January 21, 2025 • 51 mins
Join KP on Big Facts as he delves into his pivotal role in shaping Atlanta’s music scene. From his early days with Parental Advisory to his executive decisions that influenced artists like T.I. and OutKast, KP shares untold stories, the evolution of trap music, and his vision behind Ghetto Vision.
Discover the behind-the-scenes of iconic moments, the impact of street music, and what it takes to truly “make it” in the music industry. This episode is a deep dive into the heart of Atlanta’s cultural contributions to music, featuring insights and anecdotes from one of its key architects.
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Episode Transcript
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Speaker 1 (00:00):
Big Bank. You don't be on nothing. I be on Okay,
So let me ask bring you big big facts.
Speaker 2 (00:10):
Visit the new website today, Big factspod dot com, a
loud for.
Speaker 1 (00:14):
The coaching labin, the ATL. You know what it is.
It's time for big facts. What's up, Big Bank? What's up? Baby?
J d J scream I'm here. We got a special
guest today, KP the Great Kawan prappt whatever you want
to call him. He's here. He about to chop it
up on big.
Speaker 3 (00:30):
Having me preciate it.
Speaker 1 (00:31):
What's up? KP? You good?
Speaker 2 (00:33):
Yeah? I'm great? Man?
Speaker 1 (00:33):
You great? You know you know one of the things
that many people do know but many people may not know,
is how how how impactful you've been to help helping
artists ascend from ATL coaching even beyond that. So I
guess I guess the thing I want to ask you
first is like, what was the first act that you
are responsible for part partially responsible for bringing through the door.
Speaker 2 (00:56):
Take us back to the Oh okay, so yeah, I
guess that be the group I was in PA, Parental Advisory. Yeah,
that was like ninety that was ninety two. Yeah, we
ended up getting signed pebble We met Pebbles at TLC
video shoot where it was auditioned for a video shoot,
and she let us audition.
Speaker 3 (01:15):
And signed us and that was the start of it.
Speaker 1 (01:17):
And you were that time DJ, the DJ.
Speaker 2 (01:21):
But somehow it always seemed like I was the spokesperson,
like I kind of ended up being the mouthpiece a lot.
Speaker 1 (01:28):
You know, somewhere are they now? Where are they now?
Speaker 2 (01:31):
Well? Reese, first of all, he produced like both of
those Lloyd you and get it around the world. Yeah, yeah,
him and Jasser did those records, and Mellow Mellow still
rights and works, you know, like Mellow. I think got
a little more frustrated with the business.
Speaker 1 (01:47):
Side of it. And then after parental advisory, the next
app would be.
Speaker 2 (01:52):
That I am responsible like for walking out because I've
worked with a lot of people. Like it's weird because
I don't know how it's hard to take credit for
some of shit because it's like you meet people who
are talented and you kind of show up and support it,
like like it's the credit thing is weird. It's like
when people call somebody their artists, it's like that that's
a person.
Speaker 1 (02:12):
A lot of people, let's say give you credit for
a tip they say, man, K Peter Reeson tip got
through the door, not to say he wouldn't have because
he was tipped.
Speaker 2 (02:19):
No, I mean what it was I was I was
in the right place to recognize what he was doing
when maybe people weren't paying attention or seeing it properly.
Speaker 3 (02:27):
So like I just understood it.
Speaker 2 (02:29):
Like I think that's really what it comes down to
any of this stuff, Like especially artist trying to get
signed and ship, they just want to get with somebody,
like it's so important to get with somebody who sees you.
Speaker 1 (02:38):
Was it hard to take in some street music to
the face because we heard that tool that It was
like they wasn't really trying to.
Speaker 3 (02:44):
Well, yeah, I mean, but what's funny is that's how
I got my label there.
Speaker 2 (02:47):
That's how I got Ghetto Vision because that was there
was a period where I was almost going because the
group PA we were signing the dream Works out in
LA and I would go go out there for meetings
a lot, and they offered me a job to come
do and dream Works and they and when I found
out how.
Speaker 3 (03:04):
Much they pay people as opposed to what I was
getting paid.
Speaker 2 (03:06):
At the time, you know, it was just like you know, different,
and you know, it was just one of those things
where it's.
Speaker 3 (03:12):
Like, oh man, this much, this is the rate for
what I do.
Speaker 2 (03:16):
So I came back. As matter of fact, they gave
me the benefits package. They gave me a whole thing
before I left. So I came back to Atlanta, met
with La and told him about it, like really, like
sat down. It was like, look, this is what they're offering.
I got a kid.
Speaker 3 (03:30):
Yeah, like no, but no, more.
Speaker 2 (03:31):
Like just this.
Speaker 3 (03:32):
My og is still like it's still a it's a
real conversation.
Speaker 2 (03:35):
Yeah, it was a conversation based on like, I know,
they're looking at me for what I'm doing here with us,
so I'm not I'm not above and beyond that that thought.
Speaker 3 (03:44):
But what but what he said was something real. He
was like, well that was a different That label.
Speaker 2 (03:48):
Is funded different. It was.
Speaker 3 (03:51):
It was Steven Spielberg.
Speaker 4 (03:53):
It was like that we see at the end of
the movies too.
Speaker 3 (03:57):
Yeah, they were.
Speaker 2 (03:58):
They were labeled too though, so they had movie money
making records. So you know, he basically explained to me,
He's like, well, my deal isn't that. But you know,
I understand if you do it. But what I also
understood was going out there, I was gonna have to
teach them what I knew, which was going to slow
me down. Whereas here in Atlanta and that the face,
I was working with a team with people that I
could throw no look.
Speaker 4 (04:19):
Passes to right, So let me ask you this. So
how did I'm sorry?
Speaker 2 (04:24):
And then so I'm sorry to finish it. So I
don't know why I got off there, but my bad.
So anyway, so when I when I had the conversation
with la, he was like, look, I can't give you
that kind of money, but I give this opportunity and
give you a production deal so you can do the
things that you want to do. Because that was a
part of it. It was like, you know, I wanted
to do some stuff that wasn't necessarily a face even yeah,
(04:45):
like you know young bloods and t I aren't necessarily
as shiny as some of the things they want to face,
you know.
Speaker 1 (04:52):
Yeah.
Speaker 2 (04:53):
Yeah, So it was like it was and at that
night I came up with a name because he was like, okay,
well let's do that.
Speaker 1 (04:58):
What you got a name?
Speaker 2 (04:59):
And I was like, well, you know, your shit is
shiny and whatever, my my vision will look.
Speaker 3 (05:02):
It's like a little ghetto and he was like, Okay,
it's a ghetto vision.
Speaker 4 (05:06):
Yeah, so that's my So that goes into my question,
like how did you working at the face while simultaneously
spearheading the whole entire ghetto vision movement kind of like
mold you into the music mogul and cool lass nigga
that you are today.
Speaker 2 (05:25):
I was a cool lass nigga first, No, I mean
I think I became a music mobile based on the
person I was.
Speaker 3 (05:33):
If that's a mogul is what you want to call it.
Speaker 2 (05:36):
But it's like like I got into the into every
situation I've gotten into was based on me being honest
and being myself. So I mean, you know, it's like
I joke about the cool last Nigga part, but I'm like,
I think what it is is I'm just comfortable. So
like I don't no matter who I'm around, I'm I'm good. Yeah,
so I can see you for who you are and
(05:56):
not be threatened by or you know, you know, and
I don't have to be intimidating them.
Speaker 4 (06:02):
Like that.
Speaker 3 (06:04):
Yeah, it's said, what was your role in what?
Speaker 1 (06:07):
For real? What was I am other? What was the
name of it?
Speaker 3 (06:11):
I am mother?
Speaker 2 (06:11):
So head of music bying mother, Like I went over
there when when I left Atlantic in it like twenty fourteen. Yeah,
so I went over there, like I left Atlantic, and
when I left, I called him leaving the office like bro,
like something had happened and I was like, let me,
I had to leave, and he was like, well, shit,
good you come run this shit now. And it was
(06:33):
like really like a again.
Speaker 3 (06:35):
It was like me being myself with people I know
and trust.
Speaker 2 (06:40):
Those opportunities is kind of they've been there for me,
Like I'm blessed in that way.
Speaker 1 (06:45):
What do you think you do best? Like creating or executive?
What like do so what do you think?
Speaker 3 (06:50):
I think it depends on what the situation is.
Speaker 2 (06:52):
Yeah, yeah, like like I've done enough of the job
to know enough about him. It's almost like like a
foreman who's like to play, like because I come from
being in a group, from DJ and producing like all
those things we were doing. I was making show tapes
for dance groups in high school for talent shows, so
I understood how to put a show together. Like so
(07:13):
that led me into being like music director for for
real in his shows and.
Speaker 4 (07:17):
Just understood transitions.
Speaker 2 (07:19):
Understood transitions. Yeah, and you know it's it's again. It's
like all my high school shit is what is all
I'm doing? Like I'm kind of living a very immature
as life but with understanding.
Speaker 4 (07:31):
So how does it feel like to kind of bring
your whole beginning full circle? I don't want to say
to your end, but to your current now from being
the DJ that you are, but now you've kind of
perfected your craft and you're like one of the best
of the best.
Speaker 2 (07:50):
I appreciate that. No, I mean I've loved it the
same the whole time. So it's never not been there,
never not been a part of what I was doing.
So if anybody met with me when I was at
Sony as EVP of Black Music, they would turntable stuff
in my in my office, like I would sit in
there after hours, and like the records we were making,
(08:12):
I would play them in contact with other records I liked.
So it just made it easy for me to know
if I really liked this ship or if it's just
like the moment.
Speaker 3 (08:21):
Or you know, it's just like put it in play.
Speaker 2 (08:24):
So that like the DJ part is probably the most
consistent talent or the most consistent tool.
Speaker 3 (08:30):
I an't used in my whole career.
Speaker 2 (08:32):
Yeah, because it's taste, it's it's reading the room, it's
you know, it's it.
Speaker 3 (08:37):
You have to pay attention.
Speaker 1 (08:39):
Being in it so long. How do how do you
continue to adapt to the change of the music.
Speaker 2 (08:47):
I still shop with my kids, like I still go
in the world where they go. So I'm not I'm
not the get off my porch old nigga. I'm not.
Speaker 3 (08:56):
I'm not that. I like seeing new people, new arts.
I like hearing new music.
Speaker 2 (09:01):
So it's like again, it's like I really just get
to check ship out all the time. And and and
I'm blessed in a way that people still allowed me in.
Speaker 1 (09:10):
The le.
Speaker 4 (09:12):
So how did you discover yellow wool?
Speaker 2 (09:15):
That's you know what?
Speaker 3 (09:17):
Bear Courtney seals?
Speaker 2 (09:19):
Bear hit me one day when I was one one
time a guy when I worked, I was e VP
of Sony Urban Man right, and and Bear called me
one day. I was like, you know, hey, man, I
met this.
Speaker 5 (09:32):
Uh that's a pretty good impression.
Speaker 2 (09:40):
I think I think you should listen to him. And
so I flew down and and he performed for me,
and like I want to say, it was like a
rehearsal space. It might have been Marven's but I can't remember,
but it was fresh off and they were having some
kind of It was a conference down here at the time,
so he was coming from the conference to meet me
at the rehearsal space. He came in and performed. It
(10:01):
was just me sitting in a chair. But he performed
like like it was like it was like a full
like a festival's niggas jumping on ship on top of speakers.
Speaker 4 (10:10):
He was he got a lot of energy.
Speaker 3 (10:12):
Yeah, but he was.
Speaker 2 (10:13):
He was busting. So that night I was like, oh,
and what I liked about it? He was Southern white. Yeah,
so he rolled, he rolle beats different, like because the
way I used to like, I'm not I don't really,
I'm not a person who rides around and listens to
Eminem in the car, like, you know, appreciate how dope
he is, but it ain't my It's too for me.
Speaker 3 (10:37):
Whereas Yellow Wolf. Yeah, it was like it's on the
it's on it.
Speaker 2 (10:41):
And Wolf he rapped like withdraw so it had a
melody to it. So yeah, but he was doing that
while performing his ass off. But I met him here
in Atlanta through there.
Speaker 1 (10:53):
Okay, how engaged are you in like new music, Like
do you listen to a lot of new music? Do
you be on play list? Do you do you keep
up with the new young waves and everything.
Speaker 2 (11:03):
I ain't gonna say I keep up because it's kind
of it's hard to keep up like and still have
like a real life, like because it's so much it's
so much streaming. Like but like I hear the things
that they cut through, I feel like I'm at my
at my age, right, I'm not supposed to hear it first, right,
like like it's weird, Like I don't think.
Speaker 3 (11:23):
I don't think that's my role no more.
Speaker 2 (11:25):
Mine is to recognize when somebody else has got it
how I can help, so if it makes it to me,
it's that kind of thing.
Speaker 1 (11:32):
What's the names that stand out to you?
Speaker 2 (11:37):
Standout? I mean and and and it's probably I don't know,
just like regular but it's like it's it's like the
road ways, it's a songwriters. It's let me think, like
that's such a trick, Like obviously I said jids money
bag Yo twenty one. Uh, I don't know.
Speaker 3 (12:00):
You know, okay, And that's the other part, Like I
know a lot of songs, but I don't know.
Speaker 2 (12:03):
Who sings these songs, you know, a little buddy from Detroit,
a little dude from you know, it's like, I don't know,
I know the sounds one I know the people. Yeah,
because I heard the word yesterday from from Shiloh Dions
and I was like, it wasn't bad, but it felt
like what it feels like right now, Like it's like, okay, that's.
Speaker 1 (12:27):
The other dude is going crazy to uh the ball.
Speaker 3 (12:33):
LaMelo Angelo. Yeah, I heard that too, like that kind
of jaman.
Speaker 2 (12:37):
But you know, but again, it's not a lot of
artists that I can like be like I like that
artists like.
Speaker 3 (12:44):
A bunch of songs.
Speaker 4 (12:45):
Let me ask you this, so okay, specifically talking about
the Leangelo ball records, do you think that people are
gonna discredit the record because they feel like he's a
gifted ballplayer.
Speaker 2 (13:02):
I don't know if I don't know if the world
worked like that no more, I think people accept what
they like from whoever gives it to him, unless somebody
supplies them with it more consistently. Like I don't think
I don't think you got that kind of I don't
know if brand loyalty and that kind of shit, like
that's kind of that that thought. I don't know if
that applies as much in celebrity because I don't because
(13:26):
the other part goes into what they're going for, Like
is that is he going for being a forever MC
or is he just want to have a moment like
he got an opportunity, like you see Jake Pauldham take
advantage of the like, let like why wouldn't.
Speaker 3 (13:42):
We support him doing something if it's good?
Speaker 4 (13:45):
Yeah? Yeah, yeah, what's your.
Speaker 1 (13:47):
What's your most memorable moment? Like from Atlanta.
Speaker 3 (13:50):
Clubs, God memorable moment?
Speaker 2 (13:56):
Okay, so this is a this is like pre pre
money in the air, okay, meeting young bloods, meeting young
Bloods and Chili Pepper and seeing them in the club
throwing the football across the balcony over a dance floor,
but like having real fun like.
Speaker 3 (14:16):
Animal house style, like wow.
Speaker 1 (14:20):
Yeah.
Speaker 3 (14:20):
And I was like I was that, like that's yeah
yeah yeah.
Speaker 2 (14:25):
But it was it was like that that memory is
stuck because it's like that feels like Atlanta to me.
It's like it's people partying, it's bottles over here, it's
it's football players over here, it's you know what I'm saying,
some baseball, some.
Speaker 3 (14:38):
Dope boys over here.
Speaker 2 (14:39):
It's out of town, and it's these two niggas throwing
footballs across the across the balcony.
Speaker 3 (14:46):
It's like it's just it's like and nobody tripping facts.
Speaker 1 (14:50):
You know one thing you mastered as long as you've
been in the game. Oh no, one knows like personal
stuff about you, like.
Speaker 2 (15:00):
Man, don't start this ship.
Speaker 6 (15:01):
No no, no, no no, We're not trying to bad
personal stuff.
Speaker 1 (15:06):
I guess I'm just saying.
Speaker 2 (15:07):
That ain't the person. I don't do it in the.
Speaker 1 (15:14):
Positive personal thing.
Speaker 3 (15:16):
I get the studio, studio home.
Speaker 1 (15:20):
Yeah, scratched that.
Speaker 5 (15:23):
No, basically saying like how you avoid all the weird
ship in his name?
Speaker 3 (15:27):
Yeah, I go home like like legit, I go home.
Speaker 2 (15:31):
And two like you ain't never seeing me out at
the at the at the after just because I'm I
hear about it like I a matter of fact, I've
done enough free camera phone.
Speaker 3 (15:42):
To know what it's what it's like.
Speaker 1 (15:45):
Cool. But another part of it is the statement that
I tell people that they say, in order to make
it in this industry, you have to rock a certain way.
You can be yourself and make it in this industry.
Speaker 3 (15:58):
But it's where you want to make it too, Like
I know where I'm trying to go.
Speaker 2 (16:01):
I know I'm not trying to go as well, though,
so I just don't ever I don't like I know
myself so and it's not a judgment, it's it's just okay,
this some sh it ain't for me right, Like I
like my kids. I'd rather kick it with my kids
if I got the time. You know what I'm saying.
Speaker 3 (16:19):
If I'm not working to support them, I'd rather kick
it with them.
Speaker 1 (16:22):
See what they have to.
Speaker 4 (16:25):
Say.
Speaker 1 (16:25):
Anything else when.
Speaker 2 (16:31):
You haven't regrets like not signing M absolutely not, because
I don't think anything works if you force it past that.
Like everything I like, I'm cool with everything I got,
every artist I'm associated with, every contribution like that was
where I was supposed to be. Did you miss I
didn't miss it, miss, but you had an opportunity of
(16:55):
a part of absolutely. But I was at a place
that I didn't feel like he could get off what
he was doing. I was at Sony. Sony is super corporate.
I know how much time it takes to get shit approved.
I know I know how they get if you make
a move and they don't know. I understood what kind
of artists could thrive in it, but I also knew
how they could stunt his growth and hindering. Oh my god.
(17:20):
And I still look at everything. It's the same way.
I'm like, at some point I'm gonna go home to Atlanta.
I'mnna be in the club. He's gonna be in the
club and we're gonna sit there. He gonna be like, man,
what what the fuck y'all doing? And I'm gonna know
what they're doing. I told you, but it's just like, bro,
this ain't what they do. Like so it was really
a conversation like many men. I met with him in
(17:41):
Jazzy the same day they went over to Death Jam.
I was like, bro, you're dress of the Death.
Speaker 3 (17:46):
Jam Like like I'm I'm really because they get it.
Speaker 2 (17:51):
You got shake shake over there and with like shake
is over there, moving l a like there's somebody who
is listening, but there's also somebody who understands, Like I
understand it. But if I understand that, the person I
got to talk to to move things out the way.
If they're not, if they're gonna question it, if they
want to understand it too much, it's gonna.
Speaker 4 (18:12):
Explaining or take too much time to break it in.
Speaker 2 (18:14):
Yeah, that should be over.
Speaker 4 (18:15):
Yeah the wave is gonna be gone.
Speaker 2 (18:17):
Yeah no, you missed that, bitch breakpoint you you're done?
Speaker 1 (18:21):
What role you played in that? Kendrick got right, y'all
got to grab it for that, right, What role you play?
Speaker 2 (18:29):
I contributed, like, you know, yeah, I feel like that's
one of the ones I contributed.
Speaker 3 (18:35):
I had I heard something I said to the Farrell.
He was like, yeah, fuck it and kept it and.
Speaker 2 (18:43):
He did it for another artist that the artists didn't
like it or they didn't feel it the same way.
It's sat for a year or two. Kendrick heard the
hook that you know, the me and Fill had done
before and wrote everything else and yeah, ship.
Speaker 3 (19:00):
My role was ship.
Speaker 1 (19:01):
I rolled.
Speaker 2 (19:02):
I rolled the bitch out. I rolled, you know, like
I contributed and appreciated that whole month up getting in
these games trophies, I mean like, oh, like a Grammy.
Speaker 1 (19:17):
I got a Grammy, but.
Speaker 2 (19:20):
That actually that was the first award I've ever got actually,
like other than like you'll get a forty under forty
or uh, you know, you'll have a hot year like
at a label and you'll get some ship, but like
a real like peer group, music industry wide, the Grammy.
But I'm cool with that because it happened in a
point where I needed it to happen, Like at that
(19:42):
that point where you're like, oh shit, this might be
about open and you know, and doing what I would
normally do in a space where people I would normally
do it with still turned into something that was like
more like a like the blue check to the career
type shit mm hmm. What's the balance between like in business,
(20:06):
I don't know if it's a balance as much as
it's got to be understanding. It's got to be it
should be an understanding of who does what and who
knows what, because I think people try to do all
of the ship and that's where it goes bad, like
a lot of times, because everybody wants to be like
That's why I'm scared of that mobile thing because it
sounds like y'all do it all, and it's you know,
(20:28):
you need teams, right, so you have to respect the
positions and you got to understand the position to know
who to put in. And I think a lot of
people jump into it because it's easier to get famous
than it is to get to be successful.
Speaker 1 (20:39):
Facts mm hmm. What do you think street music or
street street music and the culture of it started in Atlanta?
Like who was the first artist or one of the
first artists the hard boys, the hard boys. Yeah, so
that's that's like get me out of that ship and
(21:03):
where did it go from there? It was a little
bit a little bit of the journey. Where where did
it go from? Then?
Speaker 3 (21:11):
It was a little bit of saying street because it's
like okay, keyloaded me and street music based.
Speaker 2 (21:15):
On who was who was paying for you can't leave
get on either.
Speaker 3 (21:19):
See what happened for sure?
Speaker 2 (21:23):
You know the man shout out to everybody who made
a record that inspired everybody who made another record.
Speaker 6 (21:29):
Yes, I guess I'm saying because they just look they
just looked at us at one point because it was
kind of just that it was just booty shape some
of the street.
Speaker 2 (21:43):
Yeah.
Speaker 3 (21:43):
Yeah, I'm saying the street music because who was making it.
Speaker 4 (21:46):
Who was putting the street niggas were making the booty
shake music?
Speaker 3 (21:48):
Yeah yeah, street niggas. Hammer was a street nigga.
Speaker 1 (21:53):
Yes, I don't know what.
Speaker 3 (21:59):
Is it just someone who hustled? Is it just someone
who literally.
Speaker 1 (22:05):
Like we won't go there? Like trap music? Street music,
that feel of getting your car at that time. I
guess you and your Caprice Classic whatever it is, you
got your speakers and you not get It's a different
vibe than.
Speaker 3 (22:19):
Like okay, okay, I'll say okay, I say this, I
know what.
Speaker 2 (22:21):
I know we're trying to. I know we're getting that.
Yes to me. Tips started the pride of trap music
by actually just saying that's what it was, right, But
it was there were people who were doing music about selling,
there were people that were drug dealers, talking about dancing.
There was everybody doing everything, but Tip put a stamp
(22:44):
on it, right. So like I'm gonna say, yeah, I
feel like we ushered in a pride to you know,
kind of like elevated or evolved hustlers. Like it's like
because it wasn't just pride of selling drugs. It's the
album start. His first album started was like Forgave Myself.
Like that's conscious rap when you think about it, it's
(23:04):
it's just I'm aware of what's happening, and I'm explaining
you because I'm aware. Yeaheah, it's absolute, like it's just him.
It's it's first of all, Tips super skilled as a writer. Yeah,
like that nigga can can really articulate the moment better
than a.
Speaker 1 (23:21):
Lot of people.
Speaker 3 (23:22):
And because that's hiss experience, he can.
Speaker 2 (23:24):
He can he can express it like a couple of
people can in a way that gives you detail and
like where you feel like, oh that's.
Speaker 3 (23:30):
What that's what it's smelled like in there, like very vividly.
Speaker 2 (23:33):
Yeah. So it's like, you know, to me again, I say,
it's like elevated street music's street music, but it's it's
still art.
Speaker 4 (23:41):
But I feel like, going back to what we were
just talking about about, how like it was the street
niggas making the booty shake music. It's all about like.
Speaker 3 (23:49):
Well, it was like there was street people paying for
them niggas to make like.
Speaker 4 (23:54):
Not like like okay, let me let me, let me
give you an example, like just for instance, like the
sixty nine with the fucking TITSI roll, these niggas were
selling dope with gold teeth in Florida.
Speaker 2 (24:04):
Yeah, but they were.
Speaker 4 (24:05):
It wasn't nothing funny, switchy, witchy about them or nothing.
Speaker 1 (24:09):
But they were.
Speaker 4 (24:10):
That's you know what I'm saying, That's what was like,
you know, that's what was going on at the time.
But it was just like, like I said, it was
in blocks of time because like even at the Atlanta
Street niggas, dope niggas that were making booty Shake music
and they had all the money and whatever and that
were like rapping to the holes about whatever they were doing.
They were doing it because that's what was going on
in time. You had freak nick, you had all the
(24:31):
shit going on where it was like it was it
was an up tempo vibe in up tempo field. Like
it wasn't like, Okay, shoot them up bang bang niggas
standing on the corner for twenty four hours or no
shit like that. Niggas were really getting money, having fun,
fucking with holes. So that's what they were rapping about,
like you know what I'm saying. And it didn't take
nothing away from niggas. It was just like you know,
(24:52):
the time frame.
Speaker 2 (24:54):
I think fun changes depending on the era, Like yeah, yeah,
like fun now. I mean for me, I don't that's.
Speaker 3 (25:03):
The other part. I don't go out a lot because
it ain't fun. It's like it's just not fun.
Speaker 1 (25:07):
I don't.
Speaker 3 (25:08):
I don't like watching them. I'm so I don't like
watching people just suck on hook all night.
Speaker 1 (25:13):
We had fun to put it on.
Speaker 2 (25:15):
We had fun, man, listen, But that's what I'm saying.
But it's like, it wasn't that the amazing shit is
as much as it's called put thish it on.
Speaker 3 (25:23):
Wasn't nobody putting on. Everybody was just being themselves in
clothes and cool clothes, youth.
Speaker 1 (25:30):
I know, it's a lot of losses come with this game.
It didn't go as playing, Like what type of lessons
you learned from your losses?
Speaker 2 (25:38):
Keep going bro Like the lesson is sh is going
to happen to everybody? Like it's depending on what you know. Again,
it's your circumstance that dictates how bad or how good
your your shit can turn out.
Speaker 3 (25:52):
And and that's decision making.
Speaker 1 (25:54):
You got a moment where you where you know, you
put a lot of shit in and that ship just
didn't go right.
Speaker 2 (25:58):
You read, yeah that the originally that first Tip album,
that first Tip album was it didn't go right for
a bunch of Like now in hindsight, and I can
see where it all went.
Speaker 3 (26:09):
That shit hard though, no see.
Speaker 2 (26:11):
Okay here, let me okay, so I'm gonna save my part.
It would be considered a break based on how successful
he is now right, But it did the groundwork to
get him.
Speaker 1 (26:23):
Like I make that up. It was.
Speaker 3 (26:24):
It was a mixtape.
Speaker 2 (26:25):
It's like it sold one hundred and seventy some thousand
copies and real you know and physical. Yeah yeah, but but.
Speaker 3 (26:33):
Over seventy weeks, so that meant every week.
Speaker 2 (26:37):
Somebody else was like, I fuck with that, Like it
was sunding like five thousand a week, but like fifty
some weeks. And I was like, to me, that made
sense from a from a business stand point, I'm like, okay,
we need to be paying attention to hey, y'all, y'all don't.
But it wasn't enough for the big company record. Huh No,
through through the project to the people, you think, through
(26:59):
the project to the neptube record.
Speaker 1 (27:01):
That's what I was just about to serious. Yeah, it
would have been unheard or to put dope boys in
the trap out first, but that was the record. Y'all
knew that was the record. As soon as we heard
that out right record. The man were you talking.
Speaker 4 (27:14):
About y'all talking about different records?
Speaker 1 (27:17):
What's my name name? It was I saying that's what
they pushed. It was a great no no, no, no.
Speaker 2 (27:25):
Yea. So his thing so we did that record right
and understanding that, Okay, this the lesson I learned, don't
show them all the ships you got, because I knew
Dope Boys in the Trap was the first single. Like
we all we were like, oh my god, we're about
to sit this month on fire.
Speaker 3 (27:43):
And we get to it.
Speaker 2 (27:44):
Got we're in Atlanta. But this is the time where
this din't It wasn't a record to before. Yeah, that
was on soundtrack, yeah, but but no, the when we
got to matter of fact, we did that record while
the Face was still in Atlanta.
Speaker 3 (27:59):
To the sh sound track.
Speaker 2 (28:01):
I did that on Ghetto Vision, like that soundtrack is
on my label. But then La went to New York
to Arista. So in between that, that's when we were
about to drop Dope Boys in the Trap. He goes
to New York and everybody there is the New York
radio staff, we can't put this out. Nobody can play this.
We can't play Dope Boys. That's that's crazy. And I
(28:22):
was like all right.
Speaker 3 (28:23):
They were like, well what about this for real?
Speaker 2 (28:24):
This neptible record, because they were blowing up and I'm like,
you know, that's my dude, Like we're I know that
it's a dope record, but it's premature. It's like, like
you're reaching.
Speaker 1 (28:35):
For what I knew.
Speaker 2 (28:36):
The rest of the album was like everything else about
it was dope was it was telling a story almost
exactly so, but in that story, that part of the
story is yes, but but you don't know why these
things go together. So anyway, all I did was, I
was like, all right, for get, but I put Dope
boys in the trap on the B side, so I'm serious,
(28:57):
and we just worked the ship out of that so.
Speaker 1 (29:00):
Hard, even before the next time the mixtape in the
Street and PC ship. But he was But that's that's
the other thing I said about artists, when they know
where they're going, you're not gonna stop.
Speaker 2 (29:11):
Yes, that's why I say I contributed, Like I'm I'm
never goinna take credit for nobody work like in your talent,
Like it's just it's.
Speaker 1 (29:19):
It's basically a label can suck your whole life up.
Speaker 2 (29:22):
None of the wrong decision like no different than the
wrong ship, Like you know what I mean, it's the
same thing. It's like you get into a relationship that's
about your dreams, so ships in your head, so you
gotta believe that these people you're talking to get or
believe you like that they see that you can do
pull off the ship you saying, you're thinking they got
to see a ghett a vision. Yeah, Or you gotta
(29:44):
find you gotta find the people who get it with you,
because that that that's the only way gonna work.
Speaker 3 (29:48):
It ain't it ain't it ain't. It ain't a business,
It ain't a game.
Speaker 2 (29:51):
It ain't nothing that you can play as a team
and winning big without having the right team. Like when
you play spades, when you know you're partner, y'all killing
it because because you can see, you know what, you
know what's about to happen, like up dropping Tip, right,
they let him go, Like dropping is a is a
strange word, because we asked for him to let Tip
(30:13):
go because I was gonna take him over to Columbia
with me. But then I got there and that's when
Flip was there and we were about to do the
deal and end up meeting. Somebody asked him a question
about Flip, and I was like, Oh, this is gonna
go bad.
Speaker 1 (30:26):
So.
Speaker 5 (30:28):
So when you do it, they trying to miss that
no more. After you let Tip go, he he started
believing in a lot of music.
Speaker 1 (30:33):
After that, well, he.
Speaker 2 (30:35):
He's still you know there is he's still believing in
certain people, like he believed in in Future because he
believed in Rico in Rocco, like he believed because Rico
Roco knew and Roco said future was it and Future
was Rico's cousin. He's like, Okay, there's a chance here
that I think he understands, Like the proximity part. It's like, okay,
(30:58):
I'm gonna make sure somebody does understand. Yeah, somebody got
to be involved that understands. For really, I can communicate
with it like shape yeah Jesus, Yeah, like I had.
I had, Like I don't want to make it sound crazy,
I had a gang of success at the face like
because l A I could, I could communicate with him
like we it worked in that way, Like so don't
(31:18):
I don't ever want to come off like because even tips,
it's like it just wasn't for that time exactly.
Speaker 3 (31:24):
So it's like, yeah, everybody worked, it worked the fun out.
Speaker 1 (31:32):
They say anything else, what executive a visionary inspires you
the most? Namely probably from Atlanta, but it could be
outside of Atlanta, like the person that you're like, man,
they they beyond.
Speaker 2 (31:46):
It like pebbles. Ah, she was like she when we
talk about like ghetto vision, like that's like she's the
one who got in the streets in Atlanta. She's the
one who who found us, who found t l C.
You know who who kind of helped with imaging on
(32:08):
Tony Braxton because when you think about she's an open ship.
She she's fly already like it's like it's being from it.
So you go, you can go anywhere to town to
see it and know what it looked like. You know, Okay,
this this is or this ain't for me because you
know what it feels like.
Speaker 3 (32:28):
Who the goat.
Speaker 1 (32:29):
Producer from the city.
Speaker 2 (32:32):
Mpending on what you're talking about, my impact of seals
just all around, I'm gonna stay organized, noise mm hmm,
if we're gonna do all incompassing.
Speaker 3 (32:44):
If anybody got something said about that, call yeah, yeah right,
I've never said that.
Speaker 1 (32:53):
Shout out to Rico.
Speaker 3 (32:56):
Because I think people put so much on numbers.
Speaker 2 (32:59):
On number birds and and to put on like I
think what what organized know is in the danger. I
think what we represent more than anything is real people
and some of the the more some of the more
put on things feel goofy and like you wouldn't do
(33:23):
that in front of your mama, Like I still like mama,
Like you know what I'm saying. It's like i'd be
around my folks, I'd be around my kids, So I don't.
I don't think real and foundational Atlanta folks are really
like they just want to get on about their business
and make their money and be able to handle, you know,
their responsibilities.
Speaker 1 (33:45):
What artists had the biggest impact out of Atlanta?
Speaker 2 (33:49):
Okas who who?
Speaker 1 (33:54):
You know? With the six Future?
Speaker 3 (33:56):
But how no future?
Speaker 1 (33:58):
You're right? You right, in fact, totally right impact. No,
that was inspiration from him. They got you got inspiration
he learned he did.
Speaker 2 (34:09):
When you put it that same But.
Speaker 1 (34:13):
How did the streets move when Jesus and Kill Drop,
I mean Jesus.
Speaker 2 (34:17):
And Drop Okay sold ten million albums bro the streets everywhere,
all the streets bought it, like ten.
Speaker 3 (34:28):
Million Our cast, you got the streets ain't just right there.
Speaker 1 (34:36):
Our cast made people who wanted to be in music
kind of in Atlanta at the time. You get to
think being doing music. If you told like I told
my family, I'm gonna do music, I was like you
what like, But after we saw our casts, like, man,
maybe we can do music on this level. I guess
you probably can't competit the errors.
Speaker 2 (34:57):
No, no, I mean because the era of the futures
in he the biggest of it. He's like, he's going
to impact a bunch of people out like think about
all the things posts because actually Gouci right, like it's
it's a bunch of it's all bricks, like to me,
just trying to compare, Yeah, you can't have So I'm
(35:18):
I'm just saying that you right, I'm just saying the
first to do it on a scale to give us
pride because Jermaine was the first with hits.
Speaker 3 (35:26):
Well, no, Dallas was the first one to hit. Matter
of fact, Dallas produced hard boys.
Speaker 2 (35:30):
So it's like that.
Speaker 3 (35:34):
So it's like, so everybody, it's hard to claim. I'm
just saying that.
Speaker 2 (35:38):
You know. The reason I'm gonna say organize is based
on at a moment where everybody was paying attention, our
crew stood up and gave it pride to where you
don't have to be from New York, you don't have
to be from l A to be seen on a
global scale.
Speaker 1 (35:56):
Facts, big facts in these the great conversations I just
got just had wall. John never come up in these conversations.
Speaker 3 (36:07):
Just because But that goes into that what do we
you know?
Speaker 1 (36:10):
What what what?
Speaker 2 (36:11):
What's to like the crazy Atlanta is so dope and
it's so full of amazing talent, Like I'm talking about
like goat level talent.
Speaker 3 (36:20):
It ain't like regular he had like a little John Yeah,
like there's yeah, none of that.
Speaker 1 (36:28):
But but think about this.
Speaker 2 (36:29):
He went from.
Speaker 1 (36:32):
It's still it's still yeah, that's really to still.
Speaker 3 (36:38):
Is at one extreme and at one o'clock in the morning.
Speaker 1 (36:43):
Where where are you.
Speaker 3 (36:45):
In your set?
Speaker 1 (36:46):
John at that time?
Speaker 2 (36:48):
Because he it's gonna it's gonna start. It's gonna either
you're gonna go there or you're gonna go blow the whistle.
Like think about all this is John DIDs records. Like
to me, John is like doctor Dre level producer, like.
Speaker 3 (37:04):
He is high level eating ship.
Speaker 2 (37:06):
He just doesn't get the credit because you don't think
about because it looks so fun, you don't think about
how how talented actually goes into Yeah like that ain't
that ain't by mistake. He's been doing this this whole
time at this same level. Like even when we were
thinking about it, he was still his shots shots shot
like you're still.
Speaker 3 (37:25):
Like, so it ain't it ain't. It's like that's why
it's hard to say.
Speaker 2 (37:30):
Who who's the go, who's the best? Like many adult
niggas here, you're right, you're right.
Speaker 4 (37:35):
And even though we don't like really hear from him
that as much now, like you can still drop a
Little John record in Vegas in a mixed club and
that ship turns upside down.
Speaker 2 (37:46):
Lit John is a common denominator and fun my nigga,
like no matter where you go.
Speaker 4 (37:51):
Yeah, that's that's the most accurate description I've ever heard on.
Speaker 1 (37:54):
The east Side Boy is that though I know we
have to get on.
Speaker 3 (38:00):
The East Side Boys ship, you know I'm talking about
like they still.
Speaker 4 (38:02):
Performing, they still got the gas cans.
Speaker 2 (38:04):
Yeah, oh wow, yeah wow, shout my nigga, Dug. We're
gonna ask a question that he knows.
Speaker 4 (38:17):
Ye, he manages the east Side Boys, trying to get
them home.
Speaker 1 (38:21):
What are they doing working?
Speaker 3 (38:23):
What I'm saying that they're being the east Side Boys?
But it's just not with Little John.
Speaker 4 (38:29):
Okay, every dare I say that every.
Speaker 3 (38:32):
Record there is Little John and the east Side Boys.
Speaker 2 (38:34):
They have the right to go and perform.
Speaker 4 (38:36):
No, I know they have the right and all that,
taking nothing from nobody. And like I said, dare I
say this?
Speaker 2 (38:42):
But is is?
Speaker 4 (38:45):
Is there an east Side Boy without Little John?
Speaker 1 (38:50):
It was Little John and the two elements.
Speaker 4 (38:54):
That's just like saying.
Speaker 3 (38:55):
Diana, So at the moment, the surprise in that moment, I.
Speaker 4 (39:01):
Mean, the supremes can be the supremes, but in the
total scheme of things, not taking any weight anything away
from them because they contributed to the total package.
Speaker 2 (39:11):
Okay, so so this goes that, do you do you
think it would be fair for them to be doing
as much as a Little John based on how much
Little John does?
Speaker 3 (39:20):
Yeah, so they're doing They're like.
Speaker 4 (39:24):
East Side it is capable for them to do.
Speaker 1 (39:27):
Yeah, what what's your proudest, proudest moment? Proud as it
comes from it in music and music.
Speaker 3 (39:40):
Ship still being here still well, I don't know it's relevant.
Speaker 2 (39:46):
But I'm here, Like, but I know I got the
opportunity to keep doing shit like like, so I'm I'm
proud that I ain't clowned out.
Speaker 1 (39:54):
Okay, what about the movies, y'all y'all tapped into the
movie side.
Speaker 2 (39:59):
Now, Yeah, I mean, you know, I'm a Lego. Now
you know what I'm saying, Like, I'm in a Lego movie.
I'm a Lego like a whole that's cool, you are?
I mean, I don't know Legos.
Speaker 3 (40:13):
You know what I'm saying.
Speaker 2 (40:14):
You know leg So I got a Lego. So that's
what I'm proud of that because my kids like that.
They think that's the coolest ship. So yeah, actually I
take that. Yeah, the Lego being a part of Pharrell's
documentary is a good one because I think it's just
(40:36):
it's it's super creative and it affirms that that I'm
I'm in the right company for the things I like.
Speaker 1 (40:46):
Mm hmm.
Speaker 5 (40:49):
How importantly it is you think it is to be
around the right People's right about the right people.
Speaker 2 (40:54):
That's a paramo.
Speaker 3 (40:55):
That's that job one.
Speaker 2 (40:56):
Like if you around the wrong person for what you're
trying to do, that you're always in jeopardy of that
person doing shit they were going to do, Like and
the thing is, you know what they're gonna do, Like
we're gonna all just brought somebody anyway, like you know
what I'm saying. And then they get there and they
do some shit they were gonna do, and you're like
(41:18):
that's me then, So I think you the most important
shit in all of this is discerning, Like like I like,
I watch I watch your evolution right for since being
in the public, like from the MAC to now right,
and it's like, based on your experiences and based on
(41:38):
what you're exposed to, you process shit different.
Speaker 3 (41:41):
I can see it.
Speaker 2 (41:42):
You can see it happening to the point where the
ship that I've seen you tolerate and not is different.
Speaker 3 (41:48):
You know what I'm saying. It's like all that shit
is based on.
Speaker 2 (41:50):
The people that you're around. So yeah, I think it's
it's a one job. Won't get figured figure out who
around because if you were to a circle full of squares,
you gotta waffle, my nigga, like you are not doing well.
Speaker 1 (42:04):
You gotta what's the stuff that what's the stuff in
the industry or the culture right now that makes you cringe?
Speaker 3 (42:13):
But there, hooker, you.
Speaker 1 (42:14):
Said you ain't letting.
Speaker 2 (42:20):
You know, cringe in real life. Bro, I don't petition.
Speaker 1 (42:26):
What's the petition and put that ship down.
Speaker 3 (42:28):
The section took the fun it is idiot, because you
gotta have somewhere to put.
Speaker 1 (42:32):
The hook section first. I don't know, can't stand up
and be smoking. Maybe you can't. Look.
Speaker 3 (42:45):
I burnt my hand because somebody was walking around the
club with the hookah.
Speaker 2 (42:49):
And behind me.
Speaker 3 (42:50):
I guess by some adapt and put the ship down.
Speaker 2 (42:55):
So that's what my my trauma come from. What my
that makes me crack? I don't you know, I don't
pay attention to it.
Speaker 1 (43:04):
I don't like mm hmm re ship m M.
Speaker 3 (43:07):
I don't.
Speaker 2 (43:08):
If I don't, if it doesn't affect me in any
positive way, I don't get invest So yes, I don't
care that much.
Speaker 3 (43:15):
Mm hmm.
Speaker 1 (43:16):
Just who you think Beyonce is the greatest performer of
all time? That's kind of random. We're just flowing on
social media with the whole Christmas of all time. I mean, just.
Speaker 2 (43:30):
No, bro, Michael Jackson is the great Michael Jackson. Michael
Jackson for sure, like you know, and and it's not
that she's not great, like she's obviously great, but yeah, I.
Speaker 1 (43:40):
Think so when he's in the space of his his.
Speaker 2 (43:44):
Own yeah, because that's like flat foot any like, without anything,
he's Michael Jackson. You know, he's all of it back.
And I'm not saying she's not just saying that he
did that in any way that I remember that the
most showing it's the person that she references, it's the
person that you know.
Speaker 1 (44:04):
So when you come to the next tier Beyonce, Chris Brown,
what happens in that tier in your opinion?
Speaker 3 (44:13):
What's the question?
Speaker 1 (44:14):
The question? Is better? At all? Better?
Speaker 3 (44:17):
Nigga?
Speaker 2 (44:18):
Come on?
Speaker 3 (44:18):
You talking about this girl who runs the nation of women?
Speaker 2 (44:21):
Like like.
Speaker 3 (44:24):
Right, you know she the best?
Speaker 2 (44:26):
She the best, Like, ain't nowhere around that, Like she
has an army of people the nigga you.
Speaker 1 (44:31):
Actually put it in the category if you ask.
Speaker 2 (44:33):
Them this, Yeah, they don't have to, Like there's nobody, like,
nobody's disputing that. But you said all times, said Mike,
but I'm saying now she Yeah, come on, and who
who's doing it at that level with that kind of excitement,
that kind of fandom, you know, like yeah, you got
to give her that.
Speaker 1 (44:51):
Like if you had a chance to curate the super Bowl,
will be your first artist?
Speaker 3 (44:59):
Any any hairtime job?
Speaker 1 (45:01):
Yeah? Just one. Like they say, Okay, we're gonna let
KP do the Haadtime show this year?
Speaker 3 (45:06):
Who would you put up there?
Speaker 2 (45:08):
Oh no, if you said this year, I'm still going Kendrick,
I'm gonna go Kendrick, But but I would dress it
some things around it. But I think he's the most
important hip hop artist, if he might be the most
important black artist we got right now, based on what
he's doing, based on what he stands for, based on
what he says, and based on normally that's not commercial.
Speaker 1 (45:34):
Mm hmm. Do you think, like on the performance ship,
like current artists and their performances might limit their longevity
a little bit?
Speaker 3 (45:44):
Yeah, yeah, I mean if you can't perform, you can
only do what your song does.
Speaker 2 (45:49):
Because there are like when we talk about Beyonce, she's
the star is that she's made it past how what
her song is like because if you think about the
Renaissance album, right, that's a huge tour, but it wasn't
the album with the biggest record on it of her career.
Like it's she's she's solidified herself that she's she knows
(46:12):
that she has this already now she understands culture and
taste and she's she's like she's being an artist and
a performer, so you can sell a performance, you can
sell a performance.
Speaker 3 (46:25):
No, she's always she's always been the product, Like she's
always understood that the songs are fuel for her car.
Speaker 2 (46:33):
Like, the better the song, the bigger you're gonna be.
Like the more the more people can understand and relate
to the song, you have a better opportunity. It's like
saying hello properly.
Speaker 1 (46:45):
Mm hmmm. Listen. So twenty twenty five, what's what's the
goals for KP? Goals accomplishes you are? What are your
goals now? Like moving into this new year?
Speaker 2 (46:57):
In your chapter, I have a TV show that I
that I came up with with my homeboy guy and
a friend of ours, Brett Matt wrote that I want
to get off. That's it, Like, that's me. But the
thing is, you wouldn't be like that. It's really a dope.
I mean I think it's adult show and it's a
real human it's an Atlanta Human show. But yeah, anyway, yeah,
(47:19):
I got a human comedy. What is It's like, it's
situational comedy, but it's it's.
Speaker 3 (47:26):
On the podcast.
Speaker 1 (47:27):
But it's smart.
Speaker 5 (47:32):
I say that, so you So now I'm gonna go
back to the movies. So you're really into the movie ship?
Like fem the movies and ship now.
Speaker 2 (47:39):
Yeah, yeah, I mean like I'm learning too, because it's
like I'm not acting like I know this is something
I wanted, Like he really.
Speaker 3 (47:46):
Directly and he paying, he paying like he is paying
for his learning.
Speaker 1 (47:52):
He's doing it like he sent me some money for
the role.
Speaker 2 (47:55):
Yeah, I mean because it's it's real ship. It's like, look,
we really want to do this shit. It ain't weigh
that's a business not like. This ain't vanity shit. This
ain't like I think I probe myself on the fact
that all the people I deal with really want it
in a way that's past ego. It's almost like I
(48:15):
gotta do this, like they're creative in a way that
they can't help it. So it's like you see two
about here doing comedy. He gonna do a movie or
whatever he thinks he gonna he's gonna give it one
hundred and again. Having the right people around you that
inspires you, because that like I've been thinking about this
show for maybe ten years, like I've I've just been
(48:37):
writing random things that I'm like, that'll be dope, that'll
be dope. But in the last two years I got
it done. But that's partly because being around somebody who
don't go to sleep.
Speaker 3 (48:47):
And it's like, man, what hold on?
Speaker 2 (48:49):
Well, I'm up, I might as well finish doing my ship,
you know what I mean. It's yeah, it just goes
back to that having the people around you that inspire
you is super important.
Speaker 1 (48:58):
How how important you like to keep fruit for relationships?
You know what I'm saying?
Speaker 3 (49:05):
If they if they bear fruit, try to keep it,
you know what I mean? Like I don't. I think.
Speaker 2 (49:12):
Trying to do it is weird if you have it,
like yeah, it's like that's the hard with me because
I'm like, I feel like all the relationships I got,
they were built over circumstance situations like character testing, like
so I know who I'm dealing with and they know
who they're dealing with. Yeah, Like so it's like I
(49:34):
think the weirdest shit and people that I'm going to
this network event, so you just got to go talk
to like random people no purpose, like like just a
rule full of niggas who's saying I want to beat
somebody like as opposed to go where the things you
like are right, you're gonna want into people who like
that shit too, and then y'all gonna talk about some
shit that y'all like like, oh I could do it,
(49:54):
Like that's all my relationships started in that space, like
I'm where I want to be, so that way, I'm
more likely. It's to meet people I want to meet.
Speaker 1 (50:04):
I can dig that. What do you do when people
say make it like artists in the industry or just
make it in the industry. What's your definition of make
it or made it?
Speaker 2 (50:14):
Not being dependent on somebody else's decision whether or not
you do it again, m or what you do tomorrow?
Speaker 1 (50:21):
What was your maid made it moment?
Speaker 2 (50:25):
I ain't had that yet.
Speaker 3 (50:31):
I'm successful, but i'm not. I'm not kick my feet up.
Speaker 1 (50:35):
Again fuel because that is that the way that you
fuel and motivate yourself. K has made it.
Speaker 2 (50:43):
No, KP.
Speaker 3 (50:44):
The Great is a destination, Like I'm trying to get there, bro,
like the.
Speaker 1 (50:47):
Great, yourself great.
Speaker 3 (50:50):
I'm consistent, I'm I'm working hard. I'm like, yes, i think.
Speaker 1 (50:55):
I'm great at being me for sure, that's all I matter.
Like I'm the best.
Speaker 2 (50:58):
KP out this bit, you made it? Yeah, So that's
what I'm saying. So it's it's but but I also
understand that I'm not. I don't know. I just don't
feel like i'm doing right. Yeah, So it's like I'll
make it when when I don't have no more to give.
Speaker 1 (51:13):
Mm hmm, Josh Ship KP, the Great, Big Fact, I
appreciate you. Man, say to the Big Facts supporters and
followers in the game motivation you want to give them
for the twenty twenty five.
Speaker 3 (51:26):
You know what the real motivation is looking at mirror.
If you like it, you're good. If you don't do better, that's.
Speaker 1 (51:33):
Cold, cold right now. Yeah, Big KP probably love respect
the k the Great, the Big Fast. Make sure you
check us out at Triple W dot big fasspot dot
com
Speaker 3 (51:50):
St it's a Big Fact, No cat Fitch
Big Bank. You don't be on nothing. I be on Okay,
So let me ask bring you big big facts.
Speaker 2 (00:10):
Visit the new website today, Big factspod dot com, a
loud for.
Speaker 1 (00:14):
The coaching labin, the ATL. You know what it is.
It's time for big facts. What's up, Big Bank? What's up? Baby?
J d J scream I'm here. We got a special
guest today, KP the Great Kawan prappt whatever you want
to call him. He's here. He about to chop it
up on big.
Speaker 3 (00:30):
Having me preciate it.
Speaker 1 (00:31):
What's up? KP? You good?
Speaker 2 (00:33):
Yeah? I'm great? Man?
Speaker 1 (00:33):
You great? You know you know one of the things
that many people do know but many people may not know,
is how how how impactful you've been to help helping
artists ascend from ATL coaching even beyond that. So I
guess I guess the thing I want to ask you
first is like, what was the first act that you
are responsible for part partially responsible for bringing through the door.
Speaker 2 (00:56):
Take us back to the Oh okay, so yeah, I
guess that be the group I was in PA, Parental Advisory. Yeah,
that was like ninety that was ninety two. Yeah, we
ended up getting signed pebble We met Pebbles at TLC
video shoot where it was auditioned for a video shoot,
and she let us audition.
Speaker 3 (01:15):
And signed us and that was the start of it.
Speaker 1 (01:17):
And you were that time DJ, the DJ.
Speaker 2 (01:21):
But somehow it always seemed like I was the spokesperson,
like I kind of ended up being the mouthpiece a lot.
Speaker 1 (01:28):
You know, somewhere are they now? Where are they now?
Speaker 2 (01:31):
Well? Reese, first of all, he produced like both of
those Lloyd you and get it around the world. Yeah, yeah,
him and Jasser did those records, and Mellow Mellow still
rights and works, you know, like Mellow. I think got
a little more frustrated with the business.
Speaker 1 (01:47):
Side of it. And then after parental advisory, the next
app would be.
Speaker 2 (01:52):
That I am responsible like for walking out because I've
worked with a lot of people. Like it's weird because
I don't know how it's hard to take credit for
some of shit because it's like you meet people who
are talented and you kind of show up and support it,
like like it's the credit thing is weird. It's like
when people call somebody their artists, it's like that that's
a person.
Speaker 1 (02:12):
A lot of people, let's say give you credit for
a tip they say, man, K Peter Reeson tip got
through the door, not to say he wouldn't have because
he was tipped.
Speaker 2 (02:19):
No, I mean what it was I was I was
in the right place to recognize what he was doing
when maybe people weren't paying attention or seeing it properly.
Speaker 3 (02:27):
So like I just understood it.
Speaker 2 (02:29):
Like I think that's really what it comes down to
any of this stuff, Like especially artist trying to get
signed and ship, they just want to get with somebody,
like it's so important to get with somebody who sees you.
Speaker 1 (02:38):
Was it hard to take in some street music to
the face because we heard that tool that It was
like they wasn't really trying to.
Speaker 3 (02:44):
Well, yeah, I mean, but what's funny is that's how
I got my label there.
Speaker 2 (02:47):
That's how I got Ghetto Vision because that was there
was a period where I was almost going because the
group PA we were signing the dream Works out in
LA and I would go go out there for meetings
a lot, and they offered me a job to come
do and dream Works and they and when I found
out how.
Speaker 3 (03:04):
Much they pay people as opposed to what I was
getting paid.
Speaker 2 (03:06):
At the time, you know, it was just like you know, different,
and you know, it was just one of those things
where it's.
Speaker 3 (03:12):
Like, oh man, this much, this is the rate for
what I do.
Speaker 2 (03:16):
So I came back. As matter of fact, they gave
me the benefits package. They gave me a whole thing
before I left. So I came back to Atlanta, met
with La and told him about it, like really, like
sat down. It was like, look, this is what they're offering.
I got a kid.
Speaker 3 (03:30):
Yeah, like no, but no, more.
Speaker 2 (03:31):
Like just this.
Speaker 3 (03:32):
My og is still like it's still a it's a
real conversation.
Speaker 2 (03:35):
Yeah, it was a conversation based on like, I know,
they're looking at me for what I'm doing here with us,
so I'm not I'm not above and beyond that that thought.
Speaker 3 (03:44):
But what but what he said was something real. He
was like, well that was a different That label.
Speaker 2 (03:48):
Is funded different. It was.
Speaker 3 (03:51):
It was Steven Spielberg.
Speaker 4 (03:53):
It was like that we see at the end of
the movies too.
Speaker 3 (03:57):
Yeah, they were.
Speaker 2 (03:58):
They were labeled too though, so they had movie money
making records. So you know, he basically explained to me,
He's like, well, my deal isn't that. But you know,
I understand if you do it. But what I also
understood was going out there, I was gonna have to
teach them what I knew, which was going to slow
me down. Whereas here in Atlanta and that the face,
I was working with a team with people that I
could throw no look.
Speaker 4 (04:19):
Passes to right, So let me ask you this. So
how did I'm sorry?
Speaker 2 (04:24):
And then so I'm sorry to finish it. So I
don't know why I got off there, but my bad.
So anyway, so when I when I had the conversation
with la, he was like, look, I can't give you
that kind of money, but I give this opportunity and
give you a production deal so you can do the
things that you want to do. Because that was a
part of it. It was like, you know, I wanted
to do some stuff that wasn't necessarily a face even yeah,
(04:45):
like you know young bloods and t I aren't necessarily
as shiny as some of the things they want to face,
you know.
Speaker 1 (04:52):
Yeah.
Speaker 2 (04:53):
Yeah, So it was like it was and at that
night I came up with a name because he was like, okay,
well let's do that.
Speaker 1 (04:58):
What you got a name?
Speaker 2 (04:59):
And I was like, well, you know, your shit is
shiny and whatever, my my vision will look.
Speaker 3 (05:02):
It's like a little ghetto and he was like, Okay,
it's a ghetto vision.
Speaker 4 (05:06):
Yeah, so that's my So that goes into my question,
like how did you working at the face while simultaneously
spearheading the whole entire ghetto vision movement kind of like
mold you into the music mogul and cool lass nigga
that you are today.
Speaker 2 (05:25):
I was a cool lass nigga first, No, I mean
I think I became a music mobile based on the
person I was.
Speaker 3 (05:33):
If that's a mogul is what you want to call it.
Speaker 2 (05:36):
But it's like like I got into the into every
situation I've gotten into was based on me being honest
and being myself. So I mean, you know, it's like
I joke about the cool last Nigga part, but I'm like,
I think what it is is I'm just comfortable. So
like I don't no matter who I'm around, I'm I'm good. Yeah,
so I can see you for who you are and
(05:56):
not be threatened by or you know, you know, and
I don't have to be intimidating them.
Speaker 4 (06:02):
Like that.
Speaker 3 (06:04):
Yeah, it's said, what was your role in what?
Speaker 1 (06:07):
For real? What was I am other? What was the
name of it?
Speaker 3 (06:11):
I am mother?
Speaker 2 (06:11):
So head of music bying mother, Like I went over
there when when I left Atlantic in it like twenty fourteen. Yeah,
so I went over there, like I left Atlantic, and
when I left, I called him leaving the office like bro,
like something had happened and I was like, let me,
I had to leave, and he was like, well, shit,
good you come run this shit now. And it was
(06:33):
like really like a again.
Speaker 3 (06:35):
It was like me being myself with people I know
and trust.
Speaker 2 (06:40):
Those opportunities is kind of they've been there for me,
Like I'm blessed in that way.
Speaker 1 (06:45):
What do you think you do best? Like creating or executive?
What like do so what do you think?
Speaker 3 (06:50):
I think it depends on what the situation is.
Speaker 2 (06:52):
Yeah, yeah, like like I've done enough of the job
to know enough about him. It's almost like like a
foreman who's like to play, like because I come from
being in a group, from DJ and producing like all
those things we were doing. I was making show tapes
for dance groups in high school for talent shows, so
I understood how to put a show together. Like so
(07:13):
that led me into being like music director for for
real in his shows and.
Speaker 4 (07:17):
Just understood transitions.
Speaker 2 (07:19):
Understood transitions. Yeah, and you know it's it's again. It's
like all my high school shit is what is all
I'm doing? Like I'm kind of living a very immature
as life but with understanding.
Speaker 4 (07:31):
So how does it feel like to kind of bring
your whole beginning full circle? I don't want to say
to your end, but to your current now from being
the DJ that you are, but now you've kind of
perfected your craft and you're like one of the best
of the best.
Speaker 2 (07:50):
I appreciate that. No, I mean I've loved it the
same the whole time. So it's never not been there,
never not been a part of what I was doing.
So if anybody met with me when I was at
Sony as EVP of Black Music, they would turntable stuff
in my in my office, like I would sit in
there after hours, and like the records we were making,
(08:12):
I would play them in contact with other records I liked.
So it just made it easy for me to know
if I really liked this ship or if it's just
like the moment.
Speaker 3 (08:21):
Or you know, it's just like put it in play.
Speaker 2 (08:24):
So that like the DJ part is probably the most
consistent talent or the most consistent tool.
Speaker 3 (08:30):
I an't used in my whole career.
Speaker 2 (08:32):
Yeah, because it's taste, it's it's reading the room, it's
you know, it's it.
Speaker 3 (08:37):
You have to pay attention.
Speaker 1 (08:39):
Being in it so long. How do how do you
continue to adapt to the change of the music.
Speaker 2 (08:47):
I still shop with my kids, like I still go
in the world where they go. So I'm not I'm
not the get off my porch old nigga. I'm not.
Speaker 3 (08:56):
I'm not that. I like seeing new people, new arts.
I like hearing new music.
Speaker 2 (09:01):
So it's like again, it's like I really just get
to check ship out all the time. And and and
I'm blessed in a way that people still allowed me in.
Speaker 1 (09:10):
The le.
Speaker 4 (09:12):
So how did you discover yellow wool?
Speaker 2 (09:15):
That's you know what?
Speaker 3 (09:17):
Bear Courtney seals?
Speaker 2 (09:19):
Bear hit me one day when I was one one
time a guy when I worked, I was e VP
of Sony Urban Man right, and and Bear called me
one day. I was like, you know, hey, man, I
met this.
Speaker 5 (09:32):
Uh that's a pretty good impression.
Speaker 2 (09:40):
I think I think you should listen to him. And
so I flew down and and he performed for me,
and like I want to say, it was like a
rehearsal space. It might have been Marven's but I can't remember,
but it was fresh off and they were having some
kind of It was a conference down here at the time,
so he was coming from the conference to meet me
at the rehearsal space. He came in and performed. It
(10:01):
was just me sitting in a chair. But he performed
like like it was like it was like a full
like a festival's niggas jumping on ship on top of speakers.
Speaker 4 (10:10):
He was he got a lot of energy.
Speaker 3 (10:12):
Yeah, but he was.
Speaker 2 (10:13):
He was busting. So that night I was like, oh,
and what I liked about it? He was Southern white. Yeah,
so he rolled, he rolle beats different, like because the
way I used to like, I'm not I don't really,
I'm not a person who rides around and listens to
Eminem in the car, like, you know, appreciate how dope
he is, but it ain't my It's too for me.
Speaker 3 (10:37):
Whereas Yellow Wolf. Yeah, it was like it's on the
it's on it.
Speaker 2 (10:41):
And Wolf he rapped like withdraw so it had a
melody to it. So yeah, but he was doing that
while performing his ass off. But I met him here
in Atlanta through there.
Speaker 1 (10:53):
Okay, how engaged are you in like new music, Like
do you listen to a lot of new music? Do
you be on play list? Do you do you keep
up with the new young waves and everything.
Speaker 2 (11:03):
I ain't gonna say I keep up because it's kind
of it's hard to keep up like and still have
like a real life, like because it's so much it's
so much streaming. Like but like I hear the things
that they cut through, I feel like I'm at my
at my age, right, I'm not supposed to hear it first, right,
like like it's weird, Like I don't think.
Speaker 3 (11:23):
I don't think that's my role no more.
Speaker 2 (11:25):
Mine is to recognize when somebody else has got it
how I can help, so if it makes it to me,
it's that kind of thing.
Speaker 1 (11:32):
What's the names that stand out to you?
Speaker 2 (11:37):
Standout? I mean and and and it's probably I don't know,
just like regular but it's like it's it's like the
road ways, it's a songwriters. It's let me think, like
that's such a trick, Like obviously I said jids money
bag Yo twenty one. Uh, I don't know.
Speaker 3 (12:00):
You know, okay, And that's the other part, Like I
know a lot of songs, but I don't know.
Speaker 2 (12:03):
Who sings these songs, you know, a little buddy from Detroit,
a little dude from you know, it's like, I don't know,
I know the sounds one I know the people. Yeah,
because I heard the word yesterday from from Shiloh Dions
and I was like, it wasn't bad, but it felt
like what it feels like right now, Like it's like, okay, that's.
Speaker 1 (12:27):
The other dude is going crazy to uh the ball.
Speaker 3 (12:33):
LaMelo Angelo. Yeah, I heard that too, like that kind
of jaman.
Speaker 2 (12:37):
But you know, but again, it's not a lot of
artists that I can like be like I like that
artists like.
Speaker 3 (12:44):
A bunch of songs.
Speaker 4 (12:45):
Let me ask you this, so okay, specifically talking about
the Leangelo ball records, do you think that people are
gonna discredit the record because they feel like he's a
gifted ballplayer.
Speaker 2 (13:02):
I don't know if I don't know if the world
worked like that no more, I think people accept what
they like from whoever gives it to him, unless somebody
supplies them with it more consistently. Like I don't think
I don't think you got that kind of I don't
know if brand loyalty and that kind of shit, like
that's kind of that that thought. I don't know if
that applies as much in celebrity because I don't because
(13:26):
the other part goes into what they're going for, Like
is that is he going for being a forever MC
or is he just want to have a moment like
he got an opportunity, like you see Jake Pauldham take
advantage of the like, let like why wouldn't.
Speaker 3 (13:42):
We support him doing something if it's good?
Speaker 4 (13:45):
Yeah? Yeah, yeah, what's your.
Speaker 1 (13:47):
What's your most memorable moment? Like from Atlanta.
Speaker 3 (13:50):
Clubs, God memorable moment?
Speaker 2 (13:56):
Okay, so this is a this is like pre pre
money in the air, okay, meeting young bloods, meeting young
Bloods and Chili Pepper and seeing them in the club
throwing the football across the balcony over a dance floor,
but like having real fun like.
Speaker 3 (14:16):
Animal house style, like wow.
Speaker 1 (14:20):
Yeah.
Speaker 3 (14:20):
And I was like I was that, like that's yeah
yeah yeah.
Speaker 2 (14:25):
But it was it was like that that memory is
stuck because it's like that feels like Atlanta to me.
It's like it's people partying, it's bottles over here, it's
it's football players over here, it's you know what I'm saying,
some baseball, some.
Speaker 3 (14:38):
Dope boys over here.
Speaker 2 (14:39):
It's out of town, and it's these two niggas throwing
footballs across the across the balcony.
Speaker 3 (14:46):
It's like it's just it's like and nobody tripping facts.
Speaker 1 (14:50):
You know one thing you mastered as long as you've
been in the game. Oh no, one knows like personal
stuff about you, like.
Speaker 2 (15:00):
Man, don't start this ship.
Speaker 6 (15:01):
No no, no, no no, We're not trying to bad
personal stuff.
Speaker 1 (15:06):
I guess I'm just saying.
Speaker 2 (15:07):
That ain't the person. I don't do it in the.
Speaker 1 (15:14):
Positive personal thing.
Speaker 3 (15:16):
I get the studio, studio home.
Speaker 1 (15:20):
Yeah, scratched that.
Speaker 5 (15:23):
No, basically saying like how you avoid all the weird
ship in his name?
Speaker 3 (15:27):
Yeah, I go home like like legit, I go home.
Speaker 2 (15:31):
And two like you ain't never seeing me out at
the at the at the after just because I'm I
hear about it like I a matter of fact, I've
done enough free camera phone.
Speaker 3 (15:42):
To know what it's what it's like.
Speaker 1 (15:45):
Cool. But another part of it is the statement that
I tell people that they say, in order to make
it in this industry, you have to rock a certain way.
You can be yourself and make it in this industry.
Speaker 3 (15:58):
But it's where you want to make it too, Like
I know where I'm trying to go.
Speaker 2 (16:01):
I know I'm not trying to go as well, though,
so I just don't ever I don't like I know
myself so and it's not a judgment, it's it's just okay,
this some sh it ain't for me right, Like I
like my kids. I'd rather kick it with my kids
if I got the time. You know what I'm saying.
Speaker 3 (16:19):
If I'm not working to support them, I'd rather kick
it with them.
Speaker 1 (16:22):
See what they have to.
Speaker 4 (16:25):
Say.
Speaker 1 (16:25):
Anything else when.
Speaker 2 (16:31):
You haven't regrets like not signing M absolutely not, because
I don't think anything works if you force it past that.
Like everything I like, I'm cool with everything I got,
every artist I'm associated with, every contribution like that was
where I was supposed to be. Did you miss I
didn't miss it, miss, but you had an opportunity of
(16:55):
a part of absolutely. But I was at a place
that I didn't feel like he could get off what
he was doing. I was at Sony. Sony is super corporate.
I know how much time it takes to get shit approved.
I know I know how they get if you make
a move and they don't know. I understood what kind
of artists could thrive in it, but I also knew
how they could stunt his growth and hindering. Oh my god.
(17:20):
And I still look at everything. It's the same way.
I'm like, at some point I'm gonna go home to Atlanta.
I'mnna be in the club. He's gonna be in the
club and we're gonna sit there. He gonna be like, man,
what what the fuck y'all doing? And I'm gonna know
what they're doing. I told you, but it's just like, bro,
this ain't what they do. Like so it was really
a conversation like many men. I met with him in
(17:41):
Jazzy the same day they went over to Death Jam.
I was like, bro, you're dress of the Death.
Speaker 3 (17:46):
Jam Like like I'm I'm really because they get it.
Speaker 2 (17:51):
You got shake shake over there and with like shake
is over there, moving l a like there's somebody who
is listening, but there's also somebody who understands, Like I
understand it. But if I understand that, the person I
got to talk to to move things out the way.
If they're not, if they're gonna question it, if they
want to understand it too much, it's gonna.
Speaker 4 (18:12):
Explaining or take too much time to break it in.
Speaker 2 (18:14):
Yeah, that should be over.
Speaker 4 (18:15):
Yeah the wave is gonna be gone.
Speaker 2 (18:17):
Yeah no, you missed that, bitch breakpoint you you're done?
Speaker 1 (18:21):
What role you played in that? Kendrick got right, y'all
got to grab it for that, right, What role you play?
Speaker 2 (18:29):
I contributed, like, you know, yeah, I feel like that's
one of the ones I contributed.
Speaker 3 (18:35):
I had I heard something I said to the Farrell.
He was like, yeah, fuck it and kept it and.
Speaker 2 (18:43):
He did it for another artist that the artists didn't
like it or they didn't feel it the same way.
It's sat for a year or two. Kendrick heard the
hook that you know, the me and Fill had done
before and wrote everything else and yeah, ship.
Speaker 3 (19:00):
My role was ship.
Speaker 1 (19:01):
I rolled.
Speaker 2 (19:02):
I rolled the bitch out. I rolled, you know, like
I contributed and appreciated that whole month up getting in
these games trophies, I mean like, oh, like a Grammy.
Speaker 1 (19:17):
I got a Grammy, but.
Speaker 2 (19:20):
That actually that was the first award I've ever got actually,
like other than like you'll get a forty under forty
or uh, you know, you'll have a hot year like
at a label and you'll get some ship, but like
a real like peer group, music industry wide, the Grammy.
But I'm cool with that because it happened in a
point where I needed it to happen, Like at that
(19:42):
that point where you're like, oh shit, this might be
about open and you know, and doing what I would
normally do in a space where people I would normally
do it with still turned into something that was like
more like a like the blue check to the career
type shit mm hmm. What's the balance between like in business,
(20:06):
I don't know if it's a balance as much as
it's got to be understanding. It's got to be it
should be an understanding of who does what and who
knows what, because I think people try to do all
of the ship and that's where it goes bad, like
a lot of times, because everybody wants to be like
That's why I'm scared of that mobile thing because it
sounds like y'all do it all, and it's you know,
(20:28):
you need teams, right, so you have to respect the
positions and you got to understand the position to know
who to put in. And I think a lot of
people jump into it because it's easier to get famous
than it is to get to be successful.
Speaker 1 (20:39):
Facts mm hmm. What do you think street music or
street street music and the culture of it started in Atlanta?
Like who was the first artist or one of the
first artists the hard boys, the hard boys. Yeah, so
that's that's like get me out of that ship and
(21:03):
where did it go from there? It was a little
bit a little bit of the journey. Where where did
it go from? Then?
Speaker 3 (21:11):
It was a little bit of saying street because it's
like okay, keyloaded me and street music based.
Speaker 2 (21:15):
On who was who was paying for you can't leave
get on either.
Speaker 3 (21:19):
See what happened for sure?
Speaker 2 (21:23):
You know the man shout out to everybody who made
a record that inspired everybody who made another record.
Speaker 6 (21:29):
Yes, I guess I'm saying because they just look they
just looked at us at one point because it was
kind of just that it was just booty shape some
of the street.
Speaker 2 (21:43):
Yeah.
Speaker 3 (21:43):
Yeah, I'm saying the street music because who was making it.
Speaker 4 (21:46):
Who was putting the street niggas were making the booty
shake music?
Speaker 3 (21:48):
Yeah yeah, street niggas. Hammer was a street nigga.
Speaker 1 (21:53):
Yes, I don't know what.
Speaker 3 (21:59):
Is it just someone who hustled? Is it just someone
who literally.
Speaker 1 (22:05):
Like we won't go there? Like trap music? Street music,
that feel of getting your car at that time. I
guess you and your Caprice Classic whatever it is, you
got your speakers and you not get It's a different
vibe than.
Speaker 3 (22:19):
Like okay, okay, I'll say okay, I say this, I
know what.
Speaker 2 (22:21):
I know we're trying to. I know we're getting that.
Yes to me. Tips started the pride of trap music
by actually just saying that's what it was, right, But
it was there were people who were doing music about selling,
there were people that were drug dealers, talking about dancing.
There was everybody doing everything, but Tip put a stamp
(22:44):
on it, right. So like I'm gonna say, yeah, I
feel like we ushered in a pride to you know,
kind of like elevated or evolved hustlers. Like it's like
because it wasn't just pride of selling drugs. It's the
album start. His first album started was like Forgave Myself.
Like that's conscious rap when you think about it, it's
(23:04):
it's just I'm aware of what's happening, and I'm explaining
you because I'm aware. Yeaheah, it's absolute, like it's just him.
It's it's first of all, Tips super skilled as a writer. Yeah,
like that nigga can can really articulate the moment better
than a.
Speaker 1 (23:21):
Lot of people.
Speaker 3 (23:22):
And because that's hiss experience, he can.
Speaker 2 (23:24):
He can he can express it like a couple of
people can in a way that gives you detail and
like where you feel like, oh that's.
Speaker 3 (23:30):
What that's what it's smelled like in there, like very vividly.
Speaker 2 (23:33):
Yeah. So it's like, you know, to me again, I say,
it's like elevated street music's street music, but it's it's
still art.
Speaker 4 (23:41):
But I feel like, going back to what we were
just talking about about, how like it was the street
niggas making the booty shake music. It's all about like.
Speaker 3 (23:49):
Well, it was like there was street people paying for
them niggas to make like.
Speaker 4 (23:54):
Not like like okay, let me let me, let me
give you an example, like just for instance, like the
sixty nine with the fucking TITSI roll, these niggas were
selling dope with gold teeth in Florida.
Speaker 2 (24:04):
Yeah, but they were.
Speaker 4 (24:05):
It wasn't nothing funny, switchy, witchy about them or nothing.
Speaker 1 (24:09):
But they were.
Speaker 4 (24:10):
That's you know what I'm saying, That's what was like,
you know, that's what was going on at the time.
But it was just like, like I said, it was
in blocks of time because like even at the Atlanta
Street niggas, dope niggas that were making booty Shake music
and they had all the money and whatever and that
were like rapping to the holes about whatever they were doing.
They were doing it because that's what was going on
in time. You had freak nick, you had all the
(24:31):
shit going on where it was like it was it
was an up tempo vibe in up tempo field. Like
it wasn't like, Okay, shoot them up bang bang niggas
standing on the corner for twenty four hours or no
shit like that. Niggas were really getting money, having fun,
fucking with holes. So that's what they were rapping about,
like you know what I'm saying. And it didn't take
nothing away from niggas. It was just like you know,
(24:52):
the time frame.
Speaker 2 (24:54):
I think fun changes depending on the era, Like yeah, yeah,
like fun now. I mean for me, I don't that's.
Speaker 3 (25:03):
The other part. I don't go out a lot because
it ain't fun. It's like it's just not fun.
Speaker 1 (25:07):
I don't.
Speaker 3 (25:08):
I don't like watching them. I'm so I don't like
watching people just suck on hook all night.
Speaker 1 (25:13):
We had fun to put it on.
Speaker 2 (25:15):
We had fun, man, listen, But that's what I'm saying.
But it's like, it wasn't that the amazing shit is
as much as it's called put thish it on.
Speaker 3 (25:23):
Wasn't nobody putting on. Everybody was just being themselves in
clothes and cool clothes, youth.
Speaker 1 (25:30):
I know, it's a lot of losses come with this game.
It didn't go as playing, Like what type of lessons
you learned from your losses?
Speaker 2 (25:38):
Keep going bro Like the lesson is sh is going
to happen to everybody? Like it's depending on what you know. Again,
it's your circumstance that dictates how bad or how good
your your shit can turn out.
Speaker 3 (25:52):
And and that's decision making.
Speaker 1 (25:54):
You got a moment where you where you know, you
put a lot of shit in and that ship just
didn't go right.
Speaker 2 (25:58):
You read, yeah that the originally that first Tip album,
that first Tip album was it didn't go right for
a bunch of Like now in hindsight, and I can
see where it all went.
Speaker 3 (26:09):
That shit hard though, no see.
Speaker 2 (26:11):
Okay here, let me okay, so I'm gonna save my part.
It would be considered a break based on how successful
he is now right, But it did the groundwork to
get him.
Speaker 1 (26:23):
Like I make that up. It was.
Speaker 3 (26:24):
It was a mixtape.
Speaker 2 (26:25):
It's like it sold one hundred and seventy some thousand
copies and real you know and physical. Yeah yeah, but but.
Speaker 3 (26:33):
Over seventy weeks, so that meant every week.
Speaker 2 (26:37):
Somebody else was like, I fuck with that, Like it
was sunding like five thousand a week, but like fifty
some weeks. And I was like, to me, that made
sense from a from a business stand point, I'm like, okay,
we need to be paying attention to hey, y'all, y'all don't.
But it wasn't enough for the big company record. Huh No,
through through the project to the people, you think, through
(26:59):
the project to the neptube record.
Speaker 1 (27:01):
That's what I was just about to serious. Yeah, it
would have been unheard or to put dope boys in
the trap out first, but that was the record. Y'all
knew that was the record. As soon as we heard
that out right record. The man were you talking.
Speaker 4 (27:14):
About y'all talking about different records?
Speaker 1 (27:17):
What's my name name? It was I saying that's what
they pushed. It was a great no no, no, no.
Speaker 2 (27:25):
Yea. So his thing so we did that record right
and understanding that, Okay, this the lesson I learned, don't
show them all the ships you got, because I knew
Dope Boys in the Trap was the first single. Like
we all we were like, oh my god, we're about
to sit this month on fire.
Speaker 3 (27:43):
And we get to it.
Speaker 2 (27:44):
Got we're in Atlanta. But this is the time where
this din't It wasn't a record to before. Yeah, that
was on soundtrack, yeah, but but no, the when we
got to matter of fact, we did that record while
the Face was still in Atlanta.
Speaker 3 (27:59):
To the sh sound track.
Speaker 2 (28:01):
I did that on Ghetto Vision, like that soundtrack is
on my label. But then La went to New York
to Arista. So in between that, that's when we were
about to drop Dope Boys in the Trap. He goes
to New York and everybody there is the New York
radio staff, we can't put this out. Nobody can play this.
We can't play Dope Boys. That's that's crazy. And I
(28:22):
was like all right.
Speaker 3 (28:23):
They were like, well what about this for real?
Speaker 2 (28:24):
This neptible record, because they were blowing up and I'm like,
you know, that's my dude, Like we're I know that
it's a dope record, but it's premature. It's like, like
you're reaching.
Speaker 1 (28:35):
For what I knew.
Speaker 2 (28:36):
The rest of the album was like everything else about
it was dope was it was telling a story almost
exactly so, but in that story, that part of the
story is yes, but but you don't know why these
things go together. So anyway, all I did was, I
was like, all right, for get, but I put Dope
boys in the trap on the B side, so I'm serious,
(28:57):
and we just worked the ship out of that so.
Speaker 1 (29:00):
Hard, even before the next time the mixtape in the
Street and PC ship. But he was But that's that's
the other thing I said about artists, when they know
where they're going, you're not gonna stop.
Speaker 2 (29:11):
Yes, that's why I say I contributed, Like I'm I'm
never goinna take credit for nobody work like in your talent,
Like it's just it's.
Speaker 1 (29:19):
It's basically a label can suck your whole life up.
Speaker 2 (29:22):
None of the wrong decision like no different than the
wrong ship, Like you know what I mean, it's the
same thing. It's like you get into a relationship that's
about your dreams, so ships in your head, so you
gotta believe that these people you're talking to get or
believe you like that they see that you can do
pull off the ship you saying, you're thinking they got
to see a ghett a vision. Yeah, Or you gotta
(29:44):
find you gotta find the people who get it with you,
because that that that's the only way gonna work.
Speaker 3 (29:48):
It ain't it ain't it ain't. It ain't a business,
It ain't a game.
Speaker 2 (29:51):
It ain't nothing that you can play as a team
and winning big without having the right team. Like when
you play spades, when you know you're partner, y'all killing
it because because you can see, you know what, you
know what's about to happen, like up dropping Tip, right,
they let him go, Like dropping is a is a
strange word, because we asked for him to let Tip
(30:13):
go because I was gonna take him over to Columbia
with me. But then I got there and that's when
Flip was there and we were about to do the
deal and end up meeting. Somebody asked him a question
about Flip, and I was like, Oh, this is gonna
go bad.
Speaker 1 (30:26):
So.
Speaker 5 (30:28):
So when you do it, they trying to miss that
no more. After you let Tip go, he he started
believing in a lot of music.
Speaker 1 (30:33):
After that, well, he.
Speaker 2 (30:35):
He's still you know there is he's still believing in
certain people, like he believed in in Future because he
believed in Rico in Rocco, like he believed because Rico
Roco knew and Roco said future was it and Future
was Rico's cousin. He's like, Okay, there's a chance here
that I think he understands, Like the proximity part. It's like, okay,
(30:58):
I'm gonna make sure somebody does understand. Yeah, somebody got
to be involved that understands. For really, I can communicate
with it like shape yeah Jesus, Yeah, like I had.
I had, Like I don't want to make it sound crazy,
I had a gang of success at the face like
because l A I could, I could communicate with him
like we it worked in that way, Like so don't
(31:18):
I don't ever want to come off like because even tips,
it's like it just wasn't for that time exactly.
Speaker 3 (31:24):
So it's like, yeah, everybody worked, it worked the fun out.
Speaker 1 (31:32):
They say anything else, what executive a visionary inspires you
the most? Namely probably from Atlanta, but it could be
outside of Atlanta, like the person that you're like, man,
they they beyond.
Speaker 2 (31:46):
It like pebbles. Ah, she was like she when we
talk about like ghetto vision, like that's like she's the
one who got in the streets in Atlanta. She's the
one who who found us, who found t l C.
You know who who kind of helped with imaging on
(32:08):
Tony Braxton because when you think about she's an open ship.
She she's fly already like it's like it's being from it.
So you go, you can go anywhere to town to
see it and know what it looked like. You know, Okay,
this this is or this ain't for me because you
know what it feels like.
Speaker 3 (32:28):
Who the goat.
Speaker 1 (32:29):
Producer from the city.
Speaker 2 (32:32):
Mpending on what you're talking about, my impact of seals
just all around, I'm gonna stay organized, noise mm hmm,
if we're gonna do all incompassing.
Speaker 3 (32:44):
If anybody got something said about that, call yeah, yeah right,
I've never said that.
Speaker 1 (32:53):
Shout out to Rico.
Speaker 3 (32:56):
Because I think people put so much on numbers.
Speaker 2 (32:59):
On number birds and and to put on like I
think what what organized know is in the danger. I
think what we represent more than anything is real people
and some of the the more some of the more
put on things feel goofy and like you wouldn't do
(33:23):
that in front of your mama, Like I still like mama,
Like you know what I'm saying. It's like i'd be
around my folks, I'd be around my kids, So I don't.
I don't think real and foundational Atlanta folks are really
like they just want to get on about their business
and make their money and be able to handle, you know,
their responsibilities.
Speaker 1 (33:45):
What artists had the biggest impact out of Atlanta?
Speaker 2 (33:49):
Okas who who?
Speaker 1 (33:54):
You know? With the six Future?
Speaker 3 (33:56):
But how no future?
Speaker 1 (33:58):
You're right? You right, in fact, totally right impact. No,
that was inspiration from him. They got you got inspiration
he learned he did.
Speaker 2 (34:09):
When you put it that same But.
Speaker 1 (34:13):
How did the streets move when Jesus and Kill Drop,
I mean Jesus.
Speaker 2 (34:17):
And Drop Okay sold ten million albums bro the streets everywhere,
all the streets bought it, like ten.
Speaker 3 (34:28):
Million Our cast, you got the streets ain't just right there.
Speaker 1 (34:36):
Our cast made people who wanted to be in music
kind of in Atlanta at the time. You get to
think being doing music. If you told like I told
my family, I'm gonna do music, I was like you
what like, But after we saw our casts, like, man,
maybe we can do music on this level. I guess
you probably can't competit the errors.
Speaker 2 (34:57):
No, no, I mean because the era of the futures
in he the biggest of it. He's like, he's going
to impact a bunch of people out like think about
all the things posts because actually Gouci right, like it's
it's a bunch of it's all bricks, like to me,
just trying to compare, Yeah, you can't have So I'm
(35:18):
I'm just saying that you right, I'm just saying the
first to do it on a scale to give us
pride because Jermaine was the first with hits.
Speaker 3 (35:26):
Well, no, Dallas was the first one to hit. Matter
of fact, Dallas produced hard boys.
Speaker 2 (35:30):
So it's like that.
Speaker 3 (35:34):
So it's like, so everybody, it's hard to claim. I'm
just saying that.
Speaker 2 (35:38):
You know. The reason I'm gonna say organize is based
on at a moment where everybody was paying attention, our
crew stood up and gave it pride to where you
don't have to be from New York, you don't have
to be from l A to be seen on a
global scale.
Speaker 1 (35:56):
Facts, big facts in these the great conversations I just
got just had wall. John never come up in these conversations.
Speaker 3 (36:07):
Just because But that goes into that what do we
you know?
Speaker 1 (36:10):
What what what?
Speaker 2 (36:11):
What's to like the crazy Atlanta is so dope and
it's so full of amazing talent, Like I'm talking about
like goat level talent.
Speaker 3 (36:20):
It ain't like regular he had like a little John Yeah,
like there's yeah, none of that.
Speaker 1 (36:28):
But but think about this.
Speaker 2 (36:29):
He went from.
Speaker 1 (36:32):
It's still it's still yeah, that's really to still.
Speaker 3 (36:38):
Is at one extreme and at one o'clock in the morning.
Speaker 1 (36:43):
Where where are you.
Speaker 3 (36:45):
In your set?
Speaker 1 (36:46):
John at that time?
Speaker 2 (36:48):
Because he it's gonna it's gonna start. It's gonna either
you're gonna go there or you're gonna go blow the whistle.
Like think about all this is John DIDs records. Like
to me, John is like doctor Dre level producer, like.
Speaker 3 (37:04):
He is high level eating ship.
Speaker 2 (37:06):
He just doesn't get the credit because you don't think
about because it looks so fun, you don't think about
how how talented actually goes into Yeah like that ain't
that ain't by mistake. He's been doing this this whole
time at this same level. Like even when we were
thinking about it, he was still his shots shots shot
like you're still.
Speaker 3 (37:25):
Like, so it ain't it ain't. It's like that's why
it's hard to say.
Speaker 2 (37:30):
Who who's the go, who's the best? Like many adult
niggas here, you're right, you're right.
Speaker 4 (37:35):
And even though we don't like really hear from him
that as much now, like you can still drop a
Little John record in Vegas in a mixed club and
that ship turns upside down.
Speaker 2 (37:46):
Lit John is a common denominator and fun my nigga,
like no matter where you go.
Speaker 4 (37:51):
Yeah, that's that's the most accurate description I've ever heard on.
Speaker 1 (37:54):
The east Side Boy is that though I know we
have to get on.
Speaker 3 (38:00):
The East Side Boys ship, you know I'm talking about
like they still.
Speaker 4 (38:02):
Performing, they still got the gas cans.
Speaker 2 (38:04):
Yeah, oh wow, yeah wow, shout my nigga, Dug. We're
gonna ask a question that he knows.
Speaker 4 (38:17):
Ye, he manages the east Side Boys, trying to get
them home.
Speaker 1 (38:21):
What are they doing working?
Speaker 3 (38:23):
What I'm saying that they're being the east Side Boys?
But it's just not with Little John.
Speaker 4 (38:29):
Okay, every dare I say that every.
Speaker 3 (38:32):
Record there is Little John and the east Side Boys.
Speaker 2 (38:34):
They have the right to go and perform.
Speaker 4 (38:36):
No, I know they have the right and all that,
taking nothing from nobody. And like I said, dare I
say this?
Speaker 2 (38:42):
But is is?
Speaker 4 (38:45):
Is there an east Side Boy without Little John?
Speaker 1 (38:50):
It was Little John and the two elements.
Speaker 4 (38:54):
That's just like saying.
Speaker 3 (38:55):
Diana, So at the moment, the surprise in that moment, I.
Speaker 4 (39:01):
Mean, the supremes can be the supremes, but in the
total scheme of things, not taking any weight anything away
from them because they contributed to the total package.
Speaker 2 (39:11):
Okay, so so this goes that, do you do you
think it would be fair for them to be doing
as much as a Little John based on how much
Little John does?
Speaker 3 (39:20):
Yeah, so they're doing They're like.
Speaker 4 (39:24):
East Side it is capable for them to do.
Speaker 1 (39:27):
Yeah, what what's your proudest, proudest moment? Proud as it
comes from it in music and music.
Speaker 3 (39:40):
Ship still being here still well, I don't know it's relevant.
Speaker 2 (39:46):
But I'm here, Like, but I know I got the
opportunity to keep doing shit like like, so I'm I'm
proud that I ain't clowned out.
Speaker 1 (39:54):
Okay, what about the movies, y'all y'all tapped into the
movie side.
Speaker 2 (39:59):
Now, Yeah, I mean, you know, I'm a Lego. Now
you know what I'm saying, Like, I'm in a Lego movie.
I'm a Lego like a whole that's cool, you are?
I mean, I don't know Legos.
Speaker 3 (40:13):
You know what I'm saying.
Speaker 2 (40:14):
You know leg So I got a Lego. So that's
what I'm proud of that because my kids like that.
They think that's the coolest ship. So yeah, actually I
take that. Yeah, the Lego being a part of Pharrell's
documentary is a good one because I think it's just
(40:36):
it's it's super creative and it affirms that that I'm
I'm in the right company for the things I like.
Speaker 1 (40:46):
Mm hmm.
Speaker 5 (40:49):
How importantly it is you think it is to be
around the right People's right about the right people.
Speaker 2 (40:54):
That's a paramo.
Speaker 3 (40:55):
That's that job one.
Speaker 2 (40:56):
Like if you around the wrong person for what you're
trying to do, that you're always in jeopardy of that
person doing shit they were going to do, Like and
the thing is, you know what they're gonna do, Like
we're gonna all just brought somebody anyway, like you know
what I'm saying. And then they get there and they
do some shit they were gonna do, and you're like
(41:18):
that's me then, So I think you the most important
shit in all of this is discerning, Like like I like,
I watch I watch your evolution right for since being
in the public, like from the MAC to now right,
and it's like, based on your experiences and based on
(41:38):
what you're exposed to, you process shit different.
Speaker 3 (41:41):
I can see it.
Speaker 2 (41:42):
You can see it happening to the point where the
ship that I've seen you tolerate and not is different.
Speaker 3 (41:48):
You know what I'm saying. It's like all that shit
is based on.
Speaker 2 (41:50):
The people that you're around. So yeah, I think it's
it's a one job. Won't get figured figure out who
around because if you were to a circle full of squares,
you gotta waffle, my nigga, like you are not doing well.
Speaker 1 (42:04):
You gotta what's the stuff that what's the stuff in
the industry or the culture right now that makes you cringe?
Speaker 3 (42:13):
But there, hooker, you.
Speaker 1 (42:14):
Said you ain't letting.
Speaker 2 (42:20):
You know, cringe in real life. Bro, I don't petition.
Speaker 1 (42:26):
What's the petition and put that ship down.
Speaker 3 (42:28):
The section took the fun it is idiot, because you
gotta have somewhere to put.
Speaker 1 (42:32):
The hook section first. I don't know, can't stand up
and be smoking. Maybe you can't. Look.
Speaker 3 (42:45):
I burnt my hand because somebody was walking around the
club with the hookah.
Speaker 2 (42:49):
And behind me.
Speaker 3 (42:50):
I guess by some adapt and put the ship down.
Speaker 2 (42:55):
So that's what my my trauma come from. What my
that makes me crack? I don't you know, I don't
pay attention to it.
Speaker 1 (43:04):
I don't like mm hmm re ship m M.
Speaker 3 (43:07):
I don't.
Speaker 2 (43:08):
If I don't, if it doesn't affect me in any
positive way, I don't get invest So yes, I don't
care that much.
Speaker 3 (43:15):
Mm hmm.
Speaker 1 (43:16):
Just who you think Beyonce is the greatest performer of
all time? That's kind of random. We're just flowing on
social media with the whole Christmas of all time. I mean, just.
Speaker 2 (43:30):
No, bro, Michael Jackson is the great Michael Jackson. Michael
Jackson for sure, like you know, and and it's not
that she's not great, like she's obviously great, but yeah, I.
Speaker 1 (43:40):
Think so when he's in the space of his his.
Speaker 2 (43:44):
Own yeah, because that's like flat foot any like, without anything,
he's Michael Jackson. You know, he's all of it back.
And I'm not saying she's not just saying that he
did that in any way that I remember that the
most showing it's the person that she references, it's the
person that you know.
Speaker 1 (44:04):
So when you come to the next tier Beyonce, Chris Brown,
what happens in that tier in your opinion?
Speaker 3 (44:13):
What's the question?
Speaker 1 (44:14):
The question? Is better? At all? Better?
Speaker 3 (44:17):
Nigga?
Speaker 2 (44:18):
Come on?
Speaker 3 (44:18):
You talking about this girl who runs the nation of women?
Speaker 2 (44:21):
Like like.
Speaker 3 (44:24):
Right, you know she the best?
Speaker 2 (44:26):
She the best, Like, ain't nowhere around that, Like she
has an army of people the nigga you.
Speaker 1 (44:31):
Actually put it in the category if you ask.
Speaker 2 (44:33):
Them this, Yeah, they don't have to, Like there's nobody, like,
nobody's disputing that. But you said all times, said Mike,
but I'm saying now she Yeah, come on, and who
who's doing it at that level with that kind of excitement,
that kind of fandom, you know, like yeah, you got
to give her that.
Speaker 1 (44:51):
Like if you had a chance to curate the super Bowl,
will be your first artist?
Speaker 3 (44:59):
Any any hairtime job?
Speaker 1 (45:01):
Yeah? Just one. Like they say, Okay, we're gonna let
KP do the Haadtime show this year?
Speaker 3 (45:06):
Who would you put up there?
Speaker 2 (45:08):
Oh no, if you said this year, I'm still going Kendrick,
I'm gonna go Kendrick, But but I would dress it
some things around it. But I think he's the most
important hip hop artist, if he might be the most
important black artist we got right now, based on what
he's doing, based on what he stands for, based on
what he says, and based on normally that's not commercial.
Speaker 1 (45:34):
Mm hmm. Do you think, like on the performance ship,
like current artists and their performances might limit their longevity
a little bit?
Speaker 3 (45:44):
Yeah, yeah, I mean if you can't perform, you can
only do what your song does.
Speaker 2 (45:49):
Because there are like when we talk about Beyonce, she's
the star is that she's made it past how what
her song is like because if you think about the
Renaissance album, right, that's a huge tour, but it wasn't
the album with the biggest record on it of her career.
Like it's she's she's solidified herself that she's she knows
(46:12):
that she has this already now she understands culture and
taste and she's she's like she's being an artist and
a performer, so you can sell a performance, you can
sell a performance.
Speaker 3 (46:25):
No, she's always she's always been the product, Like she's
always understood that the songs are fuel for her car.
Speaker 2 (46:33):
Like, the better the song, the bigger you're gonna be.
Like the more the more people can understand and relate
to the song, you have a better opportunity. It's like
saying hello properly.
Speaker 1 (46:45):
Mm hmmm. Listen. So twenty twenty five, what's what's the
goals for KP? Goals accomplishes you are? What are your
goals now? Like moving into this new year?
Speaker 2 (46:57):
In your chapter, I have a TV show that I
that I came up with with my homeboy guy and
a friend of ours, Brett Matt wrote that I want
to get off. That's it, Like, that's me. But the
thing is, you wouldn't be like that. It's really a dope.
I mean I think it's adult show and it's a
real human it's an Atlanta Human show. But yeah, anyway, yeah,
(47:19):
I got a human comedy. What is It's like, it's
situational comedy, but it's it's.
Speaker 3 (47:26):
On the podcast.
Speaker 1 (47:27):
But it's smart.
Speaker 5 (47:32):
I say that, so you So now I'm gonna go
back to the movies. So you're really into the movie ship?
Like fem the movies and ship now.
Speaker 2 (47:39):
Yeah, yeah, I mean like I'm learning too, because it's
like I'm not acting like I know this is something
I wanted, Like he really.
Speaker 3 (47:46):
Directly and he paying, he paying like he is paying
for his learning.
Speaker 1 (47:52):
He's doing it like he sent me some money for
the role.
Speaker 2 (47:55):
Yeah, I mean because it's it's real ship. It's like, look,
we really want to do this shit. It ain't weigh
that's a business not like. This ain't vanity shit. This
ain't like I think I probe myself on the fact
that all the people I deal with really want it
in a way that's past ego. It's almost like I
(48:15):
gotta do this, like they're creative in a way that
they can't help it. So it's like you see two
about here doing comedy. He gonna do a movie or
whatever he thinks he gonna he's gonna give it one
hundred and again. Having the right people around you that
inspires you, because that like I've been thinking about this
show for maybe ten years, like I've I've just been
(48:37):
writing random things that I'm like, that'll be dope, that'll
be dope. But in the last two years I got
it done. But that's partly because being around somebody who
don't go to sleep.
Speaker 3 (48:47):
And it's like, man, what hold on?
Speaker 2 (48:49):
Well, I'm up, I might as well finish doing my ship,
you know what I mean. It's yeah, it just goes
back to that having the people around you that inspire
you is super important.
Speaker 1 (48:58):
How how important you like to keep fruit for relationships?
You know what I'm saying?
Speaker 3 (49:05):
If they if they bear fruit, try to keep it,
you know what I mean? Like I don't. I think.
Speaker 2 (49:12):
Trying to do it is weird if you have it,
like yeah, it's like that's the hard with me because
I'm like, I feel like all the relationships I got,
they were built over circumstance situations like character testing, like
so I know who I'm dealing with and they know
who they're dealing with. Yeah, Like so it's like I
(49:34):
think the weirdest shit and people that I'm going to
this network event, so you just got to go talk
to like random people no purpose, like like just a
rule full of niggas who's saying I want to beat
somebody like as opposed to go where the things you
like are right, you're gonna want into people who like
that shit too, and then y'all gonna talk about some
shit that y'all like like, oh I could do it,
(49:54):
Like that's all my relationships started in that space, like
I'm where I want to be, so that way, I'm
more likely. It's to meet people I want to meet.
Speaker 1 (50:04):
I can dig that. What do you do when people
say make it like artists in the industry or just
make it in the industry. What's your definition of make
it or made it?
Speaker 2 (50:14):
Not being dependent on somebody else's decision whether or not
you do it again, m or what you do tomorrow?
Speaker 1 (50:21):
What was your maid made it moment?
Speaker 2 (50:25):
I ain't had that yet.
Speaker 3 (50:31):
I'm successful, but i'm not. I'm not kick my feet up.
Speaker 1 (50:35):
Again fuel because that is that the way that you
fuel and motivate yourself. K has made it.
Speaker 2 (50:43):
No, KP.
Speaker 3 (50:44):
The Great is a destination, Like I'm trying to get there, bro,
like the.
Speaker 1 (50:47):
Great, yourself great.
Speaker 3 (50:50):
I'm consistent, I'm I'm working hard. I'm like, yes, i think.
Speaker 1 (50:55):
I'm great at being me for sure, that's all I matter.
Like I'm the best.
Speaker 2 (50:58):
KP out this bit, you made it? Yeah, So that's
what I'm saying. So it's it's but but I also
understand that I'm not. I don't know. I just don't
feel like i'm doing right. Yeah, So it's like I'll
make it when when I don't have no more to give.
Speaker 1 (51:13):
Mm hmm, Josh Ship KP, the Great, Big Fact, I
appreciate you. Man, say to the Big Facts supporters and
followers in the game motivation you want to give them
for the twenty twenty five.
Speaker 3 (51:26):
You know what the real motivation is looking at mirror.
If you like it, you're good. If you don't do better, that's.
Speaker 1 (51:33):
Cold, cold right now. Yeah, Big KP probably love respect
the k the Great, the Big Fast. Make sure you
check us out at Triple W dot big fasspot dot
com
Speaker 3 (51:50):
St it's a Big Fact, No cat Fitch
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