Episode 19: Beats and Breakthroughs: 1040's Journey from Rapper to Producer and the Rhythms of Palm Beach

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
What's going on?
Y'all tuned into anotherepisode of Exposure.
I be your boy, the Global Zo,and I'm with the gang.
Eric Biddens, Break a male, andtoday's show is brought to you
by Sovereign Brands.
So shout out to that Bella, Lux, Vio, Deacon and that McQueen
Exposure's official drink ofchoice.

(00:22):
Talk about exposure.
You need the exposure.

Speaker 3 (00:25):
You gotta touch the streets.
You need that streetcredibility, you need that
promotion, and that's whatexposure provides for the peace.

Speaker 1 (00:32):
Welcome to the main anime team.
Sign out here at MIA.
I'm going to, like I always do,watch the exposure.

Speaker 4 (00:38):
Get in the head with that exposure.
You know what it is.
Them down dollars.

Speaker 2 (00:41):
Ray Lowe number one DJs number one promoters for
Shofan Palm Beach.
It's exposed.

Speaker 4 (00:45):
That's why it opened up.

Speaker 2 (00:46):
Y'all check it out.
You know what I'm saying.
Keep it locked with all overthe floor and you are watching
Exposure.

Speaker 4 (00:51):
This is it.

Speaker 1 (00:58):
And today we got a special invited guest the one
and only 1040.
Hey, hey, hey, salute brother,hey, so salute, salute, salute
what's good, my G.

Speaker 4 (01:12):
Man, one at a time, bro.
Still, you know what I'm saying.
Behind these projects, behindFL Studio, get into it, bro, you
already know it, yes sir 1040,1040.

Speaker 1 (01:23):
Hey, listen, man, we've been on a mission and
before we even started this show, I've been hearing your name
throughout the city from a lotof cats who got a lot of
qualifications.
And it's just kind of ironichow, after you, me and you
shared this story, but after theOscar interview drop and the
clips drop you know what I meanyou left a positive, good

(01:45):
message and you were not beingin contact sense and I'm like
dang, you talk about everythingaligning and perfect.
So now we got you and we canget your story documented and
you can put us on the game fromthe producer side.

Speaker 4 (01:58):
But Sean with that brother show.

Speaker 1 (02:00):
Yes, sir, so a 1040, man like what part of Florida
are you rapping?

Speaker 4 (02:05):
Man, I'm from West Palm Beach, I'm from downtown
Tamron Ave.
Man, you already know I got alot of everybody.
You hear me All right, that'swhat's up.
I'm downtown baby man youalready know from Tamron.
If you know about Tamron, youalready know it for sure.

Speaker 1 (02:21):
OK, so you was there with the whole Gainesons and
Thugs was when Gainesons andThugs was popping.

Speaker 4 (02:25):
Man, listen, I got my own.
I had to the damn song to thatshit before.
Hey yo, ok Yo bro, I tried todo a song for the soundtrack.
Have my music in the background, and then you know what I'm
saying.
So I did that and I had Lindawith Ray Lowe like probably like
a year or two after, and thenhe shot my first music video

(02:47):
actually, ray Lowe, no.

Speaker 2 (02:49):
I'm not talking about your music video.
Ray Lowe you all the way,tamron man.
If Ray Lowe shot the musicvideo.

Speaker 4 (02:56):
Yeah, yeah, yeah, I'm talking about my first music
video, and if you know Ray Lowemusic videos, well, yeah, I tell
you, well, I'm going to be withyou.

Speaker 1 (03:04):
No, that's what's up.
That's what's up.
So how you got the name 1040?

Speaker 4 (03:08):
Man, listen man, it's a long story.
I be here all day.
I can't tell nobody right now.
It's still a mystery toeverybody.
When time come, everybody.
Well, it's so crazy.
Jt really.
Not my producer name, though.
No, it's really JT.
Like, if everybody really knowme from back, then it's really
JT.

Speaker 1 (03:27):
Just the initials JT.
So 1040 JT Was, I said againthe initials, just the initials
JT, or is it spelled differently?

Speaker 4 (03:36):
No JT, just JNT JT.

Speaker 1 (03:38):
Like when I shot the video with Ray Lowe.

Speaker 4 (03:40):
It was JT for sure.

Speaker 2 (03:43):
I remember the name Trillian, but I didn't connect
it to 1040 at all.

Speaker 4 (03:49):
See, jt was kind of Moe when I was rapping, whatever
.
Trillian, really.
It's kind of like Trillian Moenot tapped into the producer
side.
So it's really Escobar Trillian, really, because it was called
Trap House Produc I'm thuggingright so it's called Trap House
Produc Back.
Then you feel me so because itwas like the rap game, just like

(04:11):
the dope game.
So you feel me Like, if I'mgoing to be the best, if I'm
going to be the best, you knowwhat I'm saying Never do this
shit.
Escobar Pablo, you know whatI'm saying.
So you feel me so, escobar.
And then I want to be a Trina,but I'm real at the same time.
So I put the R-E-A-L, soTrillian.
You ain't got to be a Trina Iremember the Escobar before.

Speaker 1 (04:33):
Like I remember seeing that around.

Speaker 4 (04:36):
Yeah, yeah.

Speaker 1 (04:38):
So that's what's up.
So what got you into music?
I mean, what made you get intoproduction and producing?

Speaker 4 (04:45):
Shit, bro, really just vibing listening to music.
Music was just.
You know how I just grown up inthe black house, bro, music
every day, just going through mymama CDs, my grandparents music
vinyls and tapes and all thatshit, and I ain't go a lot.
I remember I used to have alittle Walkman CD play and now I

(05:05):
take the auxiliary cord fromthe headphone.
Shit now I kind of like halfwaystick it out and then that shit
of fucking like just play theinstrumental a little bit and
I'm like, oh shit, they shouldreally just play it in no vocals
.
So I was just being a littlebadass, just playing with
electrical shit, and then I kindof got intrigued by the sounds

(05:26):
and I was like, man, let memimic this shit and start
sampling playing with theturntables at the crib a long
time ago and fucking up vinylCDs, fucking that bitch up.
Ain't trying to scratch it, butI'm just scratching that
motherfucker.
Yeah, fast forward, I had got FLStudio, probably like 2007,
2008 FL Studio.

(05:47):
He was on there early.
Hell yo, no VST.
Yeah, nigga, my shit.
Sound like some soldier boyshit.
You feel that?

Speaker 2 (06:02):
But that's what that 808, that later ended up
becoming very, very popular andthe early FL Studios.
That was the first place I everheard that 808, that knock the
way it was knocking, becauseeverything else was more boom
bap-ish.
The kicks was clean, it wasbeautiful, they sound good.

(06:22):
But FL Studio had this 808 thatwas just in there.
You could just turn up the game.
They just had something.
You can do stuff that you reallyneed it like engineers.
That was in the pro tool areato do some of the stuff, and FL
Studio had the cheat code theway it just do we get you and

(06:43):
you know better than me what 808I'm talking about.
Man, that thing was something Iremember it didn't finish 808.
That didn't finish me, listen.
They later took that out.
They later made it where youhad to purchase it.
And then once they startedgetting into the plugins and
stuff like that because Iremember I upgrade I did an
upgrade when it was through theloops and went to FL.
But I remember I was trying tofind that one, that 808 that was

(07:09):
knocking.
I could not find it for nothing.
They didn't even have thewhatever the nozzle was to tweak
it and make it hit as hard asyou want to.
They didn't even have that, nomore.
I was like, oh, they're doingit.

Speaker 4 (07:23):
Bruh like FL.
That was a lot of the fewproducers.
They liked the older FL Studio,not kind of like the new ones.
They like the older FL Studio.
It just hit different, Likepretty much the old ones.

Speaker 3 (07:32):
They'll have it on the side.
Yeah, I see that They'll havethe new one and the old one on
the older computer.

Speaker 1 (07:37):
So now, that you jumped on Fruity Loops and you
talked about 2007,.
I remember everybody jumping onthe motif and the triton, like
back around that time, likeeveryone was using standard
keyboards.
So, you got one of them, or youjust started with Fruity Loops.

Speaker 4 (07:54):
Man, I was FL Studio all the way, but you know what
I'm saying.
The thing about me is I wasyoung without making music, so
it's kind of like everybody elsewhere I was around they were
using keyboards.
Ok, ok, great shy club.
Everybody using hardwood typeshit.

(08:15):
I'm using softwood.
So that's pretty much it, bro,really all the way.
But I ain't going to lie, Iwant to go hardwood.
You feel me you sound, so youfeel me it's just like the
connection of you and thatkeyboard.
So the music go hit differentfor sure.
But I tried a few beats withhardwood.

(08:35):
That bitch came out clean Likethe mix in the back, like that
bitch Duff for sure.

Speaker 1 (08:41):
What got me every time was that when you had to
drop the beat track by track, oryou had to bring your little ox
core submittees in the sessionand bounce each instrument.

Speaker 2 (08:53):
It was bad at the time.
Yeah, I remember that.

Speaker 4 (08:58):
Bro, you had to record each.
That's what I'm saying.
My first studio I used to go towas Goldfingers, the GOB studio
.

Speaker 1 (09:06):
Oh, ok, I remember that.

Speaker 4 (09:08):
GOB studios and when I was with I was thugging, I was
with One Stop Entertainment atthe time T Reed and Juan and
everything, and every Friday wasour sessions and Chris the
Great was one of the producersthat used to come produce for
some of the artists for One Stopand he'll play beats Him and T

(09:28):
Harley oh.

Speaker 2 (09:31):
T Harley no.

Speaker 4 (09:32):
T Harley, t Harley.
I remember, yeah, yeah, tHarley, him and them boys
playing beats for like cool cakeand all them boys and shit
TDots coming to the studio andthem boys done playing beats and
them boys, folk with the beats,goldfingers used to record each
individual sound.
And then I'm like, damn, that'swhat y'all used to do back

(09:54):
there.
It's crazy.
Yeah, that's crazy.
Live, it's just a style of afangirl bitch On FF studio.

Speaker 1 (10:01):
Yeah, because back then people were picking on you.
If you pull up, oh I make beatson Fooly Loops.
It wasn't a thing.
Everyone was like you don't gota motif, you don't got a triton
.
I remember people didn'tunderstand Fooly Loops the time
you were messing with it.
Now it's like I didn't see thebiggest producers.
That's what they're opening upto rock out.

Speaker 2 (10:21):
Real shit.
It's embarrassing to representthat they was making beats in
that fail, because you almost Idon't know, you just stereotyped
.
You were stereotyping them Like, oh, you ain't real producer,
you ain't, you just click it inand it was people.
I started off just clickingthings and I'm like, ooh, the hi
hat going in, you throw asnitch.

(10:43):
And you're like, oh, this kindof sounding good, but I didn't
deserve at that point I didn'tdeserve to be a producer because
of I wasn't really going inwith the interfacing, learning
the interfacing and all theseother things that you can tweak
to get into the craft of it Towhere you're like, oh, this is a
different science.

(11:03):
You're like inside of the music.
You're not just physicallypressing the keys or the buttons
, you're inside.
You're seeing the components ofthe science that make the
synthesizers and all of thattype of stuff.
Like you within it.

Speaker 1 (11:20):
So I know everybody got that struggle phase in the
beginning.
When you first making beats youknow you're like man, this
ain't it.
At what point did you know youhad something like yo, I
actually could make beats.
Now.
At what point did you know youhad something before you could
submit it or let another artistjump on or rap on one of them?

Speaker 4 (11:39):
Shit.
I rapped on my own beats first.

Speaker 3 (11:42):
I was just about to ask you.
I was just about to ask you.

Speaker 4 (11:45):
That's what I'm saying.
So the song that I did.
I made my first song when I was16.
I made my own beat.
I did that bitch on one takeand then was I seen the reaction
people fucking with it.
And I ain't go lie, I had putmy phone number on the end of

(12:07):
the song.
I was like bitch.
I thought I was Mike Jones.

Speaker 1 (12:10):
I was like yo.

Speaker 4 (12:11):
I was like yo, it's your boy, JT, call me.
So I put out the phone number.
People call me late night brah,fuck with the sun, bro, send me
some wooty, woots, blah, somebeats, blah, blah, blah, blah.
Like Now and I'm 16 at the timetight shit.
And that's when I knew, when Ihad it.
You know what I'm saying and itjust went from that to just you

(12:33):
know.
Then, I'm sorry.
I met studios and you knowthey're like damn, gee, you made
beats too.
I'm like, yeah, so that's how Ikind of got my name too, like I
was rapping.
But I was like, oh, damn, youmade beats too.
I'm like, yeah, so just kind ofjust word of mouth, bro, really
.
And I'm like then it could gosomewhere.
You know what I'm saying, hellyeah.

Speaker 3 (12:52):
You ever had that one beat you created and you felt
like it was that one that youdidn't want to give up.
Oh, hell, yeah, it's actuallyprobably maybe a couple of them.
You feel like you still gotthem, still to this day, like a
couple of them, that you don'tGo ahead.
No, no, no, no, keep going,keep going, like you feel.
Like you know, because, as aproducer, like I know, like you

(13:14):
create that one, you're likedamn, should I get this away or
should I keep it, or should thisgo to this certain rapper or
this singer, whoever?
Like I know it's in the pocket,I know you got that in the
folder, but you still gotsomething like that to this day.

Speaker 4 (13:29):
No, to be honest, bro , I don't hide beats.
I don't cover beats.
Like bro, you could be anunknown artist.
I'm going to play my hardestbeat.
I'm dead ass.
I never cover beats before.
I never cover beats.
I never cover beats.
Respect you for that.

Speaker 3 (13:45):
Yeah, that's important, that's tough.

Speaker 4 (13:47):
I never cover beats for my life, ever so yeah, for
sure.
So how would?

Speaker 1 (13:52):
you describe your style?
If there is a style, how wouldyou describe it?

Speaker 4 (13:57):
Man, I ain't going to lie.
It's kind of like it's like allI mean, because I come like the
music that I kind of came fromlike musically background came
from all over, so it's kind oflike it's like sophisticated

(14:21):
hood and nigga beats.
That was that shit.

Speaker 1 (14:26):
I like that.

Speaker 2 (14:29):
I can see there's this one particular style that I
heard from you that it's adistinctive style.
It reminds me of like Texas,but the classic Texas that have
is this Southern Twain, but it'salso bluesy, but it have this

(14:54):
groove that just make you wantto like.
You make this certain face whenyou hear it.
It's not hard, it's heavy, it'sfull, but it's Southern Like
when you think of a Southernbeat that you might hear, an old
Swisher House or a hip scene,the way you just talking, that

(15:16):
slick talk, the way you have.
And I heard a few beats that youhad that had those elements.
And it's a very rare elementthat not all producers, not
anybody, can even tap into.
And I remember the first time Iwas with you and you was going
through some beats, it wassomething that I was like whoa,

(15:40):
I said I don't even it'll berare to find somebody that make
these kind.
Now it was a broad variation ofbeats but it was this one style
that was just so they're likeoh man, I don't even want to say
nothing on that, I just want tolisten to it and groove and be
in the old school Chevy orCadillac and you just smelling

(16:03):
backwoods and going and poppinga cornbread and just you know,
you could see what you churchshoes on too.
No, yeah, it was that one style.
Oh, that's dope man.
Hey, let me tell you something?

Speaker 3 (16:23):
You ever heard of a song like you ever heard a song
outside a rapper hip hop thatactually influenced you?
Could you name one that you'relike ooh, I probably could do
something with that.

Speaker 4 (16:34):
Damn man, so much old school stuff.
I ain't go lie.
I say SOS band.
Ok, jimmy Jamin Tell Lewis, oneof my favorite producers, so
that's like, that's like a lotof my favorite producers, kind
of like older producers likeJimmy Jam, terry Lewis, dumb
Boys, like Cooper, Chiron, JimmyJam and Terry Lewis.

(16:58):
My damn self.
Just going through my grandmaand my mama CD collection, Like,
bro.
Like my mama had five differentCD books and it'll go from
Janet Jackson to Snoop Dogg,from Prince to the Gap Band,
from the Gap Band to Exhibit,from Exhibit to Damn Bow Wow,
from Bow Wow to fucking theIdley Brothers, from Idley

(17:23):
Brothers to fucking ShirleyMurdoch.
Like all type of shit, bro,like so.
Then I got a whole variety ofmusic, bro, inside, like like
Jimmy, so yeah.

Speaker 1 (17:33):
That's a wide range right there.

Speaker 4 (17:35):
Yeah, sure, and that's just probably one damn
page of a book type shit.
I just name it G shit.
So but when I started gettinginto my personal taste of music
like my own, it was kind of moreof Three Seas Moffie Project.
Pat was my favorite rapper forthe show.
Like that nigga beat so hard.
Oh damn, three like DJ Paul andJuicy Jed all them boys.

Speaker 3 (17:58):
What?
Yeah, yeah, yeah.

Speaker 4 (18:00):
And Three Seas Moffie was actually my first time
because I would buy CDs from forentertainment back then and
shit.

Speaker 2 (18:11):
Like.

Speaker 4 (18:11):
I bought CDs.
I never bootleg none like realfans of music Don't own no
bootleg CDs, so my first timefor show for show, love, love.
So next thing, you know I hadbought me a CD.
I just fuck with the coverBecause you know how we just
move, we move visual people.

(18:31):
Sorry, shit, I'm just gonna putit in the heart.
I fucked around and bought ascrewed in chop CD.
It was a Three Seas, moffie theunbreakable.
And then I'm like damn, thisshit sound hard Like you feel me
Like.
So that's why you kind of saylike subcontrary, like kind of
like more of a Southern Texasthing, because I would buy a
screwed in chop Like once that Istarted buying DJ's true CDs I

(18:55):
bought Juventus, great CDscrewed in chop.
I bought a lot of nigga's bigmost CD screwed in chop.
So yeah, bro, I fucked withTexas.
Like that's a big part of mymusic.
Background Texas for show.

Speaker 2 (19:07):
Yeah, that's why I noticed that.
Yeah, that's why I knew it onthe hand.
When I was listening to Sonybeats I was like whoo, what
happened?
A whole thing, just what thatis because that sound is
distinctive to them.
It's like some warm syrup justpouring over some biscuits.

Speaker 4 (19:27):
But you know what's so crazy, bro, to not that you
say that, because?
Another reason why is because,also, in Florida, we like shit
fast up.
Simple niggas on five differentdrills at the same time, oh man
, oh man, oh man, oh man, oh man, oh man.
So niggas turn, niggas turn.
So if you play them screwed in,chop shit are like that, a low,

(19:48):
slower tempo.
They're like mm.
You know what I'm saying andyou know, if you rap on slower
beats, you got to really bepopping your shit.
You know what I'm saying Too.
You can't say anything on aslower beat.
It kind of like exposed you towhat your word, how you rap.
So yeah, the show, yeah, yeah.

Speaker 1 (20:07):
Do you got a certain approach.
When you create in records,what is your approach?
Do you start with a certain?
Do you start with the drums?
You start with the synths?
Do you got to have a concept ordo you got to get inspired a
certain way?
What's the room looking likeand how do you approach a beat?

Speaker 4 (20:25):
Really it's all about the melody I'm all for.
I'm picky as fuck when it comesto sounds Like.
I'm all for a textured person.
So it's kind of like I justcan't play a chord and I'm like
that's it and I just like, nah,I got it, like, ok, this sound
hard.
Let me edit this and then, onceI get the feeling of it, then I

(20:46):
kind of like decipher it.
My mind beat a thousand placesat one time, so I might be
making a beat like five minutesone way and I might just reverse
the shit or something, but justchange.

Speaker 3 (20:57):
Pay attention to the song.

Speaker 4 (20:58):
Detail shit you know what.
I'm saying I might just changethe whole beat around, just
about the smallest detail of thebeat.
That might kind of make mechoose on how I want to change
it, or you know what I'm saying.
Just go full in Like OK, I likethis sound, let me just go
stick to this and arrange itthrough this, ok, ok.

(21:19):
So this is like sound selection, kind of like what gets me to
sound selection.

Speaker 2 (21:27):
Sound selection for the show.
Please start with the sound.

Speaker 4 (21:30):
Yeah, the sounds first, but show it's a few beats
that I made with the drum first.
But it felt weird because, youknow, back then I used to be on
YouTube hearing these make beatsand scrap with the drum.
I'm like what the fuck is this?
I think, oh, oh God, what thefuck is this?
But then after the nigga, youknow, just like you in the
kitchen, you just hear the niggajust put in the seasoning and

(21:51):
all You're like man, this shitgoing to be this shit a little
plain as fuck.
Like nigga, you're putting saltand pepper and a little pepper
rica on this shit.
But then, when it's done, yoube like damn, this is the fool
Motherfucker, this is busting.

Speaker 3 (22:03):
It's rare.
It's rare for you to start justwith the instruments and the
percussion is just off.
Rip, because I'll do it too.
I'll start off that way, but Ialready got the melody going in
my head and people don't knowwhat's going wrong?
In the room.
You know, what I'm saying.
So it's rare, but the melodyalways gets you to start going

(22:26):
instantly, because now, when youstart with the melody, you
already got the percussion inyour head already.
People don't hear it, it's youthe only one that hear it in
your head.
So, it sounds funny, but you'recooking it up already in your
head.

Speaker 4 (22:37):
Yeah, that's why a lot of producers don't cook it
up in front of people Becausethat's like what the fuck?
It's like nigga.
Sit your ass back, you're in 20minutes.
It's the same beat Like nigga.
Relax.

Speaker 2 (22:51):
What's the cheapest.
You sold a beat for thecheapest Shit.

Speaker 4 (22:56):
I ain't going to lie.
I was a $25 beat man.
I was a $25.
No, the day's price is a wholedifferent price.
That was a young boy, ok.
Now I ain't going to lie.
When I was in high school I wasselling beats, probably for
$250.
Like shit.

(23:16):
But you know, if it's your dogin the hood, you know he already
got it.
Let's give him $50, bro, youfeel me?
Yeah, man dang.

Speaker 3 (23:24):

Speaker 4 (23:26):
I say, and a lot of niggas kind of like, shun away
from that humbling experience,whatever.
But it's just like nah, bro,you got to go through that type
shit, you got to build your nameup, word of mouth and all that.
Niggas feel like they were$1,000.
It's $21,000.
With no motherfucking values tothemselves.
No credit, no, nothing.
No, you know what I'm saying,Like nah.
So that how I built up my name,bro, just humbling beginnings,

(23:47):
just free, $25, $50, $75,.

Speaker 1 (23:54):
You worked your way up.

Speaker 4 (23:55):
You through that?
Yeah, you feel me so.
Yeah, we show I hold the $50.
Beat man back in the G, yeah,yeah.

Speaker 1 (24:02):
There's nothing wrong .
You put in that work and youwas able to add value to your
name and get what you deserve.
That's dope.
I think a lot of people got toapproach it like that,
especially when you justbeginning.
There's got to be a certain wayto start to get your buzz and
the name going before you askfor the prices.
That is fair.
I don't even know what's a fairprice and I don't know what's
even a fair price anymore.

Speaker 4 (24:22):
It's really just you know yourdope is your dope the price you
want to put on it?
You know what I'm saying soshit, your dope price, your dope
price for sure.

Speaker 1 (24:34):
Yeah, yeah.
So who was the first artistlocally that you've worked with,
say in Palm Beach?
Do you remember who that was?

Speaker 4 (24:44):
Damn, my first.

Speaker 1 (24:46):
Yeah.

Speaker 4 (24:47):
Ever Like the first person.

Speaker 1 (24:49):
I'm just curious who the first person is, if we know
him and what he at now Like,yeah, I'm just curious on the
first person in Palm Beach.

Speaker 4 (24:58):
The shit I had deal with was with him.
So fuck you, you took me backin time.

Speaker 2 (25:09):
That was my question.
Was there like a local artistthat you was really excited to?
Yeah, if you can't that firstbeat where you was like oh, I'm.

Speaker 1 (25:18):
You want to come to the session?

Speaker 4 (25:19):
I think I was like a homeboy cousin, right, yeah, you
were like a homeboy or like ahomeboy or like Come on, cuz we
got two and shit.
So you know how that shit be so, but um damn, I really can't
tell.
Probably, probably like.

Speaker 1 (25:35):
You never know band who can't get to that probably
no-transcript.

Speaker 5 (25:40):
Okay, okay.

Speaker 3 (25:42):
Those two names.

Speaker 1 (25:43):
We know those two names, we know man.

Speaker 4 (25:44):
Shout out to the crew .
Shout out to T-Dot.
Yeah, for sure I had, like nowI'm saying like when I was 15,
16, when I had did my song T-Dotand Cool Kakin and the Boy with
Duh, because they jumped on thesong, you know what I'm saying
and uh, off-route, they ain't no, nothing about me, they ain't
first time ever seen me.
And uh, they heard it.
They're like damn shit, theyhop on that bed, that's it.

(26:08):
Yeah, go ahead, nigga, I don'tgo ahead.
They rock out.
So yeah, pretty much yeah.
So I say T-Dot, Cool Kakin,really the first thing, you hop
on my shit High key, Not thatyou're not that high, Shout out
to T-Dot.

Speaker 2 (26:20):
Shout out to T-Dot what he up to.
That's what I was man, what'sup I was?
Can we even ask what he up to?

Speaker 1 (26:28):
I haven't seen him in a minute.
No, he was asking what he up to.
I haven't seen him in a minute.

Speaker 4 (26:31):
I don't even know yeah.

Speaker 2 (26:33):
I really don't know, bro, shout out to T-Dot.
Yeah, shout out to them.
Boys, god bless them.

Speaker 1 (26:37):
I know.
Recently I've heard you on sometrip projects.
I don't know if it was the 444album, 444 album.

Speaker 2 (26:46):
You produced the whole thing right.

Speaker 4 (26:49):
Not, not a 44.
I did the introvert, okay.

Speaker 1 (26:57):
Introvert was the whole thing, or some tracks.

Speaker 4 (27:00):
The whole thing His last project I ain't go lie Like
his last projects.
For the past three, three, fouryears I did the whole thing
Like me and Trill man.
I'm a dog man, I'm a brotherright now.
Bro, you feel me yeah, it showsEven like I'm a first big
placement Trill, like they gotgas to me.
You feel me Like Trill, but Jvery instrument, my instrument

(27:22):
in my career for sure.

Speaker 1 (27:24):
So how did you meet?

Speaker 4 (27:24):
Trill Shit through OZ , through OZ, bro.
Okay, like I started going toOZ 2011 and yeah, bro, just I
met I'm going to give you alittle history, so how it made
me kind of brought.
The connection was I used to goto studios and give out my CDs

(27:46):
too.
I used to burn a CD, put mynumber on that shit, like bro,
like I'm thugging man, I'm a,I'm a at this time.
I'm just thugging bro.
No managers, no, nothing bro,just nigga, whatever I can.
So I just used to burn CDs,beat CDs, and just write my name
, write my number.
Niggas call me in school,niggas call me.
Hey bro, you uh blah, blah,blah, blah.

(28:07):
You trap out production beats,blah.
And I think 10-4 had got a holdof my beats and me and 10-4, we
had worked for a little bit.

Speaker 1 (28:17):
Shout out 10-4.

Speaker 4 (28:19):
10-4.
And then that's, you know.
You know the boys, pc, and allthem boys that were on the OZ,
and he was like, hey, bro, theboys need some beats, blah, blah
, blah, and then that's thething I play beats to cook them
up.
You know all that.
And then it went from I'm at OZspot.
You know what I'm sayingEveryday.
Okay, at this time, you knowwhat I'm saying.
So yeah so, uh, that pretty muchit, bro.

(28:41):
Just work on my name, work onmy name, work on my name.
And then after that, me andtriple J, probably linked up,
probably like two or three yearsago.
He just be seeing somebody andy'all working.
Then it just you know what I'msaying, you keep seeing them
seeing, y'all kind of build thatrelationship from no type of
shit.
Yes, sir, you know.

(29:02):
Yeah, bro, and then triple Jjust took it like into my style,
you know what I'm saying, andhe a legend, he a goat.

Speaker 3 (29:12):
And I appreciate that too.

Speaker 4 (29:14):
He just always looked out for anigga bro and always he always
shouting me out of the air.
But I'm like man, you know,1040, man, fuck my dog man.
Little bro, fuck with littlebro.
Yeah, so, yeah, yeah.
So it was just like that too.

Speaker 1 (29:28):
So you know, it's just always maintaining great
relationships.

Speaker 4 (29:30):
And you know, with a great name, with great
relationships, bro, your namejust go in all type of rooms,
bro, you know what I'm saying.
So, yeah, okay, one time forTrill.

Speaker 3 (29:41):
Hey, talk about your first placement man.
How'd you feel when you got thefirst place?
How'd you feel when you gotthat placement man?
Man this was my first placement.

Speaker 4 (29:52):
It was NBA Youngboy my first placement.

Speaker 1 (29:56):
Hold on, we got to clap.
Oh yeah, yeah, yeah, yeah, bigtime big up.

Speaker 3 (30:00):
Big up.
Big up.
Yeah, yeah, we just want topass that.

Speaker 4 (30:03):
Yeah, we still NBA, Youngboy, hell yeah.
And how that came about wasback from OZ Studio, Me and
Double A we been knew each other.
I posted a beat online.
It was so crazy, bro, I made itto be at the crib.
I just posted a beat, regularfuck online.

(30:24):
I was like we out here on it.
And then Double A hit me uphere Like, oh, something like
this, oh shit for YB.
I sent it to bro and then nextthing, you know, Youngboy, he
right on that bitch life Fourdays later.
So I had posted a beat online.
And it's so crazy, we good,yeah, we good, OK yo.

(30:49):
So I made the beat December 9.
And I posted a day or two lateron Snapchat and Instagram.
And then next thing, you know,I'm talking to my ex at the time
Like I'm going to tell you thewhole crazy story.
So I made the beat.
So I made the beat, I posted abitch online.

(31:11):
Next thing, you know, I'msaying OK, shall I send it?
This is Nat, blah, blah, blah.
I talk to my ex at the timeLike man, listen man.
It's in December when I madethe beat.
So I'm like man, listen man,about to be a new year.
Man Nate's trying to be on topof this shit.
Wuh-uh-uh-uh-uh-uh-uh.
So she like yeah, nigga, yeah.

(31:32):
So I'm like we talk to a female, oh, that shit is
wuh-uh-uh-uh-uh-uh.
She ain't trying to do thatshit.
That's the thing, though.
I go back in the crib, broke myphone like 50 minutes calls.
I'll tell my like niggaFacebook calls, instagram call I
didn't just back.
Then Nigga Facebook calls,snapchat call.

(31:54):
I think Nigga like regularcalls.
Nigga hit me up Like hey, bro,check your Instagram.
Blah, blah, blah, nigga, youngboy.
Nigga put a post up, snipperedup my shit, somebody watch the
phone.
That's crazy.
So I go back to my ex, I pullup on him.
I'm like bitch, look, bitch,look at this shit.
Bitch, look at my phone.
So that's the shit.
Oh my god, oh my god.
So I'm like yeah, bitch, yeah,yeah, yeah.

(32:16):
So he ain't that shit.
So next thing you know, hedropped that shit the summer 13.
And everything.
And bro, shit just went fromthere, bro, like that fast it
went.
No two, like no five.
Six month process Like that mypast Bro, that ever came out
like four days bro.

Speaker 1 (32:35):
So let me just say, you posted this beat on your
Instagram.

Speaker 3 (32:38):
I posted your snapchat the full like a three
minute worth.

Speaker 1 (32:44):
What's up said again Like three minutes worth or how
like, how did it go?

Speaker 4 (32:47):
Nah, hell, no, no-transcript, Just a snitch.
Nah, you know how you mightmake a song, say you in the
studio and you hear a song likeman, y'all fucking with this
shit.
People, you try to feed back.
So I didn't have no intention,it was going to Young Boy or
nothing like that, because Ididn't know.
So I just posted it likeorganically, like who y'all here

(33:09):
on it Just asking the genuinequestion?
And some people were like, oh,call that.
And some people said, oh, youngBoy, I'm not the fuck.
So next thing, you know, I justthen I posted it on Instagram
and then the way he was like, ohyo, it's time to get for YB,
you send it to me.
So I sent it to him and thenyou know what I'm saying.
So that's the real story, bro.

(33:30):
It was that fast.

Speaker 2 (33:33):
Shout out to the AA for that Nice plug.

Speaker 4 (33:36):
Yo, yo, I think that love for that bitch.
Tomahawk slam that bitch for anigga for sure.
And then me and Young Boy, wehad another song called Drop Out
, and then I did that with DrumDummy, I did that with Drum
Dummy and everything.
Drum Dummy, he go crazy.

(33:56):
Two shout out Drum Dummy forsure.
Hey yo, so let me ask yousomething 1040.

Speaker 1 (34:02):
So when an artist or a producer like yourself get a
big placement with NBA Young Boy, is it like one of the?
Is it life changing?
Is it safe to say it's a lifechanging experience?

Speaker 4 (34:14):
Yeah for sure, because it definitely helped
your career.
It like one thing is just likeyour credit.
It's just like your creditscore.
You know what I'm saying, sonot just like you walk in.
It opened up many doors.
Now you know what I'm sayingBecause you got a hot artist on
your shit and everything.
So it's life changing.
When I seen that chat I waslike, oh damn, what the fuck
Like oh shit, god damn.

(34:36):
Like bro, just a matter of a fewdays.
I don't know, maybe it's be itwent out Like it went in.
The old bro this wasn't the oldbeat that I made in a fucking
big studio.
This was in the room.

Speaker 3 (34:48):
Let's talk about it.

Speaker 4 (34:49):
Nice, so you know what I'm saying.
So all the upcoming producersand shit bro, you ain't got a
being no fucking big ass studioor studio at all, you being your
housemaker beat.
So you kind of say I was thereand they were like they're a bad
room producer down pretty much.

Speaker 1 (35:07):
Wow.

Speaker 4 (35:08):
A bad room producer when I made that.

Speaker 1 (35:14):
So I'm curious, right as we're talking about that, so
NBA Young Boys one of theartists who was let's do a top
five?
I know Colo G is one of them,right.

Speaker 4 (35:27):
For sure, I'm a dog, right, I'm a brother For sure.
Okay, black Youngster For sure.
Hey, y'all had this shit fromme, yeah.

Speaker 1 (35:35):
Yeah, yeah, I'm not mistaken.
Is it a Soju Slim credit onthere as well?

Speaker 4 (35:43):
Oh, no, no, no, no, no.
I had did that song with WavingNavy Pool, All right.

Speaker 1 (35:49):
Okay.

Speaker 4 (35:50):
I had Waving Navy Pool and he did a song called
Soju Slim.
I had made that beat with ShotWith Ken.
I'm a dog man From Louisiana.
Shot with Louisiana, For sure.
Louisiana showed me love.

Speaker 1 (36:02):
So all the viewers out there, we know this is a
resume here.
This is a body of work and weknow we ain't playing.
So that's what's up.
That's what's up.

Speaker 4 (36:11):
No, for sure, Hell yeah bro.

Speaker 2 (36:13):
Do you feel like you get your credit for what you do
and contribute and how you puton for where you're from?

Speaker 4 (36:27):
Do I get my credit?

Speaker 2 (36:29):
You say yeah, do you feel like you get your credit
for what you're doing, what youput on, for where you're from?

Speaker 4 (36:38):
Yeah for sure.
Hell, yeah, Hell, yeah.
When they see me, they werelike yo, bro, I appreciate what
you do for the city.
Blah, blah, blah.
You put on.
I just love giving back to thecity and all that shit, bro,
because it's just like Iremember myself being a fan of
everybody back then, growing uplike nigga I ain't gonna lie,

(37:01):
nigga I had bootlegs some ofyour music too, back then.
So you know what I'm saying.
Shout out to you.
I'm listening to my PS4.
What's it?
Your PS4?
The big ass fat one, nigga.
The coffee shop, all that shit,nigga, all that shit.
And then you know, nigga, Ishould be an OZ shit back then.

Speaker 1 (37:23):
I'm gonna say it because I don't shit.

Speaker 4 (37:25):
So I remember back then I used to be on this nigga
laptop computer back then justgoing through nigga.
I used to go through Shitebeak,all y'all this shit.
I was listening.
I was a big fan, I used tolisten to all y'all shit back
then.
As soon as the OZ leave, listento nigga, nigga.
I need to type shit, oh god.
Nobody don't know.

Speaker 2 (37:45):
You know what I'm saying?
That's what's up.
Listen to rough versions andall I'm a fan.

Speaker 4 (37:55):
I remember me being at the bus stop playing y'all
boys shit for real on the smart.
I didn't have a lot of no damn.
What is it called?

Speaker 2 (38:03):
Blue two speakers.

Speaker 1 (38:05):
I three players, the iPod.

Speaker 4 (38:07):
I had one iPod before I think.
I think it's my stolen in aboutlike $25.
And what else?
Let them little fake, littlebullshit MP3 players and shit
bro.

Speaker 2 (38:20):
Okay, they had a lot of.

Speaker 4 (38:24):
Yeah, yeah.

Speaker 2 (38:28):
I asked that question because in this trickling back
to some of our earlier episodes,we talked about the Palm Beach
scene.
We've always had people thathave passed certain thresholds
to where they have achievedcertain things beyond just our

(38:48):
local landscape.
But for some reason, the us asa community have never had a
chance to benefit off of whatothers went out and did beyond
us in comparison to othermarkets.
So, like in a certain markets,somebody did something, they got

(39:09):
on, boom, it blew the door openfor everybody.
We've had people that haveachieved things, whether it's
production, writing songs,touring videos, whatever you
want to want to call but we haveyet been able to collectively

(39:32):
benefit off of anything thatanybody have done beyond us.
So that's why I asked if youfeel like you get your credit.
That's why I asked when I, whenwe talked to trip, we feel like
what he did in anybody else andeverybody's humble.
We are some beautiful people,but it it still keep coming back

(39:52):
to complaints.
As a unit On one end peoplethat's doing things they happy,
they're saying, yeah, it's allworking, but then we got a lot
of complaints.
So then it's like are we, arewe popping or we not popping?

Speaker 4 (40:10):
back.
Okay, I see you trying to sayfor sure, hey, yeah, see, one
thing about that man sometimes Icannot say this.
It's like man with Palm Beachwas really in his glory days.

(40:31):
Man, we had our own club.
Like Palm Beach had his ownnight scene.
Like Palm Beach is Palm Beach,like Palm Beach was his own
world.
Like our own clubs on DJs wasmoving unit, I think more.
And it's ugly because, like alot of people from Palm Beach,
we usually be down south puttingin work.

(40:53):
You know I'm saying becausethere's not really no musical
outlet in Palm Beach really highkey, ain't no real music
labeling Palm Beach.
No real media outlets.
No, yeah, no real media outletsand all that and everything,
because we got the talent.
But you, like most of us, wehave to go down south to.

(41:13):
You know, I'm saying whereeverything at.
You know I'm saying like a lotof big artists not coming to
Palm Beach in the collectivepeople do a lot of niggas stand
on, because a lot of niggas dostand Palm Beach, but I didn't,
because we don't have no realscenery.
No more.
Like back then.
Yeah, no, man, we had niggas,five clubs you go to at one

(41:34):
night you turn, do that no morepalm beach.
You can't one spot, maybe two,that's it.
You know I'm saying back thenyou had club club.
But you know, man, a lot ofshit went on long time ago and
it's kind of like one got nooutlet, no, no nightlife in Palm
Beach, no more.
So I think that kind of got todo with the scene, because you

(41:56):
kind of compare to Atlanta orwhatever, if you compare it like
that, and then has a nightlife,they have everything.
You know, I'm saying they gotthe.
You know I'm saying the mediaoutlets, everything, production,
movies.
We don't got that in Palm Beach.

Speaker 1 (42:13):
But 10 for that.
The same time, I think you know, as we talked to a lot of
promoters and the event plannersin the city, a lot of them
didn't feel appreciated.
The ones who were in all for usthey kind of felt like artists
were ungrateful.
And then at the same time, whenthat wasn't an issue, a lot of
events I've been to, especiallyin the urban, we always in the

(42:34):
fights to shootings, thestabbing, it always messed up
the venues.
If I'm a business owner, thishappens.
This rest up.
This messes up Customersreturning right.
I don't see all in Palm BeachCounty but we can go to Tyler.
Has he go to the moon?
That can hold 3000 people andnot one incident will pop off.

(42:55):
But it's like Palm Beach.
I've been to sugar daddy's.
Like every time I've been tosugar daddy's they are shooting
happen.
Three times I've been therethree times.
A shooting happened three times.

Speaker 2 (43:07):
Sugar daddy's, they had titties.

Speaker 1 (43:10):
Yeah, so strict.
So who's shooting with tittieswhen my?
Once we get outside, whetherthe altercation different, click
, see each other, it'll happen.
I'm in the parking lot wrappingup with a few homies, everybody
running ducking.
Every single time I went, I cando that.

Speaker 4 (43:32):
And it's sad to say I wanted to say that, but you
know, it was kind of like if youfrom the city, you kind of know
, but that really was reallythat really only thing, it boils
down to the bad report cardupon beach of your scenery
because, like saying time, youknow I'm saying we good people,
we know I'm saying we want tothrow something, then you know,

(43:54):
some shit go happen.
It's been like if you know, inthe midst of some shit, shit
going on in, like man, you know,shit go pop off, 10 out of 10,
not even 10 out of 10, she gopop off, so kind of like yeah.
It's a safety, bro, and you knowthe mail.

Speaker 1 (44:09):
I'm saying each city they ain't going for that shit,
bro, right and even if I'm aninvestor, I ain't trying to,
let's say, if I did have themoney and I probably there's.
I'm sure there are people outthere who want to open the club,
but because of the experiencesand what's going on, they're
like you know what, let me goopen up a restaurant.
You know what I'm saying?
Let me go do that.

Speaker 4 (44:30):
Yeah, yeah, man, you know.

Speaker 3 (44:36):
No, I was.
I was saying that's the reasonwhy the curfew what we got
curfew two o'clock curfew.
Now we didn't have a curfewback in the day, so we still got
that.
Yeah, yeah, it ain't goingnowhere.
We still got a two o'clockcurfew.
Everything shuts down toeveryone.

Speaker 1 (44:50):
Palm Beach, palm Beach to my West Palm, palm
Beach, palm Beach County.
That's what I'm trying tounderstand.

Speaker 3 (44:54):
Palm Beach County.

Speaker 1 (44:56):
Everything out.

Speaker 2 (44:57):
I've been out past two no clothes.

Speaker 3 (45:00):
Like stores, restaurants, clubs, they shut
down at two o'clock ain'tnothing.

Speaker 2 (45:04):
24 hours in Palm Beach we like a whole city.

Speaker 4 (45:07):
Now boy back then yeah.
Listen, I'm one time I was inCocoa Florida.
Yeah, when I tell you when halfbitch clothes at one or two,
that big club, only thing openis you in the gas station,
that's it.
Maybe big dog Like we in thecountry town bro that big

(45:27):
clothes at one or two.

Speaker 1 (45:29):
Yeah.

Speaker 4 (45:30):
You might be the only like if you were in Port St
Louis and it's one or two am.
We're the only nigga on theroad.

Speaker 2 (45:37):
Oh yeah, it feel like everybody.

Speaker 3 (45:39):
Everybody Only your let's hear about that T-Pain
story, man, I can't go past that.
I want to hear that oh yeah, no, he in the session.

Speaker 4 (45:48):
He in the session.

Speaker 3 (45:51):
He goes to the store.

Speaker 1 (45:54):
So 1040, what you felt like.
You know what.
What is stopping?
I want to talk about the oldergeneration.
I know there's a younggeneration and I'm hoping one
day we can get some of them onthe show and get the touch base
with them.
But the generation we talkingabout, the older generation, I
want to say some of the artistswho are probably over 35.

(46:14):
What do you think is held usback?
Man, like what?
What Cripple does, why we not?
We got producers with bigplacements, we got DJs making
some noises out there, but whatstopped an artist from Palm
Beach really getting to the nextlevel, taking over this whole
thing?
Damn.
What would you say from yo andI'm just, it's just your

(46:36):
perspective on you know, fromwhat you've seen what do you
think held us back?
Is it the marketing?
Is it money?
Is it egos?

Speaker 4 (46:49):
I wouldn't really say the money, because it's kind of
like the outlet.
The outlet always been held,bro, because you know Miami, you
know how everybody look at PalmBeach, broward and everything
you say you from oh, same thing,same thing.
So everybody kind of alwayslooking at us as a collective
with Palm Beach's own world,type shit.

(47:10):
So I guess probably I don'tknow type shit.
I probably say bro, you've beenon one record.
If everybody came on one record,bro, that should be five.
You know, I'm saying I ain'tsaying everybody got to be on
the same, like one big label ornothing like that, but probably,
just bro, probably egos,probably.
I don't feel like you know, I'msaying they deserve that.

(47:31):
They deserve that.
Whatever the outlet really, bro, the outlet broke a, palm Beach
really had a sound back then.
Like Palm Beach was a scene.
Back then, bro, like Palm Beachhad a scene.
I remember seeing that shit.

Speaker 1 (47:47):
And think about it right, we just said it.
We had Oscars, you had theChucks, you had nice studios, we
had cleaners.
You could press up however youwant.
You want a hundred thousand,you feel me.
And we had places like Mirage,who had local, local artist
Wednesdays or whatever it was.
We had Phantom, we had Vertigo,we had TKO we had local love.

(48:11):
We had so many differentplatforms.
We had five, six, one magazine,if we wanted to if we had a
Palm Beach awards you don't wantto see it.

Speaker 4 (48:21):
Y'all never think the label probably ever thought man
Palm Beach thugging for real,because I didn't go out that DVD
when worldwide bro, yeah, Ithink of course it was a live
Like niggas seen that DVD niggas, terrified of Palm Beach like
the first.
You Palm Beach, but you couldbe in Wisconsin somewhere.
Come on, palm Beach, get us inthoughts.

(48:41):
Oh my god, like you feel me sothat didn't help.

Speaker 1 (48:46):
Yeah, rick Ross put us in a few songs and you know
making this seem like.
Hey, you know what?

Speaker 4 (48:51):
I mean the corporate world was scared of Palm Beach,
that's what got everything tochange, man.
Because y'all think, like bruhnigga was scared to come, like
you got things, they'll get aass beat.
Downtown city plays like yousee white people getting beat up
in front of businesses.

Speaker 2 (49:14):
That's when I said, that's all that I brought up the
curse.
That's when I brought up thecurse because it we show too
much was shown of what, whathappened.
So if you allow, if you allowsomebody to get on and represent
the entire county and that endup going viral in a sense, to

(49:36):
whatever that would be theentire attitude, then that
becomes a liability.
Yeah, we don't, as, as theyouth, we don't, we're not
thinking that.
Oh, we represent and you know,we represent a governmental
system, we represent the law, werepresent and corporations and

(49:59):
these the the theme of what'sgoing to come next in the, the
governor's hand out it.
So when you you do in thesethings, it's, it's beyond you,
especially once you startgetting traction because you're
thinking, you're thinking likejust your homeboys hearing your
stuff, you really start moving,that start going into higher

(50:20):
hands too, that that don't evenreally know your music, but
they're saying, all right, well,who is this?
That's, that's, that's pushingand causing momentum, you know,
in our, our region.
And then that's when it, youknow, it kind of makes it a

(50:41):
little bit more difficult andyeah, yeah, that's my take on it
.
I just felt like Palm Beach wasone, that something we wanted,
something different than what wewas actually trying to push to
the forefront, because we for.
For me personally, when I meteverybody, people are beautiful
people, rather than it was outthere living that life for real,

(51:05):
in in honest, relaxed reality.
These are all amazing people.
People taking care of the kids,they, they can cook.
A lot of these rappers in PalmBeach can cook toe down, toe
down.
I had a conversation with toedown and boy, yeah, talking

(51:26):
about how to cook rice for likean hour.
Yeah, yeah, you know, they hadthe bellies talking about
cooking rice and, yeah, nah,toby doing his thing.
Uh, it's safe, too safe for usoh yeah, that don't play, that

(51:49):
don't play, yeah yeah because,they tried to toe down to put
use chicken broth and toe downwas like nah, the, the water
gonna make the broth, the watergonna make the make the flavor.
He didn't want to use noshortcuts and I and I remember
this today because I was likeman, I respect them so much that

(52:11):
they tried to use a shortcutwith the chicken chicken broth.
The toe down was like no, I'mthe water gonna be the broth,
you want to use the flavor fromthat.
You're gonna throw you somecomplete season.
He started naming off theseason and everything.
I'm like, so when you so, whenyou get around the community,
you see us really beautifulpeople, although we express and

(52:34):
we paint what's what we see andthat's actually entertaining and
real and a perspective and, Iguess, a recording of history.
But then beyond that's like man, we some adult people, and that
can be that could bemisconstrued or it might be held
over you for longer than itthen it, then it need to be, and

(52:56):
we keep referencing gangstersand thugs.
This part of like yeah, fifth,six time this thing came up yeah
and everybody.
Already, really we all, we allpassed that fact now.
Now we want to get, we want alot of people to get the bags
though.
Many bags to you 1040, manybags many bags.

Speaker 4 (53:19):
The y'all brothers.
This is all around the show.
Yeah, yeah palms bro, palm palmbeats to popping bro to not be
seen worldwide.
Bro, like bigger than that, bro, like we good hearted people
you know, yeah, from, uh, one ofthe richest zip codes in
America, but breathe between thehood.

(53:40):
Yeah, you know I'm saying like alot of niggas don't realize,
like bro, where we from bro.
Like bro, palm beach has 80billionaires that stay in palm
beach, over 80 billionaires inpalm beach.
Like Michael Jordan stayingpalm like niggas favorite
athletes staying palm beat likeTrump.
Trump staying palm be honingeverybody, everybody in a mama

(54:02):
stay from Jupiter to both of.
Yeah, rich is cold in Florida,you feel me, so it's just also.
That too is kind of like man.
It's a lot of you know I'msaying so you got me man around
that's not far from this shit.
So it's kind of like you know,and a lot of history from palm

(54:22):
be getting erased to.
You see, when they did themovie code like everybody got um
, you know I'm saying so.
It's just man, they're justreal.
They palm is just getting realrange, bro, and plus, a lot of
people from palm beach is notfrom palm beach, so they don't
really give a fuck about thehistory that we really got.
Also, you know I'm sayingthat's another thing for sure,

(54:43):
for sure.

Speaker 1 (54:44):
So, uh, what you got cooking is artists and artists
you collab with recently.
That maybe that's.
Uh, you know, you know, youjust waiting for those records
to come out that you could speakon shit man god, for I don't
know if I can really say oh, Idon't know, I don't know I?
I said I figured those were forshot, all right give.

Speaker 2 (55:06):
Give us the hint what city they from she is something
from Philly something that,okay, you know.

Speaker 4 (55:18):
So you're man, are you working bro?
Working, bro, and and the thingabout it is, it's it's just,
bro, like every day is just somebrand new shit, bro.
You know, I'm saying like it'sa blessing, bro, like everything
I prayed for, like it came topass and like stuff.
I didn't expect to have youhappy, like you feel me, bro.

(55:38):
So it's still a journey, bro,and it's a career too, bro, so
it's just like it's not like a,it's a career, so a nigga still
be doing shit here and there,learning and learning more, like
deep into music, and learningother cultures and genres and
shit, and seeing what I could.
You know I'm saying tap intookay, so that's good.

Speaker 1 (55:57):
So you thinking about experimenting outside of hip
hop?

Speaker 2 (55:59):
afro, beach, afro, you know I'm Jamaican bro so you
know, I'm saying so oh oh allright, I thought you was tamer,
now man listen, my pops, uh, aquick live story, my pops.

Speaker 4 (56:18):
He did uh 18 years actually and uh, he got a child
with 18 years and I was likefour months and uh, and you know
, he had nine and uh, you know Ivisited him.
Uh, jamaica nine since he'sbeen not.
You know, I'm saying me, mypops spent time with each other.
Now, since he's been a free man, and uh you know, just tapping

(56:38):
back into my roots andeverything nine and all that.
You know I'm from floccas, youknow I'm saying yeah, it's
community, martin gobay, youknow I'm saying so I know I'm
man, I'm in the hood, so listen.
So is there all that shit?
Just everything that I wasdoing back then, not everything?
You know how life here, bro?
She just started making excuseme as you get older, so yeah,

(57:01):
yeah yeah, bro, it's a lifejourney because, bro, life is
music.
Bro, you feel me, so yeah right, that's what.

Speaker 1 (57:08):
So?
No, that's yeah I'm happy tohear that.
I'm happy to hear that, uh,what would be?
Uh, I know you, you know whatwould be one advice you would
give to uh, to an upcomingproducer.
Right now, like in the times wein any advice you want to give
him, um out there that they'resomebody who's young and
upcoming and want to get intothe journey man, um, build

(57:31):
yourself up first.

Speaker 4 (57:32):
You know I'm saying uh, uh, study music, learn music
.
Uh, don't be no fuck nigga forsure.
Uh, bro, just maintain.
You know, I'm saying character,um, everything a lesson, not no
losses, that's nothing too.
Like all my, I ain't gonna sayphase, but like my can I say

(57:57):
shortcomings.
You know I'm saying pretty muchlike that, like my shortcomings,
because, bro, it's career.
So you know I play sports too,so it's just like each session I
look at it as a game.
You know I'm saying like, okay,then I should have did this, so
next time let me prep myself upwith a little motive.
So, just like, just studyyourself, just study yourself
and, um, study music, um, andbro, just have a pretty heart,

(58:22):
pretty heart, bro, and um, youain't gotta try to be on
everything.
You know I'm saying all moneyand good money too, that's
another thing.
Like niggas, you know I'msaying everything that's in your
face ain't good for you.
You know I'm.
You know I'm saying you mightsee a fucking food table of food
.
Don't mean you don't want to beon everything, bro, you know I'm

(58:45):
saying you always want to be onthe right side of history, for
sure always.

Speaker 1 (58:49):
Hey, yeah, that's uh, yes, uh, um.
Do you have any aspirationsoutside of music, like outside
of production?
Is there anything else you gotyour eyes on?
Like you say used to rap, isthat something that's completely
shot at this point?

Speaker 4 (59:02):
uh, uh nah, hell, nah , I don't want to be no rapper,
but still, yeah, I'm gonna put abulletproof vest on to be a
rapper, nah, hell no I don'tknow, yeah, but uh, yeah, bro,
really bro, just I ain't go live.

(59:23):
I want to be on my Qunci Joneschip, be on my CEO chip mode.
You know I'm saying becauseJust seeing how I can.
Also, you know I'm saying likeit feel good also just helping
out people and helping themgetting a first play, because I
remember the first time I got myfirst play and I Double, help
me get my first play.
You know I'm saying so.

(59:43):
It's just like when I helppeople get their first play,
it's just like.
It's like a forever going ongive.
You know I'm saying so justlike, man, as long as I do good,
help people, lie, help theircareers out bro, that's good
enough for me.
Bro, whatever, god bless youwith bro.
You know I love that.
So just really be on my CEOshit bro, soon for sure.

Speaker 1 (01:00:02):
That's the loot most people won't you know.
Consider you already lookingout for the future.
That's, that's dope.
That's dope.
We need more individuals likeyourself, man.
I think the, the county, theculture will be a lot further if
we had more people.
Not only I mean.
I know you got to get yourselfright first, but when you do,
you know you're bringing otherson board.
That's dope.

Speaker 4 (01:00:22):
Yeah, for sure.
Hey yo bro, cuz it's just likeit's community bro.
And then like just seeing, likeeven when I'm in Miami I look
around sometimes, like sometimesI might look around the room
like damn, this is straight palmbeach niggas in the room, what
the fuck yeah, like yeah but wein Miami doing big shit though.
You know I'm saying so just likeI'd be.

(01:00:42):
Look, I'm like nah bruh, likeNah, bro, palm beach, man, cuz
Palm Beach got some of the topproducers in the game, bro, like
that producer down there, eachbig artist is a palm beach nigga
behind it.
So it's so, it's the rich, it'sreally that's behind palm beach
.
But it's just like back to whatwe were saying earlier, like
man, how can we Fix thissituation?

(01:01:04):
You know, I'm saying becauseeverything that's going on is
down to palm beach.

Speaker 3 (01:01:09):
So we a low key gym.

Speaker 4 (01:01:11):
Man, a gym brother, show bro palm beach.
It's from songwriters.
When I'm down Songwriter, youmight see a nigga.
You don't know.
You might think he probablyfrom somewhere.

Speaker 3 (01:01:23):
You know, I've always , I've always said um.
I think I was a teenager inhigh school I said, uh, man, we
were, we're palm beaches, a gym,we got everybody here, we got
songwriters, we got producers,we got athletes to football,
soccer, uh, basketball, um torappers, to singers, to

(01:01:43):
producers.
We, it's okay, have it.
And we, I don't know.
I always said we have to allcome together and kind of like
how you said man, um, not nolabel thing.
If it's, if it has to be that,then it has to.
It could be that, but we, wegot to find a way, I think it's
within us to come together toget this thing to work, man,
because it's, it's just too muchof us here to not make.

Speaker 4 (01:02:07):
Is too much like.
I don't know, maybe we come tosome big-ass conglomerate type.
Shit bro, everything is here.
Bro.
Like like, you know, like howto make a cake with all the
ingredients right in our face tomake this big, all the

(01:02:28):
ingredients right here.
So it's just like.

Speaker 2 (01:02:33):
I think, if we I think, Listen, I just figured.
I just figured out.
Um, what's gonna fix it?
All you listening?
Oh, we all just got to makeexposure the biggest podcast
that way.
When anybody, when anybody drop, if this is the biggest outlet,

(01:02:54):
yeah, when anybody drop,nothing ain't gonna go unheard
back, back.

Speaker 4 (01:03:02):
I just I think.

Speaker 3 (01:03:10):
But everybody want a piece of the pie, so I don't
know, man, that's, that's justone recipe.

Speaker 4 (01:03:16):
Man, a lot of things.
You want a hundred percent ofnothing, bro, that's all need to
be wanting.
You know I'm saying like a piemade for a reason you feel me
like.
That's another.
I probably say that sometimes,sometimes everybody just want
they own.
But, bro, what's a hundredpercent of nothing, bro?
Mm-hmm, mm-hmm and that's and,and that's one thing, that OZ
and shy talk.

(01:03:37):
They're like man.
Because you know it's just likebro, we come from the hood.
You know I'm saying because youknow it's just like.
We always think that tomorrow,try to fuck us over, are we all?
You know I'm saying because youknow we come from.
So sometimes we we're we from,we just want ownership.
You know, I'm saying, butsometimes it's like, bro, you
got to give a little to getsomething brain, you got to work

(01:03:59):
your way up, you got to gothrough the system, got learning
shit, bro.
So I probably say that, bro,sometimes they be wanting a
hundred percent of something anddown those shit about it and
you get a hundred percent ofnothing.
And then they probably come tothat.
Then be like man with thefucking flat ass cake.
Man, what the fuck like bro,you would have Cool three people
help you with this cake right,that's all.

(01:04:25):
Right, but you cook yourself andnot nobody don't get to eat
right, you know.

Speaker 1 (01:04:33):
I do got a question too.
Um, I got, I do got.
One more question that'sdefinitely on my mind is um,
have you ever had a situationwhere you, you know you produce
this record and sometimes, asproducers, um, you guys have
idea, for you probably got theno, this is the tone, or this is
the topic it's got to be about,but then the artist goes in a
totally different direction withthe record.
Have you ever had a situationlike that?

(01:04:56):
And, um, how did you approachit?
Were you comfortable enough totell that artist your input and
how was that received?
Damn, and you ain't got to saythe person name, of course, but
I just want to.
We just talk about thesituation.

Speaker 4 (01:05:15):
Hey, yeah okay.
Yeah, I'm one time I try to belike oh yeah, yo, I feel this
shit.
It was a female artist in there, thank you, come on, most
people they listen.
Okay, you know, I'm like whyI'm, why I'm saying line.
So I saw a slide to be playing.
I would like say something,something, something, something.

(01:05:37):
Yeah, my pussy, what a dudududushe like.
Uh, no, I would like All right,you got that.
Yeah, you got that.

Speaker 5 (01:05:49):
You were so sure I had said and she was like oh,
you know, I would like.

Speaker 3 (01:05:57):
Hey what.

Speaker 4 (01:05:59):
I was like fuck.

Speaker 1 (01:06:02):
We, you know, just doing her own thing with the
record.

Speaker 4 (01:06:06):
I don't even think she even came up.
Oh, I'll bet you did.
No, you know how sometimes, see, and that's another thing too
with a lot of young producers Imight go say young, but a lot of
upcoming producers.
Man, just like man.
Job, because I already rap onyour shit, don't mean to go come
out right.

(01:06:27):
So, 10 out of 10, you might beworking on this project for six
months to you, you would see,from six months to you, you with
this person every day.
So y'all loving this music,y'all hating this music, and you
might not make the cut, thenwhat you know I'm saying.
So it's just like man, you needstrong faith.
You know I'm saying paper as amust-see, for real, bro, like

(01:06:50):
Bro, like you really need faithin this, bro, like you need
faith because 10 out of 10 youget paid for that shit from.
You get paid then like a yearlater for the song.
There are no tight shit.
So it's just like anything youdo, you just think a next year.

Speaker 2 (01:07:04):
You ain't know what happened.

Speaker 4 (01:07:06):
You know, I'm saying so you feel me that's, that's.

Speaker 2 (01:07:10):
Um, that's the part of it.
That's a part of it I reallyhate.
They'll be they'll and they'll.
And I've seen certain contracts.
They're intentionally right inwhen you will get paid after a
certain, after a certain theyletting you know you the last

(01:07:31):
person gonna get any money.
But we want you to do all ofthis work up front.

Speaker 4 (01:07:36):
Yeah, ain't got a lot .

Speaker 2 (01:07:37):
You know, sometimes when the money there, the money
there, you in it's beensituations where artists would
get mad I mean producers get madat the artist but it's outside
of the artist because it's in acontract that this money got to
come from, some, from somewhereelse in a budget that's already
approved.
But then everybody runningaround and then you, you, you,

(01:08:00):
waiting all this time and youain't even they ain't even
getting paid for the work.
So it's very frustrating andI've had and I did stuff where
people ain't never get paid andwe worked for a while and they
never get paid, and from bigproducers and everything like.
Fortunately they some of themwas already well off the way, or

(01:08:22):
you know, they got money, so itain't nothing for them to go
and just studio hop, lay stuff,studio hop, so they not even
thinking they are they in thatcycle to where these random
checks just coming.
So now it's like all right, I'mnot these random checks coming,
because I'm going around doingcrazy amounts of work and all
these studios but Nothing andit's finally trickling in.

(01:08:48):
So it's like this delayingoverlap, but that but that mess
it up to that, that process messit up for those who Are putting
in legitimate work and ain'tguarantee Nothing, and it just
it mess up the spirit of the ofthe American dream.

(01:09:10):
I feel like I feel, like theseproducers that be coming in
these sessions, like you need totalk to your label because I
need a stipend or something.
Like we ain't coming in herefor nothing.
Like people got kids andeverything is they got.
They got a dishwasher that'sbroke.
Like no, we got to like it, bro.
Yeah.

Speaker 4 (01:09:34):
Yo, bro, that I ain't gonna lie that that's tough to
the suck on because it's justlike hey, what you saying?

Speaker 2 (01:09:44):
Hey, hey, say the top 10 and it's going again.

Speaker 4 (01:09:52):
Yeah.
But um, it's just like bro,like man.
It's a business, bro, it's it'sstill a job.
It's like Walmart Don't give afuck if you work at anything
Walmart, cvs, the bit, theKennel Club or something.
They don't give a fuck how youget there.
They don't give a fuck what youate.
They don't give a fuck bitch.

(01:10:12):
If your bitch, your baby, gottagoddamn infection, they'll give
a fuck about none of that.
Can you come in today?
Not, okay, so I'll cover yourshoes.
If you ain't, yeah, it's fine.
So, man, that's why sometimesyou just gotta get your hustle
on.
You gotta you know I'm saying,do what you gotta do, bro.

(01:10:34):
If you got a, you know I'msaying a team, a little team.
If you got your girlfriend, orif you're a female, got your
boyfriend and you grinding, getinto it.
Man, you just gotta have peoplethat believe in you know I'm
saying believe in you.
And you know I'm saying then,once you build your book catalog
, you really got a word aboutthat, vince, miss and everything

(01:10:55):
.
Oh, see, come on.

Speaker 5 (01:11:18):
Working late.
You know I should have told thestory of my order and if you, I
hate and crouching on a and1040s, but yeah me and Schreiber
working with with Callit right,it was late night.
We're leaving the studio and hitfactories right around the
corner from Callit's place.
So we get there and T-Pain isthere, there's a, there's a van

(01:11:38):
with like a strip pole and youknow all sorts of music was
coming out of there.
He I guess he had a Lamborghinior a Ferrari right there, a
nice red one.
And then we go to where he'sstanding and we see a, an orange
hearse.
You know her's like Funeralyeah, it was an orange hearse.

(01:12:01):
Right and out of the back ofthe hearse it's open right and
there's a coffin sticking out ofit.
And then over the lid of thecoffin that's open, there were
four LED screens playing porn.
And Then when we look insidethe coffin, there's a, there's a

(01:12:22):
skeleton in there with T-Pain'syou know huge big-ass chain on
the skeleton and Me andSchreiber looking at each other
like what the?

Speaker 2 (01:12:34):
fuck in a dream?
Yeah, this is.

Speaker 5 (01:12:36):
T-Pain turns around to us and he's sitting there,
he's standing next to usdrinking his nouveau and, by the
way, I still have the nouveaubottle that he gave us and he
turns on it goes.
Yeah, that's what happens whenyou make a lot of money, so I

(01:12:57):
will send you the picture so youcan.

Speaker 1 (01:12:59):
Please, that'll be dope.
I.

Speaker 5 (01:13:03):
Will send you the pictures, because I'm not lying
about this shit.

Speaker 2 (01:13:06):
This is something that.

Speaker 5 (01:13:08):
I cannot make up and I forgot to tell.

Speaker 1 (01:13:12):
What that?
Yeah, it don't sound real.
To your point, it don't soundreal.

Speaker 5 (01:13:17):
But when you?

Speaker 4 (01:13:20):
See me watch a midget porn.
I seen it Interracial, mr Pongsure.

Speaker 2 (01:13:27):
Interracial mr Pong yeah, don't tell nobody.
But he said on the pot, that's,that's I.

Speaker 5 (01:13:59):
Respect for T-Pain.

Speaker 1 (01:14:10):
Oh, thank you.
Oh, see what was waiting foryou to come back.
Hey, 1040, we appreciate thisand legend.
I want to say first of all,thank you for blessing us with
your presence.
Continue doing the great workthat you're doing in the world,

(01:14:30):
because I know you from PalmBeach, but you're impacting,
you're touching the world outthere and we just want to say
from expando, from myself and Iknow the boys gonna speak to
salute man, because I've beenhearing the name for so long.
It is amazing to put a namewith a face and I just want to
salute you, brother, for doingwhat you do, and we are trying
to be the change, uh, in southFlorida and in our community,

(01:14:53):
palm Beach, of having a outletwhere people like yourself Could
definitely get their flowersand we can definitely push the
culture forward in theentertainment business and
beyond.

Speaker 4 (01:15:04):
But show that brother for show love.
Appreciate you, brother muchblessings y'all way, bro.
Appreciate me having on y'allshow, bro, and then but the game
plan.
You know we're chopping it upbro.

Speaker 1 (01:15:15):
Yeah it.

Speaker 4 (01:15:17):
It go get though, bro .
We show a Palm Beach of richcounty bro.
It's so much rich history, bro.
And then, once y'all stopbringing on it, then that reach,
you know, I'm saying that'sgrowing and growing and growing
like right.
Yeah, I'm gonna go out story totell bro.

Speaker 1 (01:15:34):
Oh, that's, I know that's right.

Speaker 2 (01:15:36):
So all right, man, hey, appreciate you.
Thank you for doing your thing,for all that you do for us, um,
in your travels, beyond what weactually see in your
representation.
So that's a beautiful thing.
We don't always get to speak tothe people that's Representing
us outside of our knowledge.

Speaker 3 (01:16:01):
No, I just appreciate you for being in a great
inspiration man, um Inspirationto to just Palm Beach County.
Man Appreciate you, man forshow brother.

Speaker 4 (01:16:10):
Love bro, yeah sure.
And 1040.

Speaker 1 (01:16:12):
if people want to get at you, what are your handles?
Do you got a website like howcan people get in contact with
you?

Speaker 4 (01:16:19):
Uh, if you want to get in contact with me, my
instagram is um 1040, with twounderscores um my twitter.

Speaker 3 (01:16:32):
Is it Twitter Now?

Speaker 4 (01:16:39):
I Midship on interracial, but um my twitter
or my ex is um.
I got my 40 um and that'spretty much it, bro you know,
okay, all that be on myinstagram and my twitter.
That's pretty much it.
Um, I just be on tiktok justlooking at random shit from time

(01:17:00):
to time.
I just looking up new artistsor some shit.
So right you know tiktok likethat, but uh, uh, that's pretty
much it, bro.
That's my handle is right there.
Um new shit on the way to that24.
I'm kicking the dough um PalmBeach with me, bro.
Palm Beach forever.

Speaker 1 (01:17:18):
I tuned into another episode of exposure and we are.

Speaker 3 (01:17:22):
Ah, hey, yes um, it's more than just a podcast.

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