Members Only ft. Pusha Rod & Gudda Brvckin

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
All right, were back at it, Homegrown the podcasts, great
conversations of course, live from the Fat Factory studios. I'm
Chuck Dizzel. This DJ had apologies in advance.

Speaker 2 (00:14):
I got my line.

Speaker 1 (00:16):
Are we gonna do the frame by frame? No, I'm
documenting my progress at the house. You sound crazy right now?
You take it out? It's in right now. That's why
you sound like that. Okay, I want to take it out.
I mean it's on you. Should I take it out?
That's what he saw. I mean it's on you. However
you want to rock. I mean the people gonna hear
it either way. I'm gonna just leave it in. That's
what she said. All right, No, that's what you said.

Speaker 2 (00:37):
You know I do.

Speaker 1 (00:40):
The kids whooping my ass. We got some of the
Homegrown homies in the house right now. Man, push you
ride in the building. Gut a bracken. What's good with y'all?

Speaker 2 (00:47):
Man?

Speaker 3 (00:47):
How y'all?

Speaker 4 (00:47):
F Yeah, man, what's good?

Speaker 5 (00:48):
Bro?

Speaker 4 (00:49):
Appreciate y'all having us here today?

Speaker 1 (00:50):
Yo, real quick? Kids? You got kids?

Speaker 3 (00:53):
You got a kid?

Speaker 1 (00:54):
You got a kid?

Speaker 2 (00:54):
You got a kid?

Speaker 1 (00:55):
I got I need some help. I got so you
got so that's what I need. To look forward to teen. Hey,
my son's five, and I got another one that is
nine months. I need some advice on how to deal
with just this. I'm see, I got two, so that's
I don't know if y'all can help you with.

Speaker 6 (01:10):
Decided and I got one, I got a son I got.

Speaker 5 (01:16):
I feel like the father to son dynamic is a
lot different to the father.

Speaker 3 (01:21):
You got two boys, I got two boys. Conversation.

Speaker 1 (01:25):
I'm good, Look, I'm good the first the first my
first one cool. I feel like this this next one.
They always say the second one is different from your first.
So I'm I'm just in a whole little whirlwind right now,
just not expecting because the same thing the first one.
I'm like, okay, I know kind of know what to expect.
I'm good this this next one or this this second one.
Chase is throwing me for a loop right now. He

(01:46):
don't sleep throughout the night. Everything that Charles did my
first one, he's doing the complete opposite. So I'm just like, yo,
I don't know what to what to expect from this ship.

Speaker 4 (01:58):
But you do, you you have you know, it's crazy.
I only got one and my son he's twelve, but
he's laid back. But he's to the age.

Speaker 5 (02:06):
Now where it's like he know exactly what he wants,
and if you get him something he don't want, he's
not fucking with it, and he's not even gonna politely
be like, like.

Speaker 4 (02:15):
These aren't the shoes I want?

Speaker 1 (02:16):
Dad, that's it.

Speaker 5 (02:19):
I like him, But can I get a different color
I wanted? He said, But I sent you the picture
of these. Yeah, it's like my son, he's in a different,
different age, different spirit. This is his second year playing football.
Put him in football, you know, just to you know, toughing.

Speaker 4 (02:36):
Him up a little.

Speaker 5 (02:36):
You do that though, right, I wanted too early, but
my baby mama was against it.

Speaker 4 (02:41):
She didn't want to get hurt. So he started playing
at ten.

Speaker 2 (02:45):
But how you trying to put him in?

Speaker 4 (02:47):
What that five?

Speaker 1 (02:48):
Yeah, the last conversation we said, he said he was
trying to get him in like I wanted to.

Speaker 5 (02:51):
I wanted to start my son right off rip because
I feel like it's something that football.

Speaker 2 (02:56):
Did for me with like you started early.

Speaker 5 (02:58):
I started early, but it all so gave me a
different type of training, different type of mannerism. Like when
you see somebody who played football versus somebody play different sports.
You can all kind of see it the way they
talk to people or interact with little ship, how they're
scared of certain things and things like that, because once
you get hit.

Speaker 2 (03:17):
When you get hit, you remember when you got hit
the first time you down.

Speaker 5 (03:20):
My first time getting ran over was by my cousin Quick.
He told me, he said, today the first day passed, Nigga, coach,
coach put me in with you because Nigga ain't nobody
else gonna be make you look like no ho out here.

Speaker 4 (03:33):
So Nigga, what he ran me over two times?

Speaker 5 (03:35):
Like every first time we went up, boom, he ran
me over all right, second time, you know, you got
to get back in line, get on the other side.

Speaker 4 (03:43):
Now it's my turn, like he got the ball.

Speaker 5 (03:45):
So I'm like, all right, I'm trying to figure out
now I might want to go with somebody else because
he played running back. Nigga, what I tried to go
behind somebody? He did the same thing everybody. So then
we went up.

Speaker 4 (03:55):
What he ran me over? I'm looking up. He said,
get up, get up. I just got up. And then
from there on, I wasn't scared to tackle. I wasn't
scared to get hit.

Speaker 5 (04:04):
But I feel like it took that and I respect
my cousin so much for it being him doing it
than somebody else.

Speaker 4 (04:12):
Love, You're tough. Love you feel me.

Speaker 5 (04:13):
So my son played foot ball when I really fucked
with ballwin. How their community is like it's more family oriented.
A lot of players come back every year every year.
My little brother Dylan played there, So I fucked with
how the organization being so putting my son in there,
it just worked.

Speaker 1 (04:31):
So did you notice That's a good point. You said
you didn't put him in early and you realize certain
things that when he noticed a change instantly. But I'm saying,
so did you did you see a lack prior to that?
Like damn, I say confidence? Yeah, or in just anything?

Speaker 4 (04:47):
Well, maybe he was.

Speaker 5 (04:49):
My son is quiet, like if he didn't really he's
not really outspoken, so like he'll tell you what he won't,
but he's not really engaging in conversation with everybody. But
football puts you in that you gotta talk, you got
to say who's on the field, you gotta speak up.
It's a lot of things that come in the background
of football that helps.

Speaker 4 (05:05):
You as a man just grow through life. And I
promise you.

Speaker 5 (05:09):
Like the first month two months, my baby mom, we
and her was arguing, arguing about like, no, I'm taking
my son out of football.

Speaker 1 (05:16):
Because she didn't like the rough aspect of it.

Speaker 4 (05:18):
She didn't like the rough aspect.

Speaker 5 (05:19):
She didn't like you know, him him getting hit like
certain things, him crying certain nights because of practice. But
then after like halfway through the season, she starts to
see a change in him, in his personal dynamic. And
then we had another conversation. I'm like, see, that's all
I wanted. I don't care the fuck if he start
see the best person on the team. All I care

(05:39):
is that he tried. He get out there every day,
he put on his pads and he hit, and he
get his own personal confidence, because can't nobody really give
you that. You have to gain that yourself. And I
feel like football helped me gain that at the young age,
so like I wanted to.

Speaker 1 (05:54):
And I think that only a man could push that
on his son, you know what I'm saying, Like, and
I think that goes of the importance is just having
a male role model in your life and making sure
that that is is strong, because again, it could have
been something where it's like, oh, no, that's okay. I
don't want to get hurt. Okay, I'll choose for something
else from to do. But it's like, nah, let him,
let him go through it. And like you said in
the month, you've noticed the difference.

Speaker 2 (06:14):
Damn.

Speaker 1 (06:15):
I think the conversation is to be had about teaching,
teaching manhood in general though, because what you just said
about football. I heard a lot of homies say that
about the streets. And I noticed that too, like from
like a lot of the ogs and the big homies
that looked out for me and shit like that they
kind of taught me and they street dudes. I didn't
learn how to be a man from sports. I learned

(06:37):
how to be a man from the street dudes.

Speaker 5 (06:39):
But even like it's crazy because even like one of
my old, my older homies read for my hood, like
I was playing football. Me and my cousin Quick was
playing football as kids. He was playing football at Freemont,
So we get out of square but through we going
to Freemont to go watch him play football. He you know,
he got the bitches, He ready to fight. He turned
up you everything like and he had that he had

(07:01):
a different level of respect. So it was like I
had older homies for my hood that was balling, and
it was like, yeah, I didn't have no daddy, so
it was like the hood and football guided me to
be who I am. So like, I don't want my
son to have the hood, So it's like sports.

Speaker 1 (07:13):
Oh you know, the sports is a way to keep
him away from the other shit.

Speaker 2 (07:17):
Exactly. I feel that I want.

Speaker 1 (07:18):
To bring gut a Bracken in the conversation because he
said that he can't offer it anything, but I feel
like you can because you you're raised a young lady. Yeah.

Speaker 6 (07:26):
Yeah, See it's different from me because it's like I
can't be hard on my daughter or me. It's like
it's different because it's a girl. So it's like I
can't tell my daughter sit your ass down. I'm gonna
feel bad, you feel me, So that's her mama job
and shit.

Speaker 3 (07:40):
But me, I'll be the nicer parent and shit.

Speaker 1 (07:42):
So you like to play the good cause at a
good cop.

Speaker 6 (07:46):
They make you though, Like I'm telling you, like, if
you see my daughter like she too, she.

Speaker 4 (07:53):
Caught the phone.

Speaker 1 (07:53):
Come on, come on, how do you deal with that?
Navigating through the space as a father? You know, you
you got a career that you have to be away,
you have to work, You got to put yourself out there.
But at the same time you're doing it for her.

Speaker 3 (08:06):
Yeah, you got to sacrifice.

Speaker 1 (08:08):
So how do you do it? Like when that call
comes in you in the studio session.

Speaker 6 (08:12):
I answer for sure, I answered, I ain't never going
to decline my daughter call.

Speaker 3 (08:15):
But she know when I'm working.

Speaker 6 (08:17):
Now that she getting to the point where she no,
I'm a rapper now, Like if you show a video
on me, that's my daddy you're asking.

Speaker 3 (08:22):
She she know that now, but it's like when she
wont me, she won't me.

Speaker 1 (08:26):
So be honest, the first time that she recognized you
on the video, how did that feel for you? Like
the fact that she noticed it, Like.

Speaker 6 (08:34):
Oh, she knew the lyrics, Like I ain't even knew
shed because I went to Vegas. I went to Vegas
for a little bit, and I was in Vegas like
for like two months, and I was away from my daughter.

Speaker 3 (08:43):
And when I.

Speaker 6 (08:44):
Came back, I had dropped a song called Ooh, but
she is my daughter. My girl already had the song,
so she she already was playing ooh and ooh and
around my daughter. So when the song came out, I'm
playing a song in the car and I hear ooh
in the background.

Speaker 3 (09:00):
I'm like, she know it though, Like no, I'm like
that's dope.

Speaker 2 (09:08):
That's crazy.

Speaker 1 (09:10):
You know what's crazy is seeing you like evolved, because
like we go back for a minute, for a little bit,
not a minute, but enough to where And I remember
having a conversation with you one day and I remember
if we was on Instagram. Inst was on Instagram, Yeah,
and you was so gone to me. This is my

(09:30):
personal gon mean and what he was, he was on
all the other type of ship okay. And I remember
having a conversation with you and seeing you now like
being focused and locking the studio and like I only
see you at the studio. I don't see you in
no bullshit. I don't see you doing nothing else. But
then you said something to me one day and you
was like, well, you know, Rod wouldn't fuck with me

(09:53):
if I if I didn't get my ship together.

Speaker 3 (09:55):
Professional homie right here.

Speaker 6 (09:57):
So it's like I gotta be professional now, even like
on no square shit or none of that.

Speaker 3 (10:02):
I'm not a square. It's just like I want to
do this shit. I don't want to be one forty
in one foot out. I want to be all the
way in.

Speaker 1 (10:09):
I respect that because I always tell like, and I
think I said this to you, you can't half assed, like,
you can't be one foot in one foot out. You
got to be all in or it ain't gonna work.
Because you have seen a lot of people crash out.
You see a lot of people go to jail. You
don't see a lot of people you know, die all
kinds of stupid shit. And it's like, and then when
that happened, you be like, man notin even dumb. He

(10:29):
had a studio, he could have been there. And then
and then we we ridicule the homies for making bad
decisions exactly and then not being aware that we make
bad decisions too. But I just want to give you
all props because I see like the evolution of who
you becoming as an artist too. What was the toughest
part about that sacrifice for you? Like when you get
in the calls like you need to be in the

(10:49):
studio or you need to kind of be on this time,
you need to not be so far gone for you.
Was it just the need to be around or for you,
what was the toughest part about that sacrifice?

Speaker 2 (10:59):
Shit? My homies.

Speaker 6 (11:02):
I ain't gonna lie like I missed being around a
homie still like to this day. But it's like my niggas,
like even sometimes even when they can't even make it
to the studio, like them niggas, the niggas who keep
me smiling every day because it's like the studio it
be needing the funny ship right, the homies is funny,
like jokes and jokes. I swear, I don't even care

(11:24):
about females and shit like like being in the studio session,
that shit be distracting me a lot.

Speaker 3 (11:28):
So it's like I just be. I like being by myself.
I record myself.

Speaker 6 (11:32):
I don't even like like engineers like that to record
me because they ain't fast at me. They don't be
fast faced like me, like catch up yeah, and they
be fucking up, keep it, keep it. I'll they be
deleting ship. I gotta myself.

Speaker 3 (11:45):
I'll be real twice the work, like what are we doing?

Speaker 1 (11:49):
I remember coming to one of your sessions and it
was like that. It was it wasn't like a whole
bunch of extras.

Speaker 2 (11:54):
It was like work.

Speaker 1 (11:54):
T I respect that though I think that a lot
of people run through a lot of budgets and the
label situations with when it just it just be whole
bunch of goofy shit going. I'm like, you know you
paying for this, all right, and I don't think people
understand that.

Speaker 2 (12:09):
And also something that Rod I want you.

Speaker 1 (12:11):
To speak on, it's the business aspect of the music business,
right because a lot of these dudes be like, oh,
I want to do music, and they don't know what
that means. And then they'd be like, oh, my big homie,
he my manager, or they'd be like, oh this this dude,
he's he's my my, my engineer, but he never he
don't know how to put work pro tools, and it
just be like, I guess the need to want to

(12:33):
put your homies in a position that they not for
at that moment, right.

Speaker 5 (12:38):
I feel like with that kind of go in both
hands because when I first started, I was just a homie.

Speaker 4 (12:44):
I ain't I threw parties, That's what I did.

Speaker 5 (12:48):
I did tattoos, I ain't really do nothing involved in music.
Everything that came with music came because of YG and
everybody else in the position that they put me in, right. So,
but when you're in this position, it's like, what are
you gonna do. You just gonna be the homie and
be there, or you gonna try to do a little
bit more. So we went for me throwing parties to me,

(13:10):
passing out flyers to me, passing out mixtapes to me.
All right, why you got to show in San Diego.

Speaker 4 (13:16):
I'm don't even with a car.

Speaker 5 (13:17):
Fuck it, we about to pile up in my car
and go to San Diego. It was doing whatever to
position or to put myself away from just being looked
at as a homie. But I do understand why people
want to put their homies in position to keep their
homies around, because like you don't want to wake up
one day and then you are just surrounding yourself by
niggas you just met two three years ago. But it's

(13:39):
also I feel like it's more in the homie and realizing,
like I my homie got this avenue, Let me bring
something to the table, Let me show what I can do,
versus just being there, because like everybody's just there, Your
girlfriend's just there, your mama just there, Like everybody's just there.
But it's like who's actually trying to help you or
who's having conversations with you to better you as an artist,

(14:00):
but the business side, the business side, bro is serious,
Like you have to conduct yourself as a brand and
as a business and everything you do every day and
people be like, oh, well shit, I don't want to
be a rapper today. But it's like I tell good
of that every day. It don't matter because you already
put yourself on this plateau. So it's like every day

(14:22):
you have to get dressed, a couple days a week,
you gotta get a hair cut. You can't do the
norm thing and think that you're gonna be above normal,
Like you gotta put that time and energy back into
yourself as a brand, just like you see other brands do,
like Nike don't just sell the same shoot that they've
been selling, and they don't sell the same quality. The
quality gets better over the years and everything like that.

(14:44):
So it's like I try to tell artists like, look
how brands go over the years, and if you put yourself,
treat yourself like that, no matter if it's a slow increase,
like you will continue to increase every year.

Speaker 4 (14:55):
Every month.

Speaker 5 (14:55):
You may have started with zero monthly listeners, keep on
putting out the right music, not just putting out songs,
because you did a song. Cool, that don't matter, Like
who are you talking to? Who's your consumer? What fan
are you looking for? Like like you want to wrap
this way one day, want to sing this way one day,
want to do an alternative song the next day? And
that's great, do them all is music is about emotion

(15:18):
and freedom and speech. But it's like, okay, understand how
to gravitate that and navigate that into a body of
work or into a project. And maybe this song you
did today ain't ready for today. Save it for three
four years. Maybe in three four years you ready for
that song. Your career has changed, you met the right
person to put the right feature on that record. Like
just because you recorded it, don't mean it got to

(15:39):
come out like we see the like and I feel
like that's that's one of the most important things. Like
as an artist, be creative. If I tell them you
want to do a million songs, do a million songs.
But what's the title of your project? All right, so
what's the concept? So what' should that sound like? What
does that look like? This song is a great song,

(16:00):
but it don't fit that so we gotta hold it.
We'll argue about it.

Speaker 4 (16:03):
But bro, this song is this this song, I said,
but listen, listen to this song.

Speaker 5 (16:07):
Listen to this song, listen to this song. Do they
go together? Fuck no, They're all great songs, but they
don't match and mish. So it's like, as a fan
when I go to McDonald's, I know what I'm getting,
I know the taste pauls like, so I'm not going
to McDonald's expecting to have a Subway sandwich. So it's like,
as an artist, you got to understand that about yourself,

(16:29):
Like you put out a certain type of music, you're
giving a certain type of brand what you what you do,
and that time needs to be on brand of what
you're putting out so people can understand it and believe it.
And like how tight of the Creator does, like his
last album was igor Wig and everything like, oh no,
that was.

Speaker 2 (16:47):
No Please Please the Woman.

Speaker 5 (16:51):
Even every album get lost, every album Tyler does, it's
his own world, it's his own universe.

Speaker 1 (16:58):
I can see that The Weekend does the same thing.

Speaker 5 (17:00):
Kanye does the same thing. Michael Jackson did the same thing.
I never thought about it like that jay Z did
the same thing. Like it's like it's being yourself, but
it's elevating, it's elevating yourself, but staying on brand. Like
even when you like, Bro, I remember we first my
first tour was with Tiger.

Speaker 4 (17:17):
It was when he dropped Careless World.

Speaker 5 (17:19):
I that was his first album, and like YG was
just he was getting fly every day. But Tiger had
three outfits, like he had multiple versions, like one shirt
six times, one shirt six times, black pants. But it's
like the whole tour he wore that same cost that

(17:40):
was his costume.

Speaker 4 (17:41):
He was in character.

Speaker 5 (17:42):
It was like so when I'm seeing this at first,
I'm like, bro, that's why this nigga nigga?

Speaker 4 (17:48):
What change different? Change everything?

Speaker 5 (17:50):
Like he's like, nah, he wore his last King chain
every night and he wore nigga his fucking Vasachi shirts
and then later on during the set he'll put on
some but that's because he's selling that at the show
you want you to go like everything is on brand.
Even like when I was watching this new Andre three
thousand interview, like he gets dressed, he ain't worried about

(18:11):
getting dress, so he put on the same thing.

Speaker 4 (18:13):
But that's his uniform right now. In six month, that
might change to.

Speaker 5 (18:15):
Another outfit and he gonna buy thirty pair of the
same outfit, so he don't like it's like keep everything
in a wave, in a fashion, in everything you do
so people understand you. Like if I'm coming to you
as an artist, I want to know what I'm coming
to you for. Like I'm going to certain artists when
I'm sad, I'm going to certain artists to turn up.
I'm listening to certain type music in the morning. Like

(18:37):
my homies be posting this shit on Instagram. I don't
want to see no homies posting no rap music before twelve,
Like and all the homies when they be posting shit
in the morning, Nigga, they be posting old school music,
R and B music, but like getting dressed, working out,
doing all the shit. But it's like like that's just
something that the homie started just because Like, Bro, you
get up and you listen straight to rap, it already

(18:59):
puts you in a certain mindset. You already aggressive, nigga,
Get up, Play some good music that you grew up to,
that music your mama used to listen to.

Speaker 4 (19:06):
You be vibing. It turns your whole day, your energy around.

Speaker 5 (19:09):
Like I don't know, bro, I just feel like people
got to pay more attention to what they do and
how they do it, especially to last in this music.

Speaker 1 (19:16):
Bus, I feel like you give a lot of game
two people. And one thing that I kind of want
to hit on is how much grace do you give
an artist or when you're working with somebody, you know
you can you can lay it all out based off
your experience, right, But how much grace do you give
them to be able to kind of retain the information?

Speaker 5 (19:36):
It's like, I feel like it's a difference if they
don't understand something or if they don't want to get it.
Like if I'm telling you something and I'm trying to
explain something to you and you not hearing me out
or trying to understand the point of view, it ain't
no grace, got it. But if it's something that you
don't understand or I'm trying to exp I may have

(19:57):
to explain something to you a different way. Have to
show you an example, like I would never trip on
a situation like that, because, like we all don't retain knowledge.

Speaker 1 (20:07):
The same way, right, But how do you know the difference?
What if somebody's response is or I don't I don't understand, right,
But they're only the only response to it is oh, man,
fuck that ship. And it's like you can tell you what.

Speaker 5 (20:25):
You don't get, Like, let's break it down, like what
part you don't get because I can talk for hours.
I know I could talk, Bro. It's like sometimes you
got to tell me, Bro, shut up, Like damn.

Speaker 3 (20:34):
Is this something for you?

Speaker 2 (20:36):
Gutta?

Speaker 1 (20:36):
It was like, man, he's giving you some information and
you're just like, nah, that's either that's not me or
I don't understand it right now. And how is your
response to him? Like maybe you can walk us through
like a specific situation. Maybe it was a staying away
from the streets or whatever the case may be, but
something specifically for you where you like, yeah, I hear you.
I don't know, but you came around to it.

Speaker 6 (20:55):
Or getting up. I'll be sleep. I ain't gonna lie
to you. I'll be sleep like because I'll be up,
like when I'll be at the studio. I'm at the
studio to like every day, probably four o'clock three o'clock.
So when I get in the house is four point
thirty and my daughter wake up, I'm up, so I'll
go go to sleep around like seven o'clock.

Speaker 2 (21:16):
Three hours later.

Speaker 1 (21:17):
Yeah, you gotta get up a right, Yeah, there's no
no cap.

Speaker 3 (21:22):
You're sleeping, get up.

Speaker 6 (21:24):
I understand it though, because it's like I'm waking up
at four o'clock. Some days, I'll be waking up at
four o'clock in the afternoon, three o'clock in the afternoon.
I'm trying to Yeah, they gone, I'm trying to rush
everything in the last six six seven hours of the
rest of the day, and I can't get shit done.
So that's been my still to this day sometimes though, like.

Speaker 1 (21:44):
Time management, Yeah, for sure, do you so? I want
to talk about something that me and Rod was talking about.
Uh one day, I forgot. We was on the phone
for like hour and a half that day or something,
and we were just talking about like un being brotherhood
and people working together togetherness and like moving as a

(22:05):
unit and stuff like that.

Speaker 2 (22:06):
It reminded me of.

Speaker 1 (22:10):
Like early two thousand, not early two thousand, like twenty
ten ish. I remember when South Florida had their movement, right,
and that's when Wayne and everybody was down there and
they it was Raw's tea Pain and they were just
moving as a unit and it was just one this
one thing where I remember going down there This's when
I first met Cali, Right, I go, I go down there,

(22:33):
shout out to g we go to we go, meet Cali,
I meet E Class and all them and they getting
He was like, yeah, you know when I shouldn't even
be talking about this publicly. But they was like, whenever,
you know, we got an issue with each other, we
get in the room and we settle it amongst each other,
like we govern ourselves. Because when we outside, we Florida
like we together, right, And I was like, damn, and

(22:54):
it just the conversation me and Rob was having, It's like,
I don't know, it's my own personal opinion, right, I
don't know if we'll ever get to that point and
from a cultural standpoint or from music because the West
Coast and LA specifically California, I'll just say California, not
including everybody else in our shit, but California specifically so

(23:15):
political and so geographic geographically divided in certain ways that
I don't know if we'll ever be able to do
that because they don't have the same politics that we have.

Speaker 2 (23:24):
Does that make sense?

Speaker 5 (23:25):
Yeah, I mean I do understand that one thousand percent.
I do understand politics, but I feel like i've also
been a part of a movement that separated itself from politics,
because even when we came up with pushes, like we
used to be on Stocker Park. So if you don't
know where soccer Park is, that's on Stocker and the Breaker.

(23:48):
That's the end of the Jungles. The beginning of the sixties. Yeah,
we used to have families, greats, power rules, Hoover's schoolyards,
who whatever you can think of there together amongst each
other and if you had an issue with this person,
go over there and fight. Other than that, we hear
we chilling, we vibing, we hanging out. Like Bro, if

(24:10):
you really look back at it, bro yg shot a
video in the schoolyards and the black songs are there
that I don't give a fuck video Like We've made
situations and moved through life, where like all that don't
really count. Like to me, your respect as a man count.
Like if you're from a hood, how they treat you

(24:31):
over there? Because me, I'm from Swans. I got homies
that love me. I got homies that don't love me.
But at the same time, if I brought my homie
school from schoolyard to the Swans, they.

Speaker 4 (24:42):
Gonna show love to him.

Speaker 5 (24:43):
Nobody's gonna disrespect him, nobody's gonna bang on him, nobody's
gonna talk to him out an ill intent because he's
there of me, whether they fuck with me or not.
So it's like, but when I go to the schoolyards,
I get the same love from TC homie. But it's like,
look at YG and them, Bro, YG was with all
all the bloods, Like I don't think people really understand that,
Like y G fucks with all bloods, nip fucks with

(25:07):
all crips and really all neighborhoods.

Speaker 4 (25:09):
But we was all together.

Speaker 5 (25:11):
It's a nigga who I used to get into it
with in high school with and we ain't see each
other after high school for a few years. And the
next place we saw each other after it broke out
out of jail was in Nipsey studio. So you know
how awkward that was for the first hour. You know
what broke the ice? A blunt Wow, blunt get put
in rotation. Shit is like all right, he the next nick,

(25:33):
So like I gotta get up and I gotta go past.

Speaker 4 (25:35):
And then it's like for man, it's just like what's up, bro?
You get up.

Speaker 5 (25:40):
You know, Bro, I just got an out, dude, and
then we start chopping up, bro, and then it just
went back to like, Bro, that high school shit was
high school. Like everybody, everybody gonna be whoever they gonna
be as a man. I feel like your report card
as a man is what follows you in this city.
And because of my report card is stand up. I
moved how I moved through the city. Like I was

(26:01):
just talking the other day, like I don't be outside
with ten niggas, I don't be outside with twenty niggas.
But I represent where I'm from. But I come with
respect to anywhere I go.

Speaker 2 (26:11):
Fact.

Speaker 4 (26:11):
But the same way would happen.

Speaker 5 (26:13):
If I'm in Atlanta, Like I'm not about to be
in Atlanta with ten chains on, Like yeah, I'm ride
with nobody from Atlanta, not moving around right Like when
I'm in Atlanta, I'm with my homies from Atlanta moving
around off the respect and the love that they got.
So I get that. And when they come to LA
they come to my studio to record because they know
they gonna get that same love, that same energy. So

(26:34):
I feel like it's more based on how you project
yourself and what you're putting out there like, Bro, I
don't give a fuck who think I'm tough. I don't
care who think I'm soft. I don't care who think whatever.
I'm me and I'm here and I've done things to
succeed in my life.

Speaker 4 (26:50):
So do you respect that? Do you respect me? If
you don't, you don't.

Speaker 5 (26:53):
And that's how I look at anybody like you could
be crib, you can be blood, you could be Hoover,
you can be like Bro, I said the other day,
I posted on Instagram, Bro, I want everybody from the
West Coast to win, even the ops. But I meant
that because it's like, Bro, as a coast, we look
weak as a coast. Nigga's not respecting us. And if
they ain't respecting us, because we ain't respecting each other,

(27:15):
we ain't moving around the way we're supposed to. So
how can they?

Speaker 3 (27:19):
Bro?

Speaker 5 (27:20):
Fucking death Row was crips and bloods? How was Snoop
Dogg signed to Nigga to Sugar Knight? Like, think about it, Bro,
think about how they moved around back then. So these
motherfuckers respect the West Coast like everybody got somewhat loved
for us, Because Bro, you see it in the way
they dress, the way they talk, they throwing up gang signs,
they doing all this shit that was invented here. But

(27:42):
do they respect us, Nah, because we not respecting ourselves
how we moving.

Speaker 4 (27:46):
And that's even like.

Speaker 5 (27:47):
I was telling you that day on the phone, Like
that's why I opened my studio because like I want
to be able to bridge that gap.

Speaker 4 (27:53):
I didn't and ain't.

Speaker 5 (27:54):
I don't have to say no names, Bro, I done
got artists features with artists who they never collapsed before,
thought they could collab with before. It never been in
the studio with these type of artists. These things are
happening in my studio and I don't want nothing from it,
but I know what I'm doing is gonna help my coals,
like Bro, Like I say, like this was like a
month a month and a half ago, Bro, this was

(28:16):
like a legendary night in my studio for me.

Speaker 2 (28:18):
Bro.

Speaker 5 (28:18):
I had skill of Baby side of Baby t, Grizzly Babystone, Gorillas,
gut A Bracken Rouci and blue Bucks plans. Damn, Like
come on, no no bad energy. Nobody felt entitlement to nothing.
Nobody like everybody know where, everybody from who, everybody fuck with.

Speaker 1 (28:37):
But I was there and everybody was just moving around.
Everybody was sharing.

Speaker 5 (28:41):
It was amazing. Everybody was getting features with everybody. Everybody
was like it was rap. It was real hip hop
being created in my studio. And it's like that reminds me,
this the fuck I'm doing it for. I ain't doing
it for shits and giggles, like we all want to
be rich and I I but for my coals, for
my city. That's what I'm doing it for. And that
night reminded me Bro, and even I got Bro, one

(29:02):
of my homies route he texts me the next morning, like, Bro,
I still got to.

Speaker 4 (29:06):
Text text me like six o'clock in the morning. Seven
o'clock in the morning.

Speaker 5 (29:09):
We left the studio like Foux thirty five, so this
had to be on his mind before he went to sleep, Like, Bro,
you're really doing some different shit over there at the studio, Bro,
and I love it, damn.

Speaker 1 (29:17):
It's amazing. And this is creative sound as a recording spot.
That's that's where you got your spot, and I love
that You're you're doing it your own way, like creating
a hub where people can actually come and record and
get work done and just be amongst each other. Right,
what do you feel like other steps can be done
from maybe other entities, other individuals and other like minded

(29:39):
individuals that want to possibly do the same thing.

Speaker 5 (29:42):
Move off respect, don't move off pride. I feel like
if you vocal with somebody, even if they from the
other side, you like a song, repost it, somebody shot
you out, reposted, it's free. Like you see an artist
like I seen Grido do an interview and he was
talking about he's just going to start promoting all up
and coming West Coast artists, And I love that because

(30:02):
like that's that's the step we need, Like because it's
like Bro, and this ain't no disrespect to nobody, but Bro,
you in Atlanta and you coming up and you got
some buzz you on fire.

Speaker 4 (30:13):
You don't get a feature of future.

Speaker 5 (30:15):
You don't get you don't get a song with the
You don't get a song with Gunna, You don't get
a song like who Like Bro, they embrace theirs generation
after generation, like they embraced what's coming out because like
it's Atlanta versus everybody. I've been out there with some
niggas from Atlanta and heard the same thing, Like Bro,
don't matter if we get into it in the city

(30:35):
when we outside, Bro, this all Atlanta, Like, I'm.

Speaker 4 (30:39):
Like, damn yeah, I wish LA move like that.

Speaker 1 (30:42):
So do you think it do you think it's it's
more I mean, obviously the politics involved as well, But
is it ego? Is it pride?

Speaker 2 (30:48):
Like?

Speaker 1 (30:48):
What do you think is really hindering people from being
able to do something as simple as reposts somebody's video.

Speaker 2 (30:54):
Probably though, Really.

Speaker 5 (30:55):
I think pride go deeper than ego, because Bro, you prideful,
because you you worried about what your homie gonna say
if you post this nigga song and he don't like. Bro,
I don't give a fuck. Who If I like it,
I'm gonna post it. Like if I don't like it,
I ain't gonna post It's that's just my principal, Like
your principal be like, not you, but people's principal be like, oh,

(31:18):
well shit, this nigga from over there nigga. I know
we got in tue with this nigga and I hang
with this nigga, So I'm not gonna post this song.
But it's like, Bro, that's not helping the West Coast,
and that's not helping you, Like who's helping who like
even like, for example, this last tour, Jeep Preko on Rucie,
it's amazing, Like they still on the grind, they still

(31:40):
on the upcome. But like I see so many people
from the West Coast, nigga be okay with doing a
tour from San Diego to Washington. I don't give a fuck.
If it's fifty people at the show, Go try to
do a show in Atlanta. Go try to do a
show in New York. Like, if there's fifty people this time,
and you do a great job, next time, it's gonna
behind it.

Speaker 4 (31:59):
Bro, why'd you first show in New York?

Speaker 5 (32:01):
Bro was at the fucking what's that fucking famous little
ass Sobs And we didn't sell it out. Wow, we
didn't sell out Soob's And what is four hundred people?

Speaker 2 (32:12):
Right, it's a smaller venue.

Speaker 5 (32:14):
Next time he went, we did Irvin Plaza. Damn was
sold out before we got there. It was one of
the first sold out days on the tour. So how
you go from doing less than three hundred and then
next time you come to the city you do damn
near two thousand.

Speaker 4 (32:29):
Because when you got on that stage, you gave y'all, Like.

Speaker 1 (32:32):
That's it, And it's a matter of not being afraid
to fail for one, and then two being able to
kind of set up a mark as a marker like
oh okay, we weren't able to do this, all right,
that's motivation for the next time we, you know, come
back to the city.

Speaker 5 (32:46):
And I feel like that goes back to the same thing, because, bro,
people be worried that, oh if I go out there
and do a show and it's only fifty people, with
everybody in the city gonna say, I'm gonna take the
show down.

Speaker 2 (32:57):
Bro.

Speaker 5 (32:58):
My first tour with my artist Aaron Ray, we did
I think his first solo tour was sixteen dates. Out
of sixteen dates, I want to say nine was eight
were sold out, not yeah, like eight was sold out

(33:18):
the rest of them, Like, but we did one show, bro,
we sold ten tickets. Really, but you know what he
went and did. He went out there and gave a
great fucking show to those ten people, and he gave
those ten people free merch.

Speaker 2 (33:32):
Wow. Wow.

Speaker 5 (33:33):
And then the next time he went back to that city,
his next show was five hundred and that city and
he sold it out. So it's all in the artists
and what you're giving and how much you're given, And
don't treat no show like rehearsal like I have bro
at the studio, rehearsing, like you record the song. We're
gonna do this show? Bro, how you gonna perform it?

(33:54):
Performing in front of me?

Speaker 4 (33:55):
Bro? So see how you gonna perform in front of
these I want to see, right, And I'm not saying
that to the little him.

Speaker 5 (34:00):
I'm not that that's part of artist development because back
in the day, La Reid wasn't signing.

Speaker 4 (34:06):
If you can't perform, are you a singer? Sing right now?

Speaker 2 (34:12):
Right?

Speaker 4 (34:14):
It's okay.

Speaker 5 (34:15):
L A Reed already walked around La Red tell you
to sing back in the day, fished saying the word
you already trying to.

Speaker 4 (34:23):
Hit an army like nigga.

Speaker 5 (34:24):
I was waiting for this, But artists today move off
pride like you too cool? How are you too cool
to promote yourself? How are you too cool to promote
your music? So you you mean to tell me you
didn't have no money, you didn't have no way to
the studio. You found a way to get some studio time.
You found a way to record this song talking about
your problems and you just want to post it one

(34:46):
time and hope.

Speaker 4 (34:46):
The world's gonna see it. It's like, do you even care?

Speaker 1 (34:50):
What do you think the disconnected is though.

Speaker 5 (34:52):
The artists not caring, like are not already being too
prideful about what the next nigga donna think?

Speaker 4 (34:57):
But I saw a video. I saw a video.

Speaker 5 (35:01):
On Instagram last week or maybe the week before last.
It was this young singer dude. He's singing to some
girl but through a window. And then when you first
see it start going viral, you see people talking shit
in the comments like oh why are you singing to
a window?

Speaker 4 (35:16):
To this that? I guess who else jumped into comments? Usher, wow,
Chris Brown, Wow? You know?

Speaker 5 (35:22):
And I think they say like I love this or
something like that. And now the kid went from having
a couple of followers to but it was like just trying.

Speaker 1 (35:29):
You never know where your opportunity.

Speaker 2 (35:30):
You think that?

Speaker 1 (35:31):
Do you think that? And I guess both y'all can answer.
Do you think that people fear more of what other
people think or they feel they fear failing?

Speaker 2 (35:38):
Which one is the bigger fear?

Speaker 5 (35:41):
They fear what other people think? Damn everything in life?
I feel like today is built off perception. But in music,
we're getting back to a space where people are getting
past that. Because Bro, three years ago, nigga, if this
person said this artist was tight, they.

Speaker 4 (35:59):
Gonna come out and they gonna tell. But now it's like, nah,
are they tight? Are you just like him?

Speaker 5 (36:05):
Do I like their music? Am I buying into it?
Or am I buying the song that you're featured on?
Like I was even telling him like we first started working,
like bro, like I can get you damn in any feature,
but I don't want to do that. I don't want
to make you look like you an industry playing you
some robot that I oh, I just went and.

Speaker 4 (36:22):
Got my little homie for my hood bush Ride, and
I know twenty one sev this person. I know this person.
I'm just calling to get you a.

Speaker 3 (36:30):
Song for sure.

Speaker 1 (36:31):
Yeah, I want to know from your perspective that when
that phone call happened, when y'all talked and he said, look,
I can get you anybody I want, but I'm not Nah,
it wasn't even phone call.

Speaker 3 (36:39):
It was in person.

Speaker 2 (36:40):
I'm saying response though, it.

Speaker 6 (36:42):
Wasn't nothing like bad or nothing, because it was like
I was already like a rapper like, so it was
like I already knew how it worked to get features
and ship and I knew who I was, so I
knew what.

Speaker 3 (36:53):
He could do. I knew who he hang around.

Speaker 6 (36:55):
But it was like, I gotta work for that. I
don't want to just I didn't even want to be
an industry plan. That's it's gonna look crazy. I'm from
the East Side, like exactly what you're saying, Like people
are gonna talk like not that I'm scared of it
or anything, but it's like, Nigga, I'm from LA and
it's like, I'm not not trying to be an inside
out artist. I want to be an artist artist, not

(37:16):
a rapper. I want to be an artist. I want
to be wiggling around making friends with my rapper friends,
my real friends. I want to have rapper fans. I
don't want to just be hitched. I don't want the
rappers to just be his friends because of he know them.

Speaker 3 (37:28):
Every future we.

Speaker 5 (37:29):
Got, the artist was down to work with him. The
artists win the room and say oh I fuck with this,
or the artist him and the artist had real conversations.
There's been a couple that I donet reached out to
and say, hey, Bro, would you hop on this? Hell yeah?
Fuck a little bro? Hell yeah you green when Bro
gonna be up there? Like his project coming out this week.
One of the features, my boy Skill a Baby, Skill

(37:52):
a Baby was at been at my studio recording since
he came out here, Matt Bro. They was hanging, chopping
it up with each other. We did this song, my
boy Little Rich send me this beat. It's crazy, shout
out a Little Rich. He produced for be a whole.

Speaker 4 (38:07):
Lot of money and everything.

Speaker 5 (38:09):
He sent me this beat and it was different from
everything gut it was doing. And I'm just like, Bro,
it's something about this beat. Bro, I just want you
to try something different. He did it, and right when
he did it, he like, I don't know it's fire,
but I don't know if it's me. I said, Bro,
this is different. Just watch what I'm gonna do. And
then I reached out. I ain't telling him who I
was gonna have get on the song, nothing like that.
I reached out to Skiller.

Speaker 6 (38:30):
Car driving every day. I'm like, who you cut on
the song? I'm naming niggas. Don't worry about it.

Speaker 4 (38:36):
Don't worry.

Speaker 5 (38:36):
When the time comes, gonna be right, and I reached
out to Skiller. Skiller said, what I f I fuck
with dude?

Speaker 4 (38:44):
He said nothing else. He came in town like a
week later.

Speaker 6 (38:48):
I was in the room just sitting down skill a
walking room, like where the feat tracked. I'm trying to
do the feature. He ain't even knowing I'm the artist
or nothing. He's just like, where the feat track? I
ask him this right here, come on, bro, going there,
we start chopping it up, and shit built the relationship.

Speaker 2 (39:03):
Shit.

Speaker 1 (39:04):
But and that's something that goes beyond just the song.
It's like you guys actually building in the studio. You
know what I'm saying. Oh yeah, but shit like that.

Speaker 5 (39:10):
I feel like it's real part of artists development and
a lot of things like even today, like I don't
be blaming the labels. I be blaming the people who
call themselves the indie labels, or who's developing these artists.
Like you're just trying to sign something because it's stream
like a label, that's their job.

Speaker 4 (39:28):
Oh, it's doing numbers, go get it.

Speaker 5 (39:30):
But who's developing this talent, Who's taking the time with
these artists, Who's taking the time to show these people
what artistry is who's taking the time to show these
people how to act around other artists. Who's taking the time, Like, bro,
don't just get a record and throw artists out there
and think that they gonna last for twenty years. Yeah,
Like everybody who you see who lasts or who has
real success are usually tied back to something who has

(39:51):
success or people understand.

Speaker 4 (39:53):
How to move through rooms.

Speaker 5 (39:54):
I feel like you may not have had the best
success on your route, but you know the right way
to move around when you get an artist, so they
don't just do fuck shit?

Speaker 2 (40:03):
Do you think that? Do you think that?

Speaker 1 (40:05):
Because there's a conversation to be had about that as
far as like the way labels move and the way
you move as an independent artist or an independent company. Right,
And it's been brought to my attention numerous times.

Speaker 2 (40:18):
I don't want to.

Speaker 1 (40:18):
Say ways to sell out, but ways to compromise what
I believe in for money, right, Like, oh, you can
sign this artist or just say you just say that
you manage this person and we're gonna go get a
deal and you get twenty percent, or just put your
arm around this nigga and we gonna cut you in
on it, you know, and it be that type of shit,
and I just be.

Speaker 4 (40:37):
Like, but that's what it ain't with dried out music.

Speaker 1 (40:40):
I feel like that, bro, And I feel like that's
kind of why shit, it's kind of fucked up. It's
just people who don't give a fuck doing things for
the check. And I get it. We all gotta eat
and we all gotta survive. But at the same time,
it's like, what are you willing to sacrifice and give up?
Me and him that had plenty of opportunities to sell
and to sell home grown to these brands that want

(41:01):
to do business with us.

Speaker 2 (41:02):
But it's like that on the line, what we do?

Speaker 1 (41:04):
You know what I'm saying, He's hundred years clean, you seven,
He's seven years clean, sober? Right, we didne had the
liquor opportunities, and we done had these things. But it's like, nah,
go get us some water. We can endure it, So
go get us something that we can really put get behind.
And I look at the music the same way. It's like,
just because this artist is streaming, don't mean that this
artist is gonna be here in three years. And but

(41:25):
you don't give a fuck because you looking at it
like I'm gonna make seventy thousand off this artist and
move on my day.

Speaker 2 (41:30):
You know what I'm saying.

Speaker 5 (41:31):
Even when I was at Interscope, bro, I never I
never went for the artist that was had a crazy
competitive deal. I never went for the artists who was
streaming crazy. I went for the artists who believed in
they brand and what they were trying to push. I
believed in the artists who was focused on the future

(41:51):
goals and not just trying to go viral today. Like like,
for example, when me and Manny Smith signed Rich, the
kid looked at like the fourth mego really like when
he was signed to three hundred, like people wouldn't taken
him that series. But he was an amazing artist and we
had a meeting with him at Innerscope. Then after the meeting,

(42:13):
me and Manny sat down and Manny asked me some
real shit, like do you really think Rich is that?
Would you bet your career on it? I said, I
bet my career that if Rich got in the room
with a good situation, that he'll work harder than ten niggas,
but he'll never get that. Look where he's at because
he's not a priority, damn. And then Manny was like
you sure. Text me the next morning, say you really

(42:35):
sure about Rich the Kid? I said, Bro, I.

Speaker 4 (42:37):
Wouldn't have said that.

Speaker 5 (42:38):
Then Rich the Kid came in he scope, then you
got no freezer, then you got plug walk And it's
like if he would have stayed where he was at, could.

Speaker 4 (42:46):
That have happened? I don't know.

Speaker 5 (42:48):
He had the music already, but it's like, who's who's
seeing the vision and how can it grow? Versus just
signing something because it's tight. Like I don't want to
sign or stand next to nothing just cause it's tight.
I want to stand next something that I believe in
and when I talk about it, you hear it. When
I'm talking about it, I'm not just like, yeah, man,

(43:08):
this is my artists gutta Bro. Yeah, I just want
you all to hear him, and I'm I'm hey, Bro,
I gotta I believe in Bro.

Speaker 4 (43:14):
I'm pushing this.

Speaker 5 (43:15):
And it's like even if it's something where I gotta
stand in front to help push Bro, Like I'm willing
to do that because like I believe in him and
what he's trying to do, versus waiting for a record
to go fucking viral or put him in it. Like
I can easily say, oh, you got this record. Cool,
I'm gonna go ay twenty one bro?

Speaker 4 (43:34):
You hey bro? You know you my nigga.

Speaker 3 (43:35):
I need this, you know hey broo bro do this?

Speaker 4 (43:40):
Do me this favorite bro, throw me this Hollywood, and
it be like for what.

Speaker 5 (43:44):
But it's like for him, it's like, Damn, did I
just put my friendship make the nigga doing the feature
because he's my friend. He don't know nothing about the artist.
So it's like, Damn, when the song come out, is
he gonna post a video? Or do I gotta personally
call him to ask him to post a video? Is
he gonna tweak the song? Like it's like all the
other shit come in when the artists don't fuck with
other artists or the shit ain't organic or it ain't real.

Speaker 1 (44:06):
It's something that it's something that I want to ask too.
That's important that I feel like either both of you
are can touch on, is when is it appropriate for
somebody to call in the favor.

Speaker 5 (44:17):
Because I call in favors, But it's the favors that
make sense and that matters for where the artists at.

Speaker 1 (44:23):
But it's just like, when is the right time to
do that? Because I feel like a lot of people
don't know when that.

Speaker 5 (44:29):
Is well, Like even for right now, I'm on promo,
he's dropping a project this week, So it's like I'm
calling in certain favors, trying to do certain things to
make sure that my artists get looks and he get visibility,
he get people pay attention to him because people respect
what other people say and what these platforms are. It's like,

(44:50):
but it's also fucked up because it's like, you know,
back in the day, we thought that it was about
the vlogs, I mean blogs going to blogs, but then
you find out that these blog people double dip, so
then the blogs don't even matter anymore because this blog person.

Speaker 4 (45:07):
Is getting paid by the vlog, by the blog.

Speaker 5 (45:09):
Company, by double XL to do write ups on artists,
but then charging the artist five hundred dollars to do
a write up.

Speaker 4 (45:16):
And it's like where's it?

Speaker 5 (45:17):
Like every like the integrity in everything is sliced. So
it's like you have to figure out what's the right relationship.

Speaker 4 (45:27):
Who do you believe? Who do you trust?

Speaker 5 (45:29):
Like it's like when I first started working with Guttera,
remember I started sending you songs, Hey, what you thinking
about this?

Speaker 4 (45:34):
Because I value your opinion.

Speaker 5 (45:35):
You ain't gonna tell me you fuck with something if
you don't, just because I'm your friend. But now if
I call, I ain't gonna name drop. But if I call,
like somebody who work at fucking double XL to that,
I quote unquote no to do it right up on
Gutta because he's dropping us on this week days.

Speaker 4 (45:54):
Yeah, I got you, just shoot me five hundred.

Speaker 5 (45:56):
And it's like, damn all right, so you want me
to pay you five hundred, but this company's paying you
two one hundred and fifty thousand dollars a year just
to do write ups. It's like everything is just so
washed now, and it's like nobody is standing on their
moral their principles, just how you said, like, Bro, you
can get money from liquor company, but Bro sober, that's

(46:18):
against y'all moral and company like, so it's like no, everybody,
nobody gives a fuck about that. They care about the
dollar over the morals, like and it's like I'm not
moving like that. So like even me calling you this
is using one of my favorites, But do I believe
that this favorite?

Speaker 4 (46:35):
Was it the right time to call? Thousand percent?

Speaker 5 (46:38):
No?

Speaker 1 (46:38):
No, no, I don't think it's using favors though, but
I think that the reason why I asked that is
because of what you said about like, oh, you can
call and get the feature and like, but I'm not.
But I feel like everybody be trying to do everything
quick and like like what you're saying as far as
getting in the studio and building a relationship with the artists, right,
I feel like everybody's trying to microwave a meal or

(46:58):
nobody getting.

Speaker 2 (46:59):
On the stove.

Speaker 5 (47:00):
Nigga stop putting out music for a year straight, and
I made him come to the studio every day during
that time, every day he could, and every day he could. Nigga,
I was on him about not coming to the studio.

Speaker 2 (47:09):
What was that about being.

Speaker 5 (47:11):
Better, having more confidence, believing in what you're saying, and
not just coming in here and rapping, Like what are
you talking about on these songs?

Speaker 2 (47:19):
All right?

Speaker 5 (47:19):
Cool, you got your own studio room, do what you do. Now,
come on, let's look to these songs you've been recording
for a month.

Speaker 3 (47:26):
Let's see what you got.

Speaker 5 (47:29):
Thirty six out of fifty songs sound the same, you
saying the same thing, So we can't use how many
of these like it's like, so now we're breaking it.
Damn all right, cool, let's make songs about now. I'm
a bro you going through this, Go try to make
a song about that. I make a couple songs about that. Now,
get more deeper into yourself, Get more deeper into the
dive of what you're talking about and how vulnerable you

(47:51):
can be as an artist and your comfortability when you're
in a room versus just coming in there nigga and saying,
nigg I got a chain.

Speaker 4 (47:57):
I got a chain. I said, bro, we're your chain, nigga.
I don't want to like, Bro, I don't I don't
live like that. I'm not gonna promote that artist.

Speaker 5 (48:09):
Like even I thought, I said, Bro, I can get
you a creative sound change tomorrow. But what that's gonna
mean if you didn't work for it? What's that gonna
People just gonna see you got a change, but it's
gonna be like, oh, ship, he ain't work for that change.
He's trying to push you RORO got him that change?

Speaker 2 (48:23):
Bro, Like, what did that do? What does that do
for you?

Speaker 1 (48:25):
As an artist who's used to running your own program
and be like, now, look, you're not putting out music
for one year. I'm gonna sit you down and you're
gonna learn some ship.

Speaker 2 (48:34):
And I'm sorry.

Speaker 1 (48:35):
Was that was that mindful of you to say one
year time span? Or was just like we just need
to stop for you to stop?

Speaker 5 (48:41):
It wasn't. I don't, I don't put I don't. I
don't like. Time is real.

Speaker 4 (48:45):
I know, and I have this argument with everybody. Time
is real. It does exist, but.

Speaker 5 (48:49):
I don't move my life based on time, like it
has to be the right time for everything. And at
one point in time, did I like him as an artist?

Speaker 1 (48:57):
Yes?

Speaker 5 (48:58):
Did I like his stout, yes, But the songs were
the same, So like, how can I better you?

Speaker 2 (49:06):
Like?

Speaker 5 (49:06):
So like putting the time in what I believe is
into artists development in the studio before trying to put
out a song like so it really didn't have It
could have been two months, it could have been six months,
like it took us a year to get where we
felt we needed to be.

Speaker 4 (49:24):
And that's why I feel like it's.

Speaker 1 (49:25):
More important from an artist's standpoint that you how did
you benefit from that?

Speaker 3 (49:29):
At first?

Speaker 2 (49:30):
I wasn't hot.

Speaker 6 (49:31):
Yeah, I wasn't fucking with it at all, Like I
was like, man, I need to drop. I was telling
him I need to drop. I need to drop. Then
I started seeing it, like I started listening to my
music driving around. I'm like, damn, I said the same
line in this song that I said in the last song.

Speaker 2 (49:46):
Said this.

Speaker 6 (49:47):
Then I'm just keep on listening to all my music
and I'm like, nah, this ain't supposed to sound like this, man.
So I start going through my music one by one
e racist shit. I ain't gonna lie erasing shit. Then
I just started putting songs together and shit making it
all one. Shit started coming out fire. But after like
six months, I was like, I'm ready to start dropping.

Speaker 3 (50:07):
He like, nah, not yet. I'm like, man, I'm getting
mad at this point.

Speaker 5 (50:12):
I'm like this, nigga, I'm not trying to drop my
sh with a confidence shame.

Speaker 3 (50:16):
Yeah, I'm like this nigga, not trying to drop my ship.

Speaker 6 (50:18):
Then after that, I'm like, man, fuck this, I'm from
the lock all the way, and I start going to
the studio every day every single day, like nighttime to
the morning, morning to the night time.

Speaker 1 (50:29):
After that, what artists do you look at as as
like not to get your style from, but what artists,
do you look at like, damn, I want to take
this piece from him and take this piece from this person.
YG and Little Dirt, that's fire. I ain't you know
why I like Little Dirt And I think I don't
know if I said this to you or you, but
I like Dirt because the way he uses his tune,

(50:51):
you could still hear his voice right under that show,
and then that's why I like the voice. Like his
brand or whatever, but I could still hear his voice
like a lot of times, like the tune be up
the auto turn be up so high where you can't
even hear. But Dirt, I don't know, it's controversial. I
got a lot of heat for it when I said,
but I feel like Dirt uses it better than Thug

(51:12):
in a way that I know it's different styles, right,
but I feel like he uses it better than I
think Thug would would not would have been, but I
think Thug would be way bigger to a larger audience
of people if he did kind of what Dirk does
a little bit. I know people be killing me online
when I say that, but I just like the way
he uses it because I can still hear his debates

(51:32):
in his voice.

Speaker 6 (51:33):
Yeah for sure, and then he uses like when he
recording this stuff, the engineer makes it sound like it's
like not actually like super super detailed, makes not super scratchy,
none of that shit. It sounds like we're talking right
here right when you hear this podcast. It sounds like
a real aspect like you in the music. A lot
of people shit, don't be sound like that. It just

(51:54):
be sounded like a whole lot of effects and all
the type of crazy shit going on.

Speaker 1 (51:57):
I like the YG and dirt Day. I never thought
about it, Yes, fire for sure.

Speaker 6 (52:01):
Then even even with my bat selection like I on
West Coast, and then it's like if you listen real
good it's.

Speaker 3 (52:10):
Chicago, or.

Speaker 6 (52:13):
Like I like the guitars, I like the crazy ass sounds,
and like I'll be I'll be telling my producers like
I used to watch dragon ball Z growing up, Go
get this, go get this loop this little piece from
dragon ball Z. It be the little stars and ship
that's going around. I used to play the game put
this in a song, like put this in the song,
making the song my song. It's like tired of being

(52:34):
in a box. I feel like we got a wig.
A lot of this motherfucker.

Speaker 1 (52:38):
Do you think that? Do you think that artists are
not being creative enough in that way? Because I remember
watching the breakdown when Hip Boy did a vaccine free style, yeah,
and I watched like the pieces he used for that
creator it was like sailor moon or shit, and it
was like you gotta be I say the word can't.

Speaker 6 (52:58):
Say the more you watch Draking Jacob video, Yeah, that's
just crazy. That video is insane. That's how I be
looking at it now, like.

Speaker 1 (53:07):
That video is I don't know, I ain't watched a
lot of video. I watched enough videos this year, but
that gotta be the best video.

Speaker 2 (53:14):
Yeah for sure.

Speaker 6 (53:15):
And that's how I'll be looking at you with my
music now, like that's that's somebody's mindset, complete mindset, like
and it's like no control over the video guy's mindset.
This is what I want to do. This is what
I'm gonna do, you feel me? So when I'm in
the studio, that's how it be down, Like this is
what I want to do. I'm gonna finish this song,
work on everything else later. But I'm sad that that.

Speaker 1 (53:34):
Turned on for you after kind of like sitting down
and really reassessing, like Okay, I can't just be making
songs and make songs.

Speaker 2 (53:40):
Yeah, like that, I for that video is fired.

Speaker 3 (53:44):
But even before that video, like that was in my mindset.

Speaker 6 (53:47):
After being around Rod though, like so much, like because
he changed my mindset to a lot of ship, like
I got I'm a I'm a cancer, so I'm emotional.
So like when it when it comes to a lot
of ship, when they come to a lot of shit,
I be like, I'm not gonna listen to this, nigga.
I'm walking away from them all types of shit.

Speaker 3 (54:06):
I'm not listening to them. I'm going to do my
own thing.

Speaker 6 (54:09):
Then after like swear like this, like like three conversations ago,
it was like, damn, bro, I gotta get in the bag.

Speaker 3 (54:18):
I gotta get in my bag.

Speaker 6 (54:19):
It's like I figured out, like the West Coast are
problem now is like nigga, we always down talking each other.
We got to stop that ship, like we gotta build
a bond. Like my last reestyle, I talked about all
the good ship that the West Coast got. Niggas don't
do that shit. They they rather down talk each other.
I'm not with that shit.

Speaker 1 (54:36):
I love that man. Focus on the positive shit, shit
that's actually working the things that you see, because I
feel like I totally agree with that. I feel like
a lot of conversation and narrative that's surrounding la rap
and hip hop, it's like everybody's focused on the wrong ship.

Speaker 4 (54:51):
Now.

Speaker 1 (54:51):
Granted, there needs to be you know, we need help,
you know what I mean, there are things that we
can improve as a as a as a coast, as
a community.

Speaker 6 (54:58):
For sure, I'll be watching podcasts and the first thing
the interview doing is, hey, so what do you think
about Like they were trying to be messing and shit,
I'll turn that shit directly off because it's like nigga,
y'all fucking us up.

Speaker 3 (55:09):
Y'all gotta stop that.

Speaker 2 (55:10):
But you know what, I feel one that.

Speaker 6 (55:13):
Way, and I understand the attention to bringing all that,
but I'm not with that. Like we West Coast, just
like y'all were saying, how Atlanta, Atlanta, Florida, Florida, we
gotta be like that.

Speaker 3 (55:22):
We ain't like that. We ain't gonna win. We're gonna
keep taking else.

Speaker 1 (55:24):
But you also, but I also look at okay, so
that since we having that conversation, don't you think that
the artists like let's say, well, I haven't seen y'all
do this, But the artists are also the artists that
labeled the team, the management, everybody is also to blame
for that because it's like, well, shit.

Speaker 2 (55:42):
My album coming out on Friday.

Speaker 1 (55:44):
I need to go here because I need to get
I need to get the attention for my project. So
then that also makes you an accomplished If if rod
Go Buss is somebody you and the car you know
how that go you get, you get the same or
similar charge. So if the platform is in itself a
bullshit platform or messy or whatever the case may be,
and then you then patronize that platform, aren't you part

(56:07):
of the problem?

Speaker 3 (56:07):
Yeah for sure.

Speaker 6 (56:09):
But that's why I'll be doing my researchers and shit
like Roderill be like, you want to go here?

Speaker 3 (56:12):
You want to go here? Can he give me an
option to say yes or no?

Speaker 2 (56:15):
Got you?

Speaker 6 (56:15):
And if it's a no, we ain't gonna do it.
If it's yes, we're gonna do it, and we'll not
do it. We got to be locked in one hundred percent.
But niggas got to know what they signing up for
it before they sign up for anything.

Speaker 2 (56:24):
I feel that. Yeah, I love that.

Speaker 1 (56:27):
I feel like it's accountability on all parts. Being that
we're kind of there. What do you feel like there
needs to be improvement as far as like the media's
space in here, because we also talk about the systems
as far as you know, pushing the artists, making sure
that we're we're in visible settings and we're just doing
amazing things. What do you feel like we could step

(56:48):
up as far as a platform and we can start
with homegrown and it just in just not not specific platforms,
but just in terms of like as a whole on
on the West Coast. As far as the media landscape.

Speaker 5 (57:01):
I honestly think it's taking a deeper dive. And when
I say that, it's like even if you gonna even
if you're gonna interview this artist through a little research
for sure, Like I just watched like and this is
and I know funny Marco shit is about like the
dry humor and shit, but it's like, uh, it's kind

(57:24):
of vague to me how everybody feel like it wasn't
wrong with herb and south Side did, but it was
okay that he did an interview with blue Face, and
blue Face said name three of my songs and he
Saidtiana three times. It's like that's like, that's fully you
didn't even try, like because he like, even after Tatiana,

(57:47):
he has another, at least one two other songs that's
not as big, but that's been viral.

Speaker 1 (57:52):
But do you think he's just playing it and we're talking,
do you think he just playing?

Speaker 2 (57:57):
Yes?

Speaker 4 (57:57):
What I be saying, like, bro, I be listening to people.

Speaker 3 (58:00):
Yeah, for sure.

Speaker 6 (58:01):
I even just watched some shit with those summer fucking
he was on there with Adam. He was on there
with Adam, and it's like, Nigga, you got this nigga
whole number one song on your YouTube channel and you're
talking about doing research on them, Like how does that work?

Speaker 1 (58:13):
Brow?

Speaker 5 (58:14):
You don't even know that you part of the reason
why his shit start to move, but it's your YouTube channel.
But like, while you sitting there with this man, instead
of shout out to Salas for show Salas, why you
not talking to him about his music and what he's
trying to do as an artist? You talk to this
man about Dix. It's like it's it's vague, it ain't

(58:35):
it ain't respected, Like so it's like, what is his
energy supposed to be. Yeah, if I'm not comfortable with
something you're saying, but I still gotta be here. I'm
just gonna sit here. I'm not gonna say nothing. I
got respect for you, but Adam didn't take it as that.
Adam took it at Oh, you're not trying to be here.
You're not trying to be an interview. No, bro, I'm
just not trying to talk about another man's dick like

(58:56):
and it's like, that's not It's not what I want
to talk about. But why we aren't here talk about
my music? Why are we not here talking about what
have I done to be here? Why are we not
here talking about how did you get with E forty?
How did you get Snoop Dogg on your Why them
questions didn't come up? Why are we talking about dicks
while this man is sitting here promoting me.

Speaker 1 (59:14):
I think a part of it is and we and
me and him consciously pride and me, well not even
me and me and our team, We consciously pride ourselves
on not being a part of the circus.

Speaker 2 (59:24):
I don't.

Speaker 4 (59:25):
They don't respect our music.

Speaker 5 (59:28):
They only respect our gang ship and our street politics.
Fucking all this ship that's going on between fucking Ace
Pun and fucking That though them, it's two la niggas
who've made it their own back. Me and Pun don't

(59:48):
even get along, but shout out Pun because he did
whatever he did to make it in life and he
put his Homi zone his friend zone and he keep
reinventing himself.

Speaker 2 (59:58):
Yeah that's true.

Speaker 5 (59:59):
But why is him and Dub getting into it over
Adam twenty two over pot like?

Speaker 1 (01:00:03):
I think it's because it's because.

Speaker 5 (01:00:05):
Niggas want to get involved in our street shit and
not talk to us about our music.

Speaker 1 (01:00:08):
Well, the thing that the reason why I'm gonna tell
you and I never spoke on this. I don't speak
on this because I don't want to be a part
of the circus. But my thing is because shit get
real real fast, as we've seen, right, And I know
I had a situation that happened at the radio station
and I realized, oh, I can't play in the media,
I can't play fake beef and because shit get real real.

(01:00:29):
So what I realize is I stay out of everything.
I don't talk to nobody, I don't go on nobody shows,
I don't go on nobody platform. But what I will
say about that situation specifically, is what I realized, and
this is I'm not trying to be racist or none
of that, but what I did realize real fast in
the last three years is and I got some white friends,
I got a lot of white home, especially in the

(01:00:50):
music business. But white people, they're not a part of
this the same in the same capacity. And at the
end of the day, they could take their hat off
and go home. We can't do that. And so because
we're not allowed at that luxury, I don't believe that
we need to move in the capacity that they move.

Speaker 2 (01:01:05):
And that's across the board.

Speaker 5 (01:01:06):
But the fucked up thing about it is like with
No Jumper, right, It's one of the biggest West Coast
media's platforms. So where do the baby songs go to
talk about their music? We do Zoel so I'm going
to talk about his music. We do Kaitlyn go to
talk about his music, we do Blast go to talk
about his music. We're gooda gotta go talk about his music.

(01:01:28):
So it's like, but we're not talking about their music,
like the biggest, one of the biggest West Coast platforms,
and we can't like it is what it is like
but so it's like.

Speaker 4 (01:01:43):
You're not gonna do it.

Speaker 5 (01:01:44):
Like so it's like, are you hindering the artists by
not letting the artists do it because you know it's
gonna come.

Speaker 1 (01:01:50):
It's no different than brands when if When when when
Gap and twenty and Forever twenty one came out and
they offended black people, right, everybody they stopped buying Gap,
everybody stopped patronizing this business. It's no different. It's the
same thing that wasn't true. I know it's not true.
I'm saying that's the optics right. Or we boycott and
we're putting a black square, that's more. That's more perception base.

Speaker 5 (01:02:12):
But we from the streets, we gang bangers the streets
don't got perception.

Speaker 4 (01:02:17):
Nigga. You on here talking, so when I see you,
it's up.

Speaker 5 (01:02:20):
It's no like like they people can go say, oh,
you know, I don't want to stand next to this
person and still be standing next to this person.

Speaker 4 (01:02:27):
But we from the streets, bro, we don't have that luxury.

Speaker 5 (01:02:31):
If I say something about you, nigga, I expect you
to come when you see I know when you I
see you as up.

Speaker 4 (01:02:38):
If I'm sitting in the room and this nigga is.

Speaker 5 (01:02:40):
Talking about somebody else and I'm laughing or I'm engaging
in the conversation. Nigga, it puts me in it, even
if I don't have nothing to do with it. And
that's the part about gang politics in the streets. It's like, Bro,
but everyone like Bro. When I go to Atlanta, Bro,
the six holes and the families hang out like nigga
in La, that won't happen unless somebody's a cousin or

(01:03:03):
some this. And even when they do hang out in
their family, Bro, they still be like, yeah, that's my
cousin from he from the other side. But it's like
my cousin like, so I'll just be I'll be looking
back at it, like, Bro, I know I'm a gang banger,
turn executive cool.

Speaker 4 (01:03:21):
You can take it how you take it. You can
look at me how you look at me.

Speaker 5 (01:03:24):
But Nigga, just because I'm a blood don't mean I'm
not gonna show love to a crib just because I'm
a Like Bro, I got homies from Hoover, I got
homies like who I've known.

Speaker 4 (01:03:33):
So I was a kid. I got homies from Great Pool.

Speaker 5 (01:03:35):
I know, I was a kid like but our hoods
don't got nothing to do with us knowing each other.
But you got respect in your hood as a man
because you cared yourself as a man. You're not when
the weird niggas from the hood, because how you care
yourself as a man, So you got respect, Like, I
feel like it be more based on that. And Bro,
we let people like Adam Bro dictate how we view

(01:03:58):
somebody else to respect somebody else, and it's like, this
is the streets in La Bro, like how Grido said,
like nothing in a podcast should turn into reality, but
that's not the reality we live in because everybody, if
somebody say your name, it goes back to perception.

Speaker 4 (01:04:13):
Because now your homies like, what you're gonna do about it?

Speaker 2 (01:04:16):
Oh nigga, use a what and you gotta come back
to the pride thing.

Speaker 5 (01:04:20):
And then you are your homies not even worried about
what you gonna do about it. Your homies ready to
ride nigga because it's you. I got so many homies
from my hood who's ready for nigga me to get
into some music shit or him again.

Speaker 4 (01:04:34):
Bro, well you're not on that. If it happened, Bro,
I pray to God it don't. But it's like, bro,
if it do.

Speaker 5 (01:04:40):
Happen, I'm not about to go call my whole hood
and have my whole hood come beat up on this
rap nigga.

Speaker 2 (01:04:44):
Right.

Speaker 4 (01:04:45):
If I got to do that, nigga, then nigga, I'm
not a nigga.

Speaker 2 (01:04:48):
Bro, Do you remember if I.

Speaker 5 (01:04:51):
Get into it, what you I'm gonna come to you do?
You don't need thirty niggas?

Speaker 1 (01:04:55):
Do you remember when I called you about getting a
studio for somebody to come to a podcast? Uh?

Speaker 5 (01:05:01):
Huh?

Speaker 4 (01:05:03):
Yeah?

Speaker 1 (01:05:05):
And then when I was like when I realized what
I was doing because I didn't know. I mean I knew,
but I didn't think. I wasn't thinking. I'm be honest
with you, like, if you call me, you like, hey, hey,
I know you know somebody in Texas, I'm like, call
my man in Texas, hook you over with the studio.
So it wasn't him that called me. It was the
homie that called me and was like, y'all need a
studio for so and so. And I was like, okay,

(01:05:26):
I got you.

Speaker 2 (01:05:26):
I called Rob.

Speaker 1 (01:05:27):
I'm like yo and I and as I we on
the phone, Rob is like who I'm like Yeah? He
was like and I didn't realize what I was doing.
And Rob was like, yeah, go ahead and just tell
him send him over here good. And I'm like and
I'm like, oh, I'm tripping. I'm tripping. Never mind.

Speaker 2 (01:05:45):
No. Rob was like, no, no, no, it's cool.

Speaker 1 (01:05:46):
Send them over you be straight. We're gonna make sure.
I'm like, nah, I'm cool. And I got off the
phone right. I told him, go find your own fucking studio.
Call I heart, call somebody, find your own fucking studio.
They end up finding the studio. He goes on the
air and tough guys himself. It's like, yeah, you know,
I'm scared. I'm like and then and then the homies
hit me like see and I'm just like, But I

(01:06:09):
also realized the responsibility that comes with being people who
we are, and that's part of the responsibility. And me
and Me and me and Glasses be talking about this, like,
as far as God be looking out for babies and fools,
if you are a sound mind and body, you on
your own, and you have to look out for people
who probably don't have the same mental capacity that you have,

(01:06:31):
even when they being on some weird shit or goofy
or whatever the case. May be you still have to
come and it's like I'll be talking to guy like
I'm tired of taking the high road. But it don't never.
It don't never like weather type shit out for you.
And it's a difficult process. You know what I'm saying.
I want to speak to something real quick because it's

(01:06:52):
something that you kind of alluded to or you did say,
and it's something you spoke on as well as far
as the interviewers or whoever talking about the music versus
a ting about the bullshit. And this comes down to this.
We're talking accountability now right, And from what I've seen
from the metric side, the music don't do views. It's
the bullshit that does views.

Speaker 4 (01:07:09):
Yeah, not everything.

Speaker 5 (01:07:10):
Everything has a sort of clickbait to it, Like even
like everything I've said today, like I'm sure a moment
of it can be used as a clickbait to get
people to go look at the interview. But when you
come back to the interview, is the interview just clickbait?

Speaker 1 (01:07:27):
Gotcha? The whole thing. I see what you're saying, are.

Speaker 5 (01:07:29):
You diving into the artists like Bro? And when I'm
saying diving in Bro, I'm not saying to know this
person life story.

Speaker 1 (01:07:36):
Yeah, and I got to.

Speaker 4 (01:07:36):
Take five minutes to read a one sheet.

Speaker 5 (01:07:38):
Oh he just dropped this song last month, this on
the month before the biggest streaming song is this song?

Speaker 4 (01:07:44):
Is like, what do that take?

Speaker 5 (01:07:45):
But it's like also about caring about your job and
the platform and what you're doing. Are you just trying
to feed people clickbait?

Speaker 1 (01:07:52):
So here's my response to that. I hear you totally understanding.
I feel like that's again what we pride ourselves in
in terms of like when we do talk to people
doing that research and just make sure we having a
deeper conversation or whatever. But then this is just from
my own personal experience and my own like my thought process,
and I know I've seen other people kind of go
through it as well when they take the time to

(01:08:12):
do that and have those conversations, and it doesn't necessarily
do those views. Yes, you have the integrity which we
brought ourselves in, and that's fine, but then you see
the bullshit go so much faster somebody else. Yet we
care about it, and we care about the platform and
what we do, But somebody else that doesn't really necessarily
give a fuck about that, they gonna say, why would
we even do that when we know this is the

(01:08:33):
shit that.

Speaker 5 (01:08:35):
He can go far as immediate person. I feel like
is and I could be wrong at this. I feel
like it's the media's person's job to understand the balance
between the both. You can ask me something that's uncomfortable,
like I'm here for that, right, it's up to My
answer is on me, But you can ask me anything.

(01:08:58):
But based off of that is this whole interview like
I'm saying like like I'm not saying like, bro, like
you need your views, you need your clicks. I know
what it is, But Bro, don't just get me on
here and down talk me, down played me, down talk
my city nigga and oh yeah I heard you got
into it with this person.

Speaker 4 (01:09:17):
I heard like like none of.

Speaker 2 (01:09:19):
These questions did you shoot at SO and so you
want me.

Speaker 4 (01:09:23):
To go to?

Speaker 5 (01:09:23):
Like like it's like, like what are we doing? Like
is this is this just a clickbait site? Or this
a music podcast? Is this like for music? Because like
from what I found, a lot of these podcasts started
as music even like, Bro, I don't be watching this
nigga shit like that because I kind of agree with

(01:09:44):
somebody else said, But the Joe Budden shit is like
he did Young Boy without listening to Young Boys album
and X, Y and Z, but then he went back
and listened to it and then went back the next
day and took accountability in a oologize for it because
he didn't give it right.

Speaker 4 (01:10:03):
That's all. That's all I'm saying.

Speaker 5 (01:10:04):
It's like, BRO, take the time to understand, like bro,
any artists Like BRO. When I listen to an album,
like I try to understand what that artist said or
what they was going through, what they talking about, Like
what is that? What is the album about? Unless it's
just a gang of songs. It it's a compilation. It's
a compilation. I can figure that out by song three four.
But it's like if you got skits, if you got interlubes,

(01:10:26):
if you got transitions happening, Like I'm paying attention to that,
to the musical aspect of it while I'm diving into
the album and to understand what you're going through, like
cause it's like that's all music is supposed to be, right,
supposed to be then about what you go through or
what you saw somebody else go through. So how can

(01:10:46):
somebody do that trashly to a certain degree.

Speaker 4 (01:10:49):
You might not like it.

Speaker 5 (01:10:50):
It might not be there for everybody, Like I don't
listen to everybody's music. But it's like I've heard a
million people tell me nigga. I've heard people say, yah,
the's weak, and I say, how he's had.

Speaker 4 (01:11:00):
A number one? How many people had number one?

Speaker 1 (01:11:03):
You do it right?

Speaker 4 (01:11:04):
He had a song nominated for a Grammar or won
a Grammy. He's feeding his family, his kids, He's doing X,
Y and Z.

Speaker 2 (01:11:10):
He wrote the other song for the girl.

Speaker 4 (01:11:11):
You know what I'm saying.

Speaker 5 (01:11:12):
Like, it's like, so it's like in what aspect and
he's content with himself and who he is, and he's
happy in life. He ain't mad about nothing from the
conversations that I have with him. So it's like that's
what I feel like, is really like he's winning like
no matter what, Like he's winning in life based off
of music. He used music as a plateau to put

(01:11:34):
him in a different atmosphere to do whatever he wants to.
The niggas sall nail polish right like, and it's like
how deep did he go into the He put on
nail polish, He sold the nail polish he gave y'all tutorials.
He talked about the nail polish. He gave the nail pology,
So now y'all know it's real and it's a brand.
So people bought into it. But like, are people that

(01:11:56):
goes back.

Speaker 4 (01:11:56):
To the music? How many people do that with their music?

Speaker 5 (01:11:59):
Niggas just feel like, Oh, I've been recorded for the
last six months, this is the album I came with.

Speaker 4 (01:12:03):
Here go tell me what y'all think.

Speaker 5 (01:12:05):
Like Nigga, even with Tyler the creator said about Bro,
I'm gonna promote my fucking album every day too. I'm
fucking tied up right, And it's like Nigga, that's bro.
I tell this, bro, I tell them every day. Bro,
you got a song out, Bro, I'm not putting another
song out till you promote this song.

Speaker 2 (01:12:22):
Please this out?

Speaker 1 (01:12:22):
You got you got show.

Speaker 5 (01:12:24):
Me different organic ways to promote this song, because if
we put out the next song and you just post
a cover, we're gonna.

Speaker 4 (01:12:30):
Do the same thing.

Speaker 1 (01:12:31):
Do you agree with artists uh wiping the social media
and or removing all the songs and starting from ground up,
because I know that's the thing that's been done. Do
you agree with the disagree with them?

Speaker 5 (01:12:42):
I'm not I'm not for it and I'm not against it,
but I will say, like when you are trying to
be in the world or live a world, like it
makes sense like if the hour, if the artist is
kind of just based off pure lifestyle and just doing
dope content and that's what their Instagram is for, then what.

Speaker 4 (01:13:01):
You wipe it for?

Speaker 5 (01:13:02):
But like if you're using your Instagram as a marketing
tool for your music and you only really post music
ship about your altum, like it's like Kendrick, like he
ain't he posted on instagram ship about his album when
he does this out like so like when that chapter
is over, he closes that chapter, but he's not going
to go and make a new Instagram.

Speaker 4 (01:13:20):
This is Kendrick Lamar Instagram.

Speaker 1 (01:13:23):
You just got Jojo Rooski the burner account that we
all got a burner.

Speaker 2 (01:13:27):
I don't have a burner.

Speaker 3 (01:13:28):
Don't neither.

Speaker 2 (01:13:34):
I don't have a burner.

Speaker 4 (01:13:37):
How many Instagrams you got on your phone? One you
a homegrown radio?

Speaker 2 (01:13:41):
No, we have a social media person.

Speaker 4 (01:13:43):
Did you get the password in that case?

Speaker 2 (01:13:45):
And I do?

Speaker 4 (01:13:46):
I give you that have my creative Sound Instagram. That's
that's my burner.

Speaker 2 (01:13:50):
Whenever whenever it was something go up and some need
to be.

Speaker 4 (01:13:53):
You mean like a fence to burner two different.

Speaker 2 (01:13:56):
See, I don't have none of that.

Speaker 4 (01:13:58):
No, like I got.

Speaker 5 (01:14:00):
I had so when I worked at Interscope, I had
made a fence to because I saw a weed, I party.

Speaker 4 (01:14:08):
I'd be out with women. I do all the.

Speaker 5 (01:14:12):
Real life stuff that I do that I can't could
not display because I worked for that company, like not.
And it's not that they told me that I couldn't,
but it's like, you know.

Speaker 6 (01:14:21):
You have you seen like on Instagram, like you could
post like your your actual post and your close friends.

Speaker 3 (01:14:28):
Now so like yo, you could post like your close friends.

Speaker 6 (01:14:31):
That was that wash what I'm saying like right now,
Like that's crazy.

Speaker 3 (01:14:38):
I want to.

Speaker 2 (01:14:41):
You know what I was on I did.

Speaker 1 (01:14:43):
I was on rides close friends, and I understand why
you have a fence. I was so close friends and
this is before close friends and seeing his interactions with
like him and his girl and like different ship. I
was like, oh.

Speaker 5 (01:15:02):
Bro, real life like but it's like when you work
for a company, like you are walking.

Speaker 4 (01:15:11):
For them.

Speaker 1 (01:15:11):
So speaking of that, and this last thing I want
to ask, speaking of that, when do you agree with
people being charged. Do you do you agree with people
in brands being held accountable in their real life or
stuff that they know? So if I do something, if
I work for iHeart and I go beat up, push
a rode on in the street, and I and.

Speaker 4 (01:15:33):
What's your real name?

Speaker 2 (01:15:34):
Aaron Drake?

Speaker 4 (01:15:35):
Did Aaron beat up? Push DJ head?

Speaker 2 (01:15:37):
Aaron Drake beat a rod?

Speaker 4 (01:15:40):
A rod?

Speaker 5 (01:15:41):
So why being accounted for you? It's like I look
at it like that. It's like me too, because then
you wouldn't you create a fensive right?

Speaker 3 (01:15:50):
That's still you.

Speaker 4 (01:15:50):
That's still no, because that's not because of me.

Speaker 5 (01:15:53):
That was because of respect for the company that I
worked for, Like I couldn't promote my real life because
of that company. But at the same time, I will
still push a rod. But like it's like how people
say this and I don't.

Speaker 3 (01:16:06):
Give a fuck.

Speaker 4 (01:16:07):
How I look at it like this, you still be
full Kelly music? Nobody want to answer that question.

Speaker 1 (01:16:15):
I don't fuck with music when I'm Usually when I'm
doing that, they be like, are you still watching on
the TV when I'm doing that?

Speaker 4 (01:16:22):
Okay, see, like great, but I don't give a fuck
about Robert. That's a bad person. I never knew Robert.
But Bro, my grandma who passed, who I grew up with.

Speaker 5 (01:16:35):
I used to be in the kitchen woe when she
used to cook, used to cook to step in the
name love on right, So it means something.

Speaker 1 (01:16:40):
Oh no, I was still playing, Like if I DJ
the wedding, I would still play it.

Speaker 4 (01:16:44):
This is what I'm saying.

Speaker 5 (01:16:45):
But like you want me to disclaim this music that
I grew up loving because of what this person did
in his personal life.

Speaker 4 (01:16:53):
And I don't know anything.

Speaker 5 (01:16:54):
About this person. Fuck no, I'm not gonna do that.
It's a difference between the two because I can't call Robert.
I can't ask Robert for a dollar. I can't like Bro,
Robert didn't come to my graduation. Robert didn't touch my
little cousin. Like, but it's like I know deeper layers.

Speaker 1 (01:17:11):
You got a brag and wants to make a song
with R Kelly? Would you set that up?

Speaker 4 (01:17:15):
R Kelly's in jail man.

Speaker 1 (01:17:16):
But what I'm saying, would you said hook?

Speaker 2 (01:17:18):
Now he's laid you a hook?

Speaker 4 (01:17:19):
Would you would I let him make the song?

Speaker 1 (01:17:21):
Would you know?

Speaker 4 (01:17:22):
Would you would the song come out?

Speaker 1 (01:17:24):
Would you make the song and put it out? Would
you promote the song. I wouldn't even want to do
that though, why not? I mean, I understand like the
publicity and all that, but it's like, well, you didn't.
You didn't answer the question. I'm talking about you. You
from your business. You said you can separate the man
R Kelly and Robert. So now you have an opportunity
to put gut a brag on the song with.

Speaker 3 (01:17:46):
R Kelly as of today. As of today, he put
it out.

Speaker 6 (01:17:48):
He's Robert to us now said again that Robert has
came out.

Speaker 3 (01:17:52):
Now you know, we don't.

Speaker 4 (01:17:53):
R Kelly's not putting out music anymore. Robert and Robert's life.

Speaker 1 (01:17:56):
Okay, So that trial, if Robert found a way to
let Robert, would I let R Kelly write a song
for God? No? No, no, would you put a song out?
I've got a bragging featuring r kel sounds. If it's amazing,
if it's fire, it's ahead. Put okay, just as long.

Speaker 5 (01:18:14):
As I really believe that this song can change his
life and everything. It's like, bro, it's the music. The
music matters, not nothing like nothing in the personal.

Speaker 1 (01:18:25):
So so where so let me ask you this? So
then where do you all right?

Speaker 5 (01:18:30):
You drink liquor. You drink cosgos? Have you ever drunk costs?
Would you not drink cosson migos? Because what George Coloney did,
What did.

Speaker 2 (01:18:40):
George Clooney did?

Speaker 3 (01:18:40):
He didn't even know that is do?

Speaker 1 (01:18:43):
I don't know the story.

Speaker 4 (01:18:44):
Ain't George Cloney supposed to be a bad person.

Speaker 5 (01:18:46):
Ain't George Clooney supposed to did some stuff to some
women in X Y Z oh.

Speaker 4 (01:18:50):
I mean, I don't know, but but that came out.
But we're not. We're not.

Speaker 1 (01:18:54):
So you're saying we don't do that to us, or
you saying that you do that to us. Okay, I
believe that, But then I also seen what the white
people did to the Weinstein dude, and the white people
did that to a couple of other people in the
in they world a little bit. It ain't bad, it
ain't as bad, but you're right, we do do that
to us. I guess my point was is that you

(01:19:15):
although you say you don't separate them or you do separated,
there is a world where you're like, Okay, well I
do have to separate myself from that because of.

Speaker 5 (01:19:23):
Y But that I feel like that's the difference of
brand association versus liking a song like this is what
I'm saying, Like, maybe I should say it a little better.

Speaker 4 (01:19:33):
I'm like, we grew up listen to R. Kelly, this
was great songs.

Speaker 5 (01:19:37):
Like we're not talking about what the man is doing
in his personal life and doing today or what he
was doing at that house that didn't have nothing to do?
Did we know that when stepping the name of love
I do. It's like so a million I mean, all
these kids say these crazy things about Michael Jackson. I
personally don't believe him. I don't know Michael Jackson, the

(01:19:58):
nigga who sung them songs that I love.

Speaker 2 (01:20:00):
I can't.

Speaker 5 (01:20:01):
I can't you know what I'm saying. But we still
have people tarnishing his brand to today. Yeah, Like, but
it's like Michael Jackson is still Michael Jackson. We ain't
take Michael Jackson's songs off of fucking iTunes.

Speaker 1 (01:20:13):
Yeah, I understand that. But the reason why we talked
about this on the last year. But the reason why
I like to bring I like to have the conversation
is because one, I do believe we do that to
us more so than everybody else. And then two is
because when you look at it like that. It's like
a lot of these people take a moral high ground,

(01:20:34):
and a lot of their morals are based in religion
and religion hold on, and religion is usually charged on
the premise that no sin is greater than the other.

Speaker 2 (01:20:42):
Right, So this is.

Speaker 1 (01:20:44):
No you, what you do in your regular life is
no worse than what this man did, if both of
them are seeings. If we're taking a religious moral high ground, right.

Speaker 5 (01:20:53):
But then I also look at it like this, like, hey,
you know me as a game banger, right, I know
Rod and you know me.

Speaker 4 (01:21:01):
It's pushing a round the music executives. Is that the
same person?

Speaker 2 (01:21:05):
I believe I've seen you evolve into a different person.

Speaker 4 (01:21:08):
Are they the same? Would you?

Speaker 5 (01:21:09):
Would you have had Rod the gang banger come here
and do an interview today?

Speaker 2 (01:21:16):
No?

Speaker 1 (01:21:16):
Why not because it wouldn't have been nothing for us
to talk about but the bullshit?

Speaker 5 (01:21:21):
Right, But you can push a Rod the executive come
here and do an interview today.

Speaker 4 (01:21:25):
But they the same person?

Speaker 2 (01:21:26):
Yeah, in theory, they're different people.

Speaker 4 (01:21:29):
But in the same body.

Speaker 2 (01:21:32):
So you identify as a new nigga.

Speaker 4 (01:21:34):
I'm not saying that.

Speaker 5 (01:21:36):
I'm not saying identify as a new nigga like bro,
like like judge with judgment zones, like I don't want
anybody to judge me from what I've done or who
I am in the streets in the music, and I
get I get very frustrated, like when I hear it,
like bro, it's just one nigga, Bro, and it's crazy.
This was like last year, me and YG did this

(01:21:59):
bowling party at this bone Nolly and this dude he
was at my studio the day before. Then the next
day he went to go work at another studio with
this other group of people.

Speaker 4 (01:22:10):
I don't want to say no names. You feel me.

Speaker 5 (01:22:12):
But then then the day he went to go to
the studio with them other people with the same night
as our event.

Speaker 4 (01:22:18):
And then when he left there he called me like.

Speaker 5 (01:22:21):
Hey, ride, Bro, I just want to know, Bro, are
you sure it's cool if I come?

Speaker 2 (01:22:25):
Bro?

Speaker 4 (01:22:26):
I don't want I don't want nothing to happen. Bro,
I got my jewelry on, Bro, I ain't got no security.
Should I cast the I'm like, bro, you good, Bro,
pull up?

Speaker 2 (01:22:33):
Bro, you with me?

Speaker 5 (01:22:34):
Gucci Brocine had an incredible time, amazing time, and then
it was over.

Speaker 3 (01:22:42):
We all drunk.

Speaker 4 (01:22:44):
He was right there wasn't you nigga like, hey, Bro,
I ain't gonna lie.

Speaker 1 (01:22:47):
Bro.

Speaker 5 (01:22:47):
I was scared to come because they said, Bro, it's
just gonna be gang bangers here and no women.

Speaker 4 (01:22:51):
I said, and I said, I took the mic. I
was drunk as fuck. I took the mic.

Speaker 5 (01:22:56):
I said, Bro, Now look around, look to you all right,
look to your left, you see gangsters and beautiful ladies right,
but who you see more.

Speaker 4 (01:23:03):
Of bad bitches?

Speaker 5 (01:23:06):
Stated But it's just like because Bro, another nigga gonna
tell you don't come with me because it's just gonna be.

Speaker 1 (01:23:10):
Game bangers narties.

Speaker 5 (01:23:12):
My parties is full with the baddest women. I want
to have the baddest women around me. And of course
game bankers are gonna be there, but eclectic niggas are
gonna be therega like I want to have in a
dream where I would have rants, I would have David Sebastian,
I would have my homie from the hood. I would

(01:23:34):
have Thomas, my Asian cameraman, all hanging out with me
at the same time, because those are all of me
though that I'm in. So it's like when I throw
events or when I have parties that's what is there.
My first when we had fucking doing COVID, I was
throwing a party called front of a friend Nigga bro
one friend of friend. I had Yo Gotti Meg the Stallion,

(01:23:58):
U fucking money bag Yo.

Speaker 4 (01:23:59):
All day once crazy.

Speaker 5 (01:24:01):
I was a and arm money bag. But Bro, I
had a whole bunch of gangsters in there. I had
a whole bunch of all kind of cration in the
house party and it was amazing. No fights, no gunshot,
no nothing. Who get you shut the police, get you
shut the party down. The police, not no niggas. And
I'm okay with that. There's never like I knock on
wood like when I was young. Yeah, why used to

(01:24:21):
throw parties in my grandma backyard. Got But I've been
throwing R and B parties and all type events at
my studio. Bro And by the grace of God, Bro
ain man one issue, Man, one issue. The only issue
be the neighbors be mad because it's this many black
people in their neighborhood. Other than that, like Bro, I
just did my two year anniversary on Marrols. I had

(01:24:41):
a concert at my studio. I had g Herbo, I
had o Gez Babystone Gorillas, Rouchie and Gutta all performing
in my parking lot at my studio, and I had
like four hundred people come crazy for my two year
anniversary and again no problems, no issue, no drama, Everybody

(01:25:02):
left having fun.

Speaker 4 (01:25:03):
But that's like it starts from the inside out.

Speaker 5 (01:25:06):
Like I feel like you can't talk about the change
if you not part of it, like and everything I'm
doing is part of the change and part of West Coast,
Like Bro, I was just texting nigga DJ from Blue
Bucks this morning about some other shit. But the same
nigga who brought me up through this game be more
branded more he manages Blue Bucks, and.

Speaker 4 (01:25:31):
You get a little deeper.

Speaker 5 (01:25:32):
He also manages Kamaya, but then you get a little deeper.
Why Geez tour manager Rory is oh Jz's manager, Like.

Speaker 1 (01:25:40):
Bro, all our shits.

Speaker 5 (01:25:41):
So close in, But then it be a lot of
people not and it'd be like people be wondering how
we so close in, how we know about so and
so and so and so, Bro, because it's like from
the top of the top we are LinkedIn know about shit.
I go to a Blue Buck show, I don't care
how many cribs there by myself or maybe with Gutta
or maybe with my girl. Like, but I'm going there

(01:26:02):
to support the Blue Bucks play. I'm not going there
Nigga as nigga locked from Swans, Push A Rod the
music execs. So it's like, how they gonna take of
me as I come? You know what I'm saying. Like,
so like that's why I feel like you can't really
compare Robert.

Speaker 2 (01:26:18):
To I don't know.

Speaker 1 (01:26:21):
I just I felt like there's I get what you're saying,
and I think it's more on a personal level, But
there is a world where you do have to separate
the two. And I totally understand from a personal standpoint. Yeah,
you enjoy the music.

Speaker 5 (01:26:32):
Cool Rod does not deserve to be on homegrown radio.
That's that's who's to say that though?

Speaker 4 (01:26:39):
Because Rod is on bullshit.

Speaker 1 (01:26:41):
I mean there might there might be some ship that
Rod can give somebody else that's listening right now.

Speaker 5 (01:26:47):
That's that's Some of those experiences come through the advocator
Push A Rod, got it, got it, Like there's different chapters,
different parts of life. Like it's like, I don't know,
it's like push Around is advocating for everything and for
better and for better. La better the streets, but lots
from Swans is a total different niggas. We live in
the same body. But like you know, that's just being honest.

Speaker 1 (01:27:11):
Dude, go ahead, No, I was gonna ask one more thing,
uh you being on your own and I know I
I be owing you about, like we need you in
the building. We need you to do this and we
need to do that. Being somebody that you you left
a corporate environment. I left a corporate environment. What's your
biggest takeaway? Your biggest like the best, the most positive

(01:27:35):
thing that came from that, and then something you regret.

Speaker 4 (01:27:38):
The biggest takeaway was understanding.

Speaker 5 (01:27:43):
Where can I interschool with Like my first real job,
my first corporation job. It helped me understand the music
industry and artists and what it actually takes into breaking
artists and understanding how to make people care about an
artist versus just thinking like, yeah, bro, this's my ritist.
IM gona put out songs and I'm gonna get a
show and then we're gonna get cracking.

Speaker 4 (01:28:02):
That's not it.

Speaker 5 (01:28:03):
Like, it's the back end and understanding like why you
need to do certain things or what the full three
sixty of an artist is, what the other part, what's
something you regret?

Speaker 4 (01:28:14):
Something I regret.

Speaker 5 (01:28:16):
Is while I was in the building there was certain
artists who I really wanted to sign that I should
have fought for harder because I believed in the artists
and they turned out to be who I thought they
would be. But because somebody else was paying the check,
it was like, I fight until you feel like I

(01:28:39):
don't want you to think like I'm getting back in
money or no, so.

Speaker 4 (01:28:43):
I'm just leaving alone.

Speaker 5 (01:28:44):
But and then the last thing I say, I wish
I would have when I was in the building tried
to be more into it and involved with what was
going on in the West Coast.

Speaker 2 (01:28:56):
I feel that.

Speaker 1 (01:28:59):
Project, I say, let's get to the music. Project is coming.
I'm well, technically project.

Speaker 2 (01:29:04):
Is out now.

Speaker 1 (01:29:05):
The project is out now. What is something that I mean?
You took a year off, which is crazy. It's something
that you put into the I mean, what's something that
you learned throughout the project that another artist could benefit from,
not not from you, somebody else watching.

Speaker 6 (01:29:20):
You take time with your craft and make sure every
time you're working in the studio you fully focused. You
can't always answer the phone, you can't always be on
Instagram while you in the studio, you gotta be locked
in because that take away a lot of your time
in the studio. Being on the phone. You gotta shit

(01:29:40):
that motherfucker down and just think about shit. You gotta
sacrifice time. You gotta sacrifice, not even I'm not saying
no demonic sacrifice type shit, but like I had to
sacrifice time away from my daughter, like down there. Half
of the time she's been alive. Like the majority of
my days I'm in the STUDI yeah, so the other

(01:30:01):
twelve I'm with my daughter. So it's like sacrifices is
one of my biggest things I learned, Like you can't
bush it sometimes.

Speaker 1 (01:30:08):
Jane got a second chance. Man, We appreciate the conversation.
Man got to Bracken push a ride. Uh Man's homegrown.
Love these conversations, and we'll continue to go up the
next go round. Man, Chuck dizzle DT your head, catch
you out next time.

All Episodes

Episode Transcript

Home Grown News

Popular Podcasts

Fudd Around And Find Out

Crime Junkie

24/7 News: The Latest

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

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Members Only ft. Pusha Rod & Gudda Brvckin

Episode Transcript

Home Grown News .css-1q01m3q{margin:0 0 -2px 0;}

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Fudd Around And Find Out

Crime Junkie

24/7 News: The Latest

All Episodes