August 25, 2024 • 14 mins
Theyfeartruth Distribution & Bag Chaser Empire Clash about the music rights of the BYABYA but only one has a legal contract with Da BYABYA and his mother who is his legal guardian Rhoda Jones Hurricane Chris weights in on the controversy
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Yes, no real revolution there, W Navi tell Na Ellis
come there the pears muslom Xanders were last. No real
reverlusen there, W Navid telling Nada Brita de taza telling.
Speaker 2 (00:17):
Last real rever lousen there.
Speaker 1 (00:19):
W navitzell m Na gotta take the black or I've
been open up and real reverlusen there were Navidzelevis twenty
first century black Panthers Rise.
Speaker 3 (00:30):
What I wish I knew about the music business before
getting hooked in the latest legal drama rocking the music world.
Zilgen Barton is clashing with They Fear Truth Distribution over
music rights for Debay Bay. The heart of the conflict,
unauthorized music use, claims the Babe, who is a rising
artist under They Fear Truth Distribution due to mental health issues,
(00:54):
his contracts must be signed by his legal guardian. His mother,
Rhoda Jones, initially signed with Hurricane Chris. Debabay's contract was
breached and if not breached, it was over and void,
leading to new agreements, leading miss Jones and Debay Bay
to sign under They Fear Truth Distribution. Zilgian Barton, who
never had any contract, signed with Deba Bay at any
(01:14):
time found out by They Fear Truth Distribution CEO Rico
Dukes that the music light Bulb was being pulled from
platforms like toon Core and Apple Music through a DMCA takedown.
The crazy part is that Zilgen Barden is the one
who issued the dmcaa take down to They Fear Truth Distribution,
but he was the one in infringement violation of music
(01:35):
rights because he never had a signed contract with Miss Jones.
So instead of light Bulb being pulled from They Fear
Truth Distribution, it was pulled from bag Chaser Empire. The
reason a shift in music licensing rights authorized by Miss Jones.
In simple terms, DEBA Bay was never was authorized to
be distributed by bag Chaser Empire, even if dbay Bay
(01:56):
told Big Fella Zill to do so. This dispute underscores
the complexities of music rights, especially when legal guardianship and
contract breaches come into play. Miss Jones has stated she
never authorized Zilgian Barton to distribute any music in regards
to DBA Bay, and that she never knew about any
distribution of his music until it was upon distribution platforms.
(02:18):
DBA Bay made a video saying a big fellow ran
off with the Bebay money. Zilgen Barton placed the light
Bulb up in a new format on music platforms such
as Apple Music. It was immediately taken down permanently. Debay
Bay was under Rico Duke's old label when he was
just thirteen years old, and dbay Bay has no Rico
since he was five years old. Contracts in an industry
(02:40):
such as the entrainment business, one would be advised to
get signed contracts. But most importantly remember when dealing with
guardian rights, you must deal directly with the guardian to
have a legal binding contract, it must be in writing
until next time. Thanks for watching.
Speaker 4 (02:55):
Oh wow, brother house, you know what I'm saying.
Speaker 5 (02:57):
The baby he was seeing go make us go outside
and make a song about your chain and then can't
make it.
Speaker 4 (03:03):
Like vibing it.
Speaker 5 (03:03):
I got they heads here and he just started going damn.
And we went to the studio. We dropped it. You
know what I'm saying. Shit, We shopped to be We
dropped the song and shopped the video the same night.
And okay, saying shit from there, you know what I'm saying,
where everything all going start popping, start popping with shit.
He had kind of he had kind of when when
(03:24):
it when it moved, when you know, it spanssed out
and at this point in time they see the first
time just or we just seeing him then go from to.
Speaker 4 (03:33):
Just acting crazy.
Speaker 5 (03:34):
You know what I'm saying. So I an't really know
how to you know what I'm saying. We go out of town,
I an't really know how to control cut, get cut?
Speaker 4 (03:40):
What what to do to?
Speaker 5 (03:42):
You know what I'm saying, Uh to the col d
die like shit, I'm a be teller. I'm looking at
like l ain't life. Listen to what you was saying?
Like what why are you doing it? Like what what's wrong?
You know what I'm saying, like yuh, it ain't you zil,
it ain't you zier on guard, I don't go you
know what I'm saying.
Speaker 2 (03:58):
So he had he had he had got.
Speaker 5 (04:01):
Like a little a little argument with one of you
know what I'm saying, white people, cause he was be
in like that niggas the baby being disrespectful like that
nigga was.
Speaker 2 (04:07):
Saying, I would be man died.
Speaker 4 (04:09):
I'm'a kill your kids like his crazy shit.
Speaker 5 (04:11):
You know what I'm saying, Like me, you know what
I'm saying I ain't no idea what he did, cause
hit all like, man, they may't talk. Tell me he
gonna kill my family, kill my kids. Shit, i'm'a wrap
me top of your mother in the head.
Speaker 4 (04:21):
You know what I'm saying. But you know what I'm saying.
Speaker 5 (04:23):
He had start tripping so on I took him, I
took him back home.
Speaker 4 (04:27):
And shit, he just start saying.
Speaker 5 (04:28):
O d You know what I'm saying. Yeah, So that's
the that's the way y y'all care when we had
I had right right then, when we had you know
what I'm saying. I was still fucking with him, but
a shack, I still got my own shit going, you
know what I'm saying, And like, I wanna see you,
big bro.
Speaker 4 (04:41):
But you tripping right now. You know what I'm saying,
So Una, you calm down a little bit. You know
what I'm saying.
Speaker 5 (04:47):
And you know what I'm saying. I would we even
kiss back up, you know what I'm saying. So in
the meantime this, you know what I'm saying. He had
He had me and with a do named Kenny Pooh
oh okay, Kenny Pool. I guess as I got the
knowledge like Kenny Pool, Posta being like.
Speaker 4 (05:00):
Manager bag Den, you know what I'm saying, so on.
Speaker 5 (05:04):
Where every can't say what about the thirty thousand, Yeah,
this happen with the thirty thousand. So kid the pool
hit me up. It was like, hey man, I wanna
start managing. I wanna start managing on MIC. You know
what I'm saying, Like what I need to do to
get his YouTube? Tryna Instagram, get out the songs this
and the I say, hey bro, he got features, he
got hit song.
Speaker 4 (05:24):
We ch light Bulb was eating their package.
Speaker 5 (05:27):
You know what I'm saying When I told her, hey,
give me thirty k for all for everything.
Speaker 4 (05:31):
You know what I'm saying, like shit, you can have it.
You know what? You know what I'm saying, Like this
bit we we we gonna talk, being.
Speaker 5 (05:36):
Like you know what I'm saying, like all ain't shit,
I ain't tripping cause I got my own motion going still.
You know what I'm saying, like if you wanna get
'em like shit, Hey, you know what I'm saying, all
this shit cough Like you know what I'm saying.
Speaker 4 (05:46):
So weinfinsh just give it to you. You know what
I'm saying.
Speaker 5 (05:48):
But you feel like you could pick up when we know, hey,
give give us thirty K.
Speaker 4 (05:51):
Yeah, you know what I'm saying.
Speaker 6 (05:52):
This is like you said you paying for studio, Tom.
Speaker 4 (05:55):
Yeah, it's this studio time, this video. You know what
I'm saying, Give.
Speaker 6 (06:03):
Me one to two weeks and I'll show you how
you could start your own successful.
Speaker 4 (06:10):
What I'm saying this all his music.
Speaker 5 (06:12):
You know what I'm saying, Like he make music, Well,
he make heats where he with me, you feel me
mm and when we meet around my all the people
he make heats. You know what I'm saying, Like I
got twelve.
Speaker 4 (06:21):
Heats on my phone from the baby, from the bababy.
So you know what I'm saying.
Speaker 5 (06:26):
So I baby told him like hey, man, give me
thirty K. You know what I'm saying, shit at this time,
this this shd nigga.
Speaker 4 (06:31):
You you a businesses man.
Speaker 5 (06:32):
You know what I'm saying, like shit, if you ain't
got it, just saying you ain't got it. You know
what I'm saying, Like shit, I wanted to get you
no different like shit. But then when we wont for
it all, we can come.
Speaker 4 (06:42):
To a conclusion, work together.
Speaker 5 (06:43):
You know what I'm saying, Like shit, The baby was
a bius shot two years straight.
Speaker 4 (06:48):
You know what I'm saying, from.
Speaker 5 (06:49):
Twenty twenty cause we s me and the baby kind
of felt out like round about my birthday part so
round about February. So from February our way to twenty
twenty twenty two, Uh, September like shit, like shit, So
you just got back in the picture this yeah da yeah,
like it September this year. Okay, you know what I'm saying,
Wipe that back in the picture like shit. Alright now,
(07:10):
Uh another thing, Hurricane smoking on was like his living
cause it's just like you don't have nowhere to stay.
Speaker 4 (07:15):
Yeah, you know what I'm saying.
Speaker 5 (07:17):
Yeah, like all needing certain things and you know, like
they was saying you managing them shit. So was yeah,
like a that he he when I first started menaging
he he had a house.
Speaker 2 (07:28):
You know what I'm saying.
Speaker 5 (07:30):
His mom heat me up and say that he had
messed up the house and everything. So he won't live
in the house no more. So he would live in
a hotel. The hotel by choice, you know what I'm saying.
Speaker 4 (07:37):
M But at the same time, like shit, I'm tryna
get him to do like little work, do features and shit,
cause he.
Speaker 5 (07:42):
Tell me he ain't got no money in his pocket.
You feel me like I'm his manager, Like did nigga
ain't sign no advands with me? Or the nigga ain't.
Speaker 4 (07:49):
Sign no You know what I'm saying.
Speaker 5 (07:50):
It it's a different sign to a RIC label and
signed to a manager.
Speaker 4 (07:54):
You know what I'm saying.
Speaker 5 (07:54):
My job is to tryna help you fish your situation.
My job is not to step be in and change
your life. You know what I'm saying, Cause sheh, I'm
trying to change my life too.
Speaker 4 (08:01):
You know what I'm saying. I'm just like a hip
in hand and you feel me.
Speaker 5 (08:04):
So he was even a hotel, the hotel, you know
what I'm saying, Like she I'm seeing him breath for
the hotel and staying you know what I'm saying.
Speaker 2 (08:10):
But let me asks you this.
Speaker 6 (08:11):
But like you s when you step up as.
Speaker 5 (08:12):
A manager, you feel like it's the manager's job to
d fulfill that role.
Speaker 4 (08:16):
Nah mm it It.
Speaker 5 (08:18):
Is the manager job to it make sure that his
artists got work right, to fulfill his.
Speaker 4 (08:23):
Knees and fulfill whatever his situation is. Cause at the
end of the day, like shit, you a grown ass man.
I'm'a take my potential what I get, and i'm'a give
you your man. Now, it's your choice to do what
you do, to do what you wanna.
Speaker 6 (08:34):
Do with you.
Speaker 5 (08:35):
You feel me?
Speaker 4 (08:36):
Nah, he has a legal guardian.
Speaker 5 (08:38):
How active would you say the legal guardian was in
this whole situation?
Speaker 4 (08:42):
His mama.
Speaker 5 (08:43):
She was talking to me. Everything was good, you know
what I'm saying. Everything was good, everything rocking and roll,
like she knew the house song. Good with me, until
like she shit start getting big and everybody start trying
to work with the babay.
Speaker 4 (08:57):
Why nay about the babay? He ain't gonna see Steve
know what I'm saying, So.
Speaker 7 (09:03):
That black facts stun you will rip off the president
spikes while he's in his office.
Speaker 5 (09:31):
Come on, man, big fella them Randy stands up everyone
and ran out with the baby.
Speaker 4 (09:38):
Baby. How you think you hit that, big fella? Wayne
building board a light cor rich lifebund rich, mister lighton,
mister mom, get on his nose in our store.
Speaker 5 (10:00):
When they see the doors spy, tell God your baby,
they turned me up.
Speaker 4 (10:08):
Get me why I was going When they.
Speaker 5 (10:18):
Mock bone see me acting like it's cool. You can.
Speaker 2 (10:25):
Oh, so I just want to bring up this and
I wanted.
Speaker 6 (10:27):
To know if this could get better, just.
Speaker 2 (10:29):
The baby situation.
Speaker 6 (10:31):
Just thinking about it and going through all that stuff,
you still feel the same, you know.
Speaker 8 (10:36):
I left this situation alone. So this is the thing,
This is what happened with the baby. I saw the baby,
I seen the music.
Speaker 2 (10:45):
His mama and him reach out to me.
Speaker 8 (10:48):
I forgot how we got in contact with some kind
of way met him and his mama got in contact, and.
Speaker 2 (10:53):
His mama was interested in doing business. I was like,
I put up one hundred thousand.
Speaker 4 (10:58):
You know.
Speaker 8 (11:00):
She said that the contract that other people had did
was invalid because she had legal rights and she had
the like with him having a mental problem, she got
to sign out. So the deal that somebody had did
on him, a couple of deals, she was saying that
they was invalid. So me as a label and a
business person, I'm looking at it like, okay, well if
(11:22):
you're saying that, then I fund the project and I
do it.
Speaker 2 (11:25):
So I signed him.
Speaker 8 (11:27):
His mama signed when she said other people didn't allow
to happen, which.
Speaker 2 (11:33):
Is what made their countries were.
Speaker 8 (11:35):
After I signed him, I got my people to put
them in a a in a smaller house, rent house,
something not too expensive or nothing like.
Speaker 2 (11:42):
That, just the regular little house. It was in the
hood and everything.
Speaker 8 (11:46):
But he was homeless, living in hotels and walking down
the streets. So my bang was to try to get
him some shof that. We quickly found a rent house,
tried to do what we could do to it and
put him in it. When we put him inside of it,
he started busting the windows out when he started having fished.
So I got to send my my mom and my
ain't and who in they fought this, and who in
they fit this.
Speaker 2 (12:03):
Out of the house.
Speaker 8 (12:04):
Here late, God knows what time to go see what's
going on because he busting the wounders out the house
having a fit. Now they got to drive him to
the hospital. They gotta get him a shot. Now they
got to test him and see that he got drugs
in his system. So it became just a repeating process.
I thought the first time that it happened, that it'll
be solved after that, but it was a continued process.
They continued to have to pick him up from aspas
(12:24):
and I take him to the.
Speaker 2 (12:25):
Doctor, drive him off. He will walk off. Continued process.
Speaker 8 (12:28):
It got to the point where it was like, this
is somebody with a way bigger problem. It's no way
I can try to make money out of this situation
when he clearly it's going through a crisis situation, like
he really need help.
Speaker 2 (12:40):
This ain't nothing, not ever be able to make money
out of. So I just left it alone.
Speaker 8 (12:44):
And it's not nothing that I would feel comfortable making
money out of. If I was a snake, I owned
the rights to the record, I could have took the record,
put boot seal or somebody on it and just right.
But I'm like, this kid is going through way more
than that.
Speaker 2 (12:59):
He going through a lot of.
Speaker 8 (13:00):
If it ain't no sense in me, I don't feel
right trying to make no money off.
Speaker 6 (13:03):
This at this point. So so Big Feller's hell was
like that was his artist and y'all are cousins.
Speaker 2 (13:07):
They said that there was I just told you the story.
That's what I was talking about.
Speaker 8 (13:11):
That they told me that the contracts want sign properly,
and they wanted to hear the business with me, you know,
And I'm a simple company.
Speaker 2 (13:17):
I have another I'm my own company, you know.
Speaker 6 (13:19):
So that was trying to put off for the city.
Speaker 8 (13:22):
I mean, it was me just doing business, gotcha if
you come, if you as an artist, tell me you're
not signed and you want to do business, and I
feel like some leeway can be made.
Speaker 2 (13:33):
And as a label, I'm going to sign you. If
you go to Universal and they.
Speaker 8 (13:38):
Found out that the deal you did with death Jam
is not valid, they're gonna sign you.
Speaker 2 (13:43):
It's a label. That's their job, right.
Speaker 6 (13:45):
But it seemed like, man, it seemed like he accumulated
a buzz and it just kind of went away quick
Like is that the social media thing? Did he fall back? Like?
Speaker 2 (13:53):
What? What?
Speaker 6 (13:54):
What made that happen?
Speaker 2 (13:55):
I mean, the buzz went as long as it could go.
They had to be taken to the next level. When
something go local and start.
Speaker 8 (14:02):
Taking off in your region, you've got to be able
to put the bag behind it to go ahead and
shop it nationwide, to shop it, you know what I'm saying,
to make it go like it was.
Speaker 2 (14:10):
Only big in a small region.
Speaker 8 (14:13):
So it's easy for your record to die if you
never get that fund and behind it to take it
to the next level. Aybae Bay could have died if
the label didn't come sign me and go ahead and
take it to the next level.
Speaker 2 (14:23):
It would have just been a classic in treat foot,
how long let me see?
Speaker 6 (14:27):
How long do you think a song has before it
just it has a shelf life? Like you say, you
a baby?
Speaker 2 (14:34):
How long it was a year before it popped?
Speaker 6 (14:36):
So how long do you think it can go without
having funding before it dies?
Speaker 2 (14:40):
All the way out Aybay went
Speaker 8 (14:41):
A year without having funded and it didn't, And so
maybe a song could go longer than that.
Yes, no real revolution there, W Navi tell Na Ellis
come there the pears muslom Xanders were last. No real
reverlusen there, W Navid telling Nada Brita de taza telling.
Speaker 2 (00:17):
Last real rever lousen there.
Speaker 1 (00:19):
W navitzell m Na gotta take the black or I've
been open up and real reverlusen there were Navidzelevis twenty
first century black Panthers Rise.
Speaker 3 (00:30):
What I wish I knew about the music business before
getting hooked in the latest legal drama rocking the music world.
Zilgen Barton is clashing with They Fear Truth Distribution over
music rights for Debay Bay. The heart of the conflict,
unauthorized music use, claims the Babe, who is a rising
artist under They Fear Truth Distribution due to mental health issues,
(00:54):
his contracts must be signed by his legal guardian. His mother,
Rhoda Jones, initially signed with Hurricane Chris. Debabay's contract was
breached and if not breached, it was over and void,
leading to new agreements, leading miss Jones and Debay Bay
to sign under They Fear Truth Distribution. Zilgian Barton, who
never had any contract, signed with Deba Bay at any
(01:14):
time found out by They Fear Truth Distribution CEO Rico
Dukes that the music light Bulb was being pulled from
platforms like toon Core and Apple Music through a DMCA takedown.
The crazy part is that Zilgen Barden is the one
who issued the dmcaa take down to They Fear Truth Distribution,
but he was the one in infringement violation of music
(01:35):
rights because he never had a signed contract with Miss Jones.
So instead of light Bulb being pulled from They Fear
Truth Distribution, it was pulled from bag Chaser Empire. The
reason a shift in music licensing rights authorized by Miss Jones.
In simple terms, DEBA Bay was never was authorized to
be distributed by bag Chaser Empire, even if dbay Bay
(01:56):
told Big Fella Zill to do so. This dispute underscores
the complexities of music rights, especially when legal guardianship and
contract breaches come into play. Miss Jones has stated she
never authorized Zilgian Barton to distribute any music in regards
to DBA Bay, and that she never knew about any
distribution of his music until it was upon distribution platforms.
(02:18):
DBA Bay made a video saying a big fellow ran
off with the Bebay money. Zilgen Barton placed the light
Bulb up in a new format on music platforms such
as Apple Music. It was immediately taken down permanently. Debay
Bay was under Rico Duke's old label when he was
just thirteen years old, and dbay Bay has no Rico
since he was five years old. Contracts in an industry
(02:40):
such as the entrainment business, one would be advised to
get signed contracts. But most importantly remember when dealing with
guardian rights, you must deal directly with the guardian to
have a legal binding contract, it must be in writing
until next time. Thanks for watching.
Speaker 4 (02:55):
Oh wow, brother house, you know what I'm saying.
Speaker 5 (02:57):
The baby he was seeing go make us go outside
and make a song about your chain and then can't
make it.
Speaker 4 (03:03):
Like vibing it.
Speaker 5 (03:03):
I got they heads here and he just started going damn.
And we went to the studio. We dropped it. You
know what I'm saying. Shit, We shopped to be We
dropped the song and shopped the video the same night.
And okay, saying shit from there, you know what I'm saying,
where everything all going start popping, start popping with shit.
He had kind of he had kind of when when
(03:24):
it when it moved, when you know, it spanssed out
and at this point in time they see the first
time just or we just seeing him then go from to.
Speaker 4 (03:33):
Just acting crazy.
Speaker 5 (03:34):
You know what I'm saying. So I an't really know
how to you know what I'm saying. We go out of town,
I an't really know how to control cut, get cut?
Speaker 4 (03:40):
What what to do to?
Speaker 5 (03:42):
You know what I'm saying, Uh to the col d
die like shit, I'm a be teller. I'm looking at
like l ain't life. Listen to what you was saying?
Like what why are you doing it? Like what what's wrong?
You know what I'm saying, like yuh, it ain't you zil,
it ain't you zier on guard, I don't go you
know what I'm saying.
Speaker 2 (03:58):
So he had he had he had got.
Speaker 5 (04:01):
Like a little a little argument with one of you
know what I'm saying, white people, cause he was be
in like that niggas the baby being disrespectful like that
nigga was.
Speaker 2 (04:07):
Saying, I would be man died.
Speaker 4 (04:09):
I'm'a kill your kids like his crazy shit.
Speaker 5 (04:11):
You know what I'm saying, Like me, you know what
I'm saying I ain't no idea what he did, cause
hit all like, man, they may't talk. Tell me he
gonna kill my family, kill my kids. Shit, i'm'a wrap
me top of your mother in the head.
Speaker 4 (04:21):
You know what I'm saying. But you know what I'm saying.
Speaker 5 (04:23):
He had start tripping so on I took him, I
took him back home.
Speaker 4 (04:27):
And shit, he just start saying.
Speaker 5 (04:28):
O d You know what I'm saying. Yeah, So that's
the that's the way y y'all care when we had
I had right right then, when we had you know
what I'm saying. I was still fucking with him, but
a shack, I still got my own shit going, you
know what I'm saying, And like, I wanna see you,
big bro.
Speaker 4 (04:41):
But you tripping right now. You know what I'm saying,
So Una, you calm down a little bit. You know
what I'm saying.
Speaker 5 (04:47):
And you know what I'm saying. I would we even
kiss back up, you know what I'm saying. So in
the meantime this, you know what I'm saying. He had
He had me and with a do named Kenny Pooh
oh okay, Kenny Pool. I guess as I got the
knowledge like Kenny Pool, Posta being like.
Speaker 4 (05:00):
Manager bag Den, you know what I'm saying, so on.
Speaker 5 (05:04):
Where every can't say what about the thirty thousand, Yeah,
this happen with the thirty thousand. So kid the pool
hit me up. It was like, hey man, I wanna
start managing. I wanna start managing on MIC. You know
what I'm saying, Like what I need to do to
get his YouTube? Tryna Instagram, get out the songs this
and the I say, hey bro, he got features, he
got hit song.
Speaker 4 (05:24):
We ch light Bulb was eating their package.
Speaker 5 (05:27):
You know what I'm saying When I told her, hey,
give me thirty k for all for everything.
Speaker 4 (05:31):
You know what I'm saying, like shit, you can have it.
You know what? You know what I'm saying, Like this
bit we we we gonna talk, being.
Speaker 5 (05:36):
Like you know what I'm saying, like all ain't shit,
I ain't tripping cause I got my own motion going still.
You know what I'm saying, like if you wanna get
'em like shit, Hey, you know what I'm saying, all
this shit cough Like you know what I'm saying.
Speaker 4 (05:46):
So weinfinsh just give it to you. You know what
I'm saying.
Speaker 5 (05:48):
But you feel like you could pick up when we know, hey,
give give us thirty K.
Speaker 4 (05:51):
Yeah, you know what I'm saying.
Speaker 6 (05:52):
This is like you said you paying for studio, Tom.
Speaker 4 (05:55):
Yeah, it's this studio time, this video. You know what
I'm saying, Give.
Speaker 6 (06:03):
Me one to two weeks and I'll show you how
you could start your own successful.
Speaker 4 (06:10):
What I'm saying this all his music.
Speaker 5 (06:12):
You know what I'm saying, Like he make music, Well,
he make heats where he with me, you feel me
mm and when we meet around my all the people
he make heats. You know what I'm saying, Like I
got twelve.
Speaker 4 (06:21):
Heats on my phone from the baby, from the bababy.
So you know what I'm saying.
Speaker 5 (06:26):
So I baby told him like hey, man, give me
thirty K. You know what I'm saying, shit at this time,
this this shd nigga.
Speaker 4 (06:31):
You you a businesses man.
Speaker 5 (06:32):
You know what I'm saying, like shit, if you ain't
got it, just saying you ain't got it. You know
what I'm saying, Like shit, I wanted to get you
no different like shit. But then when we wont for
it all, we can come.
Speaker 4 (06:42):
To a conclusion, work together.
Speaker 5 (06:43):
You know what I'm saying, Like shit, The baby was
a bius shot two years straight.
Speaker 4 (06:48):
You know what I'm saying, from.
Speaker 5 (06:49):
Twenty twenty cause we s me and the baby kind
of felt out like round about my birthday part so
round about February. So from February our way to twenty
twenty twenty two, Uh, September like shit, like shit, So
you just got back in the picture this yeah da yeah,
like it September this year. Okay, you know what I'm saying,
Wipe that back in the picture like shit. Alright now,
(07:10):
Uh another thing, Hurricane smoking on was like his living
cause it's just like you don't have nowhere to stay.
Speaker 4 (07:15):
Yeah, you know what I'm saying.
Speaker 5 (07:17):
Yeah, like all needing certain things and you know, like
they was saying you managing them shit. So was yeah,
like a that he he when I first started menaging
he he had a house.
Speaker 2 (07:28):
You know what I'm saying.
Speaker 5 (07:30):
His mom heat me up and say that he had
messed up the house and everything. So he won't live
in the house no more. So he would live in
a hotel. The hotel by choice, you know what I'm saying.
Speaker 4 (07:37):
M But at the same time, like shit, I'm tryna
get him to do like little work, do features and shit,
cause he.
Speaker 5 (07:42):
Tell me he ain't got no money in his pocket.
You feel me like I'm his manager, Like did nigga
ain't sign no advands with me? Or the nigga ain't.
Speaker 4 (07:49):
Sign no You know what I'm saying.
Speaker 5 (07:50):
It it's a different sign to a RIC label and
signed to a manager.
Speaker 4 (07:54):
You know what I'm saying.
Speaker 5 (07:54):
My job is to tryna help you fish your situation.
My job is not to step be in and change
your life. You know what I'm saying, Cause sheh, I'm
trying to change my life too.
Speaker 4 (08:01):
You know what I'm saying. I'm just like a hip
in hand and you feel me.
Speaker 5 (08:04):
So he was even a hotel, the hotel, you know
what I'm saying, Like she I'm seeing him breath for
the hotel and staying you know what I'm saying.
Speaker 2 (08:10):
But let me asks you this.
Speaker 6 (08:11):
But like you s when you step up as.
Speaker 5 (08:12):
A manager, you feel like it's the manager's job to
d fulfill that role.
Speaker 4 (08:16):
Nah mm it It.
Speaker 5 (08:18):
Is the manager job to it make sure that his
artists got work right, to fulfill his.
Speaker 4 (08:23):
Knees and fulfill whatever his situation is. Cause at the
end of the day, like shit, you a grown ass man.
I'm'a take my potential what I get, and i'm'a give
you your man. Now, it's your choice to do what
you do, to do what you wanna.
Speaker 6 (08:34):
Do with you.
Speaker 5 (08:35):
You feel me?
Speaker 4 (08:36):
Nah, he has a legal guardian.
Speaker 5 (08:38):
How active would you say the legal guardian was in
this whole situation?
Speaker 4 (08:42):
His mama.
Speaker 5 (08:43):
She was talking to me. Everything was good, you know
what I'm saying. Everything was good, everything rocking and roll,
like she knew the house song. Good with me, until
like she shit start getting big and everybody start trying
to work with the babay.
Speaker 4 (08:57):
Why nay about the babay? He ain't gonna see Steve
know what I'm saying, So.
Speaker 7 (09:03):
That black facts stun you will rip off the president
spikes while he's in his office.
Speaker 5 (09:31):
Come on, man, big fella them Randy stands up everyone
and ran out with the baby.
Speaker 4 (09:38):
Baby. How you think you hit that, big fella? Wayne
building board a light cor rich lifebund rich, mister lighton,
mister mom, get on his nose in our store.
Speaker 5 (10:00):
When they see the doors spy, tell God your baby,
they turned me up.
Speaker 4 (10:08):
Get me why I was going When they.
Speaker 5 (10:18):
Mock bone see me acting like it's cool. You can.
Speaker 2 (10:25):
Oh, so I just want to bring up this and
I wanted.
Speaker 6 (10:27):
To know if this could get better, just.
Speaker 2 (10:29):
The baby situation.
Speaker 6 (10:31):
Just thinking about it and going through all that stuff,
you still feel the same, you know.
Speaker 8 (10:36):
I left this situation alone. So this is the thing,
This is what happened with the baby. I saw the baby,
I seen the music.
Speaker 2 (10:45):
His mama and him reach out to me.
Speaker 8 (10:48):
I forgot how we got in contact with some kind
of way met him and his mama got in contact, and.
Speaker 2 (10:53):
His mama was interested in doing business. I was like,
I put up one hundred thousand.
Speaker 4 (10:58):
You know.
Speaker 8 (11:00):
She said that the contract that other people had did
was invalid because she had legal rights and she had
the like with him having a mental problem, she got
to sign out. So the deal that somebody had did
on him, a couple of deals, she was saying that
they was invalid. So me as a label and a
business person, I'm looking at it like, okay, well if
(11:22):
you're saying that, then I fund the project and I
do it.
Speaker 2 (11:25):
So I signed him.
Speaker 8 (11:27):
His mama signed when she said other people didn't allow
to happen, which.
Speaker 2 (11:33):
Is what made their countries were.
Speaker 8 (11:35):
After I signed him, I got my people to put
them in a a in a smaller house, rent house,
something not too expensive or nothing like.
Speaker 2 (11:42):
That, just the regular little house. It was in the
hood and everything.
Speaker 8 (11:46):
But he was homeless, living in hotels and walking down
the streets. So my bang was to try to get
him some shof that. We quickly found a rent house,
tried to do what we could do to it and
put him in it. When we put him inside of it,
he started busting the windows out when he started having fished.
So I got to send my my mom and my
ain't and who in they fought this, and who in
they fit this.
Speaker 2 (12:03):
Out of the house.
Speaker 8 (12:04):
Here late, God knows what time to go see what's
going on because he busting the wounders out the house
having a fit. Now they got to drive him to
the hospital. They gotta get him a shot. Now they
got to test him and see that he got drugs
in his system. So it became just a repeating process.
I thought the first time that it happened, that it'll
be solved after that, but it was a continued process.
They continued to have to pick him up from aspas
(12:24):
and I take him to the.
Speaker 2 (12:25):
Doctor, drive him off. He will walk off. Continued process.
Speaker 8 (12:28):
It got to the point where it was like, this
is somebody with a way bigger problem. It's no way
I can try to make money out of this situation
when he clearly it's going through a crisis situation, like
he really need help.
Speaker 2 (12:40):
This ain't nothing, not ever be able to make money
out of. So I just left it alone.
Speaker 8 (12:44):
And it's not nothing that I would feel comfortable making
money out of. If I was a snake, I owned
the rights to the record, I could have took the record,
put boot seal or somebody on it and just right.
But I'm like, this kid is going through way more
than that.
Speaker 2 (12:59):
He going through a lot of.
Speaker 8 (13:00):
If it ain't no sense in me, I don't feel
right trying to make no money off.
Speaker 6 (13:03):
This at this point. So so Big Feller's hell was
like that was his artist and y'all are cousins.
Speaker 2 (13:07):
They said that there was I just told you the story.
That's what I was talking about.
Speaker 8 (13:11):
That they told me that the contracts want sign properly,
and they wanted to hear the business with me, you know,
And I'm a simple company.
Speaker 2 (13:17):
I have another I'm my own company, you know.
Speaker 6 (13:19):
So that was trying to put off for the city.
Speaker 8 (13:22):
I mean, it was me just doing business, gotcha if
you come, if you as an artist, tell me you're
not signed and you want to do business, and I
feel like some leeway can be made.
Speaker 2 (13:33):
And as a label, I'm going to sign you. If
you go to Universal and they.
Speaker 8 (13:38):
Found out that the deal you did with death Jam
is not valid, they're gonna sign you.
Speaker 2 (13:43):
It's a label. That's their job, right.
Speaker 6 (13:45):
But it seemed like, man, it seemed like he accumulated
a buzz and it just kind of went away quick
Like is that the social media thing? Did he fall back? Like?
Speaker 2 (13:53):
What? What?
Speaker 6 (13:54):
What made that happen?
Speaker 2 (13:55):
I mean, the buzz went as long as it could go.
They had to be taken to the next level. When
something go local and start.
Speaker 8 (14:02):
Taking off in your region, you've got to be able
to put the bag behind it to go ahead and
shop it nationwide, to shop it, you know what I'm saying,
to make it go like it was.
Speaker 2 (14:10):
Only big in a small region.
Speaker 8 (14:13):
So it's easy for your record to die if you
never get that fund and behind it to take it
to the next level. Aybae Bay could have died if
the label didn't come sign me and go ahead and
take it to the next level.
Speaker 2 (14:23):
It would have just been a classic in treat foot,
how long let me see?
Speaker 6 (14:27):
How long do you think a song has before it
just it has a shelf life? Like you say, you
a baby?
Speaker 2 (14:34):
How long it was a year before it popped?
Speaker 6 (14:36):
So how long do you think it can go without
having funding before it dies?
Speaker 2 (14:40):
All the way out Aybay went
Speaker 8 (14:41):
A year without having funded and it didn't, And so
maybe a song could go longer than that.
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