REPLAY - HitMaka - R&B Money

Episode Transcript
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Speaker 1 (00:01):
R and b's money. We are thank you take VALICHII.
We are the authority on R and D. What's going on.

Speaker 2 (00:20):
I am tank, this is the Valentine and this is
the Army Money podcast, the authority on all things R
and B. And we got in the building. Me and
his brother go back, like way back, like we used
to rent.

Speaker 1 (00:34):
Lamborghinis from the same guy. Now we can afford to
own that. You're the sailor saying he can get more
Lamborghinis than me. Now he can get lambas. We got
this brother in the house.

Speaker 2 (00:46):
Man.

Speaker 1 (00:46):
I don't know how he did it.

Speaker 2 (00:47):
I don't know how he's doing it, but he's continuing
to change the game and elevate himself and.

Speaker 1 (00:51):
All the people around him. We're gonna find out today.
We're gonna find out today. Hint maker in the builder.

Speaker 2 (00:56):
Yes, first of all, thank you, Bro, Thank you for
Thank you, Bro, Thank you for my brother been here. Man,
I've I've watched you for a very long time. I
think you were sitting in an expedition. Was an expedition

(01:19):
and in the uh in the parking lot at the
Underdogs Old joint on on in North Hollywood, and you
had to window down. You were smoking a little bit.
You had your leg up and you said, listen, man,
you need to get some records from me. And look
at you, and I was looking at you, and I
need to get some records with you. You need to

(01:41):
get some records from me. I got hit, you got
hit R and B hits, I got everything. Okay, I'm
gonna call you. I'm gonna call you.

Speaker 1 (01:52):
Already. Listen, listen cut to you called it. You had him,
you got him that some crazy times the Underdogs, Bro.

Speaker 3 (02:02):
Like I know y'all experience with the Underdogs is way
different than mine. But just like catching that wave and
being around Damon and Harvey and all them other time, Man,
you gotta think they had like the Avengers of songwriters
and producers all in are yourself, Jay j Q, what's Dawkins?
It was just like, Bro, it was amazing. I learned

(02:23):
a lot really at that. And that's where I met
Aaron Ray that signed an interscope or whatever Underdogs and
we built our relationship. But man, damn, shout out to Damon, Bro.
I just seen this last TV interview.

Speaker 1 (02:34):
You are wild. Listen and if hit make it casts
you a wild boy? Wold I to live with him.
So you know when I was damnar homeless, he let
me stay in one of his rooms. He was solid,
he was cool.

Speaker 2 (02:51):
Listen, listen, we was up on top of the hill
and the pool it would simmer and the steam will
come on for we just called the hot dog water.
So you know that don't sound right, but well, Paul,
we'll pause it. You know what's going on there. So
listen with with with with our with our pod. You
know what I'm saying, Like we are, we celebrate the

(03:13):
music one hundred percent, and you go back a long way,
even before Hit Making. You know what I'm saying. You
had hits before Hit Maker. Yeah, young And so I
think I think first people, people. I don't want people
to get lost in in what they see now and

(03:35):
not understand the process and what it took for you
to fucking get here, bro.

Speaker 1 (03:41):
And and if we can start at the.

Speaker 2 (03:44):
Beginning and kind of and kind of get to those
pivotal points that were game changing for you and then
make our way to one of the craziest shames I've
ever seen. If we can make our way there, you
know what I'm saying, The people would love that. Okay, Alright,
So the beginning. I'm from South side of Chicago, you
know what I'm saying. So I started there and like

(04:06):
a lot of people don't know, my parents are a millionaires,
so like I came from.

Speaker 1 (04:09):
Like yeah, like I ain't never had a.

Speaker 3 (04:11):
Sandwich, a hot dog, a hamburger, lunchable. I ain't never
had burger king I briefly like a McDonald's nugget maybe
or something like that.

Speaker 1 (04:18):
I ain't never had none of that shit in my life.

Speaker 3 (04:20):
And I'm in my mid thirties right now, so like
that ain't never happened to me.

Speaker 1 (04:23):
Ever.

Speaker 3 (04:23):
I ain't have peanut butter and jelly. I ain't never
had a motherfucking.

Speaker 1 (04:26):
Uh you had chefs? Yeah, you know, you know I
met his pops.

Speaker 3 (04:31):
No, I met his pop to the BMI award me
this fool and Damon Thomas at the same table and
his daddy, Yeah, his daddy.

Speaker 1 (04:42):
Cool and the motherfucker. And he keep his camera out.

Speaker 3 (04:46):
He said, he said wait because he saw somebody else
talk to me, said wait, did they say you was
Jay Valentine.

Speaker 1 (04:52):
I'm like, yeah, like, ain't put our records in the honey.
He like, I know who you are. Let's take this picture.
I'm gonna get a p everybody in here tonight. He
in a mix, he not playing nah. So that that happened.

Speaker 3 (05:05):
And then I was, you know, back in the day,
I was well, my next door neighbor was Shawna from
Disturbing the Piece or whatever where getting some head. Her
dad is buddy guy. So they were my next door neighbor.
They were the first people I seen indoor pool outdoor
pool flexed up or whatever. So she was in rap
groups and she was rapping and like that kind of
like rubbed off on me, my brothers and like all

(05:27):
the people around her or whatever.

Speaker 1 (05:29):
So I just seen it from that view.

Speaker 3 (05:31):
And then as I got older, I was a bad kid,
bro like not really bad, like.

Speaker 1 (05:36):
Like yeah, I was bad.

Speaker 3 (05:37):
So, like my parents got a divorce and my dad
went back to the city and lived in one of
his apartment building pretty much like he went back to
the hood and we was living in his apartment building
on the East side of Chicago whatever, because my dad
is like a real like real estate mogul in Chicago.
But he when they had a divorce, we left a
big house and he's like, fucking, I'm gonna just go
live in one of my buildings and I'm gonna raise

(05:59):
my son. I didn't live with my mom. I wouldn't
live with my dad. I got like the opposite story.
So from there, I man, I started drinking and smoking,
probably like sixth grade something like that.

Speaker 1 (06:09):
Like so I.

Speaker 3 (06:10):
Remember being in love or raps and shit, and like
my daily routine, like my dad would give mem like
twelve dollars for lunch money. I would go and buy
like a nickel bag of weed. I would buy half
pint of Seguins.

Speaker 4 (06:19):
Gain.

Speaker 3 (06:19):
I would get on the bus and write raps and
go to school. And this is like eighth grade, freshman
year in high school.

Speaker 1 (06:24):
You know what I'm saying. Like I was wild and
I used to have a crackhead. Go buy me a
half pint of Seguins. Hey, man, you got you. And
this guy no, no, no, I did my research on him.
He's different. Yeah, he was different, like for real, for real.

Speaker 3 (06:46):
From there, I ended up meeting up some street niggas,
you know the whole story, And then pretty much I
created a demo with this guy named Bugs who still
works with Kanye to this day. They like right hand
or whatever. So my demo had Jesus walk beat on it.
My demo had all wait.

Speaker 1 (07:02):
Wait wait wait wait wait that actual beat.

Speaker 3 (07:04):
The beat to Jesus Walks was a song by me
before it was Kanye's song, and it was on my
demo which led to me to get signed as a kid.
So from there, Boom the Dope Boy, the street dudes
or whatever, they take me, and then like we do
the whole little tour, like I remember Tommy Boy wanted
to sign me. I met a whole bunch of different

(07:26):
people out here. There used to be a club called
Luna Park, and I think like the Lakers that just
won a championship my mind. You back when I was
a little dude, I was like four foot four, like
I was like little little burg or whatever for real,
for real, and I rapped for like jay Z, Dang Dash,
Doctor Dre.

Speaker 1 (07:41):
All these different people.

Speaker 3 (07:42):
So everybody was offering me deals, and just so happened,
Eve had a stylist named Joe Exclusive that.

Speaker 1 (07:48):
I shout out to.

Speaker 3 (07:52):
Joe Exclusive always somewhere, always in the mix for sure.
That was Eve's stylist, and I've been around Eve a lot.

Speaker 1 (07:59):
So he introduced me to DMX.

Speaker 3 (08:01):
At what these bitches want from a nigga video shoot
at the Paramount Lout or whatever. And then from there
I gave DMX my demo and he was.

Speaker 1 (08:08):
Like, yo, Shorty, Uh smoke, but I'm gonna get to
you later or whatever. So he went smoking.

Speaker 3 (08:13):
I went and I rapped for him and like, I'm
from Chicago. So my first rap was like I say,
go off with a tent, smoke, film to the hill
and like some twister shit, and he was like, Yo, Shorty,
I understand what the fuck you said, Give me another one.
So I did another one, the whole fucking trailer of reps.
And the next day I come back, Aliyah's daddy in
the trailer playing my music.

Speaker 1 (08:31):
They're going crazy or whatever. Lead to me.

Speaker 3 (08:34):
Signing the DMX, And that's what fourteen like a real kid.

Speaker 1 (08:39):
But I was.

Speaker 3 (08:40):
I was like me, now I'm smoking cigarette, smoking weed, drinking,
Like who you you with.

Speaker 1 (08:45):
Your you with your guys from Chicago? You not with Pops?
You not?

Speaker 3 (08:48):
No, I wasn't with Pops. So like I'm moving like
a grown man. Yeah, Like I was really rebellious. So
you gotta think back in those days, the rapping was
about staying true to like I mean, I had so
many bricks in my raps or whatever, like I wanted
to be industry Like I was literally selling crack, like
like my parents were millionaires and I was spitting out
rocks and selling them to my like crackheads on the corner,
Like I really wanted to live that life like and

(09:09):
be about that with my raps.

Speaker 1 (09:11):
So from there, my pops.

Speaker 3 (09:13):
In them scene, I was so rebellious that they just
didn't stand in my way. I was leaving regardless whether
y'all let me go or whatever. I'm going regardless. So
they took me all these different places and then that
was my first time meeting ray Ja, and then DMX
was just like Shorty, I'm gonna sign you. It's not
gonna be quick, but I'm gonna sign you. And I
was like I bet and the street dudes that brought
me there, they got insecure because I was working with

(09:35):
everybody wanted to sign me, and I wasn't the lead
act like the guy's like son was the lead act.
And I won't say, now he's selling music business or whatever,
God bless them or whatever. So that shit happened, and
like this was like my first like crazy experience in
the music business, Like I never forget it. We was
in New York and DMX was pulling up the Quad

(09:56):
studio and they're like, Yo, we're gonna DMX. Want to
see I was there with Eve with the street guys.
So the street guys like they pulled me in the
bathroom like, nigga, you act like you want to sign
a DMX thing. We're gonna kill your mama, We're gonna
kill your daddy. Nigga, we don't give a fuck. But
I'm like like, damn, Like I'm a kid fourteen, So
I see X. I was holding back a little bit,
X telling me like, we got the deal. We're gonna

(10:18):
give you fifty thousand dollars advance. Were gonna do this,
but I couldn't really show no love. So we went
back to Chicago, were in the studio and the guy
that owned the studio came in and he wasn't a rapper.
He just went and gotten a booth while he was
in there working, Like, yeah, shorty, I busting that in
your mama face, and I do this that and the third.

Speaker 1 (10:34):
I'm like, damn, this is you. Yeah.

Speaker 3 (10:37):
So I went in the booth and I lit his
ass up, flamed this ass up and.

Speaker 1 (10:41):
Ship from now.

Speaker 3 (10:41):
When I came out the booth, pop pop niggas to
start putting hands on me or whatever, and they like
locked me in the room and like bugs was the
guy that pulled me out the room. And then that's
how I got out my contract with the street guys
or whatever, and then I signed my deal with DMX,
and that's how that started him. Yeah, he was the producer.
He's a top producer. Got that just taught me all
the stuff. Like the street guy. No, he's a producer,

(11:04):
he's just a music guy. But the street guy that
was running ship was on some sugar night ship. So
when like after he rapped and after he put the
pieces on me, he like handed me a pin in
a and a and a paper like write a rap, nigga,
Write a rap, I own you nigga. And then I
was a kid. So once they put hands on me,
you know, I went back and told my parents and
that's how I got out that deal with the street
dudes and then DMX signed me directly ship. So that's

(11:28):
like early and this is the beginning. This is your
first experience in the music video. Yes, amazingly enough, So
that was that was pretty crazy, and then that started
the DMX era, the Bloodline era.

Speaker 1 (11:39):
Like resting piece of X.

Speaker 3 (11:41):
Man, that man was really good to me, you know
what I'm saying, Pauls and uh man, I mean he
stole my first piece of pussy like I was still
a virgin. He dirty stole my first piece of ass, Like.

Speaker 1 (11:53):
Was it really yours though? Because he was the star? Yes,
but look so look yes it was it was. We
all know how this shit goes.

Speaker 3 (12:03):
I took a question of my So look, we in
Canada film and Exit Wounds the movie or whatever with
Steven Seagal and all them, and I'm up there with
him while he's up there, and we go to a
club and we vibe and he loves pool, so we
go to a club that got pool tables and then
we vibing and whatever. And I found me a joint
and I'm vibe with the joint the whole night. So
you know, to play the artist when he leave, he
leaving his car and then the Antourize they get in

(12:24):
with the homies the security. So I got in with
the Anthouraze with the girl too, and I'm in the
band playing with Spliffer. You know what I'm saying it's
my first time. So this nigga DMX is literally a
dog though like rest in pieces. Literally like a real
dog in human form. So like I get out the car,
he already in his room security and got history. I
go up there and like he had the presidential suite

(12:45):
and I was in room like sixteen oh two right.

Speaker 1 (12:47):
Next to his.

Speaker 3 (12:48):
So I get there and I'm putting the key in
the room and next thing I know, the door fling
open the presidential suite.

Speaker 1 (12:53):
He're like what up? I'm like what up? He like, heyo, ma,
I think you love your person room. And we never
been to the hotel at all. Like we met these
women at the.

Speaker 3 (13:04):
Hotel and he made a bline away from me and
I never seen.

Speaker 1 (13:08):
That woman again. So what I'm going to tell you,
my brother, it wasn't you. You weren't you. Weren't hit
making yet he wasn't you. Wasn't hit making, And that
was your introduction into this ship. I was trying to
jump in the game. Man. He took it, took my
took my vibe away from me. Man for real. So
whoever you.

Speaker 3 (13:28):
Are, young lady, if you're watching this right now, you're
not low viral.

Speaker 2 (13:35):
So what's the what's the next pivotal point? Do you
think after signing the d m X, now it's time
now starting to show improved.

Speaker 1 (13:43):
I put some numbers on the board.

Speaker 3 (13:45):
Yeah, so I think that X when they gave him
the deal or whatever, he was just so on fire
that he didn't really know the business.

Speaker 1 (13:51):
And that's what was that depth jail.

Speaker 3 (13:53):
He wasn't in the vibe of really creating a business.

Speaker 1 (13:57):
He was X you know what I'm saying.

Speaker 3 (13:58):
But he had the right people around him, Shot to Jazz,
Young Tina Davis, Kevin Lyles, Leo, all the people that
was around or whatever. So at that point, the nigga
gave me a dog and was like, sure, you gotta
take this dog everywhere with you. So like I literally
had a dog, a pitbull, and I took the dog
out of a dog taking a shit in depth jam
in front of Lee or office.

Speaker 1 (14:17):
They ain't saying nothing to me.

Speaker 3 (14:18):
Or whatever, Like I'm really running around with a dog
from there at fourteen too.

Speaker 1 (14:22):
Yes, So here's the crazy chain of events.

Speaker 3 (14:26):
So now I got guns and shit in my house
or whatever, like I'm wilding. So like one of my
people's double cocked the gun while I wasn't there, and
the gun went off. And I was living in a
town home, so the gun went through my floor and
went through a baby's carriage, but thank god, the baby
wasn't there. So the police rushed my crib that they
had paid for me. I was living in Edgewater, New
Jersey or whatever. This word got back to my mom

(14:48):
and my dad, and then you know, them being rich people.

Speaker 1 (14:51):
I'll never forget. I went back to.

Speaker 3 (14:53):
Chicago and my mom hit me like, yo, I want
to take you to the mall. I'm like, shit, I'm
about to go back to New York. I do want
to grab a couple things. Come on, let's go.

Speaker 1 (15:00):
So we went.

Speaker 3 (15:00):
She getting all these mysterious phone calls and shit, I'm like,
what the fuck is going on? She like, I was
my new husband. He's gonna meet us at the mall.
So we go in the mall, I buy some shit.
I come out and it's two Samoan niggas, like six
foot niggas at my mom car. And then I'm like
what's up and she's like they're like, hey, Chris, these
guys are working on my house. And they're like, oh,
we hear you do music. Good to meet you. And
I'm like, yeah, then my mom.

Speaker 1 (15:21):
Is just like Chris, you gotta go to school, and
just went and jumped in a car.

Speaker 3 (15:25):
Nigga popped the trunk and it was all clothes and
shit like that. So now I'm in the parking lot
of the mall fighting with these two Samoan niggas. They
put me in cuffs, the plastic cuffs, and they put
all the shit out my mom trunk and put in
a car and they put me in a rental car.
So now I'm just riding. Yes it's a Rick Kennedy.
Yes I'm riding. I got a record deal, I'm signing
to Depth Jam, I'm doing all this shit.

Speaker 1 (15:46):
So we driving.

Speaker 3 (15:47):
I'm like, all right, bet we in Chicago. Now we
downtown Chicago. I'm like, oh, where the fuck were going?
They like, we can't tell you nothing, you'll know when
you get there. So now we're at Old Hair Airport.
I'm like, what the fuck is we doing at the airport?
So they holding me as we walked through TA saying
it's too Samoan dudes, And it was a black lady
she like.

Speaker 1 (16:02):
Get your hands off that boy. What you got I'm like,
I don't know them. I run away in the airport.

Speaker 3 (16:06):
I run to a daddy and my dumb ass, I'm like, man,
just take me wherever y'all gonna take me. We get there,
We get on the first plane, we go to Vegas.

Speaker 1 (16:13):
They give me a note.

Speaker 3 (16:15):
The note was from my mom basically saying she signed
away all her child parental rights to a concentration camp
type shit, and I was going to school or whatever.
And from there I ended up in Spokane, Washington. From there,
I ended up in Thompson Falls, Montana, and that's how
I lost my record deal with DMX. They put me
in a boarding school to where you couldn't look at girls,

(16:35):
you couldn't have condiments while buying. They paying five thousand
dollars a month for you to be there. So while
you were there and they telling you a piece of shit,
your parents is going to seminars to convince them to
tell them this is the best thing for you.

Speaker 1 (16:46):
Now.

Speaker 3 (16:46):
Me being a delinquent, I acted up there. They sent
me to Jamaica to some shit called High Impact, so
I had to walk the same school sent you. Your
parents They signed the people are just moving you around.

Speaker 1 (16:59):
They signed over.

Speaker 3 (16:59):
They right, I was being I was acting out in
Montana and they sent me to some shit called High
Impact in Jamaica. I had to walk one hundred laps
with a ten pound brick on my back. So getting
back to Thompson Falls, Montana, and I did that, and
then my father finally came and got me like nine
months later.

Speaker 1 (17:16):
I didn't know nine to eleven happened. I didn't know nothing.

Speaker 3 (17:17):
You couldn't watch TV, you couldn't read books, you couldn't
do it. So you basically just cut off from the world.
And that's how I lost my record deal with Dmax.

Speaker 1 (17:25):
What's the name of this school. It was called Spring
Creek Academy and they.

Speaker 3 (17:28):
If you google it right now, like they got shipped
with like the people the guards with sexually harassing people.
Like they found out that the owner of the shit.

Speaker 1 (17:36):
Was a molester.

Speaker 2 (17:37):
Like it's like a crazy, crazy storys hitting went through.

Speaker 1 (17:41):
Oh they sit there to a boarding school. Yeah, they sit.

Speaker 3 (17:44):
And people don't realize that, and not even just black
any like rich people, rich people send their kids to
boarding school, like.

Speaker 1 (17:54):
A boarding school. Yeah, my mama said, you do one
more thing.

Speaker 3 (17:58):
So what happened that you out your pants can afford
to board school.

Speaker 1 (18:01):
That's why you didn't go. No, he ain't do that
thing or what happened. I think that's what saved the
five km.

Speaker 2 (18:10):
That's when I got kicked out of school. So when
I got finally kicked out, like my father came up
to the school, it's like maybe like a month and
a half left of school. My father came up to
school for like the you know, thirteenth fourteenth time, and
the principal looked at my father and said, listen, if
you take him home and never bring him back, I'll
pass them take him.

Speaker 1 (18:33):
He was like me, but he was doing this in
a military.

Speaker 3 (18:37):
House, my father military trip. What I got torn out
of the frame, I shit was different. See I was
getting all F's, my whole port car with f when
I got these, boy, I was getting Jordan's. I got
a C boy, I was getting Jordan's.

Speaker 1 (18:56):
That's crazy. But you know, you know what the wild
thing about that.

Speaker 3 (19:00):
And I was having a conversation with my guy both
that produced to show with us. We were talking about
that and a lot of times what it is is
is curriculums. Right, like you were a talented child, right,
that doesn't mean that that fits inside of the frame
of the way that our curriculums are set up. They

(19:22):
were trying to teach you things that you were never
going to use in your life, right because let's let's
be honest, most of these things.

Speaker 1 (19:29):
Are built on people raising.

Speaker 3 (19:31):
Workers use for societies to work, you need workers, so
a lot of times they only teach you to be that.

Speaker 1 (19:40):
Right.

Speaker 3 (19:40):
So when you have this talent, that's why you see
so many kids that have become successful say they told
me I wasn't gonna never be shit. It's some of
you niggas out here lying, some of your niggas lying.

Speaker 1 (19:50):
You're teaching, and that you look dumb ass.

Speaker 3 (19:53):
But it did happen to a lot of kids though
that didn't want to pay attention in there because these
things didn't peak their interests.

Speaker 1 (20:00):
I'm interested.

Speaker 3 (20:02):
So I look at someone like yourself and I see
your successes and I'm like, oh, okay, I get it.
It's not like, oh, he didn't know it and he's
not a smart dude, because you obviously a smart guy.

Speaker 1 (20:12):
You know how to run your business.

Speaker 3 (20:14):
But these things that they were teaching, and the way
that they were teaching you were not advantageous.

Speaker 1 (20:19):
To where you were going.

Speaker 3 (20:20):
Hell no, I wasn't, and I'm glad I won't remember
that point because it's something that happened later in my
life when I worked at Atlantic Records that remind me
of what you just said or whatever. So I'm gonna
keep that in mind when we get to that moment though,
for real.

Speaker 1 (20:32):
That's all facts right there. So your cops come get
you out of border. He saved you. Yeah, wait, but
did he sign you know you were going there?

Speaker 3 (20:40):
You know I've been so bad, You know how you
just so terrible to your parents that your dad.

Speaker 1 (20:47):
Might drop Mike and be like, man, you can't even
get your mama.

Speaker 3 (20:51):
I could do my mama harping on doing this shit,
but I ain't put him in a position to where
he could throw any more flak back.

Speaker 1 (20:58):
I'd already been so bogused. Was like, all right, bet
God ahead, you know what I'm saying.

Speaker 3 (21:02):
So he came and got me. I found out nine
to eleven happened. I found out a Lea passed. I
ain't know nothing like I got I lovely. I got
a tattoo of Lee on the back of my neck
with folk Drake and all stuff or whatever shout to Drake.

Speaker 1 (21:12):
But so from there, like my dad was.

Speaker 3 (21:15):
Just put me on game, like yo, you know you
got cousins that do music too, like Kenny Gambo is
your cousin Gamble and Huff.

Speaker 1 (21:21):
I'm like, who is that? And then they started.

Speaker 3 (21:23):
He started putting on Game and like all the records
they had rolled or whatever. So I'm like, damn, that's
what's up. And my dad took me back to the city.
He invested in me. He helped me getting the studio
or whatever, get some studio time. And from there I
was like making dope music. And I went and I
knew Eve, and then Troy Carter became my manager. Troy
and Jay Irvin they would have They had a company

(21:45):
called Irving Wonder and then Eve got the TV show
to do on UPN. So at that point, Troy was like,
I'm moving to LA. If you want to come to LA,
I think this is where you could break and I
can help you, give you some opportunity whatever.

Speaker 1 (21:58):
So I'm to LA. Troy paid for my condo or whatever.
I moved to LA and then I was out here
and I was working with Troy and then the first
project they got me was Eve.

Speaker 3 (22:18):
I wrote the title track, the hook to the title
track on Eve's album Evolution, and I was like, damn,
Like I didn't even know what ghostwriting was or writing whatever,
but I was just doing anything to get a couple
of dollars or to do anything to be in a mix.
From there, we did barbershop soundtrack that Eve was on,
and then id meaning a lot of people, and I
met this girl named Morgan Smith that Eve was executive

(22:39):
producer of the project in Troy and Jay had signed
her to Interscope, and she was a young woman, pretty rapper,
beautiful girl. And I wrote a whole album and so
like the projects are in a scrapping, Yeah, I wrote
the whole album top to bottom, damn executive producer, whatever,
produced or whatever. You know what I'm saying. I was
pretty much her. So that was my first way to
get into the game. I'll never forget this ship, this nigga. Well,

(23:03):
now Troy my brother now too. I'm gonna say that
much my life story, you might as well. It is
so the nigga Troy had had me wearing like his
diamond chain. It's back when diamond chains first popped off
with the doll tag or whatever. I was wearing the
shit and fucking uh the nigga.

Speaker 1 (23:20):
We in there. We're working on the album. I remember
we doing.

Speaker 3 (23:23):
The ship and uh, I'm like, well, shit, what's up? Like,
you know, like I wrote the album like it's not
to get paid, Like, what's up?

Speaker 1 (23:29):
Y'all got some bread for me? He like, nigga? Uh
that chain that show payment for the album.

Speaker 3 (23:36):
I'm like, but he was my manager and my dog
and I love Jerry so much.

Speaker 1 (23:42):
As y'all still to see that. I was just like, yeah,
you know what, all.

Speaker 3 (23:45):
Right, I'm gonna take the chain. I'm gonna ride it out.
And this is the funniest part of the story. So
we go and the House of Blues still alive and
it's still running. And they were managing Jada Kiss at
the time too. So I went in there. I got
drunk with Jadakiss on Hennessy. I'm loaded or whatever, me
and Troy and so you know, you get loaded. So
now I'm mad about not having no money, you know

(24:05):
what I'm saying.

Speaker 1 (24:06):
Like me, y'all know Troy a little too.

Speaker 3 (24:09):
Me and Troy got into a fistfight altercation in front
of the.

Speaker 1 (24:12):
Buck niggas had a lightweight down one.

Speaker 3 (24:18):
In front of the House of Blues, like you know
where the London is right on that you talking about
the only two niggas who had.

Speaker 1 (24:27):
So we fought.

Speaker 3 (24:28):
He took the chain and the chain popped or whatever,
and he took the chain. So now I'm like, damn
with a chain of He's like, I'm gonna get it
to you whatever, and uh, he ended up giving the
chain away. I ain't gonna get into details about that,
you know what I'm saying, because that's my dog or whatever.
But he gave the chain away, and I was just
like damn, Like I just felt so betrayed, Like damn,
I wrote this ship. Subsequently, the girl ended up getting dropped,

(24:51):
her mom was a movie and all the.

Speaker 1 (24:53):
Other stuff happened.

Speaker 3 (24:53):
So now I was just back at square one with
Troy and Jane seventeen. I like, you still ain't really
grown nah at all. So from there, like I'm I'm
on hard times, you know what I'm saying. I think
Troy and Jake I remember that's when they became like
the Remember Vincent Herbert. They did a deal with Vincent Herbert.
They had like this fucking office on sun whatever. Yeah

(25:15):
blah blah, yeah, yeah, Matthew.

Speaker 1 (25:20):
Knows it wasn't. Shout outs to Matthew knows too. Yeah, yeah, yeah,
shout outs to Matthew. I like the man. I like,
I like how you think too, man.

Speaker 3 (25:29):
So that happens, and then I think the timeline from
there is that me, Troy, and Jay we end up
parking ways, you know what I'm saying, behind that or whatever,
or they just got too busy for me, you know
what I'm saying. Like, So I was out here and
I ended up moving in with my weed man, you
know what I'm saying. And my weed man was a
club promoted at a club called Privilege. And this is

(25:50):
back in the era of t K. Y'all remember when
you know t K worked for hypnosis. Now, the people
that's buying all the catalogs or whatever from people t K,
he's gonna find their way shout out to you know what,
Shout out to Los Angeles because Los Angeles is a
place where you can find.

Speaker 1 (26:07):
It and a lot.

Speaker 3 (26:13):
My god, that's when LA was really yeah yeah, yeah,
Monday Monday ship. So I was doing that. My my
we man was a promoter at the club. So he
ended up introducing me to DJ Echo and Echo was
at power.

Speaker 1 (26:30):
One oh six.

Speaker 3 (26:31):
And then from there, I remember I did this song
called Sexy Lady, and like we didn't have no engineer
or none of that ship. We're not just gonna let
you just breeze.

Speaker 1 (26:40):
Over that record. I thought he was gonna get into it.

Speaker 3 (26:43):
He goes into it to take a ship, like that's
a mother record. Come on, don't don't play with the
record like it's.

Speaker 1 (26:50):
Just it's weak. No.

Speaker 3 (26:52):
Look, this dude Junior who sings the hook on Sexy
was like my brother. His sister was so beautiful. Oh
my god, man, I loved his sister. She was one
of the baddest chicks ever. But so that's the tidebar.
But anyway, I remember recording the record at my engineers
at my weed man's house, and we had no engineer,
so like I would press three and leave it from

(27:14):
the beginning and go run.

Speaker 1 (27:15):
Into the booth and then rap my ship you know
what I'm saying, then go back do it again. Whatever.

Speaker 3 (27:19):
So we flushed the song out and my weed man
was the promoter, so we kept going to Privilege, we
kept going to TK Shit and Echo would spin my joint.
Like I remember, I was going there with a chin
chill on board, be hot as hell outside of that La.

Speaker 1 (27:32):
Boy, but I was just doing anything to be noticed.

Speaker 3 (27:35):
This back in the day, he was a promoter wet
had no money, so we would go to routs and
buy the bottles before we get to the club. He
would sneaking being through the back and then bring him
out to us or whatever.

Speaker 1 (27:44):
Yeah, like we're doing a vibe.

Speaker 3 (27:46):
So the song starts bubbling, and then we created a
database of He used to hand the clipboard out at
the club and get everybody number and get all body
shit or whatever. So from there, Echo was like, this
song is kind of blowing up, Like I want to
take you to a pole one on six mixer meeting.
So I go to Power one oh six. I tell
my life story for them niggas. I cried a little
bit at the end of the shit or whatever, and
they were standing. Ovation started off and mixed show or

(28:11):
about like six weeks later that she was in Power Rotation.
I ain't had no deal or nothing, and it was
it was like it was random because I'm from Chicago.
I'm not even from La so you're thinking that maybe
somebody from LA.

Speaker 1 (28:22):
That could be their story that I get a record.

Speaker 3 (28:24):
I'll get it to the DJ and I go up.
So now I'm just blew up. Sexy Lady was the
hottest shit in the streets. So from there, my management
now or my business partner now that I work with
Billy J who worked with John Monopoly. At the time,
we was all kids and shit. He called somebody an
epic record looking for somebody else, and I.

Speaker 1 (28:43):
Think Dave McPherson and some shit like that. Well, Sony
or whoever.

Speaker 3 (28:46):
Back in the day was the big dog, and a
lady named Katie Katie Welly picked up. She was a
Keith Nashally's assistant.

Speaker 1 (28:54):
She wasn't she was.

Speaker 3 (28:56):
She was like j was a famous one if she
was at Famous music when I was at fan Miss
Katie is now a Sony. Yeah, Katie a big dog
and you don't notice, but Katie was instrumental in clearing
some of our records for it that came through Sony,
so shout out yeah. So Katie Welly heard the record,
caught the record, it was already blowing up, and she

(29:16):
introduced Billy to Keith and then I did a showcase
and Keith came, and from there they gave me a
label deal. Like yeah, shit, he'll take it. You know,
I didn't meet Charlie Walker. I just met Keith or whatever,
and then they gave me the label deal. From there,
the record was already blowing up. And then Junior, the
guy that was on the hook, got the big head
and was like, Nigga, is they don't even like your

(29:37):
partner song? The song it's really about me as the hook.
I'm like, Nigga, you ain't right.

Speaker 1 (29:40):
The hook though, you know what I'm saying.

Speaker 3 (29:41):
You was a nigga singing and you my brother, So
you know how the labels when you write the song
about the system.

Speaker 1 (29:47):
Hell no, nigga, you said you said something about it.
He said something about I'm like yo.

Speaker 3 (29:52):
His sister was Dayton t R at the time, Jason
Jason josh Yesh.

Speaker 1 (30:02):
We knew his interview was.

Speaker 3 (30:06):
So from there that happens and we get the deal.
Junior gets the big head. So Junior is supposed to
be signing my company. They went back door at me
Epic and signed Junior to his own deal. So I'm like,
we had this demo together and all the other shit.
They wanted the songs. I'm like, I'm not giving a
nigga no song. Y'a got to give me a quarter
million dollars just to walk in the studio with this nigga.

Speaker 1 (30:25):
So they never did it.

Speaker 3 (30:26):
They sent him on a world tour and then they
ended up dropping the nigga or whatever off of shit.
And then from there was one of them moments I
put out that record on the EP, and this is
when ray J was just on fire, like he was
like what like I was. It's brandy brother, he knocking
everything down like he was the guide in me.

Speaker 1 (30:44):
So I'm like, I want ray J on my EP.

Speaker 3 (30:48):
So my manager finds ray Jo, who still works with
ray J and they developed the Scootie bike and all
that shit together. That's further down the line or whatever.
So ray come to the studio. You're like, yeah, you know, no,
you like to sexy his nigga in.

Speaker 1 (31:02):
A game right now? I'm like, what, Like he like,
you know you got the sexy Lady.

Speaker 3 (31:10):
I got this record I want you to hear though
it's called Sexy can I.

Speaker 1 (31:14):
I'm like, I'm good off that.

Speaker 3 (31:17):
Like I already had the song of business with the
girl cash or singing I'm like, I'm coming with that
nixt I know what this is, and he's like, nah.

Speaker 1 (31:23):
It's gonna be big for us. Bro.

Speaker 3 (31:25):
So he did his record on my shit. He left somehow.
I was just like no, like I was on fire.
I was like, I had the number one regular country.
I'm like, I'll get to that shit. I ain't gonna
do that shit. I want to go with what my
plan is. From there, he got it to Charlie Walk
because ray J subsequently did a deal with Cotch Records,
and if you remember, Cotch d in Shadow were working
all the Urban Records as everybody everybody. So from there,

(31:50):
Charlie Walk calls me to New York, summons me to
New York. I'm thinking, like we're gonna talk about my
next single and shit like that.

Speaker 1 (31:56):
I go in there. God bless me, Charlie. I love you. Man.

Speaker 3 (31:59):
Charlie had to be on some coke or some shit
like that or whatever, like wilding out. The nigga was
on top of his piano dancing to Sexy Ken I
like the in the Epic Records office. He's dancing on
top of the piano. My brother like dancing. He like
it's gonna be the biggest record of your fucking career.

Speaker 1 (32:15):
I'm like what. I'm like, what's the record you turned out? Yeah?
I'm like, bro, because ray J gave it the cock.

Speaker 3 (32:21):
So now they thinking like they're gonna backdoor or whatever.
So I'm like, bro, I'm gonna be the sexiest nigga
in America from Sexy Lady the Sexy Ken I am my.

Speaker 1 (32:29):
Right said, fred is my album name. I'm too sexy now.

Speaker 3 (32:31):
Nigga like, how am I going from Sexy Lady to
Sexy Kenna? And then Charlie was like, man, what is
gonna take for you to do this song? It's gonna
be the biggest record of your career.

Speaker 1 (32:39):
I said, you gotta buy me an epic record. Shame
He like that's all. Like you're in this fucking jewelry. Man,
I love it. I love y'all know you dude, you
know I love it.

Speaker 3 (32:50):
So look the nigga gets off the piano and then
he goes and I'm like, yo, Jason and Beverly Hills
is my jeweler.

Speaker 1 (32:56):
You gotta get me the chain.

Speaker 3 (32:58):
He called Jason right there, probably came out my budget
or whatever, and they caught me the chain on the spot.
So now I'm like, man, they put me in a corner.
They to pay for the chain. So from there I
go to Miami and from like literally the della no
to what willis? I wrote my verses and and and
finished the song in between writing it from there, so
we do that. I do my verses at Circle House

(33:18):
Studio and then the cookies Man cookies.

Speaker 1 (33:30):
In order to get there. You know, they got mango
trees in the back.

Speaker 3 (33:34):
So at that point, and this is a crazy time
when I did the record, like this.

Speaker 1 (33:38):
Is like.

Speaker 3 (33:40):
My set, Like I was introduced to ecstasy from like
IRV Godi and Jo.

Speaker 1 (33:44):
Rule when they had the murder.

Speaker 3 (33:45):
Man and with the whole notherd this nigga just hit
the last left turn.

Speaker 1 (33:51):
I was introduced.

Speaker 3 (33:51):
So look when I did my verses for that, I
met Pleasure p for the first time or whatever circle
House Studio, and Pleasure was like, hey, so you want
one of these he gave.

Speaker 1 (34:00):
Me, He gave me some or whatever.

Speaker 3 (34:06):
So I oh, I did my verses for a little song,
and I remember Pitt Bull was there and I'm like, bro,
you want to ecstasy because I'm so geeked up off.

Speaker 1 (34:16):
He's like, no, poppy. I'm from Miami. If I'm gonna
get to it, I'm gonna get to it.

Speaker 3 (34:20):
I'm not gonna play with it. That's just reminded me
of mother fucking scar Face dancing in the club. So
you know, you, buddy bok, he wasn't gonna play with it.

(34:43):
So I did my bees and I never forget we went.
We flew from their circle house. We have been back
to l A. So not the record done.

Speaker 1 (34:52):
We're here in l A.

Speaker 3 (34:53):
And uh, they like, Ray wants to finish the song
with you. So I'm like, alright, bet so this like
in between I mean him giving me the song or whatever.
Now he's did his deal with Vivid, you know what
I'm saying, Like it's.

Speaker 1 (35:04):
Through the roof and the state. Now now it's a thing.
So so it's all at the same time.

Speaker 3 (35:10):
Yeah, it's all in the same So before he had
the song, kind of before he the tape came, it
became a thing when he did his deal and got
his bag from it. So now you know, we at Encore.
You know he's pulling up Lamborghini. Ray, you know, he
in his bag or whatever. So I'll never forget it.
We get in there and then you're like, yo, my brother,

(35:31):
I'm with cash or the girl that saying the hook
on the bene she was like my best friend at
the time or whatever. So he like, man, you know,
I don't need no disrespect, but you mind if I like,
I got to get into my energy, You mind if
I play these I don't want.

Speaker 1 (35:43):
To disrepect your girl.

Speaker 3 (35:44):
And he just threw out a bunch of vivid DVDs
or porn movies on it on account and I'm.

Speaker 1 (35:49):
Like, bro, this's my best friend. You could play that.
So we in encore he put the porno on the
TV or whatever. Mind you.

Speaker 3 (35:55):
Tierra Mariaz his girlfriend too, So Tierra Maria is with
him while we're doing all this at Arencore. So okay,
we finished this song and I'll never forget he was doing.
He got a run at the end where he's like
getting in Jesus Jansen gun. But he was in there
like I gotta give him my Stevie.

Speaker 1 (36:11):
I got to hit my Stevie.

Speaker 3 (36:12):
And like t Air Marie was clowning him so bad
while we was doing this shit.

Speaker 1 (36:17):
It was the most hilarious shit. So we finished the
song and then next thing I know, they like this
shit is about to be the biggest song with your career.
It's a hit. Blah blah.

Speaker 3 (36:24):
Because when I did this song, like Ray would go
for four bars and I say nothing, Then like a
minute later he would pop back in with four more
bars and then it'd be blank again. So I kind
of like arranged his part and wrote my part and
came up with other parts for us to do together
on the song.

Speaker 1 (36:40):
So that's how that went.

Speaker 3 (36:41):
From there. We go to Miami shoot the video. So
we shooting the first shot of the video, me and
him and Lamborghini. I'm smoking a blunt. It's police around
us there to secure us in Miami for the shoot.

Speaker 1 (36:52):
I'm smoking this down to a roach.

Speaker 3 (36:54):
I'll throw it out the Lamborghini before the first take
of the video. The police that's securing us come pick
the roach up off the ground smelling and pulled me
off the lamborghin me and locked my.

Speaker 1 (37:03):
Ass up right there on the spot. On God, y'all
hired them to a rest. You pretty nigga took me
to jail. Jack, I'm not even talking about like it
wasn't nothing like about nigga. Miami jail, Miami jail.

Speaker 3 (37:16):
Listen, there I had to build a couple of homies
out y'all know who y'all are. Cost me ten thousand
dollars one weekend, you know. But I ain't gonna never
leave my niggas in Miami jail for it to be
that hot outside in jail in Miami. Nigga tried to
ask one of the Hommy told me when they got out,
we got the niggas out like five six in the morning.
He said, you know, nigga tried to ask me for

(37:38):
my shirt. Bro, I said, did you give me your shirt?

Speaker 1 (37:42):
Hell no, I ain't giving my telling what nigga asks
you for. The next nigga, get your shirt up off. Yeah. Yeah,
So I know about all that in there.

Speaker 3 (37:50):
So I'm in jail and nigger to add to the story,
So this is around the time, you know Ray J
and Shaquille O'Neil our apartments on the Sexy ken I
song and money Mark or whatever what's the nigga that
beat used to be with shaq whatever like man his
name mark and long story short, this is when Shaquille
was on his like sheriff type ship.

Speaker 1 (38:08):
He had just.

Speaker 3 (38:08):
Became like a cop. So the nigga Shaquille came and
bailt me out of jail, like ten hours later or whatever.
He got back jail. Yeah, in Miami, Miami. He was
a sheriff in Miami.

Speaker 1 (38:17):
I mean Hember exactly.

Speaker 3 (38:20):
So he came and got me out of jail. I
think I spent like ten hours in jail. I get
there's nighttime. We shoot the end of the video. You
wouldn't even know whatever, Like it never happened to get
right back to shooting video.

Speaker 2 (38:31):
He's still shooting the video in jail. We just gotta
keep going. The homie gonna be good. He's just he's
just downright, but he's gonna be good, trust me to
hold his way around.

Speaker 1 (38:44):
Was the exact vibe that he was on.

Speaker 3 (38:45):
And when I got back ship, he was already super
geeked up on a on a bean, on his ecstasy
or whatever, and then gave me an ecstasy. I popped
that ship right right do. I'm going to watch this
video listen, man.

Speaker 1 (38:58):
I gotta go. I gotta go rewind now back into
those times.

Speaker 2 (39:02):
I just think about all of the clubs, all of
the move arounds.

Speaker 1 (39:07):
That I was a part. I never had none of
those ecstasy in my system. I mean the VALENTINEO fuck around.
Extasy is amazing.

Speaker 2 (39:14):
Ecstasy was. Ecstasy was amazing. Ectasy was not today. I
don't pop pills, I don't do dress. But in that time,
what it was, the it was, the pure it was.
It wasn't stepped on that ship was beautiful. I used
to wake up.

Speaker 1 (39:29):
Like nigga because you know, like ecstasy kind of gave
you the bubble gus, you gotta go to the bathroom.
I don't know.

Speaker 3 (39:34):
I used to wake up at my career nigga and
pop an ecstasy Nigga, like upon the wake up take off.
Then you know what I'm saying, You use the bathroom
shower so you fresh for the day. I'm be on
ecstasy nigga at nine a m.

Speaker 1 (39:47):
And Wow I was. I was wow. I was a
social you know what I'm saying, Like, where are we going? Oh? Shoot,
when we get there, pop up, We're gonna be there
for two three. I was turning up that That was me.

Speaker 3 (39:59):
You know, I come from the drug dealers, you know,
so I you know my experience of it in my outlet.
You've never done ecstasy, I've never done anything. It's try
shrooms like the little chocolate microdo. It's close to it,
without the without the hangover, without the bullshit that coming
next day. You microdos a little bit, you'll be a vibe.

(40:20):
You will be a vibe. You think you popping that
management ship. Now you think you're talking tell the bar that.

Speaker 1 (40:27):
Like and he already called me with fifteen ideas already
have to bro over.

Speaker 3 (40:36):
I appreciate you know what I mean, what you're trying
to do.

Speaker 1 (40:38):
I ain't.

Speaker 3 (40:40):
Yeah, what's beautiful back in the day. So we do that,
all right? So what happened?

Speaker 1 (40:46):
So we do that with video, finish the video, and.

Speaker 3 (40:49):
Then ship they put that sexy canal and I ain't
gonna lie that ship like a rocket ship rocket. I
never expected it to be that. Never, because you got
to think nigga. They had put like styles P and
other niggas before they put me on the record, and
then they was like, visually, this don't match up styles P,
Like was super hard.

Speaker 1 (41:08):
You know what I'm saying, right, So.

Speaker 3 (41:10):
They went and came and got me, and man, that
shit took off like a rocket. Next thing I know,
me and raj a like back to back tour bus.
This nigga on the road promoting Sexy Cannot which I've
seen some of the craziest ship on the road with
ray J. Shot out to him and his relationship or
whatever now and him and Princess, I have none but respect.
But y'all gonna get these stories from that era. It's different.
It is what it is. I'm gonna tell Sorry, I'm

(41:31):
gonna tell the story.

Speaker 1 (41:32):
Listen, listen.

Speaker 3 (41:33):
All roads in the music business, the fuck the music business,
all roads and entertainment to somehow, all roads, somehow that
nigga all rolls like ray J raisia fucking urban legend nigga.
Ray J took Whitney Houston a compound with us and

(41:53):
there you have it.

Speaker 1 (41:55):
I'll never forget this shit ever.

Speaker 3 (41:56):
Like Whitney, and this was my first time meet and
Whitney she was a gangst like she was one of
them ones, like for real, Like we in there, like
she's smoking us cigarettes, chain smoking cigarettes.

Speaker 1 (42:06):
Vibe. Man. We had compound. We in the back waiting.

Speaker 3 (42:08):
She like, man, send one the motherfuckers in there, go
get us some patrol. They came out with the gallon
of patron for us. Me and Whitney throwing back patrol
shots out the Gallon together.

Speaker 1 (42:16):
From that night we went in there.

Speaker 3 (42:18):
She came in the club while we performed Sexy Kenna.
She was standing in the club with us as a
picture on my Instagram and me her Ray J from
that night, Nigga walking in compound like no cop, let's
take this shot, Let's take this rest in peace, Whitney
to good.

Speaker 1 (42:33):
Times, man to ray So you have your run right,
you moving as young ber, you know what I mean.

Speaker 3 (42:49):
It's you know, you're out here making your records. You're
getting that side of the business. You're getting that side
of the paper and that money. And then what what
was what was the moment for you where you were
like I gotta make a shit. So look I went
and like I moved to my I was living in

(43:11):
a big ass crib out here, like off of Topanga
or whatever. And I had a bunch of niggas living
with me, and I looked at my bills. I'm like, damn,
I'm like spending like fifty five thousand illars a month.
You know what I'm saying, to live before I even
smoke a blunt or do anything like the house and nothing.
I ain't got no nothing. Nigga's just me so from there,
I was just like, man, I'm out my paper getting low,

(43:33):
you know what I'm saying.

Speaker 1 (43:33):
So I moved to Miami and well.

Speaker 3 (43:35):
Actually I was presented with an opportunity a guy named
Brian McKinney, who played for the Minnesota Vikings at the time.

Speaker 1 (43:41):
Yeah, Brian been instrumental in a lot of cool music.

Speaker 3 (43:44):
Shit man, Yeah, So Brian was like, look, I'm starting
my label.

Speaker 1 (43:47):
I believe in you.

Speaker 3 (43:48):
I know you write and produce and you do good
records or whatever. I want you to help me with
my label whatever, and I'm gonna move you to Miami.
And shit, you ain't got to worry about nothing. I
got a studio in my house. And at this point
Briant was the god.

Speaker 1 (44:00):
Like I'm talking about, he blew. He blew a bag.

Speaker 3 (44:04):
Niggas don't understand what the lineman's make. Bro, the NFA
they make the real bag.

Speaker 1 (44:10):
Bro. He the blind Side. They made movies about them.
He's a hundred plus to the good. Bro. He was
getting to the bag.

Speaker 3 (44:17):
I've never so from there, he moved me to Miami,
and I'll never forget when I get to Miami. Now
it's the w Hotel Brickle or whatever. But in the
back they got the living, the house and the residential shit.
Nigga pay my whole rent for a year. I think
my rent was like eight thousand dollars. He came in
and paid it in one wap for twelve months like shit.

Speaker 1 (44:39):
So I ain't had no bills no more. And I
moved to Miami and I dropped a hunting on him. Yeah,
he take this, And I was just moving around with
that nigga. Boy.

Speaker 3 (44:45):
That nigga was a party animal, man, I'm talking about.
He's an animal man. I lived the life of all
lives with him. Like I remember, we came out here
for bet Awards, and this nigga must have flew every
little dirty lady from King of Diamonds with him to
even the fat girls.

Speaker 1 (45:01):
Came every nice clean, nice clean.

Speaker 3 (45:06):
Me and Tanks played basketball at the King of played basketball?

Speaker 1 (45:14):
Did you get a haircut at the King of y'all?
You have played volleyball, y'all?

Speaker 3 (45:20):
Niggas y'all was before me, y'all there before me, y'all
seen it like y'all seen till seven am.

Speaker 1 (45:26):
And we got there at six fifteen. We spent the
full taker.

Speaker 3 (45:30):
Brian flew like thirty women from King of Diamonds to
l A for BT Awards, and like we were all
staying at the mandri Onga, like twenty hotel rooms. Ohlah blah,
and I ain't know, like it was crazy because like
I was spending my own money on drinks, like you know,
I had girls coming through and I walked in one
of the strippers room. These ladies had room service power
to the floor.

Speaker 1 (45:51):
I'm like, how y'all buying all this? Like his credit
card is down.

Speaker 3 (45:54):
At the incidentals, I said, holy ship, I caught.

Speaker 1 (46:01):
Y'all come to my yard. Man scot ball in my yard.
I was balling out of control.

Speaker 3 (46:06):
So Brian Man he came in, really was like an
angel for me at that time because I was still
trying to figure it out. So from there trying to
figure it out, I'm like, uh, fuck it, I'm moved
to Atlanta. I moved to Atlanta, and I realized how
clicky it was in Atlanta, like because it would be
like Polo and them over there, akon and booing them
over here, but everybody had their own little ship, so

(46:28):
I couldn't really get into the.

Speaker 1 (46:30):
Mixed team Paine over here or whatever.

Speaker 3 (46:32):
And DJ Infamous like I go and I Well, first
happened was I signed producers and then we did this
record by this guy. It was kind of like a
one hit one day. It was like called Snapbacks and
Tattoos snap Back.

Speaker 1 (46:46):
We did the song.

Speaker 3 (46:47):
Yeah, that was like one of my first producers.

Speaker 1 (46:49):
Like Joints or whatever.

Speaker 3 (46:51):
Yeah, I did that record, shout out to Tricky shot
a Coop. And then from there I did my idea
publishing deal with my producer with Ludacris, with Shaka and Jeff.
And the funny thing is because Sean Formoso and Tone
Day were the little guys under Shaka and Jeff who
now run lvr N or whatever. They was under them,

(47:11):
So like I was able, they were young, I was young.
We like in the same age range. So I got
the publishing deal from my producer and then from there
I did a hook for DJ Infamous called double Cup
and I was on the song. And that's the first
time I ever said hitmaker. I was on the songs me, Ludacris.

Speaker 1 (47:26):
Juicy J and Uh Young Jeezy.

Speaker 3 (47:31):
So this around the time or whatever, They're like, niggas
weren't fucking with me, Like this be a honey you
know what I'm saying. I was like, I had a
bad stigma on me, but I was infamous, was looking
out for.

Speaker 1 (47:40):
Me, and Jeezy was on fire. So we shooting a
video and ship.

Speaker 3 (47:43):
But Jeez ain't want to let me in none of
his shots or whatever because he ain't want to be
to be around him or nothing like that or whatever.
So you know, I got lit on the set. They
like action, Well I go running. Jez already knew what
this nigga did, ran in his She was like, man,
I go quick crazy. This was like, bro, you gotta go.

(48:09):
You already did your part. I did my parts already.
I was just leaking around. Yeah, I was there from
the daytime. Now you know Jeezy to start, so we
coming later. He's showing up late. But I'm like, damn,
I wrote the song. It's me on the hook, It's
my song. I gave it him how you don't want
to be around me and I'm on.

Speaker 1 (48:24):
It's my song.

Speaker 3 (48:26):
From there, that was like the first time I ever
said hitmaker, and that was just like it didn't happen,
like I'm hit maker, Like you know what I'm saying.
That's why I'd be weird when people be like.

Speaker 1 (48:36):
Well, Burg hit maker, what I call nigga, I'm still Burg.

Speaker 3 (48:39):
I'm still younger unless I do a face off nigga,
I'm still young Berg.

Speaker 1 (48:43):
I can call me whatever you want, nigga. You know
what I'm saying.

Speaker 3 (48:44):
Okay, you already got check calling me whatever, nigga whatever.
So from there, I do that that record, and then
I'm in it. I'm in Atlanta and I had a
bunch of demos that I had from Miami and like,
I'm like, damn, how do I do this? And fucking
Vincent Herbert Cousin ends up getting contact with me. I

(49:05):
sent him a record, got to Tamar and it got
to Vince, and Vince was like, man, I want to
bring you here to La to work on this TAMARW album.

Speaker 1 (49:12):
And they flew me out first class.

Speaker 3 (49:14):
I'm like, oh shout, I'm back first class because you know,
a nigga go down and coach. You know what I'm saying,
Like when this is the line like cut off, you
know you're back in the humble beginning. Flew me first class,
put me at the Sophie tail before yourself. I still
be trying to fly coach.

Speaker 1 (49:26):
He won't let me. Man my ass and touched the coach.

Speaker 3 (49:29):
Seaton like and listen, I don't give a fuck I
do because you see where the thing is. You about
to put out your single? You will care because then
catch you with your mouth opening.

Speaker 1 (49:37):
I won't a coach or whatever like.

Speaker 3 (49:39):
This because they won't listen, because they won't catch me
on my mouth open because no, no, no, no, no, no
no no no, listen, listen.

Speaker 1 (49:45):
He takes a cover.

Speaker 3 (49:46):
I got a cover he got from Delta, but I
literally put nigga.

Speaker 1 (49:50):
I put the cover on.

Speaker 3 (49:52):
If you see a white it's probably me.

Speaker 1 (49:56):
And like, I don't see why don't you know the tricks? Huh?
So you how I do nigga? I do that in
first class. I'll do that when he's spending his money.

Speaker 2 (50:06):
You coach, He's like, man, I ain't got time for
this ship, but I promise you when we send that
rider to the promoter.

Speaker 1 (50:16):
I'm judging you.

Speaker 3 (50:17):
I'm judging you because I judge the women that they
get flyouts based off that. Like if you fly, if
you fly first class when you book in your own flight,
I'm gonna fly your first class if you.

Speaker 1 (50:26):
Fly coach when you book your own fight. But we're
working either way.

Speaker 3 (50:31):
Yeah, I mean maybe they're working too, of course, but
you know what I mean. But when we're working and
it's a part of the you know, it's a part
of the rider.

Speaker 1 (50:38):
It is what it is. But the truth of the
matter is.

Speaker 3 (50:41):
Even when I fly myself first class, right for me,
it doesn't I mean, it's just me.

Speaker 1 (50:46):
They don't really matter.

Speaker 3 (50:47):
I have bad luck with and I don't care about perception.

Speaker 1 (50:50):
I had bad luck with. I'm the Valentine.

Speaker 3 (50:52):
I had bad luck as a youngster though, because it's
a different type of hurt and feeling that you got
when you get on a plane and like.

Speaker 1 (51:00):
An Angela Simmons and.

Speaker 5 (51:02):
Fast city and you young, you gotta walk back and
then you gotta walk back like hey, everybody, everybody got.

Speaker 1 (51:11):
They everybody got it.

Speaker 3 (51:14):
I'll say hello. I might even stop talking to him
for a minute. I see y'all on the plane land.

Speaker 1 (51:18):
Man, Yeah, everybody got the bow. Wow. Fucked that up
for me. I ain't flying coach. And now my nig
give that's my dog, you know. Now, my dog, Me
and Bow had dark days.

Speaker 3 (51:29):
Or whatever back in the day, just over whatever stuff
and women and stuff like that. But man, that's my dog. Now,
but I'm not going to coach. I don't get the
bag has to be Well, if the bag is that big,
then why would I be flying coach Anyway. I was
about to say, like, if it's a million dollars somewhere,
that's like, yo, you you have no choice but to
get on it.

Speaker 1 (51:48):
I'm out coach me.

Speaker 3 (51:49):
You know what I'm saying, masked up whatever, But my
ass saying touch no coach.

Speaker 1 (51:55):
Sheating seven years for real, for real?

Speaker 2 (51:57):
I respect and it's never going back. Okay, maker, no coach.
So you said hit maker in that song. That was
the first time you said hitmaker. Why did it become
a thing or how did it become a thing?

Speaker 1 (52:09):
Uh? Ship, I don't know. It just happened organically.

Speaker 3 (52:12):
I wish I could really say, like I was like, yo,
I'm I'm gonna be hit maker or that's what I
just said. It came out here to La was up
at the Sophie Tail working on Tamar Braxton Love and
War albums. So like the song that they wanted. When
I get to the studio, I owed the studio some
money in Miami so they wouldn't relinquish the file for
me to cut it. So like I had to come
up with the audible you know what I'm saying on

(52:33):
the spot because the first class though, and you wanna
pay that motherfucker studio field.

Speaker 1 (52:43):
I didn't buy that. I'd have been coaching. I was
frying myself. So we do that.

Speaker 3 (52:47):
We get out there and Tamar you know now, you
know what I'm saying. Me and Tamar are super cool.
We in a good space or whatever. But she was
in she was in her bag. This when Tamar and
Vince had that TV show like they were and resting
piece of Lashan Dan. It was, you know what I'm saying,
when he was the go to guy. He was in there,
you know what I'm saying. So from there, I'm like,
I ain't got that song, but I got another song

(53:09):
that I think Crazy played it for. It's called the
One or whatever ended up being her single on that project,
and she loved it, and they went in there and
did it. They took my tag off the song. I'm like, damn, Like,
you know what I'm saying, So I created a new
tag the way I just screamed on the song in
the background and made it a part of the shit.
So it still stayed on the song, and that was
like I was like, fuck it, I'm moving back to LA.

(53:29):
Like you know what I'm saying. Vincent Herbert was supposed
to sign me, give me a deal and do all
type of stuff. It never panned out. I mean, show
love to Vince. I just seen Vince at Circlehouse recently
and I moved back to LA and I was kind
of like the start of like, all right, bet, I'm
gonna take this LA shit seriously again. You know what
I'm saying. I'm hit maker now I'm gonna do this.
I did my first publishing deal. I did my publishing

(53:49):
deal who I'm still in a publishing deal with with
Mike Carron at APG and boy, Mike lucked up on
this shit. Mike might be one of the best business
man in the game. I think Mike signed me for
thirteen thousand dollars. So some ship like that nigga back then.
This is in twenty twelve, it's not later. I'm still
signing my Karen on publishing, but be good and I
got a joint benchure now and obviously right so here's

(54:14):
the other part, because we always talk about this, right
we want we did this show so it would yes,
we want to have a good time.

Speaker 1 (54:20):
We won't go and crack jokes. We're gonna do what
we do.

Speaker 3 (54:22):
But we also want this ship to be informative, right,
And I think what happens in this business is people
always look at things as.

Speaker 1 (54:31):
Somebody fucked me out, and I know he does, and
I do.

Speaker 3 (54:36):
I look at things as someone gave you an opportunity.
Now if you don't want that, unless they put a
gun in your head and made you sign something, right,
if you signed it on your.

Speaker 1 (54:48):
Own, you know what I'm saying, and.

Speaker 3 (54:55):
On ecstasy like you, guys, But you know what I'm saying,
But you can't sign deals on extity. You can ship
because everything is good on ecstasy.

Speaker 1 (55:04):
So you know what I'm saying, kid, Yeah, we can do.

Speaker 3 (55:09):
Like you said later, you signed that, you signed that deal.
If we can find my man a lot, that would
be amazing.

Speaker 1 (55:15):
Guys, somebody you know what I mean.

Speaker 3 (55:16):
You go ahead, right, but yeah, no, so you know
you signing that deal led to these other opportunities in
life that you may have not got. You may have
not gotten if you don't sign this thirteen thousand dollars deal. See,
but that's the business man, and you being a manager
and being rich, like writing our concept like until you

(55:38):
make it out and get some money, they fucked you.
That's all you think in the whole time. Yeah, and
if you never make it out, they always full exactly
hindsight when you make it out your deal or whatever.
He was like, man, well damn, if he didn't give
me that opportunity, I might not have access to do
the studio and do the things that I did.

Speaker 1 (55:55):
And from there I'll never forget.

Speaker 3 (55:59):
Damn it's getting to it a good spot or whatever,
because I love your story about the love and hip
hop people that I did the show with on season one,
about the monies and the dog food or whatever. So
long story short, Hazel e the girl Hazel, which we
all knew, you know what I'm saying from just being around.

Speaker 1 (56:15):
Yeah, of course she was. I believe it.

Speaker 3 (56:17):
Yeah, shout out the Echo and all them. I remember
they was moving heavily and doing that.

Speaker 1 (56:21):
So Hazel, he just approached me like, man, I'm doing
love and hip hop. Fuck this shit.

Speaker 3 (56:26):
We're gonna do a love and hip hop Hollywood. We're
gonna put everybody on it, all the people that So
I was.

Speaker 1 (56:30):
Like, shut, I'm down.

Speaker 3 (56:32):
Should I had nothing to lose, you know what I'm saying.
Like I was working with Puff at.

Speaker 1 (56:35):
That time to deal with Mike Heron.

Speaker 3 (56:39):
I'm at apg On Kowanga every day, you know what
I'm saying, working making my rounds, doing all this other stuff.
So I was just like, fuck it, let's do it.
From there, it came reality and then ship. At the time,
I didn't know what was going on.

Speaker 1 (56:54):
So the lies.

Speaker 3 (56:55):
I gotta clear this up because I never really said
all this shit. So we do love and hip hop.
I wasn't fucking Hazel we or dating Hazel Wee or
nothing like that.

Speaker 1 (57:04):
Whatever.

Speaker 3 (57:04):
She was just Hazel we Like everybody know Hazel from
being Hollywood.

Speaker 1 (57:07):
She's my nigga. Like we was really.

Speaker 3 (57:08):
Homies, always supposed together.

Speaker 1 (57:11):
I'll get to that.

Speaker 3 (57:12):
So from there we get to the show. And now
they got like the cast meeting or whatever. So now
a cast meet and I'm like, holy shit, these are
all people I know. Then it was like, oh shit,
my ex girlfriends here. So I don't mean no disrespect.
They probably gonna go viral with us, and I mean
it's an off air. I'm not gonna say nothing both us.
So Joy, who's Bow baby Mama or whatever.

Speaker 1 (57:35):
Future.

Speaker 3 (57:36):
She was like one of my ex girlfriends from back
in the day or whatever. So she was on the
show like they had casting her for the show or whatever.

Speaker 1 (57:43):
So I'm like, oh, it's lit.

Speaker 3 (57:44):
So me and her end up rekindling after we see
each other at the meeting, then we now we were dating.
We back into the vibe, we back into the mix
or whatever. So when we first started shooting the show,
it was me and Joy. Joy was my girlfriend, but
as you know, a reality TV because joys on the show.

Speaker 1 (58:01):
She was on the show filming and the whole thing.

Speaker 3 (58:03):
Nigga and I remember your name used to be thrown
around the heaviest because they were like yo, Tank and
Zina is gonna do the show and this that and
the third this season one.

Speaker 2 (58:12):
Like what they called us first, They called us to
build the cast.

Speaker 1 (58:18):
So we were the first. We were the first couple
called to do loving Him.

Speaker 2 (58:23):
And we So so we put the playlist together, the
original playlist, and me and him got to talking, and
I got to talking with Atlantic and they were like,
we get it, but you don't need this right now.
This is a different kind of energy that and.

Speaker 1 (58:44):
I was like, no, it's twenty fourteen too.

Speaker 2 (58:48):
And so like it didn't happen right, And so for me,
you know, I was still doing still doing tank, you
know at the time, for my wife, we were trying
to build a platform for her, so it's gonna be
perfect for her. So in me pulling out, you know,
they pulled the plug on her, but they took everything

(59:09):
else that we had already built.

Speaker 1 (59:12):
But that.

Speaker 3 (59:15):
TV and for that ultimately, I've never had the conversation
either about that because you know, we we.

Speaker 1 (59:22):
Don't usually go.

Speaker 3 (59:24):
I'm glad you got him because because in that situation,
I just called it for me, I saw the future
for him, right, because this at this point in that year,
we're rebuilding, right, and what I understand from what we
were trying to build right where everybody's everybody's path is different,
but from what we were trying to build, it didn't align.

(59:47):
It just didn't align to what we where we were going, right.
And you know, and this is a part of having
a trusting clients. The fact that a bag is in
front of him, extra famous, in front of me, extra
everything right, These is all positive things.

Speaker 1 (01:00:06):
And then you have me saying, nah, cham and I guarantee.

Speaker 2 (01:00:10):
I know I'm wouna carry myself on this shit. Listen,
I know I know how to carry myself.

Speaker 1 (01:00:17):
Right. We may know how to carry, but we know
how this show goes.

Speaker 2 (01:00:21):
And I've been in La for I don't know how
many years they sent you. Man, they start to digging
and pulling up skeletons out of that La dirt, you
never know where that's gonna go.

Speaker 3 (01:00:36):
So and Ray put me on right once I've seen
Ray was involved. And Ray started calling me or whatever.
He's like, think it, it's gonna be ten seasons. We're
gonna milk the ship.

Speaker 1 (01:00:44):
We back, we gonna.

Speaker 3 (01:00:45):
Sexy cannot part to him, I'm like, man, you know
you start thinking like so.

Speaker 1 (01:00:52):
We do the show.

Speaker 3 (01:00:53):
Me and Joy are like boyfriend and girlfriend on the show,
and like they wanted me to do like some some
shit that I wasn't really comfortable with, Like they wanted
us to be kissing and this that. But this is
my first time being in front of the TV show camera,
so I didn't know what was going on or whatever.
It's like, in hindsight, I should have been tongue kissing
with the people that they put in front of me.
Post that, you know, what I'm saying. So I was

(01:01:16):
being stiff on camera. She was being stiff on camera too.
We both was very reserved about things. And I go
to Miami to work with Puff on this money making
Mitch ovel. So I get down there, I'm working with him.
We vibing all this other shit. But they said the
way it set up, all the girls on the show
really didn't feel each other or whatever, like just off

(01:01:38):
of strength they create the beasts or whatever.

Speaker 1 (01:01:39):
So Joy, I was.

Speaker 3 (01:01:41):
Dating one girl, and then Masika was like from Chicago.
She was like a best friend of me. She's like
my drinking partner. We hang out, we kicking. We never
had no sexual relationship. We never crossed the line on nothing.
You know how, you might got a girl that's just
like my nigga, Like yo, you you know how to
have fun and pretty girls like being with you or
being around you.

Speaker 1 (01:01:58):
So this is a good look for me.

Speaker 3 (01:02:00):
So I went to Masika's birthday and then I went
to Puffs to do it, to Miami to Puff's house
to do the stuff, and me and Joy fell out
in the midst of that, so we never spoke again.

Speaker 1 (01:02:11):
The relationship was over. I get back. They picked me
up from the airport, you know, because they don't. They didn't.

Speaker 3 (01:02:18):
They don't allow you dry your own transportation. They don't
know you get your own uber. They come pick you
up in a fucking mini van with a bottle of
some rocking or whatever and just start feeding you liquor.
So they and they tell me my dress code. They like, yo, bird,
come in shorts, T shirt. So I'm thinking, I'm gonna
go play basketball with like Soldier Boy and Little Fears
and O Mariana some shit. They pull up the Hazel house,

(01:02:42):
so I'm like, what the fuck? Don't like, Yeah, they
bring you to the scene. So now I'm I'm just like,
oh shit, I ain't know what's going on. And I

(01:03:02):
love Hazel, no respect to Hazel. All lives more this
eight years ago. So from we get in there and
then they basically like, look we setting it up like
you had a long night out with Hazel. You guys
spent the night together this.

Speaker 1 (01:03:15):
That and time.

Speaker 3 (01:03:15):
I'm like, what, So I even I even talked to
Joy yet, I even I ain't even spoke to Joy.
I just had a girlfriend four days ago. I ain't
I broke up with my girlfriend.

Speaker 1 (01:03:25):
I don't know nothing.

Speaker 3 (01:03:26):
So now I'm like a yo, fam, y'all finna try
and have me looking crazy like that, like I'm dating
a girl on the show.

Speaker 1 (01:03:31):
And y'all drum I don't.

Speaker 3 (01:03:33):
So I'm like, fuck this show, I ain't doing this
scene or whatever. So we're sitting outside shit and fucking
Mona just appears out of nowhere like Khuella Deville.

Speaker 1 (01:03:41):
Like, I'm bag you make Stevie Jib loving it.

Speaker 3 (01:03:59):
Yo, I'm talking about that Haitian mother fucking so she like,
you're my Stevie j Love and hip hop Hollywood. This
show is gonna be based around your interactions.

Speaker 1 (01:04:11):
It's good.

Speaker 3 (01:04:12):
I'm like, no, fuck that, y'all trying to have me
look like I'm two timing my girl on the show,
Like I ain't even spoke to her. They like, look,
she like, look, nigga, we fire Joy. She's not on
the show no more. I'm like what, Like, yeah, she's fired.

Speaker 1 (01:04:25):
She's no longer on the show, and I can't call
Shorty because we ain't on.

Speaker 3 (01:04:31):
Yeah, So I'm like, you want me to go in
there and be myself, like just be me, and they like, yeah,
just go in there and do it however you feel
just do it.

Speaker 1 (01:04:40):
So I go in there and they got her capped up.

Speaker 3 (01:04:43):
You know what I'm saying. She's in a robe and
lingerie neglige a or whatever, and like, granted, I'm gonna
be clear on this because I know it's gonna go viral,
and you know, she might have something to say or
a buddle about this. Whatever I had slept with Hazel
previously or whatever. It wasn't my girlfriend. I already we
had already slept together, but it was and like we
were actively dating or whatever in our past from her

(01:05:03):
being a publicist and whatever back when I used to
live at the Archstone or some shit like that or whatever,
like that was what it was. So We're getting the
vibe and she's like putting it on like heavy, like
last night was amazing, blah blah blah blah. And I'm
just looking like an asshole because I'm like, you ain't
my bitch.

Speaker 1 (01:05:22):
Hell no, like we ain't did this.

Speaker 3 (01:05:26):
And then ship I kind of dogged on her, you
know what I'm saying, Like, and I left the scene
and they're like this is amazing, this is great. Yeah,
And I'm like, what make good this girl crying inside
throwing shit? Inside her career right now, like now, granted
speaking now that I know in hindsight, she might have
been putting on for the camera too.

Speaker 1 (01:05:46):
You know what I'm saying.

Speaker 3 (01:05:48):
You know, because if you don't, you get mixed off
the show. And this is what I didn't know, this
is what I found out later. If you're not in
the episode, no, so you can shoot three and scenes
if you won't, if your content not good and you
don't make that screen, you're gonna get paid. So as
much as you went to Zara and march your little
boys whatever, like shut off the Hey, you don't get

(01:06:16):
your money back from Zara, bro, I'm about I was
right down.

Speaker 1 (01:06:19):
I was in Zara head to toe. I was Ora's
first man, kist. I was. I want to always pay
for my first gass fight. But you won't catch me
and coach with no you hear that, bro? They wouldn't
getting my Zara money back.

Speaker 3 (01:06:33):
So it was important back there too, Like it's all
Richard Mills and big Cha boat taking right now.

Speaker 1 (01:06:42):
That was important to.

Speaker 3 (01:06:45):
Take only makes that color bring, right, everybody don't make
that color. Brother.

Speaker 1 (01:06:51):
You gotta coordinate, you gotta coordinator.

Speaker 6 (01:06:53):
Yeah yeah, yeah, yeah, you got a mush your belt
on or nothing. So you're right, you know yo, that
shit Yo. So I'm doing all my czar and.

Speaker 3 (01:07:06):
Shit and uh doing that. We're shooting the show or whatever,
and it's not going the way I would like it
to go, you know what I'm saying. But now, once
you're in the show and you're in the matrix of
the show, then you really become that.

Speaker 1 (01:07:20):

Speaker 3 (01:07:21):
That's why I feel like I send my condolence is
not not not feel bad, but like I feel how
every person that's ever been on that franchise whatever feels
if they don't make it out of the franchise, you
know what I'm saying, because it's like your life is
encompassed with that shit. Now, so whatever we do that
I do love and hip hop. Then like Mona like
approaches me and is.

Speaker 1 (01:07:42):
Like, beg, would you be down to kiss Mesika on TV?

Speaker 3 (01:07:48):
I'm like, yeah, y'all got me with this whole other
story or whatever with somebody this two story later bad
looking and shit, I kissed on TV, and shit it
evolved into something else, you know what I'm saying.

Speaker 1 (01:08:03):
And now me and her was a thing on the TV.

Speaker 3 (01:08:04):
Show, so long, story shows a bunch of bullshit on
the TV show and it ended, and then they tried
to like murder me like Mona and them tried.

Speaker 1 (01:08:15):
To like paint me in such a bad way. It
was just like damn.

Speaker 3 (01:08:17):
And like I was like, damn, I'm doing a TV
show cause I'm working with puff or whatever. And then
missed me doing a TV show Like how you said
good investments and niggas gave you opportunity. I was in
APG and I did a hook to a fucking popping
oak beat and I named the song Nicki and hit
mak and I'm like, man, Nicki Minaj is gonna work
with me. I'm about to work with Nicki Minaj. Watch
this shit bruh. And then I go see sounds at

(01:08:40):
Glenwood Studio randomly he was working with Esther Dean and
her artists back in the day. And then my brother
Doc was like, man.

Speaker 1 (01:08:48):
I just seen Nicki Minaj. She in the same studio.

Speaker 3 (01:08:50):
I did the song like a day before. I'm like, what,
go tell all? I'm in him to tell her that
brought me in the studio to meet Nicki Minaj. I
pressed play on a whole bunch of shit. Like literally,
she took me under her wing like this, like and
never let me.

Speaker 1 (01:09:05):
Seeing it from the outside, I'm like.

Speaker 3 (01:09:07):
Yeah, like, what the fuck is young bird I'm talking about?
She had me like this and was just like, my
studio is your studio. If I'm not here, take over,
do what it is. So you know, I'm flossing it
out to the max nigga. I'm like, shout out to Nikki,
shout and shout out to people who give opportunities.

Speaker 1 (01:09:25):
Nigga was because everybody don't cause niggas wasn't. But you
what's the crazy? I never said this story too, bro.

Speaker 3 (01:09:33):
Well, after I played my songs for Nikki or whatever.

Speaker 1 (01:09:36):
And she was feeling me and like she was like, yo,
this hard.

Speaker 3 (01:09:38):
She was like this before like she was. She was like,
I ain't gonna lie. I've been fucking with you since
this and double clicked on her laptop and took the
aux nigga and.

Speaker 1 (01:09:48):
It was give me the business. I was like, oh shit,
but it fucked.

Speaker 3 (01:09:54):
Me up because I was famous before Nicki Mina, so
like at that point, like you don't even think.

Speaker 1 (01:09:58):
About that, you know what I'm saying. It didn't even
hit me.

Speaker 3 (01:10:00):
All together, Like damn, I was really young berg and
had that song before Nicki blew up, so that shit
was like crazy, and I'm like, damn, I'm doing love
and hip hop.

Speaker 1 (01:10:09):
I can say Nicki Minaj like, so they was.

Speaker 3 (01:10:11):
Nicky was like, oh yeah, you drop my name like
we were doing great work. I probably did like five
records on an album or something like that. But I
was there through the whole process, through the pink print
and shit. From there, I leave the show and it's
dark again. I'm like, damn, Like I got nick I
got my shit going on, but damn, so I got

(01:10:34):
this big ass house in Chatsworth, like and I kind
of like psyched myself out. Like I had a little money,
you know what I'm saying. I ain't had no big
money like I was. I had like one hundred grand,
you know what I'm saying, maybe one fifty, but motherfucking
I had. My dad helped me get this crib, and
I'm like, Yo'm gonna use this crib.

Speaker 1 (01:10:50):
It's motivation because I gotta pay.

Speaker 3 (01:10:52):
These motherfucking bills, so I gotta work my ass off.
I gotta get these placements, and I use it in
motivation and that time, we was in my man. I
had a bunch of boyshit furniture. I was living like
a nigga, just girls everywhere. Seven thousand square for a house,
just the bedrooms furnished for the most part in TV's
and a couch, but it wasn't fully decked.

Speaker 1 (01:11:11):
Ore like how it was supposed to be.

Speaker 3 (01:11:13):
And I created a makeshift studio in my basement and
I had my engineer being with me and he's now
I don't know who engineering.

Speaker 1 (01:11:21):
Now, but that was my guy.

Speaker 3 (01:11:22):
And Jeremiah came to my crib and he was like, bro,
let's work.

Speaker 1 (01:11:28):
So we started working.

Speaker 3 (01:11:30):
We in our vibe or whatever we do, like eight songs,
and I had a girl with me and he had
some company with him too.

Speaker 1 (01:11:36):
So now it's winding. Now they're like two thirty.

Speaker 3 (01:11:38):
I'm like, hey, faml uh shit, let's wrap this shit up,
you know what I'm saying, Ready to take it upstairs.

Speaker 1 (01:11:43):
He's like, no, I got one more in me.

Speaker 3 (01:11:45):
I'm like, man, come on, bruh, man, I ain't trying
to do it like bro, trust me, I got one more.

Speaker 1 (01:11:50):
He win the booth. I put the beat up.

Speaker 3 (01:11:53):
He went the booth and said letstny took an l
butson that I bounced back, wake up in morning, man,
and now I couched. I was like, okay, it's hard.
I went, I took the ship to Big Sean and
it became Big Sean bounced back, and Big Sean was like, man,
you know, I love this record, like shout to Metro Booming.
He co produced on record Shouts to Smash David. So

(01:12:15):
he's like, I love this record. You know, I don't
know what it's gonna be, but man, maybe we should
just throw it out there and just see it.

Speaker 1 (01:12:20):
Like, I don't give a fuck. Nigga.

Speaker 3 (01:12:22):
He like, hey, bro, do you have a tag or
anything you want to put on the song? I'm like,
after all these people been taking it off, taking it off.

Speaker 1 (01:12:32):
He asked you about you at his house. He like,
you got a tag?

Speaker 3 (01:12:35):
Bro?

Speaker 1 (01:12:36):
Like yeah, I went and said my tag. Nigga.

Speaker 3 (01:12:39):
That ship you put that ship out of shit took
off like a rocket, nigga. Shit like seven times platinum now, Nigga.
His biggest performing song stent by himself as a solo
artist on High one hundred That shit and like number two.
She had the super Bowl commercials. The ship had everything
hell yeah, ship and that ship that and that was
the start of it, and I'm like, oh, we rolling

(01:13:00):
then from there. Jay Grant, who works for RCA, super influential.

Speaker 1 (01:13:04):
He was like one of the an.

Speaker 3 (01:13:05):
Rs that was really like an an R, real nigga
to us, Like boy, he would rent out Paramount for
us and fucking buys all the catsuya we wanted with
the label credit card nigga and fucking.

Speaker 1 (01:13:15):
Use use that, motherfucknigg all the liquor.

Speaker 3 (01:13:20):
And then that's how Chris Brown Party happens, and then
all this other stuff and now I'm running them up,
getting a couple of placements, and Ryan Press has always
been like a mentor to me, and I'm like, man,
I ain't gonna lie. I went on Breakfast Club after
Big Sean bounced back and Chris Brown.

Speaker 1 (01:13:35):
Party, and I had a bunch of players.

Speaker 3 (01:13:36):
I probably had like fifty placements now, so I'm popping
my ship on Breakfast Club and I'm like, man, but
y'all really don't realize I'm really about to be one
of the biggest.

Speaker 1 (01:13:45):
Executives in this game. Nigga nigga.

Speaker 3 (01:13:47):
Motherfucking these labels offering me jobs right now to be
an RS line, like a motherfucker like that right now, Nigga,
I'm about to be one of the biggest an rs
in this game.

Speaker 1 (01:13:57):
Watch this shit. Lied from there. Ryan was like, I've
had a conversation. Ryan. He like, you want to meet
Craig and Julie? Like yeah, ship, hell yeah, nigga. After
I seen you at the b and my awards. Damn
there around that time.

Speaker 3 (01:14:10):
They took me to meet Craig and Julie and I
went in there and told the speech and which I
still stand on to this day. There's nobody that's gonna
be influential. I'm really cut from that cloth. I'm cut
from that IRV Gotti. I'm cut from that motherfucking jay Z.
I'm cut from that the big producer that works with
the artist cloth. You can't tell me nothing about I
lived it. He in Mexican, gave me a dog. You

(01:14:30):
remember seeing me in your office, Julie, right, You remember
I was so on and then they made me the
vice president and out Atlantic Records, and then that's when
it started getting getting real interested.

Speaker 1 (01:14:40):
That's when it started cracking.

Speaker 2 (01:14:41):
Out that I don't that for me, that wasn't the
most impressive part right, because I know you can.

Speaker 1 (01:14:47):
I know you can make that. Actually give me yeah.

Speaker 3 (01:14:51):
Talking about it, but you you deserved it.

Speaker 1 (01:14:53):
In fact, you wouldn't get that.

Speaker 2 (01:14:55):
My question is like guys locking to it was zone
and going to run and find a thing that they
are able to milk for a very long time. And
you found a niche in grabbing old records and reproducing

(01:15:16):
them and making them brand new smash records.

Speaker 1 (01:15:21):
You know what I'm saying. It's a very important component
to that.

Speaker 3 (01:15:25):
This guy worked directly with the guy who did it before.

Speaker 1 (01:15:30):
Yeah, Puff Puff Daddy, the king of what?

Speaker 2 (01:15:33):
So what made you say this is gonna be my
formula and nobody's gonna beat me?

Speaker 1 (01:15:39):
You know what?

Speaker 3 (01:15:40):
It was a moment for me. I ain't never gonna
forget this shit. It fucked me up because Nelly had
hot in here, right and it was going crazy.

Speaker 1 (01:15:50):
I'm like, damn this shit crazy.

Speaker 3 (01:15:52):
I'm like for real crazy like and I've been a
student of the game. I know all the producers, I
know Puff You know what I'm saying, Like, damn niggas
really taking this sound and bringing it back and doing
all this other shit or whatever and blah blah blah,
Once I found out that Nelly Hot in Here was
Chuck Berry, Chuck Chuck Brown, Yeah, shout out to the
DMV bro, I was like, oh fuck, no, hell no,

(01:16:16):
I'm bringing back the first time you hear you think
is original. You could you could put ten people in
his room right now and say play Nelly hid in
Here and say what is that song sample from?

Speaker 1 (01:16:25):
And I guarantee they won't unless they from there. Yeah.
So then I was like, oh shit.

Speaker 3 (01:16:31):
I started looking at like for real whole little catalog
and I'm like, damn, he's just making original beats and
just some of the beats on original either too. Like
he's taking this ship like homeboy I came to party.

Speaker 1 (01:16:43):
That's a splip.

Speaker 3 (01:16:45):
Even the nigga with his manager listen and label the
jam Steel Boss and showing your rocks.

Speaker 1 (01:16:51):
Nigga, that's an old rap record. Wow. Yeah I didn't know, yes, Bro.
So I'm like, oh, ship, this nigga's been doing it.
But he finessed it.

Speaker 3 (01:17:01):
His way, and I'm like, oh, that's the puff way.
And I'm like, oh, I'm gonna do it my way
and just do everything that I grew up on one
O six and park on or whatever and all the
records that I love.

Speaker 1 (01:17:10):
I'm just gonna flip on my on my own. How
did you know it was time? Right? Because like because
it's a sweet spot.

Speaker 2 (01:17:16):
There used to be a thing where like a certain
amount of time used to have to elapse on a
record for it to be a classic or even a
certain amount of success.

Speaker 1 (01:17:26):
You're not. You're not flipping all platinum records.

Speaker 2 (01:17:29):
You flipping just whatever got that essence to it, that
you with the feel to it.

Speaker 3 (01:17:36):
That's what I'm humbly. I want to say this because
I didn't know at first, but it was just like, man,
like a producer and a top tier producer. I was like, man,
it's about the work, it's about all this, which it
really is, but they really paying you for your taste level,
for the taste of music what you got. Expound on
that because as a producer, and this is this is

(01:18:00):
something that gets.

Speaker 1 (01:18:01):
Very very cloudy in this business. The producer.

Speaker 3 (01:18:06):
Right, we have beat makers, we have producers, we have
vocal producers, we have finishers, right, we have all these
different things that.

Speaker 1 (01:18:18):
Can tank to do it all. I mean, yeah, he
would he would pretty much form the record. It would
pretty much say that I ain't.

Speaker 3 (01:18:26):
Helped him with his life, but you know that is
what it is, because I love the nigga. Man.

Speaker 1 (01:18:31):
You know what I mean kids is my guy kids,
my kids, this guy kids. Like you know, I'm sitting
there watching the nigga say, man, ain't getting checked my
man by myself? Right.

Speaker 3 (01:18:43):
But I asked you this because you're you're you're fully
immersed in it, right, And.

Speaker 1 (01:18:50):
I know you don't champion yourself as like I make beats.
You're not that guy. That's not who you say you are.

Speaker 3 (01:18:57):
I remember, man, I was dating a girl years ago,
and and and I kind of moved into the you know,
the beat making side of like buying the NPC into her.
And she was like, and I had I had a condo.
I bought my first condo. Man, you know what too
big with you know, so you can hear everything in
that motherfucker.

Speaker 1 (01:19:15):
And I would have the headphones on it.

Speaker 3 (01:19:16):
She would wake up in the morning be like, so,
how did like the BENK thing thinking go last night? Oh?

Speaker 1 (01:19:21):
Sh like the who right? But that's all that's all
she could hear though.

Speaker 3 (01:19:29):
It was like, right, right, whatever, right, But I'm asking
that though, how do you as a producer, how do
you explain it to you know, and how do you
separate or do you even separate even getting that conversation
because a lot of youngins is like I produced it.

(01:19:52):
I'm gonna had a conversation for real, for because this
is a good platform and it's all with creators here
talking about it. So look, everybody produces an my own ways,
it's not really many. It's so many ways it can happen.
Now I can speak on my process and my situation.
So every flip that y'all hear, for the most part,
is me like, yo, yo, Paul, replay this or whatever. Yo,

(01:20:16):
I love this record. Let's do it like this, but
instead of it, let's flip it. Let's add a pre
hook and change and an added and change the key
on the pre hook or whatever, and come back to.

Speaker 1 (01:20:24):
The shit and do the music for me. Blah blah blah.

Speaker 3 (01:20:26):
They do the music, send it back to me. I
love the music because everything he does is firing flames it.
Then from there I'll be like, shit, who drums work
on this?

Speaker 1 (01:20:35):
Shit?

Speaker 3 (01:20:35):
Oh shit cardiac? I think it's got a hip hop feels,
got the ball. I think it's just be crazy or
any other co producers I work with, and then from
there they get me to beat. I write the song
with the person I want to write the song with.
I find the artist to get the song too. I
push the artist to do the song, get.

Speaker 1 (01:20:54):
Through the song.

Speaker 3 (01:20:54):
Then I take the record to Jason Joshua and mix
it and that's the end of it.

Speaker 1 (01:20:58):
Now. If it's something else.

Speaker 3 (01:20:59):
Like I've also an amazing mixer, is very important. Absolutely,
you gotta have that shout out to Ruben. You know
what I mean, Ruben's in there. You see somewhere around here,
you know what I mean. He's grounding right now. Okay,
but no, but yeah, like please please finish.

Speaker 1 (01:21:18):
That's my bad.

Speaker 3 (01:21:18):
But I wanted to shout these guys out because they're
they're not always spoken. It's my engineer and Leuess too.
So that's one way. Another way is I just have
creative energy with people. They might send me a beat
pack or whatever, and then I'll go and I'll write
the song and I'll rearrange your beat or whatever and
take this and your outro that you had is really

(01:21:38):
the intro and it's really the prehoting now and just
put together a puzzle like that. So I think that
real producing to me is.

Speaker 1 (01:21:48):
You finish it. You start to finish, you in it,
from the beginning.

Speaker 3 (01:21:52):
Of the concept to whether it's a beat that's sent
to you and you like, all right, bet well maybe
can we change this around? And you get with Tank
and you give me j Balleen time you write the
hit record and then Tank wants it to be hit
single and not cool. If not, then we give it
to somebody else. And I got to get them to
do it. And I mean should I did it with
Tank on which I'm mad Atlantic man, a dirty remix man.
That shit was super fire man golly.

Speaker 1 (01:22:13):
But we did it together. We worked on several records together,
so we know the vibe. Yeah. I think it's it's.

Speaker 2 (01:22:21):
Good understanding and going in because I think a lot
of people kind of get lost when it's like a
kid that does the beat was like, well, I'm the
producer on the song, and then you're like, well, that's
a part of it, you know what I mean.

Speaker 1 (01:22:34):
Also, when you send it to finishers.

Speaker 2 (01:22:36):
Listen, when you send the beat that is nothing and
then it becomes something because of everything else that's done
to it, and even placing for that matter, because you
go to extra step further. You're not just making a song.
You're like, I know exactly where this song should be.

Speaker 1 (01:22:54):
Then you got to sell it.

Speaker 2 (01:22:55):
You're you're doing You're actually managing now just right.

Speaker 3 (01:23:00):
Selling records to artists is very tough, very tough, very
very tough.

Speaker 1 (01:23:04):
There's an art to it, yeah, bro.

Speaker 3 (01:23:07):
The crazy thing is that I fight myself daily about
this because everything we said is true. But it's just
a lot of captive this ship, and it's a lot
of ego shit or whatever. That's also in social too.
If I dress like Ghazi every day or like Craig
Calvin every day nigga and wore the same outfit, no jewelry,
no nothing or whatever, and I wasn't out here and me,

(01:23:31):
then they wouldn't a coprin't.

Speaker 1 (01:23:34):
You wouldn't hear no flack.

Speaker 3 (01:23:35):
It would be the most thing because people want the
look of it, you.

Speaker 1 (01:23:39):
Know what I'm saying now.

Speaker 3 (01:23:40):
Being a producer is a thing, like so the look
of it. But like I run into situations where it's
like damn it be like people would be jealous of
your own success and the blessing that God got on
you and overlook the fact the door that you opening
up for them, so you can't change, you know what

(01:24:00):
I'm saying, be cause it's like I've been through that
so many times, not even on a producer a co
producer level, just anybody.

Speaker 1 (01:24:08):
Man, you know what I'm saying.

Speaker 3 (01:24:09):
It could be a management it could be you know
what I'm saying, people you're doing like niggas will be
and everybody was so fucked up about being in a
position which they don't tell you for you in position
that everybody is gonna tell you or what they have
an opinion of, skewed thought of. If it was me,
I would have did this and well nigga waiting tills you, Yeah, yeah,

(01:24:31):
especially if a nigga feeding you and got you out
like Nigga. Like let's say, not even me. If I
was a guy that was a co producer or somebody
that just made beat some program beats all day, like
or in a house with my girl twenty four seven,
and it's somebody that's just like making hit hit after hit,
I wouldn't It wouldn't be no way you could talk
bad about anything about that man, Like hell no, and

(01:24:54):
I'm big on I'm not like how it was back
in the day, like Bro, I'll let you know, I
ain't do that. He programmed that beat, I did this that,
and everybody gets they same credit, you know what I'm saying.
So it don't really like it don't rebind me. But
it's like you don't come across them issues and start
feeling like that to winning, Like I ain't gonna lie

(01:25:14):
Like before I came into y'all podcast, like I got
placked like this big that just came to my crib, bro,
I'm over one hundred million records.

Speaker 1 (01:25:21):
Sol Bron.

Speaker 3 (01:25:27):
Toasted, going from the my fucking concentration camp man for
real for nine months.

Speaker 1 (01:25:33):
To have an over one hundred million records.

Speaker 3 (01:25:35):
So no, cap still look at sitting at my penthouse
right now, I got to take it. You heard the pinhouse,
you heard it, you heard it. Not the club, not
the club, but the house.

Speaker 1 (01:25:45):
What's what's the goal right now? Right now? For me?

Speaker 3 (01:25:50):
Like it seemed like the when I first started on
this hit maker journey, he was like, man, I want
to prove so many yggs wrong.

Speaker 1 (01:25:57):
These nigga shit it on me. Yeah, I had that.
You know what's fun?

Speaker 3 (01:26:03):
I don't even you know, because we've had so many
different moments that we've run across each other and this
ship we've been in there for many moons. There was
a moment in Las Vegas at the at the Palms Hotel.

Speaker 1 (01:26:15):
Studios and we were all there.

Speaker 3 (01:26:18):
It was us three ENTI dollar sign action and we
were talking and this was the This was like the
first time that I had that. Me and you had
kind of sat down and I was really like, I
was like, man, I really like this dude.

Speaker 1 (01:26:31):
Man. He's a really really good dude.

Speaker 3 (01:26:33):
And I remember having a conversation with Tank after I
said I hope that his revenge don't get the best
of it.

Speaker 1 (01:26:44):
I literally said that to him.

Speaker 3 (01:26:45):
I was like that nigga is so cool because you
get all the extra shit. We run into each other
and you see a nigga and you and you're like, oh,
I think he kind of liked this, so I think, whatever.

Speaker 1 (01:26:54):
This may be.

Speaker 3 (01:26:56):
But that that session where we were sitting in there,
I'm like, really like this dude, man, and he's super
super talented. But in conversation, you were vengeful. Hell yeah,
you were vengeful. And I remember I remember talenting. I'm like, bro,
I hoped it. I hope the revenge don't get the
best of it, man, because that dude really is talented.

Speaker 1 (01:27:15):
Bro, I had a.

Speaker 3 (01:27:16):
Chip, cause you gotta think of all the shit that
I went through in the past or whatever it was.

Speaker 1 (01:27:20):
It wasn't because of me.

Speaker 3 (01:27:21):
It was because I was putting myself around bad people,
you know what I'm saying. Like, so I took a
lot of l's now on the strength of me personally
being a person that was supposed to have that. Hell,
but I'm the the I'm the famous guy, so you
you hold that ill. So at that point, man, I
was just like, like in my mind, I was thinking like, man,
fuck these nigas, they gonna see I'm the step on either.
But now my whole vibe. Bro, this shit is a testimony. Bro, Like,

(01:27:44):
I don't even want to do nothing. It's not about
holding my own dick and being like I'm the nigga
and I'm hit making board. I ain't on none of
that shit. I'm still young berg nigga. I still meet
people every day. Give them opportunity, nigga. If you it
don't matter, I don't care if you black, blue brown nigga.
If you talented and you can it flex up and
you could work with me in the studio. Every day
I'm touching somebody else.

Speaker 1 (01:28:04):
I'm giving people opportunities.

Speaker 3 (01:28:06):
All my co writers that I work with, I'm putting
them on my singles on my album.

Speaker 1 (01:28:09):
It's not about me no more. I'm good.

Speaker 3 (01:28:12):
It's about the inspiring the next person. Maybe I could
put the ball in somebody else's hand, and when I
decided to stop dribbling, that motherfucker that could pull me
up circle of success type shit.

Speaker 1 (01:28:21):

Speaker 3 (01:28:22):
And on a big scale, anybody that's living that's seeing
my journey, man, they know that this shit is so
possible as long as you work hard and keep God first.

Speaker 1 (01:28:32):
Bro. Yes, bro, Like it's.

Speaker 3 (01:28:35):
Niggas that dissed me and songs that that that pay
me top dollars for songs now, but not even like
this because like whatever happened, it was a relevant punch

(01:28:56):
line in But the way you're gonna stop it and
not get your money and go work and do all
this other shit because the nigga felt him my way,
you have to strip all that ship down, like man,
and just be like who's next, Like look at this,
look at what God blessed me with. Let's not even
focus on Yeah, let's not focus on no bullshit or whatever.

Speaker 1 (01:29:15):
Man, Let's be a light.

Speaker 3 (01:29:17):
Let somebody be inspired by you, let somebody feel like Man, I.

Speaker 1 (01:29:20):
Could take it there. Yeah, because it's possible.

Speaker 2 (01:29:23):
And and I say that to the circle all the
way back, like the course. Right, we all have a story,
we all have a gang of l's, but it was
all part for the course. And we can do one
of two things, right. We can repeat the cycle, or

(01:29:46):
we can decide to do better and start a different cycle.
And that's what me and this guy is committed to
and loving hearing you say that you've committed to that
same thing, because that's what's gonna make the difference in
our culture, not continuing to repeat the cycle where we
continue to hold each other down and always want to

(01:30:08):
stand on top of each other. Man, I can stand, man,
I can stand right next to my brother man and
support his shine dance dance when he succeeds. You know
what I'm saying, shout him out, like, man, go get it. Man, Listen,
if we all came, if we're not fighting to pay
for dinner, it's a problem.

Speaker 1 (01:30:26):
It's a problem for sure. That's how it's gotta be.

Speaker 3 (01:30:31):
As they would say players don't keep scoring.

Speaker 2 (01:30:33):
Man, I'm I'm man, that's that's the best thing you
said all day.

Speaker 1 (01:30:40):
I swear that's real. I'm living in Bro. That's real.

Speaker 3 (01:30:44):
And it's a different level of maturity, right, it's a
different level of maturity to say, yeah, like okay, nigga
got that off.

Speaker 1 (01:30:51):
You know what. It's bigger than that.

Speaker 3 (01:30:53):
Hell yeah, because it's like even like now, like I
just see the playing in the plot being so bigger,
like dang, like you gotta think, Bro.

Speaker 1 (01:31:03):
I went from I'm not gonna say lying.

Speaker 3 (01:31:06):
But but speak ill I was technically lying but speaking
about being executive on the Breakfast Club and like seeing
my life prior to that, like I always looked at
the Barry Gordy's and the La Reads and all these
different people whatever, But now it's like who better to
be inside a building than me? Like, what are you
talking about? I've been the artists. I've been through any
the worst thing the artists can go through. I went

(01:31:27):
through being canceled before being canceled, Like, I went through
everything possible, and I'm still one of the biggest in
the game relevant making music, churning out this shit like
I had two hundred and twenty seven placements. Yeah, last year,
this was the six year six of my run, Like
two hundred and twenty seven place. This pretty much place

(01:31:47):
in the record almost every day, damn near. Like, but
take no we all we do is go to the studio.
I don't got no kids, I don't got no other
I don't got a job.

Speaker 1 (01:31:56):
This is my job. This is my life. So you
can you believe this is your actual job?

Speaker 3 (01:32:01):
Like when you look at it and you wake up,
you're like, yo, this is really what I get to
do every day. Like I don't think that collectively in
this business we ever truly take those times unless somebody
reminds us to say, bro, you get to do this
every day. This is this is the blessing of all blessings.

(01:32:22):
It is on a big scale like that shit like
it's no way to be replaced or whatever.

Speaker 1 (01:32:28):
But that kind of that thought kind of inspired me something.

Speaker 3 (01:32:31):
So I'm working for Atlantic or whatever, and it's like
I'm lost into the sauce and I'm like, man, well
you know cuz the deals I had over there Atlanta,
like I really win it, Like man, my success and
like my people set me up. Everything was Gucci but
I realized that they wasn't trying to make me a boss.

(01:32:55):
They was just wanted the records from me, you know
what I'm saying, Like we cool.

Speaker 1 (01:32:59):
And then I was like, damn, Like.

Speaker 3 (01:33:01):
I was watching everybody else's trajectory and see how people,
you know what I'm saying, the shit go like this
or whatever like and I was like, damn, well, this
producer or this songwriter kind of took a dip because
he only focused on his self. He didn't work with everybody.
That's why I was like, I'm not singling myself out.
I'm not only working with three niggas. I don't care
if I could email or a text or somebody hit

(01:33:21):
me on Instagram. They got some five shit niggas. This
is what we were gonna work with everybody in the game.
And you know atlantic, I was able to be on
both sides of the fence because like still an artist,
I'm still a creative, but I'm in these executive meetings
and I'm seeing things and we kind of prod way.
We came to a to a part of the ways

(01:33:42):
which we did a damage like several number one records,
helld of millions of records together.

Speaker 1 (01:33:47):
And La Reid.

Speaker 3 (01:33:49):
I met a speaking of La Rea Happy birthday, La
Read I met.

Speaker 1 (01:33:53):
I met him and I always looked up to him.

Speaker 3 (01:33:55):
Tricky Stewart introduced me to him formerly or whatever, and.

Speaker 1 (01:34:00):
It's just like so like with me.

Speaker 3 (01:34:02):
He was just like, man, you got nigga like this
is this is what it is. And he's like, man, bro,
I don't even really got it like this or whatever, like,
but I want to give you a label deal and
I believe in you and I want to make sure
you get the money. And I'm working for Atlantic at
this time or whatever, and they ain't offer me no
label deal like I put putting up hits. I already
did number ones for niggas and all types of shit

(01:34:23):
that ain't come to me and say no hi or
a label deal.

Speaker 1 (01:34:25):
We thinking of that. So La offered to me.

Speaker 3 (01:34:27):
And I loved La and I'm like, man, this nigga
is amazing, man, like I want to be around this guy.
So I go back to Craig and I'm like, hey, bro,
La off me label deal. It's like a million dollars
or something like two million dollars on signing.

Speaker 1 (01:34:43):
Let me go get my money, like.

Speaker 3 (01:34:45):
We are no no fucking out, no way. We love
you, your family, we love you. And I'm like, okay, So
they're like, let's let's let's show you how much we
love you. So they came back. They gave me a deal.
And the deal, you know, it stopped me from doing
business with la you know what I'm saying. And because

(01:35:07):
I was already locked in the Atlantic and the deal was cool,
you know what I'm saying, I took the deal. It
was an interesting time or whatever. It was a good,
good deal, you know, but it wasn't what I was working. Well,
this this what happened. They gave me the deal. So
now I'm in the an R meeting right and they like,
here comes such and such shit. You know what I'm saying.
Everybody wants to sign this kid. He has a bidding

(01:35:27):
war all over Colombia's really heavy on him, or a
republic or anybody or whatever they got.

Speaker 1 (01:35:33):
They got their.

Speaker 3 (01:35:33):
Offer in now blah blah. He wants he wants nine
million dollars. He's got one song. He doesn't have a mixtape,
but it's the biggest viral shit in the world.

Speaker 1 (01:35:46):
So he come in.

Speaker 3 (01:35:47):
He don't perform, he don't do nothing, don't wild me
and these niggas was really.

Speaker 1 (01:35:52):
Sitting there talking about giving him nine million dollars and
then you realize what your deal was.

Speaker 4 (01:35:57):
Yeah yeah, I'm like excuse me, Like wait what?

Speaker 3 (01:36:06):
And I done sold millions of records out of been
here for four years, like we what.

Speaker 1 (01:36:12):
This is like the end of my concerts, like three
and a half. I did come on man like I
did the ones.

Speaker 3 (01:36:17):
The big records like, and y'all went and told me
we're gonna show you how much we believe in you
and how much we care about you because you're a family,
because you've been with us. So from there, I never
forget this shit. I left the office that day and
I went back to the hotel and then shit, uh

(01:36:39):
the next day.

Speaker 1 (01:36:39):
That the an R meeting can kept.

Speaker 3 (01:36:41):
Going, I ain't show up, so like they all calling me,
they are like, summon me to the office.

Speaker 1 (01:36:46):
I go there.

Speaker 3 (01:36:47):
You know, I was super close with Larrey and I
still love all these people to today because it's nothing
bad about the story. I'm still very successful. It is
what it is. So they like, what's the issue. I'm like,
I don't feel like y'all believe in me, Like how
he's supposed to whatever, were breaking down different stuff and
they were like, well, what do you want? I was like,

(01:37:08):
if you really believe in me, y'all paying twelve thousand
dollars a month for me to be in a studio
without paying my engineer, I want my own studio. Do
what La Red did for Tricky Stewart and back when
he was on fire, or do what y'all did for
DJ Drama or whatever you want to outline it as

(01:37:31):
believe in me, because I know when Tricky put me
on game he said, well shit, when La left or whatever,
I kept my studio. It was my studio can't take it.
So I'm like, believe in me in that type of
investing me in that type of manner.

Speaker 1 (01:37:44):
It was like how much you think that shit is
gonna cost? Line?

Speaker 3 (01:37:46):
When people was like, oh, four or five more million?
You know what I'm saying, to do it in La
to do it the right way, the way he would
want to do it for three million, four a million,
and shit, they were like, all right, mat, we gonna
get back to you and see how this work or
whatever for you, and we're gonna make it happen.

Speaker 1 (01:38:02):
We believe you're our guy. Never made it happen.

Speaker 3 (01:38:07):
So from there, I was like, damn La read even
after I dubbed the deal and I couldn't take the
million dollars from La. This man somehow turned my million
dollars into a song deal and still.

Speaker 1 (01:38:23):
Gave me the million dollars wanted to do. Yeah, Like,
you can't come be a partnership here.

Speaker 3 (01:38:28):
I'm still gonna give you the same amount of money
I was gonna give you to do that for this.
I'm like, that's a real relationship, you know what I'm saying, Like,
Damn this, this, this ain't what I think it is.
So from there, they never hollered back. And my partner Krishan,
who's amazing. While I do all my records whatever whatever,
we had a group or we still have a group,
and he was like, man, can you see if you

(01:38:49):
could go meet Ghazi or whatever and get us a
deal with Empire.

Speaker 1 (01:38:53):
I'm like, yeah, So I reached out to Ghazi.

Speaker 3 (01:38:56):
We go up there and Ghazi was like telling me
about different stories in his past and I didn't know
that he worked with Atlantic.

Speaker 1 (01:39:03):
That tough too, you know what I'm saying.

Speaker 3 (01:39:04):
That he started all the records and this, that and the
third and I was like, oh really. So then once
he got that transparent with me, I got to be
even more transparent with him about my situation or whatever.

Speaker 1 (01:39:14):
What was going on. And I was just like yo, like.

Speaker 3 (01:39:19):
Because they had put my back against the wall, like
you don't even understand, Like they had put basically put
a bounty on my head, like, oh, you ain't happy, pay.

Speaker 1 (01:39:28):
This number and you can leave or not.

Speaker 3 (01:39:32):
And the relationship was already so muddy, you know what
I'm saying. After I I'm like, damn. So I told
guysie what the number was. I'm like, bro, like shit
they want They saying I gotta buy myself out with
this or give him the money back myself. And I
was gonna give him the money back, my dumb ass.
But one of my mentors, my ogs, chimed there on

(01:39:53):
me said, nigga, you were in the music, in it.

Speaker 1 (01:39:55):
You don't get no motherfucking money none of it. So
I said, I've been.

Speaker 3 (01:40:02):
And GHAZI was just like, Bro, I believe in you.
I thought you was coming up here that asked me
to do a producer album or something like that. I
thought we was gonna do small business. But I believe
in you. Here's the compound in San Francisco. This is
what I want to do. I'm gonna get you a
penthouse here in San Francisco or whatever. You just come
work with us or whatever, and please, bro, like, if

(01:40:22):
you would allow us to work together, I think this
would be great for us or whatever. And he went
and he paid Atlantic Day money back and that's how
I left Atlantic Records.

Speaker 1 (01:40:30):
Wow. Wow did that I didn't know that nigga. Yeah,
So that that shit heavy on me.

Speaker 3 (01:40:35):
So now it's like now the game, like, oh, you
ain't got your studio no more. They was empowering the
studio a niggas trying to like put chinks.

Speaker 1 (01:40:44):
In my armor like Empire. They not knowing the Empire. Damn.

Speaker 3 (01:40:49):
There was the biggest company in the game.

Speaker 1 (01:40:51):
You know what I'm saying. But it's indie. It's not
what I used to be. Whatever.

Speaker 3 (01:40:55):
There's most people don't understand market shit, bro. So my
back was getting wall like I would be seeing shit
niggas be screenshot and shit like close friends shit. It
would be producers I work with and songwriters I work with. Like, man,
this nigga burder fucked up being fucked up.

Speaker 1 (01:41:10):
He gonna fall.

Speaker 3 (01:41:11):
Off after this because we had so much massive success.
And then from there I got in with Ghazi. I
ain't never gonna lie man. I met Young Blue in
the airport. Young Blue was like, man like, let's work together.
And you know how you be in the airport, I
ain't really figured out. I ain't know, I ain't taking
serious or whatever. So we ended up meeting again. We
went up there and we was in San Francisco and

(01:41:32):
we was just working. He's like, man, I need to
hit And you know, my first mind, I collaborated with
Chris so much.

Speaker 1 (01:41:36):
I'm like, nigga, you want a song with Chris Brown
is out of here.

Speaker 3 (01:41:39):
It's out of here, nigga, we going number one. So
we in there, we cook the hook up, me and him,
Blue Ivory, Chris Fown, we did it all together. Then
from there I ended up getting Brown on the record,
and that was my first one out the gate were
Ghazi with him Brown and two Chains or whatever and
record it's platinum record. It's being the fucking shit. It
was one of them reoccurring mom fuck us. That ship

(01:42:00):
was tops here for forty seven weeks out of the year.

Speaker 4 (01:42:02):
Last Yeah, the first one off the hip there we
came with the Peru record after that, and I did
Tink Project and I Tink Ship.

Speaker 3 (01:42:13):
She got the most added last week at Urban radio
with our record to shout out our business partner too.

Speaker 1 (01:42:21):
Yeah. Yeah, shout out to my little brother young Blue.
We're back. Family's family man.

Speaker 3 (01:42:31):
Yeah No, that's that's That's an amazing story, man, an
amazing path that you've taken. And the one consistent thing
is you never stopped making the music, right because this
is the only industry that any day of the week,
any time of the year, you can wake up and
hit the lottery facts.

Speaker 1 (01:42:51):
But you just have to continue to do it. And
that and what I found in.

Speaker 3 (01:42:56):
My years in the music business is the guys who
don't really ever reach their potential of the guys who stop, Yeah,
you will have your time. You will have your time,
you will have your season. Even some of the guys
that we may not consider to be the most talented,
they found their way because they just stayed in it.

Speaker 1 (01:43:18):
They stayed at it. And it's just like, yo, you.

Speaker 3 (01:43:20):
Know that record such and such as what's the nice
record back? Hell no, the mean times I do that
a week probably like that's who record? Ah man, that's amazing, bro,
and we salute it, right, But when guys give up
on it, that's when it's over. Other than that, it's
never over. Like this is an ageless business. This business

(01:43:42):
is based on Peter Pan. You know what I'm saying,
Like you never got to grow up in this motherfucker.
Like you can make your life whatever you want it
to be in this music if you stay true to it.

Speaker 1 (01:43:53):
And you stay at it.

Speaker 3 (01:43:54):
And for that, bro, I just want to salute you
for that, because you faced enough right for the average
motherfucker to be like, man, I'm done with this ship
like this is, this is and to further go into it,
to know that, nigga, you actually come from money.

Speaker 2 (01:44:11):
You didn't have to do this ship. You could hit any.

Speaker 3 (01:44:16):
You and your bobs couldn't just did real estate business.

Speaker 1 (01:44:19):
It's not as cool as this ship. Like let's let's
be let's let's keep it. You know, this is this
is the cool.

Speaker 3 (01:44:25):
But the coolest part about my ship is that I'm
just getting the journey is just beginning right right.

Speaker 1 (01:44:32):
You know.

Speaker 2 (01:44:32):
It's like you know what happens though when you when
you hit now now, nothing's off limits, Like your access
now is unlimited. It's like, oh, I see it's so
much clearer now, and I can do so much more
now with the access that I have. And if they

(01:44:55):
won't do this, but I'll do it myself. That's when
you hit a strike. Yeah, we got I don't know
how you play this next second.

Speaker 1 (01:45:10):
Yeah, I don't know how. You know? You know what
he does?

Speaker 3 (01:45:14):
If you if you see, if you've seen what we
beyond man like, we got this special segment of the
show Man.

Speaker 1 (01:45:20):
It's called I ain't saying no names. You can't say
names Burg, I've seen them. I can't do it.

Speaker 3 (01:45:28):
Yeah, So the story can be funny or fucked up
or both, but you can't say.

Speaker 1 (01:45:38):
The actual names of the people. You can say.

Speaker 3 (01:45:41):
Ship around it that my mother trying to figure some
ship out, but.

Speaker 1 (01:45:45):
You can't say their names. Young Berg can't make up.
You can't say it was me and niggas somehow. You
can't you know what storyigga? What was Jamie? What was
what was the last guy? Anybody that you don't think?

(01:46:05):
How did? What was it? The Foxes started off a
mineral awareness hotel room. This woman doing cocaine, famous actions.

Speaker 2 (01:46:16):
I'm not doing cocaine. She's doing cocaine. I'm not because
of my religious belief. That's how it starts.

Speaker 3 (01:46:24):
We need some good man, we know, you know, we
need a legendariry him maker, story man.

Speaker 1 (01:46:32):
Without the names.

Speaker 3 (01:46:34):
About the names, I'm trying to think, man, come tap
into your ecstasy and ship man, give me half.

Speaker 1 (01:46:44):
What y'all call it a bean? You call the bean?

Speaker 2 (01:46:48):
Yeah, I never got into the nicknames. I was never
Just give me the Just give me the accent. Which
color you wan? Bro, Just don't confuse me, just give.

Speaker 3 (01:46:56):
Me all right, Okay, okay, okay, okay, okay, okay, okay.
I was at a famous person's house and I was
I was working with with a bunch of other famous
people before they were famous. You know what I'm saying,

(01:47:17):
Like everybody's going to come up or whatever. We in
Hollywood blah blah blah blah. And the famous person who
house it was wanted to have a meeting with me.
So we like I go to the living room or whatever.
But it's another famous person with him. That's a lady

(01:47:39):
that's that's giving him a hand job under the covers
of the like he's sitting there on the couch or whatever.
But during the meeting, like she's a famous girl like beautiful?

Speaker 1 (01:47:55):
Is she looking at you? Like?

Speaker 5 (01:47:58):
Meanwhile, she wasn't his girlfriend, the famous girlfriend is also
in the house while this is happening too, just floating around.

Speaker 1 (01:48:13):
In the meeting. Yeah, you know what I mean.

Speaker 3 (01:48:15):
So he's talking to you though, like how were talking
right now?

Speaker 1 (01:48:19):
Boy? He getting a full hand job and contact with me.
You are not allowed.

Speaker 2 (01:48:30):
You are not allowed to look at me while you
are getting a hand job.

Speaker 1 (01:48:35):
But did she look at you? No, they was in
their own thing. I think they were on some enhancements.
You know.

Speaker 2 (01:48:42):
You can't look at me because somehow I'm feel like
I'm part of the inspiration.

Speaker 1 (01:48:47):
I don't want it. Yeah, that was wild. Did you
get a deal out of that?

Speaker 3 (01:48:53):
No, he didn't have to happen.

Speaker 1 (01:49:00):
It was whatever.

Speaker 3 (01:49:03):
That is the entertainment industry.

Speaker 1 (01:49:07):
Listen, Ladies and gentlemen, Ladies and gentlemen. I entertank.

Speaker 2 (01:49:12):
I'm Jay Valentine And this has been hit makeup on
the R and B Money podcast in phasis on hit
make Up, R and bab Moneyney.

Speaker 3 (01:49:36):
R and B Money is a production of the Black
Effect podcast Network. For more podcasts from iHeart Radio, visit
the iHeartRadio app, Apple Podcasts or wherever you listen to
your favorite shows, don't forget to subscribe to and rate
our show, and you can connect with us on social
media at Jay Valentine and at the Real Tank. For

(01:49:56):
the extended episode, subscribe to YouTube dot com, Forward, slash r,
and b Money

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Hosts And Creators

Tank

J. Valentine

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