.
Yeah, yeah, yeah, after.

Speaker 3 (02:09):
the full year.
No, no, no, no, no, no, no.
That one.
I need to go ahead and get ablack bottle.

Speaker 2 (02:13):
Oh yeah, I think you like bro you didn't get enough,
yeah, he did.

Speaker 1 (02:16):
I'm gonna give it a read.

Speaker 3 (02:23):
There you go, there you go.

Speaker 2 (02:25):
Oh, talk about exposure.
We need the exposure.
You gotta touch the streets.
We need that street credibility.

Speaker 3 (02:31):
We need that promotion and that's what
exposure provides for the peace.

Speaker 2 (02:36):
Welcome to me.
That makes him sign out here,mia, like I always do Watch the
exposure.
Get in the head with thatexposure.
Know what it is them downdollars.
Railow number one, dj's numberone promoters for show from Palm
Beach.

Speaker 1 (02:48):
It's exposed.
That's why it opened up Y'allcheck it out.
Keep it locked all over thefloor and you are watching
exposure.

Speaker 2 (03:01):
What's going on Y'all to?
Then to another episode ofexposure.
I be aboard a global zone andI'm with the game, eric Biddens,
and today's show is brought toyou by Sovereign Brands, our
official drink of choice.
And man, we here, man, rightafter Thanksgiving, we live in

(03:23):
effect.
We took some time off.
I was thinking of the show,where it can go, and I got a lot
of interesting things we coulddo next year.
But besides that slab, let mestart off with you, man, how was
Thanksgiving brother?

Speaker 1 (03:34):
Oh, it was amazing.
We had close family by, woke upearly, went to sleep late, yes,
left overs for two days afterthat.
Turkey, mac and cheese, sweetpotato pie, greens what else we

(03:55):
had?
A?
We had probably about sevendishes, some stuffing, some jerk
Jerk pork chicken.
Yeah, it was nice.

Speaker 3 (04:04):
That's what's up.

Speaker 2 (04:05):
That's what's up.
Good, good Draco.

Speaker 3 (04:07):
Man, we I feel like it was a little mini vacation
from work Took a couple days offearlier, got to do some content
.
It went well, and then mybirthday was that Saturday.

Speaker 2 (04:17):
Yeah, I see, happy birthday brother, appreciate it.

Speaker 3 (04:21):
I feel like I celebrated it this Saturday
though, but yeah, everythingwent well, man.
I was able to relax andactually really do me, so, yeah,
it was great man.
That's dope man I went toOrlando.

Speaker 2 (04:34):
A smart, intimate family Sister-in-law had a time
show up there and my first timeactually being in one of those
so we was right there, in closeproximity of SeaWorld, and this
other place called it, startswith an A, it's another like a
water park, like a rapids, butup there but it was the weather

(04:55):
was cold, so we end up justreally like I didn't know the
clubhouse for these places, sothere's like tennis courts,
there's basketball courts,there's a theater, so there's a
pool, there's a jacuzzi, there'sthe hot tub, so you really have
everything, like it's inclusive, like everything is really
there.
You just go downstairs and walk30 steps and you can have a
ball.
So we did that in Orlando, butwe didn't do the traditional

(05:17):
things, given we did a Haitianfood.
We had a Haitian restaurantcater, so it was the Terracuse,
the Grillo, the black rice, theplantains, the shrimp, we had
stewed fish and, yeah, we ate.

Speaker 1 (05:30):
for about two days we ate and then we had leftovers
for the and the macaroni.

Speaker 2 (05:34):
I can't forget about the macaroni.

Speaker 1 (05:37):
All the stewed fish.
How the stewed fish was.

Speaker 2 (05:39):
The stewed fish crazy .
I don't go crazy over the samethe fish like that, me too.
I'm you gonna laugh and don'ttalk about, but I'm like a
tilapia grouper, I like them.
I like catfish, same like I eatthat kind of fish, but the
snapper got too many bones.
Man, I'm not a, I'm not a.

Speaker 1 (05:57):
I'm not playing with my food.
I'm not playing my food likethat Fish.
It's not a lot of bones, it'sonly in the middle.
What fish you eating, that man?
That fish be about 14 inches,the tail hanging off.
Yeah, you saying no bone inthere.
That's what I'm about to say.

Speaker 2 (06:13):
Just a spine.
I don't do good with the body.
That's too much work, yeah.
I see when I see a Haitianeating fish, they eat it and
it's like it's switching andthen they're spitting it out,
yeah, hey, but it be on point,it's juicy anytime I ever had it
Shoot.

Speaker 1 (06:31):
it be like $45.

Speaker 2 (06:32):
Yeah, it's up to you.

Speaker 1 (06:35):
gotta pay the market price, yeah, I like that though,
because you know, you knowyou're getting it, you getting
it fresh.

Speaker 3 (06:40):
Yeah, you getting it for real $45.
I remember it being $30.

Speaker 2 (06:44):
Yeah, it's $45.

Speaker 1 (06:46):
I've gotten it $30 before, but it ain't always
gonna stay $30.
Yeah, yeah, I've paid up for itand I think rightfully so what
I mean?

Speaker 2 (06:55):
unfortunately everything going up.
So if they gotta pay theseworkers and these chefs and the
cuisine and the bills.
They gotta go up somehow, somekind of way.
Yeah, yeah, but yeah, that'swhat's up, man, that's what's up
, that's what's up.
So, man, a lot of new musicdropped, yeah.

Speaker 1 (07:11):
A lot of new music dropped Cheesy offset.

Speaker 2 (07:14):
Yeah, okay, I didn't even know, I didn't even know
offset dropped the album.
I think you said somethingabout it that's what you dropped
.

Speaker 1 (07:19):
Yeah, he was playing a song on our way here and
offset was singing.
It's like I didn't even thinkit was offset.
That could have been like aparty next door or something
like a vocalist.
I was like I didn't know hesang.
Is it on the?

Speaker 2 (07:34):
sample.

Speaker 3 (07:35):
Yeah, yeah, the Buster Rom's.

Speaker 2 (07:37):
The Buster Rom's.
Okay Worth it yeah.

Speaker 1 (07:40):
But it was a well written, well performed song and
I'm thinking it's gonna be asingle.
He can do a whole album likethat.
Offset can do a whole R&B album.

Speaker 3 (07:52):
I think so too.
He's been performing that songa lot of places, like on the
late night show and everything,yeah, so I think it's a single
man.

Speaker 1 (07:59):
I would like to see him pull his 808s and heartbreak
love below.
Give us a whole hey offset.

Speaker 2 (08:07):
Yeah.

Speaker 1 (08:07):
Pull your 808s and heartbreak.
Slash love below.
Give us a whole R&B album.

Speaker 2 (08:13):
There it is, there it is.
Two chains in Weezy Drop, yup.
The cover hard, the cover hard.
I'm going through that, becauseit looks like both of them?

Speaker 3 (08:23):
Yeah, it really looks like both of them.
Is that a two part album?
I think it's a two part album.

Speaker 2 (08:28):
What do you mean?
The second, yeah, colle Grove,number two.

Speaker 3 (08:31):
No, no, it's actually like I think it goes to a
number and then it starts againand like they got two albums in
one.
I'm saying I think it's twoalbums in one.

Speaker 2 (08:40):
I listen to it.
It got skits, it got 50 cents.
It's like narrating it.
You know what I'm saying hedidn't get y'all too, yeah, hey
we're all and we're going to getback on.

Speaker 1 (08:51):
We're going to get back on point.
But I would love for us to havea source where we all run to to
get all these details.
And I don't mean to gobackwards to be like, oh, I was
back in the day where you knewyou can go to.
It was at least three or fourwebsites where you knew you was

(09:13):
going to get whatever waslegitimately happening.
Now, like, depending on what aperson got going on on the
timeline, they're going to missit.
You don't got.
You might not have a placethat's going to cater and cover
to all these details.
Every now and then the shaderoom might get worse in there,
but I'm talking something that'sstrictly dedicated to all these

(09:37):
details that we agree, that weall run into Like to your point.

Speaker 2 (09:42):
I mean, websites is good too, but I felt like
Warstar used to be that for me,like it ain't that.

Speaker 1 (09:47):
No more check it every day.

Speaker 2 (09:48):
Yeah, yeah, yeah, yeah see what was going on and I
feel like with social mediaplatforms the tick tocks, the I
G's growing.
I think the owners kind of gota little discouraged right
Because the platforms wastrending and people would go
viral quicker there.
I think people just gave up ona site and like let me push
because this.

Speaker 1 (10:11):
This is our generation fault, because we,
when we came in, a lot of people, a lot of artists that was able
to do it without the labels andthe executive sides, a lot of
structures, high fired, completedepartments that was actually
not fast forward to where wecomplain that their talent was

(10:33):
to make sure and be like acurator in a sense, from the,
from the executive side, fromthe label side, also innate.
Their relationships extendedover into media, television,
radio and so on.
So we at least know we wasgetting something controlled

(10:53):
enough to where, if we, if theyever want to be a direction that
we all agreed to go, it can go.
But now, once we eliminateeliminated that now, if we
complain about the music isstill outside of our control, we
might be hearing something wemight not even agree to want to

(11:13):
hear.
And I see a lot of people inthe comments.
They be complaining sometimesabout the stuff that end up
getting most of the attention.
And now y'all mentioning allthese exciting some of some of
them I missed myself.
Yeah, Some of these events thatcame out the the planet poster
be talking about I because, it'son that level of importance and

(11:37):
historical historicalness.
Just like when we had the source, when we had the vibe, when we
had those things you had three,four Rolling Stone you knew
whatever was happening, it wasgonna be in there.
So now it's like we might.
I don't think we had thatbecause there's so much that's
coming out and I'm missing a lotmyself, and I know I ain't the

(11:58):
only one.

Speaker 2 (11:59):
So I would ask this to those.
So what happened to the?
I don't know the promoter, notthe promoter, but I just don't.
I just think everybody iseither trying to be in the
forefront, but we don't haveenough platforms with people who
just, you know what.
I love music so much that Iwanna put others' talent out
there.

(12:19):
Is that what happened to thosepeople?
Not A&Rs, but-.

Speaker 1 (12:23):
Whoever got the bag ain't giving them the bag.

Speaker 3 (12:25):
Can I, can I hold on?
Can we go back a little bit,though?
Let's before?
I'm not gonna name it, but wehad Hot, new Hip Hop.
We had all of these andeverybody would find the
upcoming artists, because we wasgoing to those websites every
day and then, when somebody'splaying it, we asked who is that
you?

Speaker 2 (12:41):
know what I'm saying.
What's that person called Like,if someone who opens up a Hot
New Hip Hop?
What do we call them a blogger?

Speaker 1 (12:46):
They was called bloggers.

Speaker 2 (12:47):
Okay, bloggers had a lot of pull.
What happened to them?
They was getting them bags.

Speaker 1 (12:51):
They were getting bags their websites, the traffic
that they were getting.
Then everybody left the apps.

Speaker 3 (12:58):
That's where it went to SoundCloud.
Soundcloud eliminated all ofthat, so everybody was uploading
to SoundCloud without thatbecame a thing.
But would it Audio Mac be part?

Speaker 2 (13:09):
of that, that's another one.
Audio Mac was the.

Speaker 3 (13:12):
Everything with the apps.
So it was one button.
You know what I'm saying.
It was just one button insteadof having to go to a website on
our phone or on a computer,because we all went to a
computer before our phones whenwe were looking for those songs.

Speaker 2 (13:22):
So are we saying part of the problem is websites Like
, because it was?

Speaker 1 (13:25):
No, it is the part of the problem was this generation
that came and rebelled againstthe system.
That said, because we had a fewpeople that made some success,
shot out the big Draco, shot outthe Soulja Boy for ushering in
that independent movement, buteverybody ain't contributed to

(13:46):
change that.
He contributed, but a lot ofpeople after that rebelled in a
lot of label departments, peoplethat was very, very talented
and breaking artists that wasthat could have been label heads
theyselfs.
A lot of very importantcritical people.
The budget's got cut, they gotfired.
You no longer needed them Likesomebody felt like they can.

(14:08):
Just if I can blow up and goviral off of Instagram or
Facebook or a YouTube clip, I'mcutting out all of these people
that had these very importantrelationships and contacts and
was feeding us in a healthierportion it was a whole meal
versus like you might not knowwho dropped what I'm like.

(14:31):
I skimmed through the BusterRhymes because he was on another
podcast interview and I didn'treally even appreciate it to
Draco playing it to me in thecar and he's yeah, yeah, and
he's selling it to me.
He going through, he went rightto the cuts that I needed.
He did what it was, it wascrazy.
It was an editorial experienceand I'm like man, it took me.

(14:55):
It's not the same, but it tookme back to when you would go and
read these publications andit'll the event around it when
you seen 50 Cent, eminem and DrDre on the cover you like.
It's bringing even moreexcitement to it to actually
value the music the way you needit to, because just clicking a

(15:15):
Instagram leak or find somethingthat's just coming quickly
through your feed, like on asidebar in the discovery that
ain't giving you everythingthat's actually in there.
He telling me the story of howthey was all out on a yacht.
He went and got Timberland.
He got this, like all thedetails necessary.

Speaker 2 (15:32):
The story was amazing .

Speaker 3 (15:34):
Oh, he actually.
I don't know if you know he won.
What was that award?
Remember that award.
He won Lifetime.

Speaker 2 (15:40):
Achievement, yeah, lifetime Achievement, so he
deserve it.

Speaker 3 (15:42):
Yeah, so that was.
You know it was.
This is just a year, it wasjust Buster's year.
But I wanted to tell you thatwhen I started on the album,
that was from the intro.
That was from the intro goingdown.
So you just hit play and I gotlike six songs.
If I like five to six songs onthe album, I'll say you got an
album.
Yeah, that is an album.
But yeah, I just hit play man.

Speaker 2 (16:02):
That's.
That was something.
When you say but I'm trying totake a five, six song, it's like
I don't have to.

Speaker 3 (16:08):
I don't like the songs that I really like.
Like if you know how simple youjust skim through the album and
you pick what you like andthat's it.
I was able to just let it playand I'm like ooh, ooh, ooh, so I
went to add it and then I'mlike fuck it, nope, I'm going to
go ahead and add the wholething.
Fuck it, that's what's up?

Speaker 1 (16:25):
So, again, going back , this is me complaining on the
half of my own complainingsystem, which I love to do.
I think it's important to allowthese label systems, give these
people their bags, bring thesepositions back.
I would like to see theselabels get into artist

(16:47):
development how it was likealmost mandatory structure, like
if people want to go viral andthey eating, they doing their
things, this and that, that, butI'm talking about the, our
media, our taste that's the word, taste makers, our taste makers
get being able to come back towhere they used to be.

(17:08):
Like if Bigger Rankin saidsomething was going, it was
going.
If such and such is so manynames, I would like it to get
back to that, because we'remissing a lot and we're not
controlling the narrative of,let's say, hip hop, rap or urban
music, cause you look at rock,you look at blues, you look at

(17:29):
jazz, you look at these otherspaces, r&b doing amazing, by
the way.
Shout out to R&B.

Speaker 3 (17:34):
Oh, you heard Chris Brown album.

Speaker 1 (17:36):
Oh, I did please.
Yeah, it ain't gonna lie.
I can't say nothing bad aboutR&B, but when it come back to
rap and I'm hearing Busta Rhymestill got it, I'm hearing GZ
still got it, I'm hearing TIstill got it, I'm hearing
Ludacris still got it, I'mhearing Tank still got it I mean
, well, that's in R&B, but it'sso many people still got it.
They got even better.

(17:56):
They got even better.
And it's like when you go intorock and roll and if these are
rock stars, for us this is whenthey really at they prime.
To get these stars on theHollywood on the sidewalks, they
rock and roll a hall of fameand they got records that is

(18:21):
even better and that pusheseverything forward.
But I don't feel like we gotthat control.

Speaker 2 (18:27):
To your point.
How old do I think Busta Rhymesis?
Cause I'm kind of glad we let'sgive Busta his flowers now.
But how old do you think BustaRhymes is?
Oh, busta Rhymes ain't got noage, no, I'm just.
But I'm just curious Cause it's, let's say, 42.

Speaker 1 (18:43):
I'm gonna say 2000.
Busta Rhymes, yeah how old.
I'm gonna say about 2000 yearsold, cause if Andre 3000.
Yeah, I'm gonna say BustaRhymes, not a non-linear age in
person, no in the beautiful part.

Speaker 2 (19:01):
I'm just happy cause the artists we're talking about,
I'm just so happy that weembrace and we can, we're giving
them a shot, we checking themout.
It's not, we're not puttinglabels of old heads but it's
just interesting to see 51.

Speaker 1 (19:15):
Yeah, right what we're pushing the culture
forward, okay.

Speaker 2 (19:19):
We're pushing the culture forward.
You think about two chains.
You think about the wanes.
You think about everybody whojust recently dropped that we
are fans of and we are talkingabout right now.
It's a beautiful spot in musicman In hip hop.
I'm gonna say hip hop.
Hip hop is a I'm happy to seethis, I'm happy to see that, and
thank you, busta, for giving usa classic man.

Speaker 3 (19:39):
He's giving us the game too, and what I really like
is he not just him.
They're bringing back thefootwork of the hustle mentality
and that's what you know, ofcourse, because of the
mainstream media with the musicis, I guess, shitting on
everybody, but I like that, thehustles coming back grinding and
getting your music played Like.

(20:00):
I heard a story where he'sactually still going to the
clubs and getting the DJs toplay his music.
Busta Ross yeah, he's doingfootwork, like he's going
himself, like the younger daysof his life that he was giving
the DJs his CD to play.

Speaker 2 (20:16):
He's fresh off tour with 50.
Like we talking about a dudewho just toured half the world
with 50 Cent and still put out aproject and not about to do his
own tour.
Man, you know what I'm sayingand that look at me now versus
legendary legendary and he putout OT Genesis.
Yeah, ot Genesis.

Speaker 3 (20:32):
I forgot that was his car.
He was, yeah.

Speaker 1 (20:35):
And OT Genesis got the best gym music.
Yeah, he worked out too.

Speaker 2 (20:41):
You know what I might say.
I might have to agree with you.

Speaker 1 (20:42):
OT Genesis got the best gym music.
He got the best gym music.
I don't even work out.
He got the bounces.

Speaker 2 (20:47):
Like every single he dropped was a hit.
Like he, he in his bag of hedon't need to put out album, I
wouldn't even put that on him.

Speaker 1 (20:54):
No, no, Just continue following the formula OT
Genesis don't?
He may not feel like this, butfor me I feel like we're going
to talk about OT Genesis as aperson that make the songs that
he make, he liking that Fat Joecategory, the fact you've been
around a minute and Fat Joe gotsome.

(21:14):
He can always come back.
Like you can never, ever, evercount Fat Joe out OT Genesis.
I feel like he going to be oneof those.

Speaker 2 (21:25):
So I also want to get .
So now we talking about thesenew releases.
So Andre 3000 just dropped thealbum and I think I put it in
our group chat before it dropped, cause I was kind of I didn't
know he was working on nothingand when I saw it I immediately
thought of you and just you knowjust the conversations we have
and I know somebody of theinfluence and I'm like, after 17

(21:45):
years, I was kind of excited.
And then I saw his firstinterview.
I'm like, oh, he was like ohyeah, I didn't know what to rap
about at what.
48 years old or 49, which wasone of those he was like I ain't
know what to rap about.
But you know, this is whatspoke to me.
So he put out if you want tocall it an instrumental item, a
album, sorry, right.
So I was excited for it.

(22:07):
So then I'm like, all right,let's see what's going on.
So it dropped and the numbersare looking good.
Well, he outsold a lot ofartists the first week, such as
Kodak.
I know Lil Wayne was on there.
I know Nas was on there.
His numbers is doing phenomenal.
So I got a chance to listen toit.

Speaker 1 (22:23):
It was different.

Speaker 2 (22:24):
It's not what I expected.
I got just being transparentand completely honest, but I see
where.
Like the meditation, yoga.
If you don't like white noise,I don't know, but like something
about me.
I don't like sleeping when it'squiet, like I hate where it's
nothing.
Something got to be going, so Iusually sleep the ocean waves I

(22:46):
like to play some wavescrashing in the background, real
light, and it's just weird.
But I didn't realize it aboutme till like the past three,
four years.
It's when it's just quiet.
I'm like man, I can't fallasleep and I started doing that.
But I feel when I listened tothis album, I've been throwing
it in my ocean waves mix just tolet it play at night for me and
it's been phenomenal.
But I've been enjoying it andsupporting it, but it is

(23:08):
different.
It is different.
I know Tipper J won it rap.
He did say he wanted bars.
So shout out to Trip.
I saw him on Facebook.
He said man, I was waiting forthe bars.
D'all did saying it.

Speaker 1 (23:18):
I'm on trip, but trip wanted the bars man, Anybody
who didn't get the bars theyallowed to be disappointed for
that.

Speaker 2 (23:26):
I wanted some bars.
I did cause.
Lewayne even said I don't knowif y'all saw the viral clip
that's trending where he waslike he was a little bit like
concerned, like he was like damn.
He said he had nothing to rapabout, cause Wayne was like man.
That's a little shocking.
You know what I mean, cause he'slike granted that LeWayne says,
you know, I guess he don't putan age on it, but he liked to
focus on, he said, hence thereason why I only focus on what

(23:49):
I do, like I don't likelistening to other people music,
I don't like to know what'sgoing on unless I have to.
I'm in my own world and that'sjust the way I focus.
But even I guess as a fan hewas like, yeah, he would have,
he would have definitely enjoyedit.
Listen to some bars as well.

Speaker 3 (24:04):
Yeah, agreed, agreed, agreed.
But they bought the sample ofthe shit out of his music.
I'll tell you that right.

Speaker 2 (24:10):
But how did you feel about it?
Before you talk about others,how did you for you like?

Speaker 3 (24:14):
I'm not gonna lie, I was definitely in the boat too.
I was.

Speaker 2 (24:17):
I was, I wanted bars.

Speaker 3 (24:18):
Yeah, I wanted bars, man, I don't care if he was
going to sing, I needed to hearhis voice.
Okay, I needed to hearsomething, man, I was waiting on
it and I did shut it down.
And then I did come back and Idid exactly what you said I took
it as a low-five, instrumental.
Yeah, yeah, there you go.

Speaker 1 (24:34):
I was bumping it.

Speaker 3 (24:35):
I'm not a liar, yeah.

Speaker 1 (24:38):
I was prepared for it .
It was exactly what I thoughtit was gonna be, I mean and I'm
from the same soul group asAndre, so I understood it.
It made sense that he would dosomething that we all would.
Whatever we expect from him, healways did something different.
We never was on point on beingable to calculate.

(24:59):
Andre he's not one of thosehe's never been that to give us
exactly what we was anticipating, and we didn't even have a big
head sup on it, and so I thoughtthat was genius.
I thought it made sense forwhere he's maturing into far as
a musician, because now it couldput him in a different space,

(25:22):
to where he can go, perform indifferent avenues and almost be
a new artist in a completelydifferent sense.
Whereas and I'm speaking inform, as if I know like after
you rapped and did it so goodand you toured and did all these
things and there's so muchspace and distance you was in

(25:44):
the group, you had the dungeonfamily, the solo stuff and you
just full all this creativity.
You rap.
If that was your base, it mightnot feel challenging.
So now to get that rush fromwhen you first started and you

(26:07):
got all this excitement to do aflute project where there isn't
many references on how a hip hopartist is to put out an
instrument or a flute project.
But I can see there being a lotof excitement behind it to where
it's like, all right, we can dosome different stuff.
I don't have to.
It don't even make sense for meto compete with what the youth

(26:30):
are doing.
It don't make sense for me to.
You know, do I want to say thepress in the hip hop sense?
I'd now be able to talk to somedifferent people.
You probably out there doinginterviews, setting stuff up
with platforms we never evenheard of.
Because now you have thecontemporary side that might be

(26:52):
paying attention, the label canyou know, tap on the doors of
these other departments that maynot have never even met some of
those executives.
So I feel like there was a lotof excitement in that, just as
it being fun.
But then and I have to throwthis disclaimer because there
was a couple of people I'mdefending them again, I did this

(27:13):
in another conversation Peoplethat really, really, really,
really really play.
That's classically trained waslike his flute playing suck,
yeah, some like if you were aclassically trained flute player
.

(27:33):
You not.
And Andre not expectingsomebody who been playing flute
for 40 years to say that youknow this is the best fluting
around, how flutacious that hedoing on the mic.
But he did explain that itwasn't to be like quantized, you

(27:57):
wanna say, where it's veryloopable.

Speaker 2 (28:00):
Like it's jumping around, it does, it does.

Speaker 1 (28:03):
It could be two minutes in he playing with three
different things, and so thepatchwork in the artistry it's
like a quilt that's going on.
It's amateur intelligence towhere it's like he not the best

(28:23):
flute player on the planet, butwhat he giving you, the rawness
he giving you and how he givingyou, how relaxed he was and
letting it go out.
And then the post work.
That's where a lot of theartistry end up coming in too,
because there was otherinstruments layered up under it.

(28:43):
And so now, if you're a personthat sample, anything like that,
especially with people whosample, they're like oh, and
Jeredi already called it they'relike, oh, we can do some stuff
with this because it movedaround.
So you got one song samplers,the probably sample.
Maybe you know you had 10different samples come from that
same song because he movedaround so much and he toying

(29:07):
with it.
So it's like you in the roomwith Andre freestyle and just
trying out riffs and patternsand seeing what's working, and
they probably like, no, keepthat, keep that, we can make
that work.
And I can see the engine andlike he like no, I was just
testing out.
No, no, that sounds fine.
And just cause it's Andre, youlike man, I'm finna keep

(29:27):
anything.

Speaker 2 (29:28):
Andre playing with flute.

Speaker 1 (29:32):
So there is an intelligence in there and I
appreciate it.

Speaker 2 (29:37):
for that I went to support, so you enjoyed it.
You definitely did support.

Speaker 1 (29:41):
I put it on.
I went to sleep and I'm gonnatell you something that happened
.
This, the magic we looking forsome wizardry coming from Andre
3000.
While I'm sleeping, I'm fallinginto my sleep.
It wasn't a nightmare, butthere was this it wasn't a

(30:03):
peaceful sleep, it was acleansing sleep where I just
felt all this dark energy justleaving.
I ain't even know, you wouldn'teven know it was there, but
it's repelling and it's leaving.
I was like that was aninteresting sleep and because it

(30:25):
wasn't a peaceful sleep but itwas a liberating sleep.
And then I'm thinking about thekeys and the notes.
There was some keys and notes.
He was kinda in some darkoctaves at some points.
It was like rainy day, hands inthe pocket, head down walking

(30:49):
on the sidewalk of 7 pm, 7 settype of like the sceneries I'm
seeing with some of the music,and I'm like, oh, there's some
emotion that's behind this and,yeah, it's repelling it.
So he got into, especially forthe sensitive people and the

(31:09):
empaths he got into this.
Andre 3000 was able to build aharmonic in this space that can
repel certain energies thatwould end up being in your field
, Because it's like bringing anangel down to this space where

(31:30):
you might not see an angelpresence to be and then it's
like, oh, we're playing thisperson in this frequency and
that's a liberating experienceto have, like you just seeing
Andre's presence within thatspectrum of vibration when you

(31:52):
might not even really expect itto be there and it just
repelling.
So anybody who just felt likethey got some darkness around
play that Andre 3000 album.
It's going to sit right in thatpocket.
That just repels, cleans andliberate and renew.

Speaker 3 (32:10):
I'm just genuinely happy because he's happy, bro,
like I'm happy for him, like forreal, for real, like he was
able to just do what he wantedto do and be happy with it.
That's where I'm at with it.

Speaker 2 (32:22):
That's what's up.
I think a lot of people therebut that's what's up Shout out
to you.
You explained that beautifultoo, by the way.
I almost feel like that shouldhave been an ad for the album.
Just just, I had to think aboutit, I had to figure it out.
That would have been theperfect clip.

Speaker 1 (32:36):
I woke up, I was like what kind of?
Sleep was.
Was that what was going?
And I had to figure out whattype of sleep it was.
I had to think about it.
I'm like it wasn't the most.
It wasn't the sleep, the oceanwaves and beach sleep.

Speaker 2 (32:51):
I know that we all know that sleep.

Speaker 1 (32:53):
Yes, I said this was something else, this was
eliminating something.
So I know I wasn't in the mostpeaceful, deep sleep.
But when I woke up, because Iwas with Andre, I was like, oh,
his music did something.
It did something Because youwoke up feeling good and safe.

(33:16):
It's like being in a nightmarewhere you ain't have to do
nothing Because Andre playing,Andre taking care, he got the
flute.
Just boogie monsters get out.
I think I was going to be herebecause some of these notes are
shifting and it's throwing y'alloff and it's I'm looking at the

(33:38):
universe of harmonics and howthey play out.
There are some staggers inthere, so it's some bumps.
He's dropping in differentplaces, so I can see how it can
cause some distortions.
But because it's Andre andbecause of the personality it's
coming from, it's repelling andit's like.
So I woke up.

(33:59):
I was like, oh wow, I don'teven know if he know what he did
, but those that that study intothose spaces like frequencies
and vibrations, they're going tobe like man, that do make sense
when I think about it.
So, yeah, welcome, I did alittle bit.
I'm not, I'm not, I'm not theonly one, but sleep to that

(34:22):
Andre that's what's up andproducers going sample the hell.

Speaker 2 (34:25):
I mean, that's the first.
Another thing I saw from theproduction side is everyone's
like, oh, this will be dope thesample.
So let's shout out to the twerkworkers that's going to be
coming, and I don't know ifDregal going to cook up
something, but maybe we'll beable to play y'all a little
something, just to show you whatit was capable of doing.
You know what I'm saying and Iwant to talk about something
else that's the same on music,before we go anywhere else, if

(34:47):
y'all have anything.
But I saw this artist fromMiami who kind of said you know,
the Miami music scene isstruggling because of the
generation before ain't reallylooking out for nobody.
If you think about some of theartists who were successful out
of Miami and some made attempts.
Now I ain't gonna say like, sowe got to be clear.

(35:08):
I don't know the business orwhat happened to some of these
things, but trick daddy had dunkriders, rick Ross had triple
C's, just to name a few.
But he's saying that thegeneration before ain't no one
looking not for this youngergeneration of artists that's
coming, ain't no one doingfeatures, ain't no label signing

(35:29):
cats, ain't nothing happeningand he's saying that's the
problem we have in Miami is thatthe generation who did make it
ain't looking back.
For the generation who's on theupcoming ain't no big homie
advice Ain't normal, put you ona show, ain't no, come on tour
with me.
None of that is happening and Ijust kind of feel like do y'all

(35:50):
agree with that?
Do y'all see that and what'syour take on it, especially us
being from Palm Beach?
Do you think maybe the?
You know, sometimes we see ayounger generation moving
different and we like what thehell are they doing?
Why they making music like that, why they putting that on
social media?
But maybe they don't have nobig brother guidance or no one
they have access to to be like,hey, young man, that ain't the

(36:10):
way to do it.
You want to go that way?
Or maybe you don't want to saythat in that record, make
records like this, or let meshow you this or that.
I just want to get y'all takeon that is it.
Did the did?
Maybe I want to say some of us,or are we looking back for the
younger generation and help, anddo we just observe and let them
fail?

Speaker 1 (36:31):
I would put that on us more so because when we hit
that, turn to where we, it justwas constantly said that we
don't need nobody.
We don't need nobody and we wasdoing everything I own.
We forgot about the producerhelping us with our flow.

(36:52):
The executive produce, rather,even if it's on a local level,
and, Jericho, you know, like weain't want to listen to nobody.
And when you have people,that's own and we've been in
spaces where they're like youknow you ain't going to listen
to me.
I might want to put you on, butI might want to, you know, pick

(37:13):
all the beats for your nextproject.
I might want to tell you towear this outfit.
I might.
It's so many other things.
I don't think we want to reallylisten to anybody.

Speaker 2 (37:24):
I mean, I've been looking for that.
I feel like I was looking therefor my hope.
I was always looking for advice.

Speaker 1 (37:29):
I was looking and I was, I was looking, but I know
there was.
There was a part like I'mthinking about people who was
like I'm thinking about theicebergs, I'm thinking about
like some people.
I was like, oh, he definitelycould go with MMG or something
like that.
But now, looking back aticeberg, how he moved, like he

(37:51):
was like so much of his own bossthat it might have held him
back for some of his moves If hewas tough to be up under
somebody and wait for somebodysaying what ball agrees.
He's like it's a lot of peoplewho been been ready a long, long
time ago and they would haveI'm sure it's a period that they

(38:12):
would have been down to be withpeople, but they was mentally
they was on the same level assome of the people that it was
really trying to get on with,like iceberg, the way he moved
after after Don't Grotters, hewent even further.
Yeah, he did.
Yeah, I can say that, yeah, hewent in, he went further, he
went even further and ballagrees had been through a lot of

(38:33):
situations where he dependingon other people.
When he finally it appeared tobe that he was doing on his own,
he ended up going further and Ithink ball agrees to be making
more money than a lot of peopleon major labels.
So it ended up working out forsome.
It ended up working out forsome people, but I don't think

(38:55):
South Florida trying to do that.
We ain't trying to makesuperstars.
They come hit a party.

Speaker 3 (39:03):
No, no, they there.
I feel like they there afterthe.
I don't.
I'm not blaming them, but afterthe Callit effect it kind of I
think it kind of messedeverything up.
It was like he was the go-toguy and it's like if you didn't
have him, you almost, you almostdon't exist.
Yeah.

Speaker 1 (39:19):
Oh well, callit was bigger than bigger than Florida,
Callit bigger than the.

Speaker 3 (39:25):
United States, now, now, but I think, but still
think about it.
At the time, when he was doingit, who did he grab?
Who did he grab?

Speaker 1 (39:32):
Yeah, he did.
He started out with him, buthis, his mentality always been
big and I ain't gonna say thatabout everybody, but Callit is
one of those people that was youcouldn't, you would be doing
him a.
It would be disrespectful toexpect him to carry a city when

(39:54):
he always had this globalmentality.
He was always bigger than a, soA corner.

Speaker 2 (40:00):
He had Ace Hood as an artist.
So we the best, and we know wethe best exists.
But then it's like they hadtheir differences, they
separated.
But it's like, what about theyounger generation?
Because I'm sure we all canname some of us.
You know even more, but we, Iknow about five artists from
Miami, that's been putting inthat work and I'm curious like
you got to notice.
You see this, yeah, like why weain't.

Speaker 1 (40:22):
South Florida ain't won't Think about the TJs DJs
days.
How many people from Florida in?

Speaker 3 (40:27):
general Radio was broke, bro, remember at that
time that was using radio tobreak people and he was using
radio to break people.
We're not.
I know it's not that timeanymore, but this we got.
Like global said, we do havethese guys down there, but why
you?

Speaker 2 (40:42):
see what I'm saying so the artist I felt what the
artist was kind of saying isthis like we had pole boy, we
had slip and slide, we had youknow, just giving you know in my
ambulance.
Like an E class is doingdifferent preventives.
He got finger licking.
He has a.
They just opened up a newrestaurant in my um supermarket
slash restaurant in Miami calledMarketplace, where you can not

(41:03):
only shop but you can also eat.
They got food.
E class looked like he hasanother hat on.
Shout out to him.

Speaker 1 (41:09):
Shout out to him for that E class figured out.
Uh, south Florida, they don'twant that music Sometimes and
this is going to hurt especiallyfor uh create music creators
Sometimes and I wish I knew this, I wish it was somebody who
told me this.
But sometimes you're the market, you in already have an idea of

(41:34):
what it won't Like.
There's already we and we wastoo young to know those levels
of politics, but yourenvironment already have a
direction it want to go.
They can say we can say we candecide we don't want to.
We're not trying to be in NewYork, we're not trying to be in
Atlanta, we're not they.

(41:54):
They seeing these templates and, unbeknownst to us, we might
not know.
Hey, don't be signing a bunchof people, don't bring that.
You know that LA, new York,Atlanta, stuff over here because
it end up changing the dynamicsof your, your entire market.
It's, it's start affecting awhole lot of stuff.

(42:17):
And you got industry peoplethat's going to obey those
commands that come down to Miami, got spots, it's a lot of big
heads that come to South Floridaand it's not trying to sign.

Speaker 3 (42:27):
But, eric, check this out.
Before we knew who theseAtlanta, it was every other week
and new artists was dropping,bro, and then they were blowing
up instant.
And then they were stressingCome on, come on, like hold on,
hold on, hold on, like I didn'tknow who young LA was.
And then he dropped.
That song came out and then andthen you had, and then you had
an album and we had TI and thendrove, drove and drove, did this

(42:48):
thing Like it was almost everyother month, this man, and that
was something that other marketsdidn't want.

Speaker 2 (42:55):
But, but they still was getting affiliates.

Speaker 3 (42:56):
Exactly.

Speaker 1 (42:58):
Gucci was putting South Florida.
Don't want that.

Speaker 3 (43:00):
And then you got the Migos, and then then you had
somebody else, and then it wasso we do have a problem.
Yeah, we do have a problem.

Speaker 2 (43:07):
Is it gatekeeping?
Yeah, is it low key, justgatekeeping Like big time no no
of course Ain't no one elsegoing to pierce this thing.
Yeah, you know what I'm saying.

Speaker 1 (43:15):
Yeah, I've been in those spaces where they making
phone calls and I don't know thenames, I don't got the numbers,
but they making phone calls andthe other phone calls has gone
to to get permission from otherpeople saying no.
So if they say no, it do it.
Do.
Come down to where you at,because it changed everything.

(43:37):
If we about to make the globalzone the biggest Haitian artists
in the world from Palm BeachCounty and he in South Florida,
do you know what that's going todo?
You in the zone capital, and weabout to make the global zone a
big like, immediately there'sthere's discussions got to be

(43:59):
made.
Hold up, hold up, hold up whothis is about to.
You know finna have every zoneon his shoulders.
It's just like it comes aboutpower and this, this is old,
this go this.
Go back to Motown, let's goback to Swisher House, let's go
back like we was too young toknow that the, the power

(44:23):
dynamics, was taken, that it wasseriously taken into
consideration above just if yousound dope Any category, uncle
Luke will tell you I'll sayoutside of them girls in Miami,
what they call, what's the nameof them?

Speaker 3 (44:37):
girls City?

Speaker 1 (44:37):
girl.

Speaker 3 (44:38):
Who's coming out Miami, and that's that's the
point.

Speaker 2 (44:41):
There's a lot of cats that that's grinding a locally,
even like kid old Marv Ithought was out of here, I mean
he was.
The drip record was on 99.

Speaker 1 (44:50):
I mean, it was on every stage, yeah.

Speaker 2 (44:52):
Hard he was writing for he got a city girl the girl,
one of the city girls on theremix.

Speaker 1 (44:57):
Then he did a song with Tokyo Jets that went hard
Like I'm like what else does do,gotta do, if this, if the
spirit of your environment saywe don't want it, then it's just
not going to happen.
We looking at global success.

Speaker 2 (45:16):
I'm talking about even locally, though the it's
just crazy Like I mean, it'sjust crazy Like this are.

Speaker 1 (45:23):
So I we only look at Minnesota.
It's other markets got somevery dope artists.

Speaker 3 (45:29):
No you got people coming out of that, though Right
now it's only a lot in New.

Speaker 1 (45:32):
York man.
I guarantee Cleveland iscomplaining about complaining
way more than Miami complainingMiami.
Top 10 market of artists thathave gotten on We've, we don't.
Don't forget base music.
Miami had their runs, miami Htown.

(45:54):
Miami had Jason.

Speaker 2 (45:57):
Like.
So I started.
Rick Ross, well, we sayBargreasy got it right.
Now who?

Speaker 1 (46:01):
got Miami right now.

Speaker 2 (46:02):
But we're not talking about city girls, not not a
group.
As an individual, you can onlysay.
Miami like right now.
Do you feel like a this person?

Speaker 1 (46:10):
No, rick Ross done, made it.

Speaker 2 (46:12):
He already got another success that.

Speaker 1 (46:14):
I'm glad.

Speaker 2 (46:16):
So would you?
Would you would you give it toBargreasy or no?

Speaker 1 (46:19):
I will.
I look at Bargreasy like a vet.
I look at him like a no but buthe, he never got that.

Speaker 2 (46:25):
I mean, I'm sure he's getting bags, but he don't got
that world success Like when hego like you go somewhere.
Everybody know him Trick Daddy,you know he's still doing let
so then I'll, I'll.

Speaker 1 (46:39):
I'll promise and this me guessing, but it's probably
some kids, that's 18 years old,years old know somebody else
that we didn't even hear of?

Speaker 2 (46:49):
No, I'm, but I'm just speaking from what we know and
what we see, because I just seethem in the studio with a
hitmaker and city girls.
They're working on anotherrecord.
They sample that car.
You're my neck, my back.
They're working on a recordthat's coming soon.
But I see him, you know he'shis.
His pin game seems to be nicebecause he's getting a lot of
credits on, you know, with theDrake's, the Drizzy.

Speaker 3 (47:08):
GZ and he done, I'll agree.
But yeah, bargreasy's donehooks and stuff like that with
the boys and it might be,getting good placements.

Speaker 2 (47:15):
But it's just kind of like I just I think he's ready
for me Granted, he did a recordwith Snoop Dogg and Ludovar,
right but I think he's ready forthat, like that piercing the
next level, like I'm surprisedthe label ain't coming, say, hey
, we know you're probablygetting 20, 30 your show.
Let's, let's, let's take it up,let's try to get to the, to the
100 K.

Speaker 1 (47:34):
I don't think it makes sense for him to take like
what they might offer him hecan make in two weeks, 17 months
, if you want to.
I think they will offer him.
They definitely will offer himsome.

Speaker 2 (47:47):
You got to come with a good night.

Speaker 1 (47:48):
Yeah, they'll offer some inwards, but he he probably
do.
On the math, If I want to, Icould drop two projects going to
tour, Pay this person to dothat for that and he probably
like man.
We can make that.
So if you know you can make itand you, you giving up your
freedom and who knows what sideventures he got going on that
businesses to where you like man, it's going to slow down a

(48:11):
whole bunch of other stuff.
I wouldn't be surprised if henot, if he he turning down deals
left and right already.

Speaker 3 (48:19):
I think he should be a mogul bro.
He should be his biggest SnoopDogg bro.
I feel like that's he's in thatlane, he's in that, that, that
Snoop area.
He should be huge, bro.

Speaker 2 (48:30):
The one thing I like about Greasy, though, although
he's probably not.
You know face wise, you, whenyou talk about Atlanta, you talk
about Florida.
I think I don't see.
I mean, I don't see some otherplaces, maybe the Bambas too, he
, he had the performing now.

Speaker 1 (48:46):
He got on the weekends he getting it in.
He got some markets on lock.
He got some markets away.
He go to he, he, he, a pool ofbigger crowd than some Legends.
No disrespect by saying that,but I've seen some local acts do
, some regional acts do betterthan some, you know, well

(49:09):
established artists in certainmarkets.
That's why I think I think hegood I'm not sure if that's even
something he want.

Speaker 2 (49:18):
That's interesting, and we got to get Bargreeze on
here one day.
We'll put that out there.
Yeah, hit us up.
But yeah, I just wanted to gety'all take on that man because,
as I saw it, I understood it andyeah, it would be nice.
I think we, the music scene inour city, is different, and I
say that too because now I don'tsee nobody dropping, no more

(49:38):
like so now I feel like damn,I'm searching for it, but it's
like it's a whole nothergeneration but art.
You know the generations that'sin their late 30s, early 40s.
Ain't too many people moreartists putting out music like
that.
Besides trip every now and then, I would say he's more on a
consistent basis.

(49:59):
You'll get a single or somekind of project.
Whatever motivates him andpushes them.
You would get something.
But there's not too many otherartists I see putting out music.
A shot out the pop of duck, Iknow he just dropped something.
He's on a different path,though it's more motivation,
good music, though Good music.
He's putting out good qualitymusic.
So shout out to duck.
I see him, and that's another.

Speaker 1 (50:20):
He'd be talking about too.

Speaker 2 (50:21):
Yeah, he only I would love to get him on the podcast.
I'm definitely would love toreach out duck.

Speaker 1 (50:26):
Hey man, we want you up on.
Follow us back on Instagram.

Speaker 2 (50:31):
Facebook tick-tock and all that.
Man, that's good, that's good,but yes, so that was another
thing, that was one, and theygot to get everybody that bad
that bad.

Speaker 1 (50:40):
Yeah, they got it.
They got to give it.
It's, it's um we we did.

Speaker 3 (50:45):
It's who does, who does.
Who deserves it, though, likewho's.

Speaker 1 (50:49):
Everybody.

Speaker 2 (50:51):
I heard they ain't giving it out like that to
everybody.
I wish they were.
Somebody got hell.
I'll take it right now.

Speaker 1 (50:57):
We if we use in the.
For too long Artists have beenStolen from.
So now today is so transparent.
This is happening again.
People don't even notice is towhat degree is happening.
Yo yo yo post.

(51:18):
They taking how you talk onyour social media.
They taking how you doastrology readings.
They taking your handles.
They taking your hashtags, likethey taking anything, anything.
That's winning how you doyourself isn't Promote your only
fans.
And, yeah, it's people makingmoney off of Fake profiles

(51:39):
making more than the the actualtitties.
Who got the titties on a chest?

Speaker 2 (51:43):
Yeah, I don't even care about the bag that much for
me personally, I would want aloyal fan base.
I wouldn't even care about thebad.

Speaker 1 (51:49):
No more doll.

Speaker 2 (51:50):
You give me 30,000 real fans, 30,000 On the low end
.
30,000 real fans.
Well, I why I pick a venue.
A thousand people will pull up.
I'm Gucci, I know, I, me, Iwant to be trippin, I'll be
performing.

Speaker 1 (52:06):
Thousand people, or that's the bad.

Speaker 2 (52:07):
I'm not saying for me like even if a label didn't
come, if I could just continue,if I peers, however, I need to
pierce and get that there likethat, that would be dope, like
I'll.
I'll be okay with that, justtorn and doing shows, be able to
pick a spot, almost like howlittle Russell doing pick a spot
and they could do a.
You know they could put inwhatever they want to pay.
Even if they don't.
You know they won't give me2010 fit.

(52:28):
Whatever they do that, I'llcome up and do my.
I will set we vibe and keep itgoing man.

Speaker 1 (52:34):
I'll tell a little Russell.
Shout out to little Russell.
Angels, shout out to everybodywho, on his side, I like that.
They got out his way.
It ain't many artists thateverybody just got out.
They that artist way and letthem do it exactly how you want
to.
Yes, I'll shout out the littlerest.
I haven't seen nobody sincelike the Tyler to create a days

(52:57):
that Was able to do somethingcompletely different.
And Big Draco, soldier boy,like it's some people.
They got out they way all theway in.

Speaker 2 (53:07):
The next thing is, as we talked about the Buster,
though he, he got TimberlandSwiss beats for the executive
proofs this project.
So, drago, like do you feel theproducer?
Like is as big as they used tobe?
Like is it better than justlike?
I don't hear the producersgetting enough.
I feel like back in a day youknew the producer, the jazzy

(53:30):
phase, the timber.
Like you knew the justiceleague, you know cooling drape
Producers were a thing like theyheld weight, you knew you go to
them, you was fun to get a hit.
And today I just feel like it's, I don't hear nothing about.
They don't unless I hear a tagand I'm like oh such a search
did that, but without a tag.
I just are they still?

(53:51):
I mean, I know they importantbecause we need the tracks, but
what happened to the producers?

Speaker 3 (53:55):
they used to put them on produced by, on the, on the
title of the song.
They don't do that anymore.
Those guys and moguls thateverybody gonna know, you know
who those guys are, but I Forgotwho said it.
But they said they need asfacts, they need to give
producers more recognition,definitely the artist or the,

(54:15):
whatever it is.
Or we don't have CD casesanymore Like we used to flip
them over and we get all theinformation like we used to.
Back in the day.
Now I Sometimes when you go inthe lyrics of the song it tells
you who wrote it and whoproduced it.
It's not there all the time.
Yeah, I get that sometimes, ifthat's, if I go in Not all the

(54:39):
time, but it has to be, has tobe.

Speaker 2 (54:43):
I don't know if they post a different, because I'm
Apple too, but I heard Spotify.
You can see the the credentialsbetter.
I don't know, but you had theproducers that became super
producers.

Speaker 1 (54:51):
They was like Establishing artists, too
correct?
him and had his artists.
You had even own up to Metroboom and like, there was people
who Raleigh had artists.
So some of the ones it's notgetting the recognition may not
be coming in what don't act andand it's going back to the parts

(55:14):
of the industry that we allowedto get fired there was people
in between helping me.
Help that was helping tofacilitate these type of
situations where now, like, say,when gloriala got on and she
was working with a producer thatwas kind of up and coming too,
if you would have went to awhole another time, they might

(55:35):
have gave the producer who madethat single, they might have
gave him a Distribution deal.
Right, they were like a youproduced this, you, you
basically develop this artist.
You was working with her out ofyou know Memphis all these
years.
We finna get you a situation.
What else you got?
You had people that was doingstuff like that, right, and we
we messed ourselves up.

(55:57):
Could we cut a lot of thosedepartments that don't even
exist, normal in there?
Now they just sign in, you knowinfluences and stuff, but that,
that that space that we allowedto get eliminated, stop people
from getting situations likethat just from one song.
It happened with a whole bunchof people.
Back in those days Timlin wasgetting the situations Pharrell

(56:21):
Rizzo like so many.

Speaker 3 (56:24):
A lot of the upcoming producers that Came up with an
artist, came up with an artistis like with with Gucci.
He was producing almost everysingle beat out of Atlanta.
A lot of those producers theycame up because they had an
artist to to stay focused on andyou know, and grind with and
Right now their moguls.
Now too, like I'm a name, mikewill definitely a big one yeah

(56:47):
he been quiet recently.
Yeah, and DJ must have beenquiet as hell too, yeah he got a
situation with his wife rightnow that's.
I know his situation isdifferent, but um, who, we?
Who else we got?
We got a dude.
I was doing the OJ juice manwith Gucci.
He, he was just on the Jtov,yeah, he was.
Yeah, they gave him somesituations, Exactly, yeah they

(57:08):
got big and they got real bigmoment.
You know getting the situation,it was a lot of people getting
situation, but that was whenthose departments was there.

Speaker 1 (57:16):
The producers was really working, though, like
they was getting thenotification.

Speaker 3 (57:20):
Yeah, it's producers working today Like if you, if we
was to go back double a, wouldget a label deal.

Speaker 1 (57:27):
Right, he would get a label deal today, those
departments ain't you got staffbut you don't got those, those
department heads that canactually their self sign up,
sign off On their own, don'thave to do wait for social media
.
They were like, oh, you madethis beats for this.
This is it All right?
You finna give you an imprint,who you got next, who else you

(57:49):
can do this for?
And they gonna put all theother that it's enough to build
a storyline Around it.
Because they understood the artof the storyline.
This was.
This was where their creativityWas.
Now you got people ain'trespecting it like I might as
well wrap myself and you.
You might be like and I'm usinga loroso as a reference, but

(58:12):
he's a dope inspiration.
And I'm using a loroso as areference, but he's a dope emcee
, but loroso can be a label head.
He like a person like yourmindset.
Oh, you can like.
You can run some of thesedepartments at the major labels,
though, with some of your ideasand stuff like that, it's

(58:34):
people up the global zone.
The global zone can.
He could run an entiredepartment at a major label.
Just what he got right now.
And it was people who it wasthere.
It was their talent, theirskill.
They was hired just becausethey was able to give people
like you and others those shotsand they it was they job to have

(58:57):
them budgets and cut themchecks for those situations and
we messed up by putting ourmiddle fingers up to a lot of
them.

Speaker 3 (59:06):
So our a and r is just sitting back and just
watching what's next they man,it's a computer doing it.

Speaker 1 (59:12):
Now you got you got accountant departments.
You got stuff like that.
You got them People checkingemails.
You got the IT departmentprobably making all the money in
In the major labels now, butwho?
Who is a new?
Who is the go-to guy with you?
We knew people who can get youa deal.

(59:34):
There was a list remember the aand r list of people.
You get a whole list of emailsof all these people.
I'm talking about pages ofnames that can change your life.
Who are those people we can goto today?

Speaker 2 (59:48):
No, it's all changed.
I think they eliminated becausethey're like you know what?
Because maybe because of asoldier boy or someone who was
able to do it without a a and rand have a viral moment and
everyone's talking about.
They're like oh shit.
And then here comes anotherperson who has the success.
It's like oh shit, just let theartist do it on their own.
We're gonna come in wheneverthey have all of them in them

(01:00:10):
and just get them where theyneed to go.
So now that that shit.
I think that just starteddepleting people jobs, possibly
because it's like, oh, we don'tneed you to go get it.
We could sit here at the pointof our computer and just wait
for it to show who the internettalking about, who went viral,
who they talking about and thenbail geniuses that experimented
with souls boy, and what he wasdoing them.

Speaker 1 (01:00:33):
Those spaces don't exist no more.
Right, because you would seeway more people Getting
opportunities, right.
But who knows what the plan isfor music, so the move might be
into tech.

Speaker 3 (01:00:48):
So could we say the big mogul produces, they don't.
They don't really gotta putnobody on, because they put
people on like we got Timbo,that had a whole line of genuine
and Aliyah.

Speaker 1 (01:00:59):
They need them.
Departments back.
A person like Timbaland neednot to keep done.
So yeah, he probably is.
But the Swiss, all these people, I Guarantee a lot of the names
you bought but they got morethan.

Speaker 3 (01:01:17):
They got more than 10 people.

Speaker 1 (01:01:20):
I bet you they'll tell you it's a difference at
those labels that the supportthey was getting to break
genuine and the Missy Elliott.
Yeah, the battle and I thinkthe bags were different.

Speaker 3 (01:01:30):
They were definitely the bags.

Speaker 1 (01:01:32):
Everything with everything was different.
You hear no where, nor sayhe'll be majoring at any time,
because you know you got less.
You was getting less per sale.
But you have way more supportand what you can do, okay, like
you was moving different andEven though they, you was
getting spoiled in a sense.

(01:01:52):
Now, with However they move andyou can, you can kind of make
some side situations, that's Idon't know.
Open up a car, why it's likejust certain things, why you is
getting that money.
I do feel like it's more peoplearound now.
That's actually there's moreinformation too to help people
who get in a little money in thebeginning to actually do some

(01:02:13):
different things To where theyjust don't.
They don't fall back to zerobecause it ain't too many New
artists.
It ain't too many artists, Iwould say recently.
I would say this I see a lot ofartists that are not hot,
eating good, like you go on asocial media.
They got houses, they got Onbusinesses.
Like they you can tell they didsomething.

(01:02:34):
They ain't where they used tobe, but they made sure they did
something.
Rather, they torn or doingCertain other things, or they
pop it on social media.

Speaker 3 (01:02:44):
They've figured out ways an artist need a producer.
Producer needs an artist.

Speaker 1 (01:02:49):
Yeah, we need absolutely Rob.

Speaker 3 (01:02:53):
Rob wave sticks with mainly the three, but he does
dip in into new producers but hesticks with his main three.
You know, I'm saying because itworked for him.
I ain't got the names, but I'veheard them.
But but they, if you hear him,if you hear a lot of his music
with the Senators, it's the samethree guys.

Speaker 1 (01:03:11):
Yeah, LA Reed would have gave him a label deal.

Speaker 3 (01:03:15):
Oh, they're already dirty.
Well, yeah, yeah, yeah, yeahthe producer.

Speaker 1 (01:03:17):
Yeah, you're right, the producers would have been
able to what he from Bartow,Florida.
I.

Speaker 3 (01:03:22):
Don't know exactly, all right.

Speaker 1 (01:03:24):
Yeah, same Pete, same Pete.
Yeah.
Yeah, la Reed would have gavethe producers a label deal,
imprint situation like they was.
I Missed that and I'm I'membarrassed that we used to.
You know crap on them and we atsome point not us per se, cuz

(01:03:46):
we was we was trying to get Toget on, but out there was, out,
there was enough that rebelledand was succeeding.
And it made it to where?
Because it is a business.
It made it to where it stoppedmaking financial sense because
you was able to see success Comealong and these departments end

(01:04:06):
up not mattering To theshort-term goal it just didn't
make because it was bankers atthe top.
That was like eighties, these,um, the, the grids or how it is
that they look at like it ain'tlooking good.
We don't need this entiredepartment.

Speaker 3 (01:04:25):
Let me, let me access some.
It's a soft topic, but y'allsaw rhythm and flow on Netflix.
I don't know what it is.
When y'all get some time,please pull it up.

Speaker 2 (01:04:34):
Is that the female hip hop?

Speaker 3 (01:04:35):
document no, no, no, no.
This is one where it was tiCardi B and um Chance the rapper
as Judges, yes, judges.

Speaker 1 (01:04:45):
Yeah.

Speaker 3 (01:04:46):
I heard I pulled it up again.
It's it came out wrong, covid,but I pulled it up again and
have my girl watch and she wasstuck to it.
It was really good.
It was got good and I'm waitingfor season two because they
came from different locations.
But, I'm with with the music tip.
I think it's a it's a goodwatch.
It's a good watch.
It's different from all theother music shows that we watch.

(01:05:06):
But To get back on topic man,um, I See it's.
I think again, like I said, anartist.
Neither producer producer needsan artist, but really got to
know what they're doing,absolutely absolutely so.

Speaker 2 (01:05:24):
Boosie was in the media, a pretty good about the
artist that's sample of hismusic right and not reaching out
the proper way.
No, rod wave probably was oneof the biggest ones.
I think he had somebody else doit recently too.
But uh, rod wave, you know,sample one of the records,
didn't hit him up, didn't hitnobody out, dropped it.
And I want, I don't know ifBoosie would have kept the same

(01:05:45):
energy, because it's Rod waveand you like, oh, this nigga
already him got a big fan baseand it could generate a lot of
money.
But you know, so Boosie went tohis uh Life and and discussed
that Rod wave, need to hit me up?
You sample my music?
I'm about to get my laws, I'mabout to sue.
So Everyone's asking what damnman?

(01:06:06):
You know Rod wave made hiscomment man, you know, you could
have hit my line, ain't no needto do all that.
But also Boosie said this hasbeen going on, this ain't the
first time.
And I feel like it's the sameway like if Rod wave Someone
like a raw wave, you couldeasily get in contact with
somebody in Boosie camp becausehe gives out his managers or his
bucket agent numbers everyother post.

(01:06:29):
So, boosie, somebody you gonnamiss, you could have easily hit
him up to ask for clearance orhow much you want.
So, long story short, they wentback and forth and then Rod
Boosie wanted 200,000 and 25 ofroyalties.
Uh.
So then Rod wave, uh, musta.
So then it came out after Backand forth that Boosie don't own

(01:06:51):
the whole song, that the recordlabel that he was on on the
plant, he only get 10 of it, etc.
Etc.
Etc.
So I'm just picking y'allbrains on, like, do y'all think
raw wave was in the wrong?
Like somebody that big he tookon my Boosie could have hit him
up instead of addressing itpublicly.
But I feel like raw wave couldhave done the same thing the
professional way.

(01:07:12):
Or there's companies when yousample music you pay a certain
amount of money per record.
However it works.
They go do the work for you andtell you, yay, no, and get the
clearance you could pay acompany I think it's like 300
dollars or something.
They'll go do all the work foryou and come back with it.
What, what, the what the personsaid, how much percent.
If you don't have access tothat person, they will go do the

(01:07:33):
work for you.
So did y'all see that clip ofthem going back and forth.
Does it look good for theindustry and what's your take on
it?

Speaker 3 (01:07:41):
I seen the clip but I got more to say on that.
I feel like, um, I want to saythe people around our age and
maybe older, are not listeningto the music.
Because if they were thisconversation where it came up
two albums ago, because he'sbeen doing other people uh
lyrics on his, on his uh music,he got Drake, he got jz you

(01:08:04):
talking about raw wave sample,yeah, and I'm sure he probably
if he didn't hit Boosie, I'msure he didn't hit them up
either, but they probably don'tgive a damn, but he probably
wanted that smoke at the time.

Speaker 2 (01:08:13):
But still, he's still doing it, but he has so much
other people's lyrics, any songs, and then you know, I mean you
would have to go all the way tothe writers credit to see if
they, if he got clearance or not.
But I get Boosie got estates,he's building stuff he got
houses on top of houses in thebackyard, he got kids to feed,
and that's all he's saying.

Speaker 3 (01:08:33):
I just want what's mine, rob's should have
definitely hit that man up.
That's what I feel.

Speaker 2 (01:08:41):
Before he did the song like the proper way.
Not try to say, okay, this hitme up dawg, pull up on me, I got
you Tell me how much you want.

Speaker 1 (01:08:49):
Right, Right here before.
Yeah, he might not.
Maybe Rod Wave didn't realizewhat level he on.

Speaker 2 (01:08:59):
I don't, derek.
I find that hard to believe.

Speaker 1 (01:09:02):
Because if I'm like local then obviously I know I
ain't reaching out to nobody ifI'm taking something.

Speaker 2 (01:09:09):
Exactly, I can understand.

Speaker 1 (01:09:11):
Because he did it in.
He know that maybe a chancethat Boosie gonna hear it.
Then it's like oh, you had alevel where you want the artist
to know that you using a stuff.
He just at that level.
But if he didn't do it, if hedidn't reach out, then I don't

(01:09:32):
think he know that he had thatlevel where that's necessary.

Speaker 2 (01:09:36):
You know, Rod Wave only perform in arenas right,
you don't do clubs.

Speaker 1 (01:09:39):
That's what I'm saying.
He must don't know.
You got to know who don't know.

Speaker 2 (01:09:42):
Come on, Slab.

Speaker 1 (01:09:44):
Who doesn't know?

Speaker 2 (01:09:45):
If he does clubs, I would say okay, he doing arenas
though.

Speaker 1 (01:09:49):
But I'm saying I agree with you, but I'm saying
he must don't know To my Rob.
No, no, no, no, it's people onhis team who told him.

Speaker 2 (01:09:57):
I know he think he thought Boosie was just gonna
say man, I appreciate thatthat's dope Right.
I don't think he thought Boosiewas gonna put on a business hat
and say damn.
And everyone's saying this thesober Boosie that we seeing now,
who ain't on the drugs, thelean and all that other stuff.
He's more focused on hisbusiness shit.

(01:10:17):
It's cool.
I just want what's mine,because they look like he's
lining it up from young blue toanybody.
If we gonna work, we gonna work, but you're gonna do it the
right way.

Speaker 1 (01:10:27):
I feel like even Rod Wave team would have brrrrrr
Thought it was necessary toreach out.

Speaker 2 (01:10:34):
I don't think they look at Boosie like that, though
I think Rod I'm not saying heshouldn't, but I think Rod Wave,
we know the caliber artiststhat he is and they don't got
the same.
I don't really think they gotthe same fan base at all, but I
just think they didn't look atBoosie like that on some old
Boosie.

Speaker 1 (01:10:51):
He took like a whole hook or something.

Speaker 2 (01:10:54):
It's a hook, it's a hook.

Speaker 1 (01:10:58):
If you on that level, you definitely want to reach
out.

Speaker 2 (01:11:02):
That's what I'm saying is I think that's where
it stopped.
I don't blame Boosie, becausenow people say, oh, I'm looking
at Boosie different because he'sgoing online and talking about
it.
But I'm like the man, it's hisart.
I think when we put all our allinto our music, that's just
like a beat Dregal.
If someone go ahead and justtake Dregal beat and don't at

(01:11:22):
least give my dog some creditand be like, hey, this is where
it's at, or reach out, you'll belike damn hell.
No, hey, buddy, I need that.
I'm gonna do something you knowwhat I'm saying.

Speaker 1 (01:11:33):
It might be a whole another story to where they say
we did try to reach out.
No, that didn't come outBecause he responded.

Speaker 2 (01:11:41):
He responded Prima said damn be a homie, just tell
me what you want.
Pull up on me, we could takecare of that.
You don't got to sue a nigga.
He was like yo, we could takecare of the business.

Speaker 3 (01:11:51):
That's exactly how he said.
He said we should have that onthe internet.

Speaker 2 (01:11:56):
He knew he was just trying to, but I guess they must
delete that.
Boosie don't own the whole song.
I guess it got crazy becausenow they trying to say oh,
boosie was wrong, because Iguess Boosie was trying to get
just paid that bread, if you seewhat I'm saying instead, of
Boosie can do it like that.

Speaker 1 (01:12:12):
You know, Boosie can go to the hood and get it back.

Speaker 2 (01:12:15):
You already know.

Speaker 1 (01:12:18):
You want to make sure the artist is good with it.
You want to make sure they goodwith it, and that's what I'm
used to, and sometimes you mightbe paying the artist.
You ain't necessarily payingthe artist to fulfill
contractual obligations.
A lot of times they just makingsure that it's clear.
Yeah, they just good with it,and then you could be hit with a

(01:12:40):
whole another fee from thelabel side.

Speaker 2 (01:12:43):
The administrative side.
He paying, got records, hesample.
He said he get nothing from it.
The artist wanted the wholething.

Speaker 1 (01:12:49):
Yeah, it happened.

Speaker 2 (01:12:50):
And he just said he focused on the shows and what
the record could do If you likedit that much, he just say, you
know this record is going to getme on something I could perform
, something that can get meshows.
He say, screw it, you want 100%.
Cool, you know what I'm saying.

Speaker 3 (01:13:04):
So Tutorial lanes and nothing.
Yup, yeah, buster was saying hewas saying thank you to Bumbi
with that track we was listeningto.
He was thinking everybody.
He was thinking I think acouple of other people who was
thinking them, because theycleared it with not even having
he went to him.
You know what I'm saying Withrespect and straight up, they

(01:13:24):
just cleared it without himhaving to come out the pocket.

Speaker 2 (01:13:27):
But I could tell Buster behind the scenes is a
different kind of bring.
He's a genuine, he's a law dudeand you could tell he's just
well respected.
So I think when someone likeBuster, with the right approach,
I don't think you could say no,like when he got Timberland and
the boys on the boat and likeman, y'all doing all this
talking, we ain't gonna talkabout no music All y'all for the

(01:13:47):
produce my album what he say?
How can you tell Buster know helike all right, this is
happening in.
So I feel like that's somethingI would have done.
I'm sitting around three.

Speaker 3 (01:13:57):
It was sitting around for hours, bro.
Eight hours, he said no musicand they ain't talk no music and
something Buster's like whatthe heck?

Speaker 2 (01:14:05):
Wait a minute, what's this vibing?
We ain't talking about no music.

Speaker 1 (01:14:08):
I was like why I want to know what they was talking
about.
Outside the music for eighthours you get them three people.
What is all talking about foreight hours.
It ain't music.

Speaker 2 (01:14:18):
I'm sure life, where it's at the business ventures,
what they trying to go with it.
I'm almost sure.

Speaker 3 (01:14:24):
What do you got 23?

Speaker 2 (01:14:26):
years.
Come on, man, they got youtalking about.
I'm sure they talking aboutother stuff.
I get it and I'm sure when youin the business you ain't trying
to talk about it all the timeIn Miami too.

Speaker 3 (01:14:35):
Come on, man On a yacht For sure, what's that on
your?

Speaker 1 (01:14:40):
yacht oh baby.

Speaker 2 (01:14:42):
We performed on a yacht.
That was my first time going ona yacht.

Speaker 1 (01:14:44):
I missed that.

Speaker 2 (01:14:46):
It was an all black event and I performed on a yacht
.
That was my first time.
I even took some pills to makesure I don't get seasick because
I'm like I never been on ayacht.

Speaker 3 (01:14:55):
It's just a big ass boat, that's fancy.

Speaker 2 (01:14:57):
I was like three decks dance floor, club and just
a yacht.
You on the top if you want tooversee Miami and Lauderdale.
So it was beautiful bro.
We performed with this Haitianacts, a few Haitian acts
performed and we got a chance toperform three songs.
Beautiful bro, it was a nicevibe, but I don't know if it's

(01:15:19):
the medicine I took before, butI didn't feel the boat that
seasick, I didn't feel the rock,it was smooth.

Speaker 1 (01:15:27):
Was it really in the coastal or y'all was in the
ocean?

Speaker 2 (01:15:29):
Bro, who was out there?
That's a good question.
I want to say we hit the oceanbecause we was gone for a while.

Speaker 1 (01:15:35):
You seen the horizon?
I can't remember.
Just a line, just a line?

Speaker 2 (01:15:39):
I can't remember.

Speaker 1 (01:15:41):
I don't like large bodies of water like this, so
I'm not the type of thing youhad your head.

Speaker 3 (01:15:45):
I'm sitting down like when we performing.

Speaker 1 (01:15:49):
I don't think I could .
I don't know if I could do it.
We got to be on the in thecoastal.

Speaker 2 (01:15:54):
I don't like when I disappeared from the lights was
getting far.
I was like, oh shit, like yeah,I think me and H-man definitely
popped off on some medicine.
I took some the motion sicknessmedicine.

Speaker 1 (01:16:10):
I survived it, though In the coastal I do, but I
ain't, I don't know, it ain't nowhole roof or nothing.

Speaker 3 (01:16:17):
What about a big ass cruise?
You wouldn't do it.

Speaker 1 (01:16:19):
I would do it Because I could be on the inside.
I could do it.
You get that vibe.

Speaker 2 (01:16:25):
Though Y'all huge, you get that vibe.
I feel like if you went whenyou enter, if you don't want to
see two, you stay on the firstfloor.
Then it was like the secondfloor was the club, like was the
main where we had dinner, andso you was on a yacht.
Yeah, yeah, yacht, yacht, yacht.
Yeah, it felt like what I'msaying.
It felt like a house, thebathrooms were nice, like

(01:16:46):
everything felt like a club, butit's on a boat.
I didn't know we were movinguntil you go, like, if you
feeling you want to go on thethird floor and just look at the
world, like that's when youlike, oh shit, we moving.
But if you want to second andfirst floor, you would think you
was just in a club.
I've never been on a cruise too, by the way, so that's on my
bucket list, yeah, definitely.

Speaker 3 (01:17:05):
I like the land I like the land.

Speaker 2 (01:17:07):
I like the land too, but they told me you get all the
same.

Speaker 3 (01:17:10):
You can't tell bro.
You can't tell it's fun.
You can't tell All right.
The little, uh, that princesscrap, the little thing we got
here in Palm Beach, the princess, don't do that.
You definitely going to feelthe rocks Boy.
I got seasick.
That's the first time I knowthat I get seasick and you can
feel the motion, because it'snot as it's a big boat, but not

(01:17:32):
as like the big cruises whereyou got rooms for rooms you got.

Speaker 2 (01:17:36):
have you ever did a mansion tours in Miami?
Like if you go on Biscayne youpay the 30, 40 dollars.
Show you Diddy House yeahthat's a vibe, yeah.

Speaker 3 (01:17:45):
I see what that house is.
I've been on Star Island andall that yeah.

Speaker 2 (01:17:49):
It's dope.
You can do it any day you want.

Speaker 3 (01:17:51):
You go on.

Speaker 2 (01:17:51):
Biscayne and you parking, you go to the Biscayne.

Speaker 3 (01:17:54):
They feed you that thing.

Speaker 2 (01:17:56):
Yeah, it's a vibe.
But looking at the houses likeScarface where they shot the
original Scarface Diddy wasoutside, like it was.
It was like holy shoot.
My son went crazy when he sawthat.
You know what I'm saying, butyeah, you got a lot of
celebrities down there bro.

Speaker 1 (01:18:12):
Yeah, that's what they ain't trying to turn it.

Speaker 3 (01:18:14):
Jennifer Lopez they ain't trying to turn it.

Speaker 1 (01:18:17):
They ain't trying to turn it into that other thing.

Speaker 3 (01:18:23):
Are we going there?
That's not good.

Speaker 1 (01:18:24):
Yeah, I'm trying to think about it.
If I'm looking at it that way,I'm like man.
This vibe sweet man, we ain'ttrying to turn it into that.

Speaker 3 (01:18:35):
So Diddy ain't Diddy, no more.

Speaker 1 (01:18:37):
Yo Diddy Huck.
Oh, he changed his name Wellshit, I don't know you got that
tattoo on your head Aftereverything going on, I mean 50
Cent riding them 50 Cent toldthem to sell them Revolt?

Speaker 2 (01:18:47):
Yeah, they'll feel me , but the allegations is getting
out of control for Diddy manAfter Cassie and he done settled
.
It's like left and right peoplecoming out of the Woolworths
ex-employees and everything man.

Speaker 3 (01:18:57):
Step down, step down, yes, from Revolt.

Speaker 1 (01:19:00):
Oh, I ain't hitting that.
You didn't hear about theallegations.

Speaker 2 (01:19:05):
Did you know about Cassie?
No who going to tell me thatwas a big thing Because he
settled quick, though.
But Cassie, she came out Giveme, she got her bag.

Speaker 3 (01:19:16):
That's what happens when you take another man's girl
, man.

Speaker 2 (01:19:20):
That was.

Speaker 3 (01:19:20):
Ryan Leslie girl.
That was Ryan.

Speaker 1 (01:19:23):
Leslie girl, yeah, man, yeah, shout out to Ryan
Leslie.
He went to Harvard, goat yeah,and he really smart.

Speaker 2 (01:19:31):
But dawg prayers up for Diddy.
We don't know what's going on,but I guess when everything
plays out the way he's supposedto play, we will see they kind
of saying he like it, lookedlike the same thing that
happened to R Kelly.
It looked like it's happened inthe Diddy bro.
Oh, young kids, no, just theway the allegations, the way
everything coming out.
I didn't say nothing.
Young kid, don't throw noprayer out there yet.

Speaker 3 (01:19:51):
No, they don't Like all everybody's coming up and
Well, it's a lot.
They keep coming up.

Speaker 2 (01:19:57):
Yeah, I'm about to say these things, this we don't
seen these signs before.
And then it's like you start tosee, you know, when you know,
when you do something.
The algorithms is gangsta, bythe way.
But, once you now all theseclips start populating, you're
like damn, that was red flat.

Speaker 3 (01:20:12):
Bro, not just for women, bro.
Yeah, red flat For men too, bro.

Speaker 2 (01:20:15):
It's getting, yeah, it's getting crazy and 50 cent
not pulling back at all, bro.

Speaker 3 (01:20:21):
50 cents been always chewing the arm, so 50 cent just
pulled.

Speaker 2 (01:20:24):
The one that got me was he had a clip of him
performing and he went to thecrowd like this, and then Diddy
comes out from the back and likepacks Jay-Z on the butt, like
that, and I'm like that's awhole different meaning to take
that dog.
It was just so much different.
Wait, did he slap Jay-Z on thebutt?

Speaker 1 (01:20:40):
Yeah, jay-z know this Jay-Z didn't like.

Speaker 2 (01:20:43):
Jay-Z was on stage.

Speaker 3 (01:20:44):
Yeah, Jay-Z didn't like that 50 was running around
on stage.

Speaker 2 (01:20:46):
He packed on the butt like a football player would do
to somebody when he do a goodjob.
Yeah, jay-z know he did that.

Speaker 3 (01:20:52):
This is an old clip.

Speaker 1 (01:20:53):
This is a clip, so Jay-Z definitely ain't like that
.
This is like early 50s, if theydidn't show the reaction of Jay
.

Speaker 2 (01:21:00):
You just see Diddy going up to him and smacking him
on the butt a few times.

Speaker 3 (01:21:05):
Jay concern was 50 being on stage with him, Because
it was four of them.
I forgot it was Diddy Jay 50.
It's one more person performingwith him, but Diddy was running
around.

Speaker 2 (01:21:14):
Not LaMau Jay.

Speaker 1 (01:21:15):
Jay 50 was running around.

Speaker 3 (01:21:17):
This is early, like almost early 50 years, like big
50.

Speaker 1 (01:21:20):
Okay.

Speaker 2 (01:21:21):
Yeah, because Diddy old bodyguard is telling certain
things.
It's a few people, even withHarvey.
It's certain things coming out.
No, his assistant he had.
It's a lot of stuff starting tocome out.
You know what's crazy too.
50 cent kind of predicted this,he said after the first is in

(01:21:41):
Ocasio.
He said here comes theallegations, and five, four,
three two and guess whathappened?
Bollilert this spam.

Speaker 1 (01:21:51):
Bam Bam, I mean, you gave him the news.

Speaker 3 (01:21:55):
It's in the news.
I don't know why I'm getting so.
Okay, so let me, so, let me.
Yeah, yeah, that's crazy, yeah,so let me, let me.
Let me tell you how I get thenews.
You see how we social media gotinto, like the effect, how we
said, like what's that, what'sthe mixtape, mixtapecom and
stuff, stuff like that went out,or hot new hip hop went out.
So, like the news, nobody'sreally watching TV like that

(01:22:18):
Right.
So they started their own whatin their own channel on social
media Facebook or Instagram,Facebook is mainly I can cover
it, shade room covering all ofcourse they don't refer to came
out, but that was on the whyfirst See between Bollilert and
Shade Room on definitely saidand 56.

Speaker 1 (01:22:36):
Shout out to you here because you know none of that
was going on.

Speaker 3 (01:22:39):
I'm proud of well like I said, it was in news.
That's what I first seen it W,oh, you know, palm Beach TV.

Speaker 1 (01:22:45):
So is anybody surprised, hmm?

Speaker 2 (01:22:51):
No well this is the thing, and this is what happens
once you start, once the oldclips start to resurface, you
start to say damn, you didn'treally think it all the way
through.
All these were signs, like whenyou see Cassie now hiding in
this carpet.
He was filming her and maybeyou question she got a cover Now
was she beat up?

Speaker 3 (01:23:10):
Yeah.

Speaker 2 (01:23:10):
Well, how did she look?
Boom, that was one.
There's another clip where shewalked up.
There's that some event there'sdo treated her and she went to
go shake his hand and you see,diddy, looking like what the
fuck you doing, and he grabbedher like, pulled her close and
then he wanted to like know,like this my girl and she didn't
say a word.
You see it just go.

(01:23:30):
So it's just like you start tosee these things and like, well
damn, was this happening infront of us?
And we really ain't see.
And of course, 50 been ridingDiddy for the longest about
being a little booty band andyou think it's just jazz.
I don't know, you think it's,you just thinking it's 50 being
50.

Speaker 1 (01:23:49):
But you got a house I'm thinking stuff like that.
Then, like people already know,that's the thing about the
industry.
It everybody, always, everybody, always mentioned how weird the
industry is.
Yeah you get up the clips thatare winning and you get you.
You just going to know somethings happening and you not

(01:24:10):
finish, say nothing about it.
You seen Stump the Yard.

Speaker 3 (01:24:14):
Oh yeah, you seen, dude, that was Chris Brown
brother.

Speaker 1 (01:24:17):
No, let's oh yeah.

Speaker 3 (01:24:18):
Yeah, he came out and had a story about Diddy
recently.
To exactly what you just saidyeah, Tell my how the business
is.
Say long story short.
He ended with yo, I'm over here, bro.
And he's like, yeah, yeah, whoyou over there with, I'm by
myself.
He was telling him to come Towhere he was at.
He said yo, I'm in the bed withmy wife is three in the morning

(01:24:39):
.
That's when he's like yo, it'sthree in the morning.
He's like yo, who you overthere with, he's like I'm by
myself.
But did he wanted him to come?
That's going to do with thebeard I know you talking about.
Yeah, he just dropped that bro.
Yeah, men are coming out also,bro, so it's it's it's him and
all people.
I wouldn't think we've done that, but I'm like whoa, but hey.

Speaker 1 (01:25:00):
Hey, hey, if it's going.
Hey, hey, yeah, I have to saysomething.
Why is?
Why is happening.

Speaker 3 (01:25:07):
Nope, just say hey, hey.

Speaker 1 (01:25:09):
I might.
That's probably why I'm why.
I ain't getting there.

Speaker 3 (01:25:13):
They probably like me hey hey, hey, let it go, man,
I'm going to kill.
We can't let it be like thatbro, I'm going to go Kanye,
kanye why?

Speaker 2 (01:25:25):
it be like that, man, it's not.

Speaker 1 (01:25:27):
Kanye said something to.
And oh, I don't Forgive me, I'msorry Kanye said something
because I don't like to begossipy, but Kanye said that he
was.
It was when he was going on oneof his rents and they would.
He was like he said, did in.
Other people can't say nothing.
I remember they not, they notallowed to.

(01:25:49):
I remember he said he don'tonly one that can say what he
say, because basically he wasimplying that he knew some of
the stuff that other people did.
So people like, got things hungover their head to where you
can't say nothing, I understand.
So it was like a he called, hecalled them out when he was mad

(01:26:12):
about they went to the birthdayparty and stuff and ain't and
nobody tell them that they wereabout the birthday party.
He was, he was looking ateverybody sideways, yeah, yeah,
so, so.
So that's why I'm not surprised, because I understand the
levels of elitism the higher yougo up.

(01:26:32):
If you ever, ever, ever, ever,ever see me hanging with multi
billionaires we on yachts, we onboats, we in places I got of us
, I got designers on anything,just know they're doing some
weird stuff.
Hey, call me, check on me,check on me.

(01:26:56):
Say hey, bro, you good, I seeyou out there eating.
You got.
You got money and stuff theydone.
You got the bag.
You said you weren't gonna geton no boat.
I see you, you on the boat, bro, you all right.

Speaker 2 (01:27:08):
Yeah.

Speaker 1 (01:27:09):
Like blink twice if you good.
I'm like no, I'm good, butstill check up on him.
Find my mama number.
Hit you up, yeah.

Speaker 2 (01:27:20):
See what's going on.
We're going to keep you on thestraight path, bro.
We got you, fam, we got you.
And want to give a shout out tomy boy, jay Love, who
celebrated his 40th birthday too.
We had a good time this weekend, man.
It was a black and red affair.
Everybody was in the building.
Good food, good lit, good music.
Man, they started playing someBizzle and the ice bird.

(01:27:42):
Lit lightin' animals All rightBizzle, All right P Bizzle.
Yes, sir, it brought me back.
I saw Mirage and I saw Phantomat the same time.
But they was doing the elbownudge People came out jerky and
I see people I see peoplegetting it, man.
It was a good vibe bro.

Speaker 3 (01:27:58):
Good vibe, White folks on the floor and
everything.
Yes sir, yes sir.

Speaker 2 (01:28:02):
Shout out to Jay Love man, we see your brother,
salute, keep, and we wish youplenty more man.
Wish you plenty more brotherand a healthy one, man.
That's what's up.
Man, that was good to see.
I see some people I ain't seenin years, like ever since I
stopped playing football.
Certain cats just moved andsome people live south, some
people live north, but it's goodto see a lot of people, man,
and everyone doing well andgetting to it, man.

(01:28:24):
So that was really good.
And a lot of them was in tuneto the music.
People put out their phones andwere sure, I'm not listening to
you, bro.
Look, all right.
Well, you already know what itis, man, y'all tuned into
exposure and we are home.
Pa, pa, pa, poop, poop, poop,poop, poop.

Speaker 3 (01:28:46):
It's more than just a podcast.
It's the exposure.

All Episodes

Episode Transcript

Popular Podcasts

On Purpose with Jay Shetty

Stuff You Should Know

The Joe Rogan Experience

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 17: Between the Laughs and Beats: Digital Age Quirks and Music Industry Controversies

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}On Purpose with Jay Shetty

Stuff You Should Know

The Joe Rogan Experience

All Episodes

Episode 17: Between the Laughs and Beats: Digital Age Quirks and Music Industry Controversies

On Purpose with Jay Shetty