August 15, 2024 • 31 mins
Ever wonder how marketing magic happens in the music industry? Join us as we sit down for Part 2 of our conversation with the legendary Chris Atlas, the mastermind behind iconic campaigns like Kanye West's "Through the Wire" and Boost Mobile's Rock Corps. Discover the secrets to his innovative strategies, the vibrant atmosphere at Cornerstone, and unforgettable moments like Mickey Factz first encounter with Lupe Fiasco. Chris offers a treasure trove of behind-the-scenes stories and insights, culminating in his influential role at Def Jam. This conversation is a must-listen for anyone curious about the alchemy of brand and culture in hip hop.
Additionally, we dive into the legacy and future of Fat Beats. Hear about Chris' vision to grow its influence in the digital age while staying true to its vinyl roots. From celebrating its 30th anniversary to exploring strategic pop-ups that capture the essence of the original Fat Beats store, we're excited to share a glimpse into the future. Plus, we highlight the importance of relationships in hip-hop and how these bonds led to Chris' work on the critically acclaimed new album with Pete Rock and Common. Tune in for an episode brimming with industry insights and heartfelt stories.
"Unglossy: Decoding Brand in Culture," is produced and distributed by Merrick Creative and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/.
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Episode Transcript
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Speaker 1 (00:00):
on this episode of Unglossy.
Speaker 2 (00:02):
Def Jam.
Was that brand like?
In terms of everything youthought Def Jam was, it was.
You know what I mean.
Speaker 1 (00:12):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:17):
I'm Mickey Fax.
Speaker 4 (00:19):
And I'm Jeffrey Sledge.
Speaker 1 (00:20):
Welcome to Unglossy, to coning brand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip-hopartist and founder and CEO of
Pendulum Inc.
And that is Jeffrey Sledge, aseasoned music industry veteran
who has worked with some of thebiggest artists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:41):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
And now part two of ourconversation with Chris Atlas
what are some of the craziestcool projects that you did work
on that you're most proud offrom those days?
Speaker 2 (01:02):
On the music side, right on any side.
Well, I mean, it was a lot.
I mean, I think we actually onthe Cornerstone side, we were
one of the original companiesthat helped to start the Through
the Wire campaign for Kanye.
You know, and you know, we allknow, what that record you know
(01:24):
did for him in terms of justkind of starting.
You know, and you know, we allknow, what that record you know
did for him in terms of justkind of kind of starting.
You know what was and has beenan incredible career for him.
We did a great campaign withBoost Mobile called Rock Corpse,
which was a give back,community based program where
(01:44):
kids were invited to volunteertime for community service.
And you know, uh receive, uhboost mobile phones.
You know, and um, which youknow at the time, you know it
was all about the chirp.
You know what I'm saying.
So uh, boost mobile was, uh wasa great project at that time.
(02:04):
We also worked on Sprite andthe Sprite Remix, where the idea
with Sprite was they remixedtheir flavor.
So they had, for that shortperiod of time, sprite Remix,
(02:34):
which was a variant, if you will, of the Sprite formula, and we
did a whole campaign withcreating custom remix vinyl
utilizing certain artists atthat time DJs just to kind of
merge the remix concept withactual vinyl and artists.
And also, you know, at thattime Cornerstone was one of the
companies that Microsoftactually hired to do seating and
(02:57):
marketing for the Xbox, andthis is when Xbox first came out
.
So you know, yeah, getting oneof those Xboxes was like coveted
.
You know what I mean.
Speaker 1 (03:11):
Yeah, Wow, I didn't realize Cornerstone had its
hands into so many things.
Yeah.
Speaker 2 (03:17):
And again, I feel like at that time, you know,
Cornerstone was definitely oneof those groundbreaking
strategic marketing companieswhere it was new.
At that time, you knowCornerstone was definitely one
of those groundbreakingstrategic, you know, marketing
companies where it was newterritory in a world where it's
very common, you know, and partof just marketing across the
board.
Speaker 4 (03:35):
It was early with the branding.
It was early with the brandmarketing, you know.
Speaker 2 (03:41):
Yep Very nice.
Speaker 3 (03:42):
Rob Stone, obviously, and you know I met Lu nice Best
of peace, Rob Stone, obviously.
And you know I met Lupe Fiasco.
First time I met him was atCornerstone.
Speaker 4 (03:52):
Yep, oh is that right .
Speaker 3 (03:52):
Yes, that was my first time going to Cornerstone.
Cornerstone was known for theirin-office party.
Speaker 4 (03:59):
Yeah, the parties was lit.
Speaker 2 (04:02):
Yeah, the Carvanhas.
Yeah, great one.
Yeah, great one.
The Cornerstone mixtape Don'tforget the Cornerstone mixtape.
Speaker 3 (04:08):
I was lucky enough to be on that, but Lupe was doing
his the Cool listening atCornerstone and I was
representing Laced Magazine atthe time Because you know Steve
and Quaz, they owned themagazine and I was the editor.
So they was like yo go down toCornerstone and, you know, meet
(04:32):
with Lupe.
Because it was a media eventfor Lupe and the cool and I'll
never forget.
First of all, this is my firsttime seeing because I didn't
meet Chris that day.
All this is my first timeseeing because I didn't meet
Chris that day, but that was myfirst time seeing Chris Atlas
and that was my first timemeeting Lupe and I'll never
forget the conversation I hadwith him.
This was 2007, and I was likeone day we're going to work with
(04:56):
each other I don't know when.
One day we're going to workwith each other.
And a year and a half later wewere.
The first time we workedtogether was in japan.
We did a show together in japanand you know that would not
have happened right, and I'm I'mpretty sure you helped or
probably put that together forhim.
That particular event, uh, thathappened because it was
(05:18):
basically playing the albumbefore I came out.
Um, so that was like, andobviously like.
A couple months later I was inthe fader.
That was my first magazinepress that I ever got was the
fader.
Yeah, fader was big man.
Speaker 4 (05:31):
Wait.
So how did you transition fromthere to Def Jam?
Speaker 2 (05:38):
And again, I think, from Tommy Boy to Cornerstone,
cornerstone allowed me to expandbeyond promotion and that's
when I actually started to makethe shift from promotion to
marketing Right.
And then, um, uh, part of partof making that shift was, um,
(06:04):
when the Def Jam opportunityavailable, it was for a SVP,
head of marketing role at DefJam and this was 2008.
And again, I think that theknowledge from Def Jam,
understanding radio promotion,a&r, to the knowledge that I
(06:28):
acquired at Cornerstone withmarketing, strategic marketing,
brand marketing, kind of put meon the longer trajectory to
continue in marketing, whichagain up the the opportunity for
me to work at Def Jam and um,uh, grace Harry at the time at
(06:53):
Def Jam, you know Grace, yeah,we worked together a job, um,
yeah, she yep, she, uh, she wasthe head of creative uh at Def
Jam at the time and um, creativeat Def Jam at the time and she
kind of, you know, recruited me,you know, based on this
position and you know, knowingme and knowing my work and you
(07:16):
know kind of went in and youknow working at Def Jam was a
completely different experience.
Speaker 1 (07:22):
That had to be wild.
To be wild to be the head ofmarketing at Def Jam at that
time too.
Wow.
Speaker 2 (07:30):
Yeah, yeah, I mean, and you know, at that time I got
there in 2008.
La Reid and that regime hadbeen there since 2004.
So there was a lot of success.
There was a lot of success.
There was a lot of egos.
There was a lot of success,there was a lot of success.
There was a lot of egos.
Um, there was a lot of talent,right, and, um, you know, def
(07:52):
jam was that brand like, interms of everything you thought
def jam was, it was.
You know what I Relative to justthe level of, I guess, fire and
competitiveness and fierceness,and just you know that made it,
(08:15):
you know, as great.
Not going to lie, like my first, my first, you know, couple of
months there.
It took me a minute to to getacclimated and realign.
(08:35):
You know what I mean and itwasn't necessarily because I
wasn't good or I wasn't, um, uh,competitive or uh, instinctual.
It was just a different company, in a different way of being
and working right.
And it's like you know how,when you go to a new team, you
(08:59):
know what I mean and you used tobe in coach, you used to be in
coach one way, and then you goto another team and you have to
understand.
Like all right, you're good,right, but this is how I coach.
You know what I mean and thisis how I want my players to play
.
You know what I'm saying.
So once I did that, you knowwhat I mean.
(09:19):
Then I was rocking.
You know what I'm saying.
I was rocking, you know whatI'm saying and you know again,
like just some of the incredibleartists that were there that I
worked on Kanye being one ofthem, rick Ross, ludacris, jeezy
, jadakiss, jeremiah, the dream,like I mean.
(09:43):
The list goes on and on andwho's who's list?
yeah yeah, and and it kind ofextends to, you know, the
evolution of the roster whichyou had, the newer artists that
came in, whether it's a logic oran alessia cara, um, you know,
um, but again, I think thatthere was just this commitment
(10:04):
to the artistry, the dedication,dedication to great music, the
dedication to just doing, youknow, beyond the norm, you know,
and the level ofcompetitiveness, you know, that
was just super present at thatat that label and I feel like,
you know, I think I might havehad like one of the longest runs
(10:26):
in that position as head ofmarketing, because I was there
from 2008 to 2017.
So that's almost 10 years.
You know what I mean.
So that's a great run at Def Jamand you know just the level of
(10:48):
competitiveness and expectationsat that company, you know.
But it was a great team.
That was a great team ofexecutives Pecos Bartles, gabby
Peluso.
Speaker 4 (11:00):
Gabe, gabe and Felicity, oh man.
Speaker 2 (11:04):
Gabe yes, gabe, you know Rodney Sheely Like there
was an amazing list ofexecutives you know at that
company and you know again, Ifeel like that's one of the
things that I will attribute toyou know, just success is like
(11:25):
the team, the team that you havewith you, that works with you,
that you know, you can lock armswith, that you could, you know,
share that same vision and goal.
In Cornerstone we had a greatteam, you know Tommy Boy, we had
a great team.
Def Jam, we had a great team,you know.
So that's to me that's alwaysan important factor who you work
(11:47):
with.
Speaker 4 (11:50):
So to me that's always an important factor who
you work with just as much aswho you're working on the artist
side.
So were you there when Hov was?
Speaker 2 (11:53):
there?
No, because Hov left like 2007.
Oh, so you just missed him.
Beginning of 2008,.
You know what I mean.
And then they will still holdrecords you know what I mean,
but like in terms of, like youknow him being, uh, the
president, you know, like hestarted to.
(12:15):
He started to transition outwhen I, when I you know when I
got there, I can't forget nas,you know what I mean.
Speaker 1 (12:22):
Um, so yeah, yeah, yeah, okay, okay so now, je
Jeffrey, am I allowed to dive inon fat beats at this point?
Because I'm diving into it?
Speaker 4 (12:29):
You're asking me or asking Chris?
You said Jeffrey.
Speaker 1 (12:32):
Yeah, you know you're guiding the ship here, so I
need to know.
Yeah, I mean yeah, why not youknow?
Speaker 4 (12:39):
I mean no, no, no, you're skipping Warner Brothers
though.
Speaker 2 (13:10):
I am skipping Warner Brothers, so let's hit Warner
Brothers.
But I want to know how you endup at Fat, the company, which at
that time was very rock focused, legacy focused, you know, and
wanted to make a run into thefrontline, contemporary, you
know, mainstream space on boththe rock side but the urban side
.
So, you know, I was, you know,recruited to come in and help
(13:35):
revamp the urban side of Warner,right, and in that period we
had, I had to move to LA, whichI'm a New York guy Everybody
that knows me knows I love NewYork, I don't mind traveling but
I love being in New York.
So I had to move to LA for thatposition, which was cool, and I
(13:57):
think at that time there wasdefinitely, I think, a migration
of a lot of New Yorkers thatwere going to LA because the
industry and labels wereshifting out there.
So it was almost like a rite ofpassage, right.
So during that run at Warnerwas part of again revitalizing
(14:21):
the urban side and we had somegreat successes.
Little Pump was at Warner atthat time and he's one of those
SoundCloud phenoms that was huge.
Anything.
This guy put out gold platinumRight, a very, you know, gold
album, double platinum single,sweetie, who everyone is, you
know, knows who.
(14:56):
Sweetie is where, you know,she's still having success and
she's had a number of great hits, you know, shorty, shorty,
freddie Gibbs, like, again, justa number of you know really
compelling urban acts, right, um.
So I was at Warner for aboutfive years, right and uh, in
being there, still in LA at thetime, in being there, um,
(15:21):
fortunate, unfortunately, I had,you know, a traumatic, uh,
personal, um, I had, you know, atraumatic, uh, personal, um, uh
, situation that happened and itrequired me to kind of leave LA
and come back to the East coast, based on, just, you know,
supporting my family, takingcare of my family, doing what I
had to do.
And in coming back to New York,it kind of just changed the
(15:46):
nature of what I needed to do atWarner, right, so I left Warner
in twenty, twenty three and forfor a brief period, I, you know
, was doing my own thing, youknow, with my own company, I
wasn't within a label and thiswas, like, I think, the first
(16:09):
time in 20, some odd years thatI was not at a company.
So, and I, you know, I want totalk about this because I think
it's an important, you know, animportant, not only time for me,
but an important growthopportunity and something that I
think people could take valuein.
(16:30):
But that period of not being ata label where most of my career
had either been at a label or amajor company to having to
figure out what am I going to dowas Right, was very eyeopening,
um, and humbling at the sametime, and I'm someone that
(16:51):
always I always consider myselfa humble person.
But to go through that and haveto either figure out what my
own self-worth is and my ownself-value is and reposition
myself and start anew, right, Inever thought that I would be at
(17:11):
that point.
So the last year was anopportunity of growth and hustle
and just real enlightenment interms of all right, what am I
(17:39):
doing next?
Right, and you know,fortunately, through the
relationships and my reputation,um, and the, the success that
I've had, who was a former bossand mentor when I was at Def Jam
, I worked on Jeezy's album,which he dropped independently,
(17:59):
that he had left Def Jam, whichagain came from me working with
Jeezy.
You know when I was at Def Jamand you know there's several
other projects.
So I say that to say right, youknow, and it was rewarding
because it gave me confirmationof who I was as a person.
(18:22):
How I carried myself as anexecutive resonated to the point
where I wasn't at a company.
I was still who I am and I wasstill able to work on these
projects and have success.
Speaker 1 (18:33):
People were still calling you, I mean it's all
about relationships.
Speaker 2 (18:35):
Right, it's all yeah, it's, it's, yes, it's all about
relationships and it's allabout what you do and how you do
it and your integrity and youknow how you, how you treat
people right.
And that uh led to um me havinga conversation with uh benji
over at rostrum, which you know.
(18:56):
Rostrum recently acquired FatBeats in, I want to say,
december of last year, november,december of last year.
(19:17):
Right at the end of hop space,you know, with, you know, acts
like Mac Miller and Wiz Khalifa,and, and he's, he's I have a
tremendous respect for Benjibecause I think he's just a
really great entrepreneur inperson and you know what he is
looking to do.
You know, with fat beats, um,was, was perfectly aligned with
(19:42):
my skillset, but also, I think,a full circle moment, you know,
kind of working at a companylike fat beats is takes me back
to those feelings that I hadwhen I worked at Tommy boy, you
know.
And the purity of hip hop, um,uh, as we know, vinyl and
physical product is, you know,um, still at an all time high,
(20:06):
you know, relative to commerce.
Um, so excited to continue toexpand on that rich legacy of
fat beats which, you know, umquick side note is celebrating
its 30th anniversary this year.
The first Fat Beats store openedJune, excuse me, july 14th,
1994.
So we're doing, you know,several things to kind of
(20:29):
commemorate the anniversary ofFat Beats, but move Fat Beats
and continue to move it into thefuture, right, which is
continuing to be in a positionto support the catalog and the
legacy artists that issynonymous with fat beats, that,
whether they have catalogmaterial or new material.
There's a home for them, youknow, and a place you know for
(20:50):
them, um, and find the newclassics of fat beats right,
where I think that there's a newgeneration and there's a new
era of artists that you know fitthe fat beats, you know, uh uh
mantra, if you will, and kind ofcreating opportunities for
those artists where you know wecan support them on the physical
(21:10):
and digital side.
It's exciting to me.
Speaker 1 (21:13):
So that that's an interesting transition, because,
I mean, fat beats is renownedfor its iconic record stores,
right, and so part of whatyou're doing is, I guess, the
future.
And how does that store go intothe digital world?
Or tell me more about, like,what's the vision?
How is that moving?
How are you moving that forward?
Speaker 2 (21:43):
Well, the physical side of Fat Beats, you know,
shut down in around 2013, 2014,.
Give or take Right, and again,that was reflective of just the
physical marketplace diminishingand uh, so, while the physical
stores went away, the digitaland physical distribution
continued to thrive.
And you know there's hundredsof labels that are clients of
Fat Beats that we offer anopportunity for them to put
(22:04):
their product out.
And you know some labels wedistribute and it's a minimum of
a hundred pieces.
Some are a thousand pieces, youknow.
So the thing that I think isgreat about Fat Beats is the
nimbleness as to the scale ofhow they can support and how we
can support an artist on thephysical side, and you know the
(22:25):
goal is to grow that on thedigital side, where, again, I
think that we're in a statewhere a lot of artists choose
and want to be independent, andit's really about having the
services and the team that canhelp execute, based on the
direction and the vision of theartist, which is something I
(22:46):
know fully well about right.
So how I can expand it on thedigital side and bring in more
projects to actually put throughon the digital side, while
maintaining the physical side isa key opportunity.
But also, as you said, Fappieshas an extremely reputable brand
(23:09):
, so part of the goal is toexpand that with the relevant
strategic opportunities to putthat brand on a global scale.
Speaker 1 (23:19):
Would you ever consider almost bringing some of
those stores back?
Speaker 3 (23:25):
I just feel like today.
Speaker 1 (23:27):
There's an opportunity here, I think, as
things start to.
I don't know what are yourthoughts on that.
Speaker 2 (23:33):
I mean, you know, one of the goals we definitely have
is to, you know, do somestrategic pop-ups, you know,
because, you know, again, I dofeel like there is a, there's a
customer out there that is, youknow, wanting to kind of go and
experience that, you know.
So it's kind of relative to howcan we do it in a creative and
(23:54):
clever way.
Right, that's reflective oftoday's times, you know, and it
might not necessarily be havinga, you know, a permanent brick
and mortar store, but as we talkabout it, if we can evolve that
into a way that it's really allencompassing, you know, of what
the lifestyle and hip hopexperience of today is, then
(24:17):
that's the opportunity.
Speaker 1 (24:19):
Ooh, I got lots of ideas for you.
I love it.
We got to talk it aside.
Yeah, we will definitely bedoing that.
All right, Jeffrey, I'll throwit back to you now.
Speaker 4 (24:27):
I just want to say before we wrap up you got to
talk about Pete and Common, bro,come on.
Speaker 2 (24:32):
Oh yeah, man, I mean, listen again, it goes back to
relationships, man, and just umfull circle moments.
And you know, Pete is someonethat uh, you know, uh, I think I
first met Pete when I was atCornerstone, and then Common.
You know, I first met Common in1995, 96 with De La Soul, right
(24:56):
, so the fact that you know,most recently I started working
with Pete and the guys wereworking on this album, you know
it all came together, you know,at the just almost, like, you
know, miraculously, and you know, I think the success that those
(25:16):
guys are having, the quality ofthat album is just, you know,
amazing.
You know, and they're gettingthe accolades.
You know, I think the successthat those guys are having, the
quality of that album is just,you know, amazing.
You know, and they're gettingthe accolades.
You know that they deserve.
And you know, I think you knowparticularly Pete.
You know, I mean, common issomeone that you know he's a
world renowned, you know,performer, actor, you know he's,
(25:37):
he's the ego, right, I don'tthink he has the t yet in that,
but um, pete, you know, and whathe's done for hip-hop, you know
, on the production side, youknow, is uh, it's, it's just
groundbreaking what he's done,so it's great to see him and and
(25:57):
and common getting theirflowers on this album and and
kind of working on that andsupporting them on the marketing
side and you know, moving themaround Again.
It's just you know, another justgreat, you know milestone in.
You know what was a truerenaissance year.
Speaker 3 (26:16):
Now it says Volume 1.
So was Volume two delivered toyou guys already no, no, we
don't have volume two yet okay,just yeah.
Speaker 2 (26:25):
Yeah, we don't have volume two.
Speaker 1 (26:26):
Okay, just check oh I thought we were gonna get some,
some breaking news right there,yeah, no, no, no, that's,
that's that's gonna be on them.
They gotta they gotta say theygotta do that, but then they'll
be, they gotta do that.
Speaker 2 (26:36):
They gotta do that that is.
Speaker 1 (26:37):
I didn't realize that you were that involved in that
project, Cause I've beenwatching it.
I think all four of us haveworked with Pete rock at one
point.
So it's interesting guy and I'm, I'm, I'm, I'm kind of excited
to see all the what he's getting, these accolades now which is
(27:02):
well-deserved through September.
Speaker 2 (27:03):
So coming to a city near you and again, I feel like
I'm loving the period of musicright now, particularly for our
OG artists, and I feel like Idon't know man.
It just seems like there's amotivation and they're putting
out great music.
You know, the Beat Miners putout a great album.
Rakim just put out an album.
After what?
(27:23):
15?
Speaker 3 (27:24):
years or so.
Speaker 2 (27:25):
You got the Common and Pete album.
Ghostface is still putting outalbums.
I know MC Lyte, you know, isgearing up for a new project.
Speaker 4 (27:34):
LL LL's coming.
You know, quick Q-tip LL's onthe way, ll's coming.
Speaker 2 (27:36):
You know LL's coming in, he's putting his project out
and again, you know, as a as aolder statesman in hip hop, at
this point I love to see it, man.
I just I think, you know, it'sjust kind of reflective of the,
the evolution that's going tocontinue to happen, you know,
you know, for for hip hop andhiphop culture, and I'm excited,
(27:58):
I'm excited to see how thesealbums continue to come out and
I'm excited to see what's goingto be that next wave in hip-hop.
Speaker 3 (28:09):
My question here I mean as much as you've done in
the marketing space and in thepromotion space.
I'm pretty sure there's beentons and tons of accolades and
achievements that you've beenable to achieve within your
career.
Is there a bucket listplacement that you're looking
for?
(28:29):
Right Song in the Olympics?
You know EGOT, you know yoursong involved with EGOT.
Speaker 2 (28:38):
Oh man, you know your song involved with EGOT, you
know that's a really goodquestion, you know, and I tend
not to look at it like that,right, but if I had to, based on
the moment, it would be, youknow, pete Rock and Common, you
know, winning a Grammy for thisalbum.
Speaker 4 (29:01):
Which is possible.
Speaker 2 (29:03):
Which is definitely possible.
But I think it's warranted, Ithink it's deserving, I think
their flowers are due.
So if I had to say it right now, it would be that Awesome.
Speaker 1 (29:21):
Wouldn't that be something, yeah, yeah, all right
, let's we gotta end with this.
You got any.
What's?
What's going on right now?
What's some exciting projectsright on the horizon?
What can you tell us?
Speaker 2 (29:30):
oh, man, on the fat beat side, um, excited about a
few things we have coming up.
We got a new project with TalibKweli and J Rawls that sounded
great.
We're getting ready to gearthat up.
Also, we have Arsonist from theHeatmakers and he's doing an
(29:51):
instrumental project with FatBeats that we're kind of gearing
up for that.
And again, I think, relative towhat we talked about before in
terms of just providing newopportunities, arsene is someone
that you know, definitely youknow successful producer, but
this is his first instrumentalproject.
(30:11):
So for you know me to bringthat to Fab Beats and get to
work with him, and you know putthat, you know put that on deck.
I'm excited about that and youknow, again, excited, you know,
to continue to create these.
You know new opportunities toyou know put new project out,
new projects out from you knowsome of these, some of these
great acts.
Speaker 1 (30:31):
I love.
It Awesome, Chris.
Thank you.
I feel like I my brain's biggerjust in talking to you.
I appreciate it.
I can't wait to see what comesnext with Fat Beats.
It's going to be fun to watch.
Speaker 2 (30:46):
Hey, I need all your addresses, so I'll definitely
make sure you all get Fat Beatst-shirts.
I'm wearing it.
Yo, we don't give out chains,we give out t-shirts.
Speaker 3 (30:58):
T-shirts last longer, that's right, we can send mine
to Jeff, since we're in the samecrib.
Speaker 4 (31:02):
yeah, we next door, next door to each other.
Yeah, I slipped under the door.
I slipped under the door yeah,it's one address.
Speaker 2 (31:10):
I only gotta send it to one address I got us from
there.
Speaker 4 (31:12):
You know, cool, man cool.
Speaker 2 (31:14):
It was a good interview, alright thank you,
thank you guys, alright, folksthat's.
Speaker 1 (31:18):
It was a good interview, all right, thank you.
Thank you, guys.
All right, folks, that's ourshow.
Tune in to Unglossy, the codingbrand and culture, on Apple
Podcasts, spotify or YouTube,and follow us on Instagram, at
UnglossyPod, to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (31:34):
I'm Jeffrey Sledge.
Speaker 3 (31:37):
Smicky, that was good .
on this episode of Unglossy.
Speaker 2 (00:02):
Def Jam.
Was that brand like?
In terms of everything youthought Def Jam was, it was.
You know what I mean.
Speaker 1 (00:12):
From the top.
Yeah, I'm Tom Frank.
Speaker 3 (00:17):
I'm Mickey Fax.
Speaker 4 (00:19):
And I'm Jeffrey Sledge.
Speaker 1 (00:20):
Welcome to Unglossy, to coning brand and culture.
I'm Tom Frank, partner andchief creative officer at Merit
Creative.
This is Mickey Fax, hip-hopartist and founder and CEO of
Pendulum Inc.
And that is Jeffrey Sledge, aseasoned music industry veteran
who has worked with some of thebiggest artists in the business.
We're here to explore themoments of vulnerability,
pivotal decisions and creativesparks that fuel the
(00:41):
relationship between brand andculture.
Get ready for athought-provoking journey into
the heart and soul of brandingthe unscripted, unfiltered and
truly unglossy truth.
And now part two of ourconversation with Chris Atlas
what are some of the craziestcool projects that you did work
on that you're most proud offrom those days?
Speaker 2 (01:02):
On the music side, right on any side.
Well, I mean, it was a lot.
I mean, I think we actually onthe Cornerstone side, we were
one of the original companiesthat helped to start the Through
the Wire campaign for Kanye.
You know, and you know, we allknow, what that record you know
(01:24):
did for him in terms of justkind of starting.
You know, and you know, we allknow, what that record you know
did for him in terms of justkind of kind of starting.
You know what was and has beenan incredible career for him.
We did a great campaign withBoost Mobile called Rock Corpse,
which was a give back,community based program where
(01:44):
kids were invited to volunteertime for community service.
And you know, uh receive, uhboost mobile phones.
You know, and um, which youknow at the time, you know it
was all about the chirp.
You know what I'm saying.
So uh, boost mobile was, uh wasa great project at that time.
(02:04):
We also worked on Sprite andthe Sprite Remix, where the idea
with Sprite was they remixedtheir flavor.
So they had, for that shortperiod of time, sprite Remix,
(02:34):
which was a variant, if you will, of the Sprite formula, and we
did a whole campaign withcreating custom remix vinyl
utilizing certain artists atthat time DJs just to kind of
merge the remix concept withactual vinyl and artists.
And also, you know, at thattime Cornerstone was one of the
companies that Microsoftactually hired to do seating and
(02:57):
marketing for the Xbox, andthis is when Xbox first came out
.
So you know, yeah, getting oneof those Xboxes was like coveted
.
You know what I mean.
Speaker 1 (03:11):
Yeah, Wow, I didn't realize Cornerstone had its
hands into so many things.
Yeah.
Speaker 2 (03:17):
And again, I feel like at that time, you know,
Cornerstone was definitely oneof those groundbreaking
strategic marketing companieswhere it was new.
At that time, you knowCornerstone was definitely one
of those groundbreakingstrategic, you know, marketing
companies where it was newterritory in a world where it's
very common, you know, and partof just marketing across the
board.
Speaker 4 (03:35):
It was early with the branding.
It was early with the brandmarketing, you know.
Speaker 2 (03:41):
Yep Very nice.
Speaker 3 (03:42):
Rob Stone, obviously, and you know I met Lu nice Best
of peace, Rob Stone, obviously.
And you know I met Lupe Fiasco.
First time I met him was atCornerstone.
Speaker 4 (03:52):
Yep, oh is that right .
Speaker 3 (03:52):
Yes, that was my first time going to Cornerstone.
Cornerstone was known for theirin-office party.
Speaker 4 (03:59):
Yeah, the parties was lit.
Speaker 2 (04:02):
Yeah, the Carvanhas.
Yeah, great one.
Yeah, great one.
The Cornerstone mixtape Don'tforget the Cornerstone mixtape.
Speaker 3 (04:08):
I was lucky enough to be on that, but Lupe was doing
his the Cool listening atCornerstone and I was
representing Laced Magazine atthe time Because you know Steve
and Quaz, they owned themagazine and I was the editor.
So they was like yo go down toCornerstone and, you know, meet
(04:32):
with Lupe.
Because it was a media eventfor Lupe and the cool and I'll
never forget.
First of all, this is my firsttime seeing because I didn't
meet Chris that day.
All this is my first timeseeing because I didn't meet
Chris that day, but that was myfirst time seeing Chris Atlas
and that was my first timemeeting Lupe and I'll never
forget the conversation I hadwith him.
This was 2007, and I was likeone day we're going to work with
(04:56):
each other I don't know when.
One day we're going to workwith each other.
And a year and a half later wewere.
The first time we workedtogether was in japan.
We did a show together in japanand you know that would not
have happened right, and I'm I'mpretty sure you helped or
probably put that together forhim.
That particular event, uh, thathappened because it was
(05:18):
basically playing the albumbefore I came out.
Um, so that was like, andobviously like.
A couple months later I was inthe fader.
That was my first magazinepress that I ever got was the
fader.
Yeah, fader was big man.
Speaker 4 (05:31):
Wait.
So how did you transition fromthere to Def Jam?
Speaker 2 (05:38):
And again, I think, from Tommy Boy to Cornerstone,
cornerstone allowed me to expandbeyond promotion and that's
when I actually started to makethe shift from promotion to
marketing Right.
And then, um, uh, part of partof making that shift was, um,
(06:04):
when the Def Jam opportunityavailable, it was for a SVP,
head of marketing role at DefJam and this was 2008.
And again, I think that theknowledge from Def Jam,
understanding radio promotion,a&r, to the knowledge that I
(06:28):
acquired at Cornerstone withmarketing, strategic marketing,
brand marketing, kind of put meon the longer trajectory to
continue in marketing, whichagain up the the opportunity for
me to work at Def Jam and um,uh, grace Harry at the time at
(06:53):
Def Jam, you know Grace, yeah,we worked together a job, um,
yeah, she yep, she, uh, she wasthe head of creative uh at Def
Jam at the time and um, creativeat Def Jam at the time and she
kind of, you know, recruited me,you know, based on this
position and you know, knowingme and knowing my work and you
(07:16):
know kind of went in and youknow working at Def Jam was a
completely different experience.
Speaker 1 (07:22):
That had to be wild.
To be wild to be the head ofmarketing at Def Jam at that
time too.
Wow.
Speaker 2 (07:30):
Yeah, yeah, I mean, and you know, at that time I got
there in 2008.
La Reid and that regime hadbeen there since 2004.
So there was a lot of success.
There was a lot of success.
There was a lot of egos.
There was a lot of success,there was a lot of success.
There was a lot of egos.
Um, there was a lot of talent,right, and, um, you know, def
(07:52):
jam was that brand like, interms of everything you thought
def jam was, it was.
You know what I Relative to justthe level of, I guess, fire and
competitiveness and fierceness,and just you know that made it,
(08:15):
you know, as great.
Not going to lie, like my first, my first, you know, couple of
months there.
It took me a minute to to getacclimated and realign.
(08:35):
You know what I mean and itwasn't necessarily because I
wasn't good or I wasn't, um, uh,competitive or uh, instinctual.
It was just a different company, in a different way of being
and working right.
And it's like you know how,when you go to a new team, you
(08:59):
know what I mean and you used tobe in coach, you used to be in
coach one way, and then you goto another team and you have to
understand.
Like all right, you're good,right, but this is how I coach.
You know what I mean and thisis how I want my players to play
.
You know what I'm saying.
So once I did that, you knowwhat I mean.
(09:19):
Then I was rocking.
You know what I'm saying.
I was rocking, you know whatI'm saying and you know again,
like just some of the incredibleartists that were there that I
worked on Kanye being one ofthem, rick Ross, ludacris, jeezy
, jadakiss, jeremiah, the dream,like I mean.
(09:43):
The list goes on and on andwho's who's list?
yeah yeah, and and it kind ofextends to, you know, the
evolution of the roster whichyou had, the newer artists that
came in, whether it's a logic oran alessia cara, um, you know,
um, but again, I think thatthere was just this commitment
(10:04):
to the artistry, the dedication,dedication to great music, the
dedication to just doing, youknow, beyond the norm, you know,
and the level ofcompetitiveness, you know, that
was just super present at thatat that label and I feel like,
you know, I think I might havehad like one of the longest runs
(10:26):
in that position as head ofmarketing, because I was there
from 2008 to 2017.
So that's almost 10 years.
You know what I mean.
So that's a great run at Def Jamand you know just the level of
(10:48):
competitiveness and expectationsat that company, you know.
But it was a great team.
That was a great team ofexecutives Pecos Bartles, gabby
Peluso.
Speaker 4 (11:00):
Gabe, gabe and Felicity, oh man.
Speaker 2 (11:04):
Gabe yes, gabe, you know Rodney Sheely Like there
was an amazing list ofexecutives you know at that
company and you know again, Ifeel like that's one of the
things that I will attribute toyou know, just success is like
(11:25):
the team, the team that you havewith you, that works with you,
that you know, you can lock armswith, that you could, you know,
share that same vision and goal.
In Cornerstone we had a greatteam, you know Tommy Boy, we had
a great team.
Def Jam, we had a great team,you know.
So that's to me that's alwaysan important factor who you work
(11:47):
with.
Speaker 4 (11:50):
So to me that's always an important factor who
you work with just as much aswho you're working on the artist
side.
So were you there when Hov was?
Speaker 2 (11:53):
there?
No, because Hov left like 2007.
Oh, so you just missed him.
Beginning of 2008,.
You know what I mean.
And then they will still holdrecords you know what I mean,
but like in terms of, like youknow him being, uh, the
president, you know, like hestarted to.
(12:15):
He started to transition outwhen I, when I you know when I
got there, I can't forget nas,you know what I mean.
Speaker 1 (12:22):
Um, so yeah, yeah, yeah, okay, okay so now, je
Jeffrey, am I allowed to dive inon fat beats at this point?
Because I'm diving into it?
Speaker 4 (12:29):
You're asking me or asking Chris?
You said Jeffrey.
Speaker 1 (12:32):
Yeah, you know you're guiding the ship here, so I
need to know.
Yeah, I mean yeah, why not youknow?
Speaker 4 (12:39):
I mean no, no, no, you're skipping Warner Brothers
though.
Speaker 2 (13:10):
I am skipping Warner Brothers, so let's hit Warner
Brothers.
But I want to know how you endup at Fat, the company, which at
that time was very rock focused, legacy focused, you know, and
wanted to make a run into thefrontline, contemporary, you
know, mainstream space on boththe rock side but the urban side
.
So, you know, I was, you know,recruited to come in and help
(13:35):
revamp the urban side of Warner,right, and in that period we
had, I had to move to LA, whichI'm a New York guy Everybody
that knows me knows I love NewYork, I don't mind traveling but
I love being in New York.
So I had to move to LA for thatposition, which was cool, and I
(13:57):
think at that time there wasdefinitely, I think, a migration
of a lot of New Yorkers thatwere going to LA because the
industry and labels wereshifting out there.
So it was almost like a rite ofpassage, right.
So during that run at Warnerwas part of again revitalizing
(14:21):
the urban side and we had somegreat successes.
Little Pump was at Warner atthat time and he's one of those
SoundCloud phenoms that was huge.
Anything.
This guy put out gold platinumRight, a very, you know, gold
album, double platinum single,sweetie, who everyone is, you
know, knows who.
(14:56):
Sweetie is where, you know,she's still having success and
she's had a number of great hits, you know, shorty, shorty,
freddie Gibbs, like, again, justa number of you know really
compelling urban acts, right, um.
So I was at Warner for aboutfive years, right and uh, in
being there, still in LA at thetime, in being there, um,
(15:21):
fortunate, unfortunately, I had,you know, a traumatic, uh,
personal, um, I had, you know, atraumatic, uh, personal, um, uh
, situation that happened and itrequired me to kind of leave LA
and come back to the East coast, based on, just, you know,
supporting my family, takingcare of my family, doing what I
had to do.
And in coming back to New York,it kind of just changed the
(15:46):
nature of what I needed to do atWarner, right, so I left Warner
in twenty, twenty three and forfor a brief period, I, you know
, was doing my own thing, youknow, with my own company, I
wasn't within a label and thiswas, like, I think, the first
(16:09):
time in 20, some odd years thatI was not at a company.
So, and I, you know, I want totalk about this because I think
it's an important, you know, animportant, not only time for me,
but an important growthopportunity and something that I
think people could take valuein.
(16:30):
But that period of not being ata label where most of my career
had either been at a label or amajor company to having to
figure out what am I going to dowas Right, was very eyeopening,
um, and humbling at the sametime, and I'm someone that
(16:51):
always I always consider myselfa humble person.
But to go through that and haveto either figure out what my
own self-worth is and my ownself-value is and reposition
myself and start anew, right, Inever thought that I would be at
(17:11):
that point.
So the last year was anopportunity of growth and hustle
and just real enlightenment interms of all right, what am I
(17:39):
doing next?
Right, and you know,fortunately, through the
relationships and my reputation,um, and the, the success that
I've had, who was a former bossand mentor when I was at Def Jam
, I worked on Jeezy's album,which he dropped independently,
(17:59):
that he had left Def Jam, whichagain came from me working with
Jeezy.
You know when I was at Def Jamand you know there's several
other projects.
So I say that to say right, youknow, and it was rewarding
because it gave me confirmationof who I was as a person.
(18:22):
How I carried myself as anexecutive resonated to the point
where I wasn't at a company.
I was still who I am and I wasstill able to work on these
projects and have success.
Speaker 1 (18:33):
People were still calling you, I mean it's all
about relationships.
Speaker 2 (18:35):
Right, it's all yeah, it's, it's, yes, it's all about
relationships and it's allabout what you do and how you do
it and your integrity and youknow how you, how you treat
people right.
And that uh led to um me havinga conversation with uh benji
over at rostrum, which you know.
(18:56):
Rostrum recently acquired FatBeats in, I want to say,
december of last year, november,december of last year.
(19:17):
Right at the end of hop space,you know, with, you know, acts
like Mac Miller and Wiz Khalifa,and, and he's, he's I have a
tremendous respect for Benjibecause I think he's just a
really great entrepreneur inperson and you know what he is
looking to do.
You know, with fat beats, um,was, was perfectly aligned with
(19:42):
my skillset, but also, I think,a full circle moment, you know,
kind of working at a companylike fat beats is takes me back
to those feelings that I hadwhen I worked at Tommy boy, you
know.
And the purity of hip hop, um,uh, as we know, vinyl and
physical product is, you know,um, still at an all time high,
(20:06):
you know, relative to commerce.
Um, so excited to continue toexpand on that rich legacy of
fat beats which, you know, umquick side note is celebrating
its 30th anniversary this year.
The first Fat Beats store openedJune, excuse me, july 14th,
1994.
So we're doing, you know,several things to kind of
(20:29):
commemorate the anniversary ofFat Beats, but move Fat Beats
and continue to move it into thefuture, right, which is
continuing to be in a positionto support the catalog and the
legacy artists that issynonymous with fat beats, that,
whether they have catalogmaterial or new material.
There's a home for them, youknow, and a place you know for
(20:50):
them, um, and find the newclassics of fat beats right,
where I think that there's a newgeneration and there's a new
era of artists that you know fitthe fat beats, you know, uh uh
mantra, if you will, and kind ofcreating opportunities for
those artists where you know wecan support them on the physical
(21:10):
and digital side.
It's exciting to me.
Speaker 1 (21:13):
So that that's an interesting transition, because,
I mean, fat beats is renownedfor its iconic record stores,
right, and so part of whatyou're doing is, I guess, the
future.
And how does that store go intothe digital world?
Or tell me more about, like,what's the vision?
How is that moving?
How are you moving that forward?
Speaker 2 (21:43):
Well, the physical side of Fat Beats, you know,
shut down in around 2013, 2014,.
Give or take Right, and again,that was reflective of just the
physical marketplace diminishingand uh, so, while the physical
stores went away, the digitaland physical distribution
continued to thrive.
And you know there's hundredsof labels that are clients of
Fat Beats that we offer anopportunity for them to put
(22:04):
their product out.
And you know some labels wedistribute and it's a minimum of
a hundred pieces.
Some are a thousand pieces, youknow.
So the thing that I think isgreat about Fat Beats is the
nimbleness as to the scale ofhow they can support and how we
can support an artist on thephysical side, and you know the
(22:25):
goal is to grow that on thedigital side, where, again, I
think that we're in a statewhere a lot of artists choose
and want to be independent, andit's really about having the
services and the team that canhelp execute, based on the
direction and the vision of theartist, which is something I
(22:46):
know fully well about right.
So how I can expand it on thedigital side and bring in more
projects to actually put throughon the digital side, while
maintaining the physical side isa key opportunity.
But also, as you said, Fappieshas an extremely reputable brand
(23:09):
, so part of the goal is toexpand that with the relevant
strategic opportunities to putthat brand on a global scale.
Speaker 1 (23:19):
Would you ever consider almost bringing some of
those stores back?
Speaker 3 (23:25):
I just feel like today.
Speaker 1 (23:27):
There's an opportunity here, I think, as
things start to.
I don't know what are yourthoughts on that.
Speaker 2 (23:33):
I mean, you know, one of the goals we definitely have
is to, you know, do somestrategic pop-ups, you know,
because, you know, again, I dofeel like there is a, there's a
customer out there that is, youknow, wanting to kind of go and
experience that, you know.
So it's kind of relative to howcan we do it in a creative and
(23:54):
clever way.
Right, that's reflective oftoday's times, you know, and it
might not necessarily be havinga, you know, a permanent brick
and mortar store, but as we talkabout it, if we can evolve that
into a way that it's really allencompassing, you know, of what
the lifestyle and hip hopexperience of today is, then
(24:17):
that's the opportunity.
Speaker 1 (24:19):
Ooh, I got lots of ideas for you.
I love it.
We got to talk it aside.
Yeah, we will definitely bedoing that.
All right, Jeffrey, I'll throwit back to you now.
Speaker 4 (24:27):
I just want to say before we wrap up you got to
talk about Pete and Common, bro,come on.
Speaker 2 (24:32):
Oh yeah, man, I mean, listen again, it goes back to
relationships, man, and just umfull circle moments.
And you know, Pete is someonethat uh, you know, uh, I think I
first met Pete when I was atCornerstone, and then Common.
You know, I first met Common in1995, 96 with De La Soul, right
(24:56):
, so the fact that you know,most recently I started working
with Pete and the guys wereworking on this album, you know
it all came together, you know,at the just almost, like, you
know, miraculously, and you know, I think the success that those
(25:16):
guys are having, the quality ofthat album is just, you know,
amazing.
You know, and they're gettingthe accolades.
You know, I think the successthat those guys are having, the
quality of that album is just,you know, amazing.
You know, and they're gettingthe accolades.
You know that they deserve.
And you know, I think you knowparticularly Pete.
You know, I mean, common issomeone that you know he's a
world renowned, you know,performer, actor, you know he's,
(25:37):
he's the ego, right, I don'tthink he has the t yet in that,
but um, pete, you know, and whathe's done for hip-hop, you know
, on the production side, youknow, is uh, it's, it's just
groundbreaking what he's done,so it's great to see him and and
(25:57):
and common getting theirflowers on this album and and
kind of working on that andsupporting them on the marketing
side and you know, moving themaround Again.
It's just you know, another justgreat, you know milestone in.
You know what was a truerenaissance year.
Speaker 3 (26:16):
Now it says Volume 1.
So was Volume two delivered toyou guys already no, no, we
don't have volume two yet okay,just yeah.
Speaker 2 (26:25):
Yeah, we don't have volume two.
Speaker 1 (26:26):
Okay, just check oh I thought we were gonna get some,
some breaking news right there,yeah, no, no, no, that's,
that's that's gonna be on them.
They gotta they gotta say theygotta do that, but then they'll
be, they gotta do that.
Speaker 2 (26:36):
They gotta do that that is.
Speaker 1 (26:37):
I didn't realize that you were that involved in that
project, Cause I've beenwatching it.
I think all four of us haveworked with Pete rock at one
point.
So it's interesting guy and I'm, I'm, I'm, I'm kind of excited
to see all the what he's getting, these accolades now which is
(27:02):
well-deserved through September.
Speaker 2 (27:03):
So coming to a city near you and again, I feel like
I'm loving the period of musicright now, particularly for our
OG artists, and I feel like Idon't know man.
It just seems like there's amotivation and they're putting
out great music.
You know, the Beat Miners putout a great album.
Rakim just put out an album.
After what?
(27:23):
15?
Speaker 3 (27:24):
years or so.
Speaker 2 (27:25):
You got the Common and Pete album.
Ghostface is still putting outalbums.
I know MC Lyte, you know, isgearing up for a new project.
Speaker 4 (27:34):
LL LL's coming.
You know, quick Q-tip LL's onthe way, ll's coming.
Speaker 2 (27:36):
You know LL's coming in, he's putting his project out
and again, you know, as a as aolder statesman in hip hop, at
this point I love to see it, man.
I just I think, you know, it'sjust kind of reflective of the,
the evolution that's going tocontinue to happen, you know,
you know, for for hip hop andhiphop culture, and I'm excited,
(27:58):
I'm excited to see how thesealbums continue to come out and
I'm excited to see what's goingto be that next wave in hip-hop.
Speaker 3 (28:09):
My question here I mean as much as you've done in
the marketing space and in thepromotion space.
I'm pretty sure there's beentons and tons of accolades and
achievements that you've beenable to achieve within your
career.
Is there a bucket listplacement that you're looking
for?
(28:29):
Right Song in the Olympics?
You know EGOT, you know yoursong involved with EGOT.
Speaker 2 (28:38):
Oh man, you know your song involved with EGOT, you
know that's a really goodquestion, you know, and I tend
not to look at it like that,right, but if I had to, based on
the moment, it would be, youknow, pete Rock and Common, you
know, winning a Grammy for thisalbum.
Speaker 4 (29:01):
Which is possible.
Speaker 2 (29:03):
Which is definitely possible.
But I think it's warranted, Ithink it's deserving, I think
their flowers are due.
So if I had to say it right now, it would be that Awesome.
Speaker 1 (29:21):
Wouldn't that be something, yeah, yeah, all right
, let's we gotta end with this.
You got any.
What's?
What's going on right now?
What's some exciting projectsright on the horizon?
What can you tell us?
Speaker 2 (29:30):
oh, man, on the fat beat side, um, excited about a
few things we have coming up.
We got a new project with TalibKweli and J Rawls that sounded
great.
We're getting ready to gearthat up.
Also, we have Arsonist from theHeatmakers and he's doing an
(29:51):
instrumental project with FatBeats that we're kind of gearing
up for that.
And again, I think, relative towhat we talked about before in
terms of just providing newopportunities, arsene is someone
that you know, definitely youknow successful producer, but
this is his first instrumentalproject.
(30:11):
So for you know me to bringthat to Fab Beats and get to
work with him, and you know putthat, you know put that on deck.
I'm excited about that and youknow, again, excited, you know,
to continue to create these.
You know new opportunities toyou know put new project out,
new projects out from you knowsome of these, some of these
great acts.
Speaker 1 (30:31):
I love.
It Awesome, Chris.
Thank you.
I feel like I my brain's biggerjust in talking to you.
I appreciate it.
I can't wait to see what comesnext with Fat Beats.
It's going to be fun to watch.
Speaker 2 (30:46):
Hey, I need all your addresses, so I'll definitely
make sure you all get Fat Beatst-shirts.
I'm wearing it.
Yo, we don't give out chains,we give out t-shirts.
Speaker 3 (30:58):
T-shirts last longer, that's right, we can send mine
to Jeff, since we're in the samecrib.
Speaker 4 (31:02):
yeah, we next door, next door to each other.
Yeah, I slipped under the door.
I slipped under the door yeah,it's one address.
Speaker 2 (31:10):
I only gotta send it to one address I got us from
there.
Speaker 4 (31:12):
You know, cool, man cool.
Speaker 2 (31:14):
It was a good interview, alright thank you,
thank you guys, alright, folksthat's.
Speaker 1 (31:18):
It was a good interview, all right, thank you.
Thank you, guys.
All right, folks, that's ourshow.
Tune in to Unglossy, the codingbrand and culture, on Apple
Podcasts, spotify or YouTube,and follow us on Instagram, at
UnglossyPod, to join theconversation.
Until next time, I'm Tom Frank.
Speaker 4 (31:34):
I'm Jeffrey Sledge.
Speaker 3 (31:37):
Smicky, that was good .
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