Members Only ft. Pusha Rod & Gudda Brvckin

[00:00:05] Speaker A: Are we back at it? Homegrown the podcast. Great conversations. Of course. Live from the fat factory studios, I'm Chuck Dizzle. [00:00:11] Speaker B: Yep, it's dj head. Apologies in advance. I got my invisalign. [00:00:16] Speaker A: Are we gonna do the frame by frame? [00:00:17] Speaker B: No, I'm documenting my progress at the house. [00:00:20] Speaker A: You sound crazy right now. [00:00:21] Speaker C: I do. [00:00:21] Speaker B: I should take it out. [00:00:22] Speaker A: It's in right now. That's why you sound like that. [00:00:25] Speaker C: Okay. [00:00:25] Speaker B: Take it out. [00:00:26] Speaker A: I mean, it's on you. [00:00:28] Speaker B: Should I take it out? [00:00:28] Speaker A: That's what she said. I mean, it's on you. However you want to rock. The people going to hear it either. [00:00:33] Speaker B: Way, I'm going to just leave it in. [00:00:35] Speaker A: That's what she said. [00:00:36] Speaker B: All right. No, that's what you said. You got two of them. [00:00:38] Speaker A: I do. Them kids whooping my ass. We got some of the homegrown homies in the house right now, man. Push a rod in the building. Gutter bracken. What's good with y'all, man? [00:00:47] Speaker C: How y'all feeling? Yeah, man. What's good, bro? Appreciate y'all having us here today. [00:00:50] Speaker A: Yo, real quick. [00:00:52] Speaker C: Kids. [00:00:52] Speaker A: Y'all got kids? [00:00:53] Speaker C: I got a kid. [00:00:54] Speaker A: You got a kid? You got a kid? [00:00:55] Speaker C: I got a daughter. [00:00:56] Speaker A: I need some help. So that's what I need to look forward to. Teenage. My son is five, and I got another one that is nine months. I need some advice on how to deal with just this. I got two, so I don't know if you all can help me with. [00:01:10] Speaker C: This side of it. I got one. I got a son. [00:01:14] Speaker D: I got a daughter. [00:01:15] Speaker C: He's laid back. I feel like the father to son dynamic is a lot different to the father. [00:01:21] Speaker D: You got two boys? [00:01:22] Speaker A: I got two boys. [00:01:23] Speaker D: So here's the thing. [00:01:23] Speaker C: Yeah. [00:01:24] Speaker D: I ain't even in your conversation. [00:01:25] Speaker C: I'm good. [00:01:25] Speaker A: Look, I'm good. My first one, cool. I feel like this next one, they always say the second one is different from your first. So I'm just in a whole little whirlwind right now, just not expecting because same thing. The first one, I'm like, okay, I kind of know what to expect. I'm good. This next one or this second one? Chase is throwing me for a loop right now. He don't sleep throughout the night. Everything that Charles did, my first one, he's doing the complete opposite. So I'm just like, yo, I don't know what to expect from this shit. [00:01:58] Speaker B: But you do have ice. [00:02:01] Speaker C: You know what's crazy? I only got one. And my son, he's twelve, but he's laid back, but he's to the age now where it's like he know exactly what he won't. And if you get him something he don't want, he's not fucking with it. And he's not even going to politely be like, these aren't the shoes I want, dad. [00:02:17] Speaker B: That's it. [00:02:19] Speaker C: I like them, but can I get a different color? He said, but I sent you the picture of these. [00:02:25] Speaker A: You got the link. [00:02:26] Speaker C: Yeah. It's like my son, he's in a different age, different spirit. This is second year playing football. Put him in football, just toughen him up a little bit. [00:02:36] Speaker B: You did that early, though, right? [00:02:38] Speaker C: I wanted to early, but my baby mama was against it. She didn't want to get hurt. So he started playing at ten. [00:02:44] Speaker B: Okay, how old was you trying to put him in? [00:02:47] Speaker C: What, at five? Yeah. [00:02:48] Speaker A: Last conversation we said, he said he was trying to get him in. [00:02:50] Speaker C: Like, I wanted to start my son right off rip. Because I feel like it's something that football did for me with, like, you started early. I started early, but it also gave me a different type of training, different type of mannerism. Like, when you see somebody who play football versus somebody play different sports, you can kind of see it, the way they talk to people or interact with little shit, how they scared of certain things and things like that. Because once you get hit. [00:03:16] Speaker B: When you get hit, do you remember when you got hit the first time when it laid you down? [00:03:20] Speaker C: My first time getting ran over was by my cousin quick. He told me, he said, today, the first day of pass, nigga, I'm a coach. Put me in with you, nigga. Ain't nobody else going to be. Make you look like no ho out here, right? Nigga, what? He ran me over two times. First time we went up, boom, he ran me over. All right, second time, you got to get back in line, get on the other side. Now it's my turn. He got the ball. So I'm like, all right. I'm trying to figure out now I might want to go with somebody else because he played running back. Nigga, what? I tried to go behind somebody. He did the same thing. So then we went up. What? He ran me over. Later, mom, I'm looking up. He said, get up, get up. I just got up. But then from there on, I wasn't scared to tackle, I wasn't scared to get hit, but I feel like it took that. And I respect my cousin so much for it being him doing it than somebody else because he came from a tough love. You feel me? So my son played for Baldwin. I really fuck with Baldwin. How their community is more family oriented. A lot of players come back every year. Every year. My little brother Dylan played there, so I fucked with how the organization been. So putting my son in there, it just worked perfectly. [00:04:32] Speaker A: Did you notice? That's a good point. You said you didn't put him in early, and you realized certain things that would. [00:04:39] Speaker C: I noticed the change instantly, but I'm saying. [00:04:41] Speaker A: So did you see a lack prior to that? [00:04:44] Speaker C: Like, damn, I see confidence. Yeah. [00:04:45] Speaker A: Or just anything. [00:04:47] Speaker C: Well, maybe my son is quiet. He's not really outspoken, so he'll tell you what. He won't, but he's not really engaging in conversation with everybody. But football puts you in that. You got to talk loud. You got to say who's on the field. You got to speak up. There's a lot of things that come in the background of football that helps you as a man just go through life. And I promise you, like, the first month, two months, my baby mom, me and her was arguing, arguing about it. Like, no, I'm taking my son out. [00:05:15] Speaker A: Of football because she didn't like the rough aspect of it. [00:05:18] Speaker C: She didn't like the rough aspect. She didn't like him getting hit, like certain things, him crying certain nights because of practice. But then after halfway through the season, she start to see a change in him, in his personal dynamic. And then we had another conversation. I'm like, see, that's all I wanted. I don't give a fuck if he start see the best person on the team. All I care is that he try. He get out there every day. He put on his pads and he hit, and he get his own personal confidence, because can't nobody really give you that. You have to gain that yourself. And I feel like football helped me gain that at a young age, so I wanted my son to have, and. [00:05:54] Speaker A: I think that only a man could push that on his son. You know what I'm saying? And I think that goes to the importance of just having a male role model in your life and making sure that that is strong, because, again, it could have been something where it's like, oh, no, that's okay. I don't want him to get hurt. Okay, I'll choose for something else for him to do, but it's like, no, let him go through it. And like you said, in a month, you've noticed the difference. [00:06:14] Speaker B: Damn. I think the conversation is to be had about teaching manhood in general, though, because what you just said about football, I heard a lot of homies say that about the streets. And I noticed that, too, from a lot of the ogs and the big homies that looked out for me and shit like that. They kind of taught me and they street dudes. I didn't learn how to be a man from sports. [00:06:36] Speaker C: See, it's crazy. [00:06:37] Speaker B: I learned how to be a man from the street dudes. [00:06:39] Speaker C: But even it's crazy because even one of my older homies, red from my hood, I was playing football. Me and my cousin quick was playing football as kids. He was playing football at Fremont. So we get out of school at Bethune, we go into Fremont to go watch him play football. And he got the bitches. He ready to fight. He turned up. He was everything. And he had a different level of respect. So I had older homies from my hood that was balling, and it was like, yeah, I didn't have no daddy. So the hood and football guided me to be who I am. So it's like, I don't want my son to have a hood. So it's like sports. [00:07:15] Speaker B: Sports is a way to keep him away from the other shit. [00:07:17] Speaker C: Exactly. [00:07:17] Speaker A: I feel that I want to bring gutter bracket in the conversation because he said that he can't offer anything, but I feel like you can because you're raising a young lady. [00:07:26] Speaker D: Yeah, see, it's different for me because I can't be hard on my daughter. It's different because it's a girl. So it's like I can't tell my daughter, sit your ass down. I'm going to feel bad. You feel me? So that's her mama job and shit. But me, I'll be the nicer parent and shit. [00:07:42] Speaker B: So you like to play the good. [00:07:43] Speaker A: Cops at a good cop? [00:07:46] Speaker D: She make you, though. I'm telling you, if you see my daughter, she, too. [00:07:51] Speaker C: We'd be at the studio. She caught a phone. Come on, come on. [00:07:56] Speaker A: How do you deal with that? Navigating through the space as a father, you got a career that you have to be away, you have to work. You got to put yourself out there. But at the same time, you're doing it for her. [00:08:06] Speaker D: Yeah, you got to sacrifice. [00:08:08] Speaker A: So how do you do it when that call comes in, you in the studio session? [00:08:12] Speaker D: I answer. For sure, I answer. I ain't never going to decline my daughter call, but she know when I'm working now. She getting to the point where she know I'm a rapper now. If you show a video of me, that's my daddy rapping. She know that now but it's like, when she won't me. She won't me. [00:08:27] Speaker A: Be honest, the first time that she recognized you on the video, how did that feel for you? The fact that she noticed it, like. [00:08:34] Speaker D: Oh, she knew the live because I went to Vegas. I went to Vegas for a little bit, and I was in Vegas for, like, two months, and I was away from my daughter. And when I came back, I had dropped a song called ooh, but she's my daughter, so my girl already had the song. So she already was playing ooh and ooh around my daughter. So when the song came out, I'm playing a song in the car, and I hear ooh in the background. I turn around, I'm like, what the. She know it, though? Like all the lyrics? Yeah, no, she know the ooh. Ooh. I'm like, that's dope. [00:09:09] Speaker A: That's crazy, man. [00:09:10] Speaker B: You know what's crazy is seeing you evolve. Because we go back for a minute, for a little bit. Not a minute, but enough to where. And I remember having a conversation with you one day, and I don't remember if we was on instagram. We was on instagram. [00:09:27] Speaker D: Yeah. [00:09:27] Speaker B: And you were so gone. To me, this is my personal gone. [00:09:31] Speaker A: Meaning what? [00:09:34] Speaker B: He was on other type of shit. [00:09:35] Speaker A: Okay. [00:09:36] Speaker B: And I remember having a conversation with you and seeing you now being focused and locked in the studio, and I only see you at the studio. I don't see you in no bullshit. I don't see you doing nothing else. But then you said something to me one day, and you was like, well, Rod wouldn't fuck with me if I didn't get my shit together. [00:09:56] Speaker D: Professional homie right here. So it's like, I gotta be professional now. Not even, like, on no square shit or none of that. I'm not a square. It's just like, I want to do this shit. I don't want to be 1ft in, 1ft out. I want to be all the way in. [00:10:09] Speaker B: I respect that because I always tell, and I think I said this to you, you can't half ass. You can't be 1ft in, 1ft out. You got to be all in, or it ain't going to work because you don't see a lot of people crash out. You don't see a lot of people go to jail. You don't see a lot of people die all kind of stupid shit. And then when that happened, you'd be. [00:10:28] Speaker D: Like, man, I think dumb. [00:10:29] Speaker B: He had a studio he could have been at. And then we ridicule the homies. For making bad decisions. [00:10:35] Speaker D: Exactly. [00:10:35] Speaker B: And then not being aware that we make bad decisions, too. But I just want to give you a props, because I see the evolution of who you becoming as an artist, too. [00:10:45] Speaker A: What was the toughest part about that sacrifice for you? Like, when you get in the calls, like, hey, you need to be in a studio, or you need to kind of be on this time. You need to not be so far gone. For you, was it just the need to be around or for you, what was the toughest part about that sacrifice shit? [00:11:01] Speaker D: My homies. I ain't going to lie. I miss being around homies still to this day. But it's like my niggas even sometimes, even when they can't even make it to the studio, them niggas is the niggas who keep me smiling every day because it's like the studio, it'd be needing the funny shit, right? The homies is funny. The jokes, the jokes. I swear, I don't even care about females and shit. Like, being in a studio session, that should be distracting me a lot. So it's like, I like being by myself. I record myself. I don't even like engineers like that to record me, because they ain't fast as me. They don't be fast paced like me. [00:11:37] Speaker A: I'd be like, catch up. [00:11:39] Speaker D: Yeah, and they'd be fucking up. Keep it, keep it. They'd be deleting shit. I got to fix it myself. I'll be for real. [00:11:46] Speaker A: Don't even do twice the work. Like, what are we doing here? [00:11:49] Speaker B: I remember coming to one of your sessions, and it was like that. It wasn't like a whole bunch of extras. It was like, work time. [00:11:55] Speaker D: Yeah, for sure. [00:11:55] Speaker B: I respect that, though. I think that a lot of people run through a lot of budgets in the label situations when it just be a whole bunch of goofy shit going. I'm like, you know, you paying for this, and I don't think people understand that. And also, something rod, I want you to speak on is the business aspect of the music business, right? Because a lot of these dudes be like, oh, I want to do music. And they don't know what that means. And then they'd be like, oh, my big homie, he my manager. Or they'd be like, oh, this dude, he's my engineer, but he don't know how to put work pro tools. And it just be like, I guess the need to want to put your homies in a position that they not for at that moment. Right. [00:12:38] Speaker C: I feel like with that kind of go in both hands, because when I first started, I was just a homie. I threw parties. That's what I did. I did tattoos. I didn't really do nothing involved in music. Everything that came with music came because of YG and everybody else in the position that they put me in. But when you're in this position, it's like, what are you going to do? You just going to be the homie and be there, or are you going to try to do a little bit more? So it went from me throwing parties to me passing out flyers, to me passing out mixtapes, to me, all right, yg got a show in San Diego. I'm the only one with a car. Fuck it. We about to pile up in my car and go to San Diego. Diego. It was doing whatever to position or to put myself away from just being looked at as a homie. But I do understand why people want to put their homies in position to keep their homies around because you don't want to wake up one day and then you are just surrounding yourself by niggas you just met two, three years ago. But I feel like it's more in the homie, in realizing, like, my homie got this avenue. Let me bring something to the table. Let me show what I can do versus just being there, because everybody just there, your girlfriend just there, your mama just there. Everybody's just there. But it's like, who's actually trying to help you or who's having conversations with you to better you as an artist? But the business side, the business side, bro, is serious. You have to conduct yourself as a brand and as a business and everything you do every day. And people be like, oh, well, shit, I don't want to be a rapper today. But it's like, I tell gutter that every day. It don't matter because you already put yourself on this plateau. So it's like every day you have to get dressed a couple of days a week, you got to get a haircut. You can't do the norm thing and think that you're going to be above normal. You got to put that time and energy back into yourself as a brand, just like you see other brands do. Like Nike don't just sell the same shoe that they've been selling and they don't sell the same quality. The quality gets better over the years and everything like that. So it's like, I try to tell artists, look how brands go over the years. And if you put yourself, treat yourself like that, no matter if it's a slow increase. Like, you continue to increase every year, every month. You may have started with zero monthly listeners. Keep on putting out the right music, not just putting out songs because you did a song cool, that don't matter. Who are you talking to? Who's your consumer? What fan are you looking for? You want to rap this way one day, want to sing this way one day, want to do an alternative song the next day. And that's great. Do them all music is about emotion and freedom of speech. But it's like, okay, understand how to gravitate that and navigate that into a body of work or into a project. And maybe this song you did today ain't ready for Today. Save it for three, four years. Maybe in three, four years, you're ready for that song. Your career has changed. You met the right person to put the right feature on that record. Just because you recorded it don't mean it got to come out. And I feel like that's one of the most important things as an artist. Be creative. I tell them, you want to do a million songs, do a million songs. But what's the title of your project? All right, so what's the concept? So what should that sound like? What does that look like? This song, it's a great song, but it don't fit that. So we got to hold it. We argue about it. But, bro, this song is. This. This song is. I say, but listen. Listen to this song. Listen to this song. Listen to this song. Do they go together? Fuck, no. They all great songs, but they don't match and mesh. So it's like, as a fan, when I go to McDonald's, I know what I'm getting. [00:16:18] Speaker B: Facts. [00:16:18] Speaker C: I know the taste. Pause. So I'm not going to McDonald's expecting to have a subway sandwich. So it's like, as an artist, you got to understand that about yourself. Like, you put out a certain type of music, you're given a certain type of brand, what you do, and that time needs to be on brand of what you're putting out so people can understand it and believe it. Like, how Tyler the creator, does. Like, his last album, was it igor wig and everything? Like, oh, no, that was. [00:16:47] Speaker B: No, please. [00:16:50] Speaker A: The one with drum. I know you talking about. [00:16:51] Speaker C: Even every album. [00:16:52] Speaker B: Call me if you get lost. [00:16:53] Speaker C: Every album Tyler does, it's his own world. It's his own universe. [00:16:58] Speaker B: I can see that. The weeknd does the same thing. [00:17:00] Speaker C: Kanye does the same thing. Michael Jackson did the same thing. [00:17:03] Speaker B: I never thought about it like that. [00:17:04] Speaker C: Jay Z did the same thing. It's being yourself, but it's elevating yourself, but staying on brand. My first tour was with Tiger. It was when he dropped careless world. That was his first album. And yg was just. He was getting fly every day. But Tiger had three outfits. He had multiple versions. Like, one shirt six times, one shirt six times, black pants. But it's like the whole tour he wore that same costume. That was his costume. He was in character. It was like, so when I'm seeing this, at first, I'm like, bro, that's the widest nigga. Yes, nigga. What different chains he like, nah, he wore his last king chain every night. And he wore nigga, his fucking Versace shirts. And then later on during the set, he'll put on some merch. But that's because he's selling that at the show. [00:18:02] Speaker B: It's the uniform. [00:18:03] Speaker C: Everything is on brand. Even like, when I was watching this new Andre 3000 interview, he ain't worried about getting dressed, so he put on the same thing. But that's his uniform right now. In six months, that might change to another outfit, and he going to buy 30 pair of the same outfit. So he don't keep everything in a wave, in a fashion, in everything you do, so people understand you. If I'm coming to you as an artist, I want to know what I'm coming to you for. I'm going to certain artists when I'm sad, I'm going to certain artists to turn up. I'm listening to certain type of music in the morning. Like, my homies be posting this shit on instagram. I don't want to see no homies post no rap music before twelve. All the homies, when they be posting shit in the morning, nigga, they'd be posting old school music, r and b music, but, like, getting dressed, working out, doing all the shit. But it's like, that's just something that the homies started just because, like, bro, you get up and you listen straight to rap, it already puts you in a certain mindset. You already aggressive, nigga, get up, play some good music that you grew up to. That music your mama used to listen to, you'd be vibing. It turns your whole day, your energy around. I don't know, bro. I just feel like people got to pay more attention to what they do and how they do it, especially to last in this music business. [00:19:17] Speaker A: I feel like you give a lot of game to people. And one thing that I kind of want to hit on is how much grace do you give an artist? Or when you're working with somebody, you can lay it all out based off your experience. [00:19:31] Speaker B: Right. [00:19:31] Speaker A: But how much grace do you give them to be able to kind of retain the information? [00:19:37] Speaker C: I feel like it's a difference if they don't understand something or if they don't want to get it. If I'm telling you something and I'm trying to explain something to you and you're not hearing me out or trying to understand a point of view, it ain't no grace. [00:19:53] Speaker A: Got it? [00:19:54] Speaker C: But if it's something that you don't understand or I'm trying to explain, I may have to explain something to you a different way. I may have to show you an example. I would never trip on a situation like that because we all don't retain knowledge the same way. [00:20:08] Speaker B: Right. [00:20:08] Speaker A: Well, how do you know the difference? What if somebody's response is I don't understand, right? But their only response to it is, oh, man, fuck that shit. And it's like, well, no, he didn't tell you. [00:20:23] Speaker B: He'd be looking like, what part you don't get? [00:20:25] Speaker C: Like, let's break it down. What part you don't get? Because I can talk for hours. I know I could talk, bro. And it's like, sometimes you got to tell me, bro, shut up. [00:20:33] Speaker A: Like, damn, is there something for you, gutter? It was like, man, he's giving you some information and you're just like, nah, either that's not me or I don't understand it right now. And how was your response to them? Maybe you can walk us through a specific situation. Maybe it was, hey, staying away from the streets or whatever the case may be, but something specifically for you. Were you like, yeah, I hear you, but I don't know. But then you came around to it. [00:20:55] Speaker D: Or getting up, I'll be sleep, I ain't going to lie to you. I'll be sleep because I'll be up when I'll be at a studio. I'm at the studio to every day probably 04:00, 03:00 so when I get in the house, it's 430. My daughter wake up, I'm up. So I go to sleep around like 07:00, 3 hours later, you got to get up. [00:21:21] Speaker B: No cap to do you sleeping. [00:21:23] Speaker D: Get up. I understand it though, because it's like I'm waking up at 04:00. Some days I'll be waking up at 04:00 in the afternoon, 03:00 in the afternoon, day going, yeah, day going. I'm trying to rush everything in the last six, what six, 7 hours of the rest of the day, and I can't get shit done. So that's been my still to this day. Sometimes, though, time management. Yeah, for sure. [00:21:46] Speaker B: So I want to talk about something that me and Rod was talking about one day. I forgot we was on the phone for like, hour and a half that day or something. And we was talking about unity and brotherhood and people working togetherness and moving as a unit and stuff like that. It reminded me of not early 2000, like 2010 ish. I remember when South Florida had their movement, right? And that's when Wayne and everybody was down there and it was Ross T pain, and they were just moving as a unit. And it was this one thing where I remember going down there. This is when I first met. I go, I go down there, shout to. To, we go meet Khaled. I meet e class and all them. And he was know when I shouldn't even be talking about this publicly, but they was like, whenever we got an issue with each other, we get in the room and we settle it amongst each other. Like we govern ourselves. Because when we outside, we Florida, like, we together, right? And I was like, damn. And the conversation me and Rod was having is like, I don't know. It's my own personal opinion, right. I don't know if we'll ever get to that point from a cultural standpoint or from music. Because the west coast and LA, specifically California, I'll just say California, not including everybody else in our shit, but California specifically. So political and so geographically divided in certain ways that I don't know if we'll ever be able to do that because they don't have the same politics that we have. Does that make sense? [00:23:25] Speaker C: Yeah, I do understand it 1000%. I do understand politics, but I feel like I've also been a part of a movement that separated itself from politics because even when we came up with pushes, like, we used to be on Stalker park. So if you don't know where Stalker park is, that's on stalker and labrea. That's the end of the jungles, the beginning of the. We used to have families, greats, pyros, hoovers, schoolyards, whatever hood you can think of there together amongst each other. And if you had an issue with this person, go over there and fight. Other than that, we here, we chilling, we vibing, we hanging out like, bro, if you really look back at it, bro, yg shot a video in the schoolyards and the black songs was there. I don't give a fuck video. We've made situations and moved through life where all that don't really count to me. Your respect as a man count. I agree with that. If you're from a hood, how they treat you over there? Because me, I'm from swans. I got homies that love me. I got homies that don't love me. But at the same time, if I brought my homies from schoolyard to the swans, they gonna show love to him, right? Nobody's gonna disrespect him. Nobody's gonna bang on him. Nobody's gonna talk to him out of ill intent, because he's there of me, whether they fuck with me or like. But when I go to the schoolyards, I get the same love from TC, homie. But it's like, look at YG and nip, bro. YG was with all the. Like, I don't think people really understand that. Like, YG fucks with all bloods, nip fucks with all crips. In really all neighborhoods. We was all together. It's a nigga who I used to get into it with in high school with. And we ain't see each other at the high school for a few years. And the next place we saw each other after bro got out of jail was in Nipsey's studio. So you know how awkward that was for the first hour, you know what broke the ice? A blunt. [00:25:28] Speaker A: Wow. [00:25:29] Speaker C: Blunt get put in rotation. Shit is like, he the next nick. So, like, fuck it. I got to get up, and I got to go past. And then it's like, from there, it's just like, what's up, bro? What you been on, bro? I just got out. We'll do. And then we start chopping up, bro. And then it just went back to like, bro, that high school shit was high school. Everybody going to be whoever they going to be. As a man, I feel like your report card as a man is what follows you in this city. And because of my report card is stand up. I move how I move through the city. Like, I was just talking the other day, I don't be outside with ten niggas. I don't be outside with 20 niggas. But I represent where I'm from. But I come with respect to anywhere I go. [00:26:11] Speaker B: Facts. [00:26:11] Speaker C: But the same way will happen if I'm in Atlanta. I'm not about to be in Atlanta with ten chains on. Like, yeah, I'm Rob Swan with nobody from Atlanta, not moving around, right? Like, when I'm in Atlanta, I'm with my homies from Atlanta, moving around off the respect and the love that they got, so I get that. And when they come to LA, they come to my studio to record because they know they going to get that same love, that same energy. So I feel like it's more based on how you project yourself and what you're putting out there. Like, bro, I don't give a fuck who think I'm tough. I don't care who think I'm soft. I don't care who think whatever. I'm me and I'm here and I've done things to succeed in my life. So do you respect that then? You respect me. If you don't, you don't. And that's how I look at anybody. You can be crib, you can be blood, you can be hoover, you can be like, bro, I said the other day, I posted on Instagram, bro, I want everybody from the West coast to win, even the ops. But I meant that because it's like, bro, as a coast, we look weak as a coast, niggas not respecting us and they ain't respecting us because we ain't respecting each other. We ain't moving around the way we supposed to. So how can they, bro, fucking death row was crips and bloods. How was Snoop Dogg signed to nigga to Suge Knight? Like, think about it, bro. Think about how they moved around back then. So these motherfuckers respect the West coast. Everybody got somewhat love for us because, bro, you see it in the way they dress, the way they talk, they throwing up gang signs, they doing all this shit that was invented here. But do they respect us? Nah, because we not respecting ourselves how we move. And that's even like I was telling you that day on the phone, that's why I opened my studio, because I want to be able to bridge that gap. And I don't have to say no names, bro. I didn't got artists features with artists who they never collabed with before. Thought they can collab with before. Never been in the studio with these type of artists. These things are happening in my studio and I don't want nothing from it. But I know what I'm doing is going to help my coast. I say this is like a month and a half ago, bro, this was like a legendary night in my studio. For me, bro, I had skill of baby sada, baby T, grizzly, baby Stone, gorillas, gutta bracken, rucci and blue bucks clan. [00:28:26] Speaker A: Snap. Damn. [00:28:29] Speaker C: Come on. No bad energy. Nobody felt entitlement to nothing. Everybody know everybody from who everybody fuck with. [00:28:37] Speaker B: But I was there and everybody was just moving around, everybody was sharing. [00:28:41] Speaker C: It was amazing. Everybody was getting features with everybody. Everybody was like, it was rap, it was real hip hop being created in my studio and it's like, that reminds me, this is the fuck I'm doing it for. I ain't doing it for shits and giggles. Like, we all want to be rich and but for my coast, for my city, that's what I'm doing it for. And that night reminded me, bro, and even I got, bro, one of my homies, ruchi. Text me the next morning, like, bro, I still got to text me like 06:00 in the morning, 07:00 in the morning. We left the studio like 435, so this had to be on his mind before he went to sleep. Like, bro, you really doing some different shit over there at the studio, bro. And I love it. [00:29:17] Speaker A: Damn, it's amazing. And this is creative sound as a recording spot. That's where you got your spot. And I love that you're doing it your own way. Like creating a hub where people can actually come and record and get work done and just be amongst each other. Right? [00:29:32] Speaker C: 1000%. [00:29:33] Speaker A: What do you feel like other steps can be done from maybe other entities, other individuals and other like minded individuals that want to possibly do the same thing. [00:29:42] Speaker C: Move off respect. Don't move off pride. I feel like if you fuck with somebody, even if they from the other side, you like a song, repost it. Somebody shot you out, repost it. It's free. Like, you see an artist, I seen Greedo do an interview and he was talking about he's just going to start promoting all up and coming west coast artists and I love that because that's the step we need because it's like, bro, and this ain't no disrespect to nobody, but, bro, you in Atlanta and you coming up and you got some buz, you on fire. You don't get a feature with future, you don't get a song with thug, you don't get a song with Gunna, you don't get a song Gucci, bro, they embrace theirs generation after. Like they embrace what's coming out because it's Atlanta versus everybody. I've been out there with some niggas from Atlanta and heard the same thing. Like, bro, don't matter if we get into it in the city when we outside, bro, this all like, I'm like, damn, I wish La moved like that. [00:30:42] Speaker A: So do you think it's more, I mean, obviously the politics involved as well, but is it ego? Is it pride. Like, what do you think is really hindering people from being able to do something as simple as repost somebody's video? [00:30:54] Speaker D: Ego. [00:30:55] Speaker A: Really? [00:30:55] Speaker C: I think pride go deeper than ego because, bro, you prideful because you worried about what your homie going to say if you post this nigga song and he don't like, bro, I don't give a fuck who. If I like it, I'm a post it. If I don't like it, I ain't going to post it. That's just my principle. Like, your prince would be like, not you, but people's principles would be like, oh, well, shit, this nigga from over there, nigga, I know we got into with this nigga and I hang with this nigga, so I'm not going to post this song. But it's like, bro, that's not helping the west coast and that's not helping you. Who's helping who? Even, like, for example, this last tour, jeep, Rico and Rucci. Yeah, it's amazing. They still on the grind. They still on the upcome. But I see so many people from the west coast, nigga, be okay with doing a tour from San Diego to Washington, right? I don't give a fuck if it's 50 people at the show. Go try to do a show in Atlanta. Go try to do a show in New York. Like, if there's 50 people this time and you do a great job, next time it's going to be 100, bro. Yg. First show in New York, bro, was at the fucking, what's that fucking famous little ass. [00:32:07] Speaker D: Sobs. [00:32:08] Speaker C: Sobs and we didn't sell it out. [00:32:10] Speaker A: Wow. [00:32:10] Speaker C: We didn't sell out. Sobs and what is 400 people? [00:32:12] Speaker B: Right? It's a smaller venue. [00:32:14] Speaker C: Next time he went, we did Urban Plaza. [00:32:19] Speaker B: Damn. [00:32:19] Speaker C: Was sold out before we got there. Was one of the first sold out days on the tour. So how you go from doing less than 300 and the next time you come to the city, you do damn near 2000 because when you got on that stage, you gave you all. That's it. [00:32:34] Speaker A: It's a matter of not being afraid to fail for one and then two. Being able to kind of set a marker like, oh, okay, we weren't able to do this. All right? That's motivation for the next time we come back to the city. [00:32:46] Speaker C: And I feel like that goes back to the same thing because, bro, people be worried that, oh, if I go out there and do a show and it's only 50 people, what everybody in the city going to say, I'm going to take the show down. Yeah, bro. My first tour with my artist Aaron Ray, we did, I think his first solo tour was 16 dates out of 16 dates, I want to say nine was eight were sold out. Eight were sold out. The rest of them, like. But we did one show, bro. We sold ten tickets. [00:33:24] Speaker B: Really? [00:33:24] Speaker C: But you know what he went and did? He went out there and gave a great fucking show to those ten people. To those ten people. And he gave those ten people free merch. [00:33:32] Speaker B: Wow. [00:33:33] Speaker C: And then the next time he went back to that city, his next show was 500 in that city, and he sold it out. So it's all in the artist and what you given and how much you given. And don't treat no show like rehearsal. Like, I have, bro, at the studio rehearsing. Like, you record this song, we're going to do this show, bro. How are you going to perform it? Perform it in front of me, bro. So I can see how you gonna perform it in front of these. [00:33:57] Speaker A: I want to see. [00:33:57] Speaker C: Right. And I'm not saying that to belittle him. That's part of artist development because back in the day, La Reid wasn't signing. If you can't perform. Oh, you ain't mean to tell me you didn't have no money, you didn't have no way to the studio. You found a way to get some studio time. You found a way to record this song talking about your problems, and you just want to post it one time and hope the world's going to see it. It's like, do you even care? [00:34:50] Speaker A: What do you think the disconnect is, though? [00:34:52] Speaker C: The artist not caring? Like, are the artists being too prideful about what the next nigga don't think? I saw a video on Instagram last week or maybe the week before last, it was this young singer dude. He's singing to some girl, but through a window. And then when you first see it start going viral, you see people talking shit in the comments, like, oh, why are you singing to a window, to this, that? But guess who else jumped in the comments? Usher. [00:35:19] Speaker B: Wow. [00:35:20] Speaker C: Chris Brown. Wow. And I think they say, like, I love this or something like that. And now the kid went from having a couple followers, but it was like, just trying. [00:35:29] Speaker A: You never know what your opportunity. [00:35:31] Speaker B: Do you think that? And I guess both of you all can answer. Do you think that people fear more of what other people think or they fear failing? Which one is the bigger fear? [00:35:40] Speaker C: They fear what other people think. [00:35:42] Speaker B: Damn. [00:35:43] Speaker C: Everything in life, I feel like today is built off perception. But in music, we're getting back to a space where people are getting past that. Because, bro, three years ago, nigga, if this person said this artist was tight, they going to come out and they going to sell. But now it's like, nah. Are they tight, right? Or you just like them? Do I like their music? Am I buying into it or am I buying the song that you're featured on? I was even telling him, we first started working like, bro, I can get you damn near any feature, but I don't want to do that. I don't want to make you look like you an industry plant you some robot that, oh, I just went and got my little homie from my hood because I'm pushing ride and I know 21 savage. I know this person. I know this person. I'm just calling to get you a song for show. [00:36:31] Speaker A: I want to know from your perspective when that phone call happened, when you all talked and he said, look, I could get you anybody I want, but I'm not. [00:36:38] Speaker D: No, it wasn't even phone call. We was in person. That's what I'm saying. [00:36:40] Speaker A: What was your response though? [00:36:42] Speaker D: It wasn't nothing like bad or nothing because it was like I was already like a rapper. So it was like already knew how it worked to get features and shit. And I knew who Rod was, so I knew what he could do. I knew who he hang around. But it was like, I got to work for that shit. I didn't even want to be an industry plant. That shit's going to look crazy. I'm from the east side. Exactly what y'all was saying. Like people gonna talk. Not that I'm scared of it or anything, but it's like, nigga, I'm from LA and it's like, I'm not trying to be an inside out artist. I want to be an artist artist, not a rapper. I want to be an artist. I want to be wiggling around, making friends with my rapper friends, my real friends. I want to have rapper fans. I don't want the rappers to just be his friends because he know them. [00:37:28] Speaker C: Every feature we got, the artist was down to work with him or the artist went in the room and said, oh, I fuck with this. Or him. And the artist had real conversations. It's been a couple that I didn't reached out to and said, hey, bro, would you hop on this? Hell yeah, I fuck with bro. Hell yeah. You green. When bro gonna be up there? Like his project coming out this week, one of the features, my boy Skillibaby. Skillibababy was been at my studio recording since he came out here. Met bro, they was hanging, chopping it up with each other. We did this song. My boy Lil Rich sent me this beat. It's crazy. Shout out. Lil Rich, he produced for beer, whole lot of money and everything. He sent me this beat and it was different from everything gutter was doing. And I'm just like, bro, it's something about this beat, bro, I just want you to try something different. He did it. And right when he did it, he like, I don't know, it's fire, but I don't know if it's me. I said, bro, this is different. Just watch what I'm going to do. And then I ain't telling him who I was going to have get on the song. Nothing like that. I reached out to Skiller, we in. [00:38:29] Speaker D: The car driving every day. I'm like, who you got on the song? I'm naming niggas. [00:38:34] Speaker C: Don't worry about it. Don't worry. When the time comes, it's going to be right. And I reached out to Skilla. Skilla said, what I fuck with, dude. He didn't say nothing else. He came in town like a week later. [00:38:48] Speaker D: I was in the room just sitting down. Skilla walking the room like, where the feature at? I'm trying to do the feature. He ain't even knowing I'm the artist or nothing. He's just like, where the feature at? [00:38:56] Speaker B: Ask him this the artist right here. [00:38:58] Speaker D: Come on, bro, in there. We start chopping it up and shit. Built a relationship shit. [00:39:04] Speaker A: And that's something that goes beyond just the song. It's like you guys actually building in the studio, you know what I'm saying? [00:39:09] Speaker B: Yeah. [00:39:09] Speaker C: Shit like that, I feel like is real part of artist development and a lot of things. Like even today, I don't be blaming the labels, I'll be blaming the people who call themselves the indie labels or who's developing these artists. Like you're just trying to sign something because it's stream like a label. That's their job. Oh, it's doing numbers, go get it. But who's developing this talent? Who's taking the time with these artists? Who's taking the time to show these people what artistry is? Who's taking the time to show these people how to act around other artists? Who's taking the time? Like, bro, don't just get a record and throw artists out there and think that they going to last for 20 years. Everybody who you see, who lasts or who has real success are usually tied back to something. Who has success or people who understand how to move through rooms. I feel like you may not have had the best success on your route, but you know the right way to move around when you get an artist so they don't just do fuck shit. [00:40:02] Speaker A: Yeah. [00:40:04] Speaker B: Do you think that because there's a conversation to be had about that as far as the way labels move and the way you move as an independent artist or independent company. Right. And it's been brought to my attention numerous times. I don't want to say ways to sell out, but ways to compromise what I believe in for money, right? Like, oh, you could sign this artist or just say. Just say that you manage this person, and we're going to go get a deal and you get 20%, or just put your arm around this nigga, and we're going to cut you in on the. And it'd be that type of shit, and I just would be like, but. [00:40:38] Speaker C: That'S what it ain't with dried out music. [00:40:40] Speaker B: I feel like that, bro. And I feel like that's kind of why shit is kind of fucked up. It's just people who don't give a fuck, doing things for the check. And I get it. We all got to eat, and we all got to survive, but at the same time, it's like, what are you willing to sacrifice and give up? Me and him had plenty of opportunities to sell and to sell homegrown to these brands that want to do business with us, but it's like that on the line, what we do. You know what I'm saying? How many years clean? [00:41:06] Speaker A: You know? Seven. [00:41:07] Speaker B: He's seven years clean sober, right? We had the liquor opportunities, and we didn't had these things, but it's like, now go get us some water we can endorse or go get us something that we can really get behind. And I look at the music the same way. It's like, just because this artist is streaming don't mean that this artist is going to be here in three years. But you don't give a fuck because you're looking at it like, I'm going to make 70,000 off this artist and move on with my day. [00:41:31] Speaker C: Even when I was at interscope, bro, I never went for the artist that had a crazy competitive deal. I never went for the artist who was streaming crazy. I went for the artist who believed in they brand and what they were trying to push. I believed in the artist who was focused on the future goals and not just trying to go viral. Today, for example, when me and Manny Smith signed Rich the kid, bro, was looked at like the fourth Migo. Really, when he was signed to 300 people. Wasn't taking him that serious, but he was amazing artist. And we had a meeting with him at Interscope. Then after the meeting, me and Manny sat down, and Manny asked me some real shit, like, do you really think rich is that. Would you bet your career on it? I said, I bet my career that if Rich got in the room with a good situation, that he'll work harder than ten niggas, but he'll never get that look where he's at, because he's not a priority. [00:42:30] Speaker B: Damn. [00:42:31] Speaker C: And Emmanuel, like, you sure? Text me the next morning, say, you really sure about rich the kid? I said, bro, I wouldn't have said that. Then rich the kid came interscope. Then you got new freezer, then you got plug walk. And it's like, if he would have stayed where he was at, could that have happened? I don't know. He had the music already, right? But it's like, who's seeing the vision and how can it grow versus just signing something because it's tight. I don't want to sign or stand next to nothing just because it's tight. I want to stand next to something that I believe in. And when I talk about it, you hear it. When I'm talking about it, I'm not like, yeah, man, this is my artist gutter, bro. Yeah. I just want you all to hear him. Hey, bro, I believe in, bro. I'm pushing this. And it's like, even if it's something where I got to stand in front to help push, bro, I'm willing to do that because I believe in him and what he's trying to do versus waiting for a record to go fucking viral or putting him in it, I can easily say, oh, you got this record. [00:43:31] Speaker D: Cool. [00:43:32] Speaker C: I'm going to go a 21, bro. You know you my nigga. [00:43:35] Speaker A: I need this. [00:43:36] Speaker C: You know, bro, do me this favor, bro. Throw me this holly hoop. And it'd be like, for what? But it's like, for him, it's like, damn, did I just put my friendship, make the nigga doing the feature? Because he's my friend. He don't know nothing about the artist. So it's like, damn, when the song come out, is he going to post a video, or do I got to personally call him to ask him to post a video? Is he going to tweet the song? It's like all the other shit coming when the artists don't fuck with other artists or the shit ain't organic or it ain't real. [00:44:07] Speaker B: It's something that I want to ask, too, that's important that I feel like either both of you can touch on is when is it appropriate for somebody to call in the favor? [00:44:17] Speaker C: Because I call in favors, but it's the favors that make sense then that matters for where the artist at. But it's just like, when is the. [00:44:25] Speaker B: Right time to do that? Because I feel like a lot of people don't know when that is. [00:44:29] Speaker C: Well, even for right now, I'm on promo. He's dropping a project this week. So it's like I'm calling in certain favors, trying to do certain things to make sure that my artists get looks and he get visibility. People pay attention to him because people respect what other people say and what these platforms are. But it's also fucked up because it's like, back in the day, we thought that it was about the vlogs. I mean, blogs going to blogs, but then you find out that these blog people double dip. So then the blogs don't even matter anymore because this blog person is getting paid by the blog company by double xl to do write ups on artists, but then charging the artist $500 to do a write up. And it's like the integrity in everything is sliced. So it's like you have to figure out what's the right relationship. Who do you believe? Who do you trust? When I first started working with gutter, remember I started sending you songs, hey, what you think about this? Because I value your opinion. You ain't going to tell me you fuck with something if you don't. Just because I'm your friend. But now if I call, I ain't going to name drop, but if I call somebody who work at fucking double xl to that, I quote unquote, know to do a write up on gutter because he's dropping a song this week. They say, yeah, I got you. Just shoot me 500. And it's like, damn. All right, so you want me to pay you 500, but this company is paying you 200,000, $150,000 a year just to do write ups. It's like everything is just so washed now. And it's like nobody is standing on a moral or their principles. Just how you said, like, bro, you can get money from a liquor company, but bro was sober. That's against your moral company. So it's like, no, nobody gives a fuck about that. They care about the dollar facts over the morals. And it's like, I'm not moving like that. So even me calling you this is using one of my favorites. But do I believe that this favorite, was it the right time to call 1000%? Absolutely. [00:46:37] Speaker B: No. I don't think it's using favors, though. But I think that the reason why I asked that is because of what you said about, like, oh, you can call and get the feature, but I'm not. But I feel like everybody be trying to do everything quick and like, what you're saying as far as getting in a studio and building a relationship with the artist, right? I feel like everybody's trying to microwave a meal and nobody getting on the stove. [00:46:59] Speaker C: I made this nigga stop putting out music for a year straight, and I made him come to the studio every day during that time, or every day he could, and every day he couldn't. Nigga. I was on him about not coming to the studio. What was that about being better, having more confidence, believing in what you're saying, and not just coming in here and rapping. Like, what are you talking about on these songs? All right, cool. You got your own studio room. Do what you do now. Come on, let's listen to these songs you've been recording for a month. [00:47:26] Speaker A: Let's see what you got. [00:47:29] Speaker C: 36 out of 50 songs sound the same. You're saying the same thing. So we can't use how many of these? So now we're breaking it down. All right, cool. Let's make songs about now I'm abro, you going through this. Go try to make a song about that. I make a couple of songs about that. Now. Get more deeper into yourself. Get more deeper into the dive of what you're talking about and how vulnerable you can be as an artist and your comfortability when you're in a room versus just coming in there. Nigga saying, nigga, I got a chain. I got a chain. I said, bro, where your chain? I don't live like that. I'm not going to promote that artist. Even I told her, I said, bro, I could get you a creative sound chain tomorrow. But what that's going to mean if you didn't work for it, people just going to see you got a chain, but it's going to be like, oh, shit, he ain't work for that chain. He signed a push rod. Rod got him that chain, bro. [00:48:24] Speaker B: What does that do for you as an artist who's used to running your own program and be like, no, look, you're not putting out music for one year. I'm going to sit you down and you're going to learn some shit. [00:48:34] Speaker A: And I'm sorry, was that mindful of you to say a one year time span or was just like, we just need to stop for. [00:48:40] Speaker C: We need to stop. Okay. Time is real. And I have this argument with everybody. Time is real. It does exist. But I don't move my life based on time. It has to be the right time for everything. And at one point in time, did I like him as an artist? Yes. Did I like his style? Yes. But the songs were the same, so how can I better you so, like, putting the time in what I believe is into artist development in the studio before trying to put out a song. It could have been two months. It could have been six months. It took us a year to get where we felt we needed to be. And that's what I feel like is. [00:49:25] Speaker B: More important from an artist standpoint. How did you benefit from that? [00:49:29] Speaker D: At first, I wasn't fucking hot. Yeah, I wasn't fucking with it at all. I was like, man, I need to drop. I was telling him I need to drop. I need to drop. Then I start seeing it. I start listening to my music, driving around. I'm like, damn. I said the same line in this song that I said in the last song, said this. Then I'm just keep on listening to all my music, and I'm like, nah, this shit ain't supposed to sound like this, man. So I start going through my music one by one, erasing shit. I ain't going to lie. Erasing shit. Then I just started putting songs together and shit, making it all one. Shit started coming out fire. But after, like, six months, I was like, I'm ready to start dropping. He like, nah, not yet. I'm like, man, I'm getting mad at this point. [00:50:12] Speaker A: I'm like, this nigga rod not trying to drop my. [00:50:14] Speaker C: That's when the confidence changed. [00:50:16] Speaker D: Yeah, I'm like, this nigga not trying to drop my shit. Then after that, I'm like, man, fuck this. I'm going to lock all the way in. I start going to the studio every day. Every single day. Like, nighttime to the morning, morning to the nighttime. After that, I was ready. [00:50:32] Speaker B: What artists do you look at? Not to get your style from, but what artists do you look at? Like, damn, I want to take this piece from him and take this piece from this person. [00:50:42] Speaker D: Yg and Lil Dirk. [00:50:44] Speaker B: Oh, that's fire. [00:50:45] Speaker D: Yeah, I ain't gonna lie. [00:50:46] Speaker B: You know why I like Lil Dirk? And I think, I don't know if I said this to you or you, but I like Dirk because the way he uses his tune. You can still hear his voice right under that. And that's why I like the voice. Like his brand or whatever, but I could still hear his voice a lot of times, the tune be up. The auto tune be up so high where you can't even hear. But dirt, I don't know, it's controversial. I got a lot of heat for it when I say it. But I feel like dirt uses it better than thug in a way that I know there's different styles. [00:51:14] Speaker A: Right. [00:51:14] Speaker B: But I feel like he uses it better. And I think thug not would have been, but I think thug would be way bigger to a larger audience of people if he did kind of what Dirk does a little bit. I know people be killing me online when I say that, but I just like the way he uses it because I still hear his debates in his voice. [00:51:33] Speaker D: Yeah, for sure. And then he uses, like, when he recording this stuff, the engineer makes it sound like it's not actually super detailed, mixed, not super scratchy, none of that shit. It sounds like we talking right here. [00:51:46] Speaker B: Right? [00:51:47] Speaker D: Like, when you hear this podcast, it sounds like a real aspect, like you in the music. A lot of people's shit don't be sounding like that. It just be sound like a whole lot of effects and all type of crazy shit going on. [00:51:57] Speaker B: I like the YG and dirk thing. I never thought about it. [00:52:00] Speaker D: Like, that's fire for sure, even with my beat selection on West coast. And then it's like, if you listen real good, it's Chicago or I like the guitars. I like the crazy ass sounds. And I'll be telling my producers, I watched Dragon Ball Z growing up. Go get this loop. This little piece from Dragon Ball Z. It'd be the little stars and shit that's going around. When I used to play the game. Put this in a song, put this in a song, making a song my song. It's like, tired of being on a box. I feel that we got to wiggle out of this motherfucker. [00:52:39] Speaker B: Do you think that artists are not being creative enough in that way? Because I remember watching the breakdown when Hitboy did backseat freestyle. [00:52:47] Speaker D: Yeah. [00:52:48] Speaker B: And I watched the pieces he used for that beat. It was like Sailor Moon or some shit. And it was like, you got to be. I was going to say a word. Can you say no more? [00:52:58] Speaker D: You watch Drake and Jacob video? [00:53:02] Speaker B: Yeah. [00:53:02] Speaker D: That's just crazy. [00:53:03] Speaker B: That video is insane. [00:53:05] Speaker D: That's how I'd be looking at shit now. [00:53:07] Speaker B: That video is. I don't know. I ain't watched a lot of videos. I watched enough videos this year, but that got to be the best video for show. [00:53:15] Speaker D: And that's how I'll be looking at show my music now. That's somebody mindset, complete mindset. And it's like, no control over the video guys mindset. This is what I want to do. This is what I'm going to do. You feel me? So when I'm in the studio, that's how I'll be. Now. This is what I want to do. I'm going to finish this song, work on everything else later. [00:53:33] Speaker A: But you said that turned on for you after kind of like, sitting down and really reassessing, like, okay, I can't just be making songs and make songs activate it like that. [00:53:42] Speaker B: That video was fire. [00:53:44] Speaker D: But even before that video, that was in my mindset after being around rod, though so much, because he changed my mindset to a lot of shit. I'm a cancer, so I'm emotional when it comes to a lot of shit. When they come to a lot of shit, I'd be like, man, I'm not going to listen to this nigga. I'm walking away from them all type of shit. I'm not listening to them. I'm going to do my own thing. Then after three conversations ago, it was like, damn, bro, I got to get in a bag. I got to get in my bag. And it's like, I figured out the West coast. Our problem now is like, nigga, we always down talking each other. We got to stop that shit. We got to build a bond. Like my last freestyle, I talked about all the good shit that the West coast got. Niggas don't do that shit. They rather down talk each other. I'm not with that shit. [00:54:36] Speaker A: I love that, man. Focus on the positive shit, the shit that's actually working, the things that you see, because I totally agree with that. I feel like a lot of conversation and narrative that's surrounding LA rap and hip hop. It's like everybody's focused on the wrong shit. Now, granted, there needs to be. We need help. You know what I mean? There are things that we can improve as a coast, as a community, for sure. [00:54:58] Speaker D: I'll be watching podcasts, and the first thing the interview doing is, hey, so what do you think about they be trying to be messy and shit. I turn that shit directly off because it's like, nigga fucking us up. I got to stop that. [00:55:10] Speaker B: But you know what? I feel 100% that way. [00:55:14] Speaker D: Yeah, I understand the attention it bring and all that, but I'm not with that we West coast, just like you all were saying how Atlanta, Atlanta, Florida, Florida, we got to be like that. If we ain't like that, we ain't going to win. We're going to keep taking L's. [00:55:24] Speaker B: But you. But I also look at. Okay, so since we having that conversation, don't you think that the artists, like, let's say I haven't seen you all do this, but the artists, the label, the team, the management, everybody is also to blame for that, because it's like, well, shit, my album coming out on Friday, I need to go here because I need to get the attention for my project. So then that also makes you an accomplice. If Rod go Bustes Somebody, you in the car, you know how that goes. You get the same or similar charge. So if the platform is in itself a bullshit platform or messy or whatever the case may be, and then you then patronize that platform, aren't you part of the problem? [00:56:07] Speaker D: Yeah, for sure. But that's why I'll be doing my researches and shit. Like, Rod would be like, you want to go here? You want to go here? He give me an option to say yes or no. [00:56:15] Speaker B: Got you. [00:56:15] Speaker D: And if it's a no, we ain't going to do it. If it's a yes, we going to do it. And when I do it, we got to be locked in 100%. But niggas got to know what they signing up for before they sign up for anything. [00:56:24] Speaker B: I feel that. [00:56:25] Speaker A: Yeah, I love that. I feel like it's accountability on all parts. Being that we're kind of there. What do you feel like there needs to be improvement as far as the media space in here, because we also talk about the systems, as far as pushing the artists, making sure that we're invisible settings, and we're just doing amazing things. What do you feel like? We could step up as far as a platform? We can start with homegrown and not specific platforms, but just in terms of as a whole on the west coast, as far as the media landscape. [00:57:01] Speaker C: I honestly think it's taking a deeper dive. And when I say that is like, even if you're going to interview this artist, do a little research. [00:57:12] Speaker A: Yeah. [00:57:13] Speaker D: For. [00:57:16] Speaker C: Is. And I know funny Marco shit is about the dry humor shit, but it's kind of vague to me how everybody feel like it wasn't wrong with Herb, and Southside did, but it was okay that he did an interview with Blueface. And Blueface said, name three of my songs, and he said, tatiana three times. You didn't even try right? Because even after Tatiana, he has at least one, two other songs that's not as big, but that's been viral. [00:57:52] Speaker A: But do you think he's just playing it and we talk funny, Mark, do you think he's just playing into the. [00:57:56] Speaker C: That's what I be saying. Like, bro, I be listening to people. [00:58:00] Speaker D: Yeah, for sure. I even just watched some shit with Zoe sama. Fucking. He was on there with Adam. He was on there with Adam. And it's like, nigga, you got this nigga whole number one song on your YouTube channel, and you talking about doing research on, like, how does that work, bro? [00:58:14] Speaker C: You even know that you part of the reason why his shit start to move. But it's your channel, right? But why are you sitting there with this man instead of. And shout out to salas? [00:58:25] Speaker D: For sure. Shout out to salas. [00:58:26] Speaker C: Why are you not talking to him about his music and what he's trying to do as an artist? You talk to this man about dicks. It's vague, it ain't respected. So it's like, what is his energy supposed to be? Yeah, if I'm not comfortable with something you saying, but I still got to be here. I'm just going to sit here. I'm not going to say nothing because I got respect for you. But Adam didn't take it as that. Adam took it. Oh, you're not trying to be here? You're not trying to be an interview? No, bro, I'm just not trying to talk about another man's dick. And it's just like, that's not what I want to talk about. But why we aren't here talking about my music? Why are we not here talking about, what have I done to be here? Why are we not here talking about, how did you get with e 40? How did you get Snoop Dogg on your. Why them question didn't come up? Why are we talking about dicks? Why this man is sitting here promoting his music? [00:59:14] Speaker B: I think a part of it is me and him consciously pride me. Well, not even me and him, me and our team, we consciously pride ourselves on not being a part of the circus. [00:59:24] Speaker C: Yeah, but they don't respect our music. They only respect our gang shit and our street politics. Even on blogs when niggas fucking all this shit that's going on between fucking ace Pun and fucking desto, them is two la niggas who've made it off their own back. Me and Pun don't even get along. But shout out pun, because he did whatever he did to make it in life. [00:59:53] Speaker D: Yeah, for sure. [00:59:53] Speaker C: And he put his homies on, his friends on, and he keep reinventing himself. [00:59:58] Speaker B: Yeah, that's true. [00:59:59] Speaker C: But why is him and dub getting into it over Adam 22 over pot light? [01:00:03] Speaker B: I think it's because. [01:00:04] Speaker C: It's because niggas want to get involved in our street shit and not talk to us about our music. [01:00:08] Speaker B: Well, the reason why I'm going to tell, and I never spoke on it, I don't speak on this because I want to be a part of the circus. But my thing is because shit get real, real fast as we've seen, right? And I know I had a situation that happened at the radio station, and I realized, oh, I can't play in media. I can't play fake beef, because shit get real, real fast. [01:00:29] Speaker D: For sure. [01:00:29] Speaker B: So what I realize is I stay out of everything. I don't talk to nobody. I don't go nobody's shows. I don't go on nobody platform. But what I will say about that situation specifically is what I realized, and I'm not trying to be racist or none of that, but what I did realize real fast in the last three years is, and I got some white friends. I got a lot of white homies, especially in the music business, but white people, they're not a part of this in the same capacity. And at the end of the day, they could take their hat off and go home. We can't do that. And so because we're not allowed at that luxury, I don't believe that we need to move in the capacity that they move. And that's across the board. [01:01:06] Speaker C: But the fucked up thing about it is with no jumper, right? It's one of the biggest west coast media platforms. So where do the baby stones go to talk about their music? Where do Zoe Sam go to talk about his music? Where do Kaylin go to talk about his music? Where do Blaz go to talk about his music? Where gutta got to go talk about his music? So it's like. But we're not talking about their music. [01:01:31] Speaker D: It's all bullshit negatives. [01:01:34] Speaker C: Like I was saying earlier, one of the biggest west coast platforms. And it is what it is. But so it's like, you're not going to do it. Are you hindering the artist by not letting the artist do it? Because you know what's going to come. [01:01:50] Speaker B: It's no different than brands. When Gap and Forever 21 came out and they offended black people, right? Everybody stopped buying gap. Everybody stopped patronizing this business. It's no different. [01:02:03] Speaker C: It's the same thing that wasn't true. [01:02:05] Speaker B: I know that's not true. I'm saying that's the optics, right? Or we boycott and we put a. [01:02:09] Speaker C: Black square that's more perception based. But we from the streets. We gang bangers. The streets don't got perception, nigga. You own here talking. So when I see you, it's up, right? People can go say, oh, you know, I don't want to stand next to this person and still be standing next to this person. But we from the streets, bro. [01:02:29] Speaker B: Yeah, it don't work like that. [01:02:29] Speaker C: We don't have that luxury. If I say something about you, nigga, I expect you to come. When you see. I know when I see you, it's up. [01:02:37] Speaker A: Yeah. [01:02:38] Speaker C: If I'm sitting in the room and this nigga is talking about somebody else and I'm laughing or I'm engaging in a conversation, nigga, it puts me in it, even if I don't have nothing to do with it. And that's the fucked up part about gang politics. And the streets is like, bro, but, bro, when I go to Atlanta, bro, the six O's and the families hang out in LA, that won't happen unless somebody's a cousin or some this. And even when they do hang out in their family, bro, they still be like, yeah, that's my cousin from. He from the other side. You can't just say, that's my cousin. I'll be looking back at it like, bro, I know I'm a gangbanger turn executive. Cool. You can take it how you take it. You can look at me how you look at me. But, nigga, just because I'm a blood don't mean I'm not going to show love to a crib just because I got homies from Hoover. I got homies who I've known since I was a kid. I got homies from grape who I know since I was a kid. But our hoods don't got nothing to do with us knowing each other. But you got respect in your hood as a man because you carried yourself as a man. You're not one of the weird niggas from the hood because how you carried yourself as a man, so you got respect. I feel like it'd be more based on that. And, bro, we let people like Adam, bro, dictate how we view somebody else or respect somebody else. And it's like, this is the streets of LA, bro. Like how Greedo said, nothing in a podcast should turn into reality. But that's not the reality we live in, because everybody, if somebody say your name, it goes back to perception, because now your homies like what you do about it. What you gonna do about it? Oh, nigga, use a what. [01:04:18] Speaker B: And you got to come back to the pride thing. [01:04:20] Speaker C: And then are your homies not even worried about what you going to do about it? Your homies ready to ride, nigga, because it's you. Yeah, I got so many homies from my hood who's ready for nigga, me to get into some music shit or him to get. And I'm bro, will you not own that if it happened, bro, I pray to God it don't. But it's like, bro, if it do happen, I'm not about to go call my whole hood and have my whole hood come beat up on this rap, nigga, right? If I got to do that nigga, then, nigga, I'm not a nigger, bro. Do you remember if I get into it with you, I'm going to come to you. I don't need 30 niggas. [01:04:54] Speaker B: Do you remember when I called you about getting a studio for somebody to come do a podcast? [01:05:02] Speaker D: Do you remember? [01:05:03] Speaker C: Yeah. [01:05:06] Speaker B: And then when I realized what I was, because I didn't know. I mean, I knew, but I didn't think. I wasn't thinking. I'm be honest. If you call me, you like, hey, head, I know you know somebody in Texas. I'm like, I'm gonna call my man in Texas, hook you over the studio. So it wasn't him that called me. It was the homie that called me and was like, y'all need a studio for so and so. And I was like, okay, I got you. I called Rod. I'm like, yo. And as I was on the phone, Rod is like, who? I'm like, yeah. He was like. And I didn't realize what I was doing. And Rod was like, yeah, go ahead. [01:05:38] Speaker C: And just tell him. [01:05:38] Speaker B: Send him over here. [01:05:39] Speaker C: It's good. [01:05:40] Speaker B: And I'm like, oh, I'm tripping. I'm tripping. Never mind. No, I was like, no, it's cool. Send him over. [01:05:47] Speaker A: He'd be straight. [01:05:47] Speaker B: We go, make sure. I'm like, nah, I'm cool. And I got off the phone, right? I told him, go find your own fucking studio. Call I heart. Call somebody. Find your own fucking studio. They end up finding the studio. He goes on the air and tough guys himself, and it's like, yeah, you know, I'm scared. I'm like. And then the homies hit me. [01:06:06] Speaker A: Like, see, that's why. [01:06:08] Speaker B: And I'm just like. But I also realized the responsibility that comes with being people who we are and that's part of the responsibility and me and glasses be talking about this as far as God be looking out for babies and fools if you are sound mind and body you on your own and you have to look out for people who probably don't have the same mental capacity that you have even when they've been on some weird shit or goofy or whatever the case may be you still have to kind and it's like I'll be talking to God like, I'm tired of taking the high road but it don't never weather type shit for you and it's a difficult process. You know what I'm saying? [01:06:50] Speaker A: I want to speak to something real quick because it's something that you kind of alluded to or you did say and it's something you spoke on as well as far as the interviewers or whoever talking about the music versus talking about the bullshit and this comes down to we're talking accountability now. Right. And from what I've seen from the metric side, the music don't do views. It's the bullshit that does views. [01:07:09] Speaker C: Yeah. Everything has a sort of clickbait to it even like everything I've said today, I'm sure a moment of it can be used as a clickbait to get people to go look at the interview. [01:07:23] Speaker B: Right. [01:07:23] Speaker C: But when you come back to the interview, is the interview just clickbait got. [01:07:27] Speaker A: You the whole thing. I see what you're saying. [01:07:29] Speaker C: Are you diving into the artist like bro? And when I'm saying diving in bro, I'm not saying to know this person life story. Yeah, I got to take five minutes to read a one sheet. Oh, he just dropped this song last month. This song a month before the biggest streaming song is this. What do that take? [01:07:45] Speaker B: Right. [01:07:45] Speaker C: But it's also about caring about your job and the platform and what you're doing. Are you just trying to feed people clickbait? [01:07:52] Speaker A: So here's my response to that. I hear you totally understand and I feel like that's again, what we pride ourselves in in terms of like when we do talk to people doing that research and just make sure we having a deeper conversation or whatever. But then this is just from my own personal experience and my thought process and I know I've seen other people kind of go through it as well when they take the time to do that and have those conversations and it doesn't necessarily do those views. Yes, you have the integrity which we pride ourselves in and that's fine. But then you see the bullshit go so much faster. Somebody else, yeah, we care about it and we care about the platform and what we do, but somebody else that doesn't really necessarily give a fuck about that. [01:08:30] Speaker B: They're going to say, why would we. [01:08:32] Speaker A: Even do that when we know this is the shit that can go far. [01:08:36] Speaker C: As a media person, I feel like, and I could be wrong at this, I feel like it's the mediatest person's job to understand the balance between the both. [01:08:46] Speaker D: Absolutely. [01:08:47] Speaker C: Because you can ask me something that's uncomfortable. I'm here for that. My answer is on me, but you can ask me anything. But based off of that, is this whole interview going to be based off of that? I'm not saying, bro, you need your views, you need your clicks. I know what it is. But, bro, don't just give me on here and down talk me, downplay me, down talk my city, nigga. Oh, yeah, I heard you got into it with this person. None of these questions ask you, did. [01:09:20] Speaker B: You shoot at so and so? Come on, bro, you want me to. [01:09:23] Speaker C: Go to, what are we doing? Is this just a clickbait site or this a music podcast? Is this for music? Because from what I found, a lot of these podcasts started as music. Even like, bro, I don't be watching this nigga shit like that because I kind of agree with somebody else said, but the Joe Budden shit is like, he dissed Youngboy without listening to Youngboy's album and x, Y and Z, that's fire. But then he went back and listened to it and then went back the next day and took accountability and apologized for it because he didn't give it. That's all I'm saying. It's like, bro, take the time to understand. Like, bro, any artist, like, bro, when I listen to an album, I try to understand where that artist at or what they was going through, what they talking about. What is the album about? Unless it's just a gang of song. If it's a compilation, it's a compilation. I can figure that out by song three, four. But it's like if you got skits, if you got interlobes, if you got transitions happening, I'm paying attention to that, to the musical aspect of it while I'm diving into the album and to understand what you're going through, because that's all music is supposed to be, right? You're supposed to be venting about what you go through or what you saw somebody else go through. So how can somebody do that trashly to a certain degree. You might not like it. It might not be there for everybody. Like, I don't listen to everybody's music, but it's like, I've heard a million people tell me, nigga, I've heard people say, yachty's weak. And I say how he's had a number one, right? How many people had number one? [01:11:03] Speaker A: He's doing something right. [01:11:04] Speaker C: He had a song nominated for a Grammy or won a Grammy. He's feeding his family, his kids. He's doing x, Y and Z. [01:11:10] Speaker B: He wrote the other song for the. [01:11:11] Speaker C: Girl, you know what I'm saying? So it's like, in what aspect? And he's content with himself and who he is, and he's happy in life. He ain't mad about nothing from the conversations that I have with him. So that's what I feel like is really like he's winning no matter what. He's winning in life based off of music. He used music as a plateau to put him in a different atmosphere to do whatever he want to. The nigga sells nail polish, right? And it's like, how deep did he go into this? He put on nail polish. He sold the nail polish. He gave you all tutorials. He talked about the nail polish. He gave the nail polish. So now y'all know it's real and it's a brand. So people bought into it. But that goes back to the music. How many people do that with their music? Niggas just feel like, oh, I've been recording for the last six months. This is the album I came with. Here, go tell me what y'all think. Like, nigga, even with Tyler, the creator said about, bro, I'm going to promote my fucking album every day till I'm fucking tied, right? It's like, nigga, bro, I tell this, bro, I tell him every day, bro, you got a song out, bro, I'm not putting another song out till you promote this song. Please show me different organic ways to promote this song. Because if we put out the next song and you just post a cover, we're going to do the same thing over and over. [01:12:31] Speaker A: Do you agree with artists wiping their social media or removing all of the songs and starting from ground up? Because I know that's a thing that's been done. Do you agree with it? [01:12:41] Speaker C: Disagree with it? I'm not for it and I'm not against it. But I will say when you are trying to be in a world or live a world, it makes sense if the artist is kind of just based off pure lifestyle and just doing dope content. And that's what their Instagram is for, then what are you wiping it for? But if you're using your Instagram as a marketing tool for your music, and you only really post music shit about your album, Kendrick, he posted on Instagram shit about his album when he does his album. So when that chapter is over, he closes that chapter, but he's not going to go and make a new Instagram. This is Kendrick Lamar Instagram. [01:13:22] Speaker A: For this, he does got Jojo Ruski the burner account. We all got a burner. [01:13:27] Speaker B: I don't have a burner. [01:13:28] Speaker D: I don't either. [01:13:29] Speaker A: Me neither. What's your burner account? [01:13:34] Speaker B: I don't have a burner. [01:13:36] Speaker C: How many instagrams you got on your phone? [01:13:39] Speaker B: One. [01:13:39] Speaker C: You got homegrown radio? [01:13:41] Speaker B: No, we have a social media person. [01:13:42] Speaker C: All right. Did you got the password? [01:13:44] Speaker A: In that case, and I do got a burner. [01:13:46] Speaker C: Exactly. [01:13:46] Speaker A: I give you that. [01:13:47] Speaker C: I got my creative sound. Instagram, that's my burner. [01:13:51] Speaker B: Whenever something go up and something need to be corrected. [01:13:53] Speaker C: You mean like a Fenster? See, Fenster and Burner are two different. [01:13:56] Speaker B: Oh, see, I don't have none of. [01:14:00] Speaker C: So when I worked at Interscope, I had made a Fenster, because I smoke weed, I party, I be out with women. I do all the real life stuff that I do that I could not display because I worked for that company. And it's not that they told me that I couldn't, but it's like, have. [01:14:23] Speaker D: You seen on Instagram, you could post your actual post and your close friends now. So you could post, like only your close friends. [01:14:31] Speaker C: See, that wasn't available. [01:14:33] Speaker D: Yeah, but I'm saying right now, that's crazy. [01:14:40] Speaker B: No, you know what? I was on Rod's close friends, and I understand why you have offensed it. I was on Rod's close friends, and. [01:14:51] Speaker C: This is before close friends and seeing. [01:14:53] Speaker B: His interactions with him and his girl and different shit. I'm like, oh, you don't want that type of time. [01:15:01] Speaker C: I'm real, bro, real life. But it's like when you work for a company, you are walking billboard for them. For them. [01:15:11] Speaker B: So speaking of that, and this last thing I want to ask, speaking of that, do you agree with people being charged? Do you agree with people and brands being held accountable in their real life for stuff that they do in their professional. [01:15:25] Speaker C: No. [01:15:25] Speaker B: So if I do something, if I work for iheart and I go beat up, push a rod in the street. [01:15:32] Speaker C: And what's your real name? Aaron Drake, did Aaron beat up push a Rod or did DJ head Aaron. [01:15:37] Speaker B: Drake beat up Rod? [01:15:39] Speaker C: Aaron beat a Rod. So why DJ head being accounted for? It's like, I look at it like that. It's like, me, too. [01:15:46] Speaker B: That's how. [01:15:47] Speaker A: Then you wouldn't create a fence to. [01:15:49] Speaker C: Right? [01:15:50] Speaker B: That's still you. [01:15:50] Speaker A: That's still Rod. [01:15:51] Speaker C: No, because that's not because of me. That was because of respect for the company that I worked for. I couldn't promote my real life because of that company. But at the same time, I would still push a rock. But it's like how people say this. I don't give a fuck how I look at it like this. You still be fucking R. Kelly music. Nobody want to answer that question. [01:16:15] Speaker B: I don't fuck with music. [01:16:16] Speaker C: You don't fuck with music. [01:16:18] Speaker B: Usually when I'm doing that, it'd be like, are you still watching on the tv? [01:16:21] Speaker C: When I'm doing okay, see, R. Kelly make great. But I don't give a fuck about Robert. That's a bad person. I never knew Robert, but, bro, my grandma who passed, who I grew up with, who I used to be in the kitchen when she used to cook. Used to cook to step in the name love on, right? [01:16:39] Speaker A: So it means something, right? [01:16:40] Speaker B: Oh, no, I would still play it. If I dj the wedding, I would still play it. [01:16:44] Speaker C: This is what I'm saying. But you want me to disclaim this music that I grew up loving because of what this person did in his personal life, and I don't know anything about this person. Fuck, no. I'm not going to do that. It's a difference between the two. Because I can't call Robert. I can't ask Robert for a dollar. I can't, like, bro, Robert didn't come to my graduation. Robert didn't touch my little cousin. But I know deeper layers. [01:17:11] Speaker A: So if gutter bragging wants to make a song with R. Kelly, would you set that up? [01:17:14] Speaker C: R. Kelly's in jail, man. [01:17:16] Speaker A: But I'm saying, would you set it up? [01:17:18] Speaker B: He fled you a hook. [01:17:20] Speaker C: Would I let him make the song? Would, you know, would the song come out? [01:17:24] Speaker A: Would you make the song and put it out? Would you promote the song? [01:17:26] Speaker D: I wouldn't even want to do that, though. [01:17:28] Speaker A: Why not? [01:17:29] Speaker D: I mean, I understand the publicity and all that, but it's like, well, you. [01:17:35] Speaker A: Didn'T answer the question. I'm talking about you from your business. You said you can separate the man, R. Kelly and Robert. So now you have an opportunity to put gutter bragging on the song with R. Kelly. [01:17:46] Speaker D: As of today. [01:17:47] Speaker A: As of today. He put it out. [01:17:48] Speaker D: He's Robert to us now. [01:17:50] Speaker A: Say it again. [01:17:50] Speaker D: That Robert has came out. [01:17:53] Speaker C: Don't. R. Kelly's not putting out music anymore. We just want Robert and Robert's life. [01:17:57] Speaker A: Okay, so that came. [01:17:57] Speaker C: Robert's on trial. [01:17:59] Speaker A: If Robert found a way to. [01:18:02] Speaker C: Would I let R. Kelly write a song for. [01:18:04] Speaker A: No. [01:18:04] Speaker C: No. [01:18:04] Speaker A: Would you put a song out? Gutta bragging featuring R. Kelly? [01:18:08] Speaker C: Depends on how the song sounds. [01:18:09] Speaker A: If it's amazing, if it's fire, it's a hit. [01:18:11] Speaker C: Fuck it. [01:18:12] Speaker B: Okay? [01:18:13] Speaker A: As long as you're standing on it. [01:18:15] Speaker C: I really believe that this song can change his life. And it's like, bro, it's the music. The music matters. Not nothing in the personal. [01:18:26] Speaker B: So let me ask you this. So then, where do you drink liquor? No. [01:18:29] Speaker C: All right. You drink liquor, you drink cosmigos? Have you ever drunk casamigos? Would you not drink cosmigos? Because what George Clooney did. [01:18:39] Speaker B: What did George Clooney do? [01:18:40] Speaker D: He didn't even know who that is. [01:18:42] Speaker A: I don't even know the story. [01:18:44] Speaker C: Ain't George Clooney supposed to be a bad person? Ain't George Clooney supposed to did some stuff to some women in X, Y and Z? [01:18:50] Speaker B: Oh, I mean, I don't know. [01:18:51] Speaker C: Right? But that came out. But we're not. [01:18:53] Speaker B: So you saying we only do that to us, or you saying that we. [01:18:56] Speaker C: Only do that to us? [01:18:57] Speaker B: Okay, I believe that. But then I also seen what the white people did to the Weinstein dude, and the white people did that to a couple other people in their world a little bit. It ain't as bad. But you're right, we do do that to us. [01:19:12] Speaker A: I guess my point was that although you say you don't separate them or you do separate them, there is a world where you're like, okay, well, I do have to separate myself from that because of. [01:19:23] Speaker C: Yeah, but I feel like that's the difference of brand association versus liking a song. This is what saying, like, maybe I should say it a little better. We grew up listening to R. Kelly then was great songs. We're not talking about what the man's doing in his personal life and doing today or what he was doing at that house. That didn't have nothing to do. Did we know that? When stepping the name of. I mean, all these kids say these crazy things about Michael Jackson. I personally don't believe him. I don't know Michael Jackson. The nigga who sung them songs that I love. You know what I'm saying. But we still have people tarnishing his brand to today. Yeah, but it's like, nigga, Michael Jackson is still Michael Jackson. We take Michael Jackson's songs off of fucking iTunes. [01:20:13] Speaker A: Yeah. [01:20:16] Speaker B: I understand that, but the reason why we talked about this on the last show. But the reason why I like to have a conversation is because, one, I do believe we do that to us more so than everybody else. And then, two, is because when you look at it like that, it's like a lot of these people take a moral high ground, and a lot of their morals are based in religion, and religion. Hold on. And religion is usually charged on a premise that no sin is greater than the other facts. So what you do in your regular life is no worse than what this man did if both of them are sins, if we take in a religious moral high ground. [01:20:53] Speaker C: Right. But I also look at it like this, like, hey, you know me as a gangbanger, right? [01:20:59] Speaker B: I know Rod. [01:21:00] Speaker C: And you know me as Pusher Rod, the music executive. Is that the same person? [01:21:05] Speaker B: I believe I've seen you evolve into a different person. [01:21:08] Speaker C: Are they the same? Would you have had rod the gangbanger come here and do an interview today? [01:21:16] Speaker B: No. [01:21:16] Speaker C: Why not? [01:21:18] Speaker B: Because it wouldn't been nothing for us to talk about but the bullshit. [01:21:21] Speaker C: Right, but you can have pusher Rod the executive come here and do an interview today. But they're the same person. [01:21:26] Speaker B: Yeah, in theory, they're different people, but. [01:21:29] Speaker C: In the same body. [01:21:30] Speaker B: In the same body, yeah. So you identify as a new nigga. [01:21:37] Speaker C: Identify as a new nigga with judgment zones. I don't want anybody to judge me from what I've done or who I am in the streets in the music industry. [01:21:48] Speaker B: You think that'll. [01:21:49] Speaker C: I get very frustrated when I hear like, bro, it's this one nigga, bro. And it's crazy. This was like, last year, me and yg did this bowling party at this bowling alley. And this dude, he was at my studio the day before. Then the next day, he went to go work at another studio with this other group of people. I don't want to say no names. You feel me? But then the day he went to go to the studio with them other people were the same night as our event. And then when he left there, he called me like, hey, rob, bro, I just want to know, bro, are you sure it's cool if I come, bro? I don't want nothing to happen, bro. I got my jewelry on, bro. I ain't got no security. Should I call security? I'm like, bro, you good, bro? Pull up, bro. You with me, Gucci, bro, Kane had an incredible time, right? [01:22:39] Speaker B: Amazing time. [01:22:39] Speaker C: Amazing time. And then it was over. We all drunk. You was right there, wasn't you, nigga? Like, hey, bro, I ain't gonna lie, bro. I was scared to come because they said, bro, it's just going to be gang bangers here and no women. And I said, I took the mic. I was drunk as fuck. I took the mic. I said, bro, now look around, look to your right, look to your left. You see gangsters and beautiful ladies, right? But who you see more of? Bad bitches. I was faded, but it's just like, because, bro, another nigga going to tell you, don't come with me because there's going to be gangbangers. [01:23:10] Speaker B: No, I've been to your parties. [01:23:12] Speaker C: My parties is full with the baddest women. I want to have the baddest women around me. And of course gangbangers are gonna be there, but eclectic niggas are gonna be there. [01:23:23] Speaker A: Eclectic niggas. [01:23:24] Speaker C: Like, I want to have in a dream world. I will have rant, I will have David Sebastian, I will have my homie from the hood. I will have Thomas, my asian cameraman all hanging out with me at the same time. [01:23:38] Speaker A: Because those are all different worlds of. [01:23:41] Speaker C: Me, though, that I'm in. So, like, when I throw events or when I have parties, that's what is first. When we had fucking during COVID I was throwing a party called friend of a friend, nigga, bro, one friend of friend. I had yo, gotti Meg, thee stallion fucking money bag, yo, all there at once. [01:24:00] Speaker B: Crazy. [01:24:01] Speaker C: I was a r money bag. But, bro, I had a whole bunch of gangsters in there. I had a whole bunch of all kind of crazy shit in the house party. And it was amazing. No fights, no gunshot, no nothing. Guess who shut the party down? [01:24:14] Speaker B: Police. [01:24:14] Speaker C: The police. Not no niggas, and I'm okay with that. There's never, like, I knock on wood. Like when I was young. Yeah, I used to throw parties in my grandma backyard. But, bro, I've been throwing r and b parties in all type of events at my studio, bro. And by the grace of God, bro, ain't nan one issue, man. One issue. The only issue be the neighbors be mad because it's this many black people in their neighborhood. [01:24:37] Speaker B: That's correct. [01:24:37] Speaker C: But other than that, bro, I just did my two year anniversary on Meros. I had a concert at my studio. I had g herbo, I had ogz, baby Stone, gorillas, Rucci, and gutter all performing in my parking lot at my studio. And I had, like 400 people come crazy for my two year anniversary. And again, no problems, no issues, no drama. Everybody left having fun. But that's like, it starts from the inside out. I feel like you can't talk about the change if you're not part of it. And everything I'm doing is part of the change and part of west coast. Like, bro, I was just texting nigga dj from Blue Bucks this morning about some other shit. But the same nigga who brought me up through this game, B. Moore. Brandon Moore, he manages blue bucks. And you get a little deeper. He also manages Kamiya. But then you get a little deeper. YG's tour manager, Rory, is OgZ manager. Like, bro, all our shit is so close in. But then it'd be a lot of people not. And it'd be like people be wondering how we so close in, how we know about so and so and so so, bro. Because it's like, from the top of the top, we are LinkedIn know about shit. I go to a blue buck show. I don't care how many cribs there by myself, or maybe with gutta, or maybe with my girl. But I'm going there to support the Blue Bucks clan. I'm not going there. Nigga as nigga locked from swans. I'm pusher. Ride the music exec. So it's like, how they gonna take of me as I come, you know what? So, like, that's why I feel like you can't really compare Robert to. [01:26:21] Speaker A: Felt like there's. I get what you're saying. I think it's more on a personal level. But there is a world where you do have to separate the two. And I totally understand from a personal standpoint. [01:26:31] Speaker C: Yeah. [01:26:31] Speaker A: You enjoy the music. Cool. Totally. [01:26:33] Speaker C: Rod does not deserve to be on homegrown radio. [01:26:36] Speaker A: That's. Who's to say that, though? [01:26:39] Speaker C: Because Rod is on bullshit. [01:26:43] Speaker A: There might be some shit that Rod can give somebody else that's listening right now. [01:26:48] Speaker C: Some of those experiences come through the advocator. Pusher. It got it. It's different chapter, different parts of life. I don't know. Push around is advocating for everything and for better and for better la, better the streets. But Locke from Swans is a total different nigga. We live in the same. So that's just being honest. Go ahead. [01:27:13] Speaker B: No, I was going to ask one more thing. You being on your own, I know I'd be owing you about, like, we need you in a building. We need you to do this, and we need you to do that. Being somebody that you left a corporate environment. I left a corporate environment. What's your biggest takeaway? The most positive thing that came from that and then something you regret. [01:27:38] Speaker C: The biggest takeaway was understanding. Working at Interscope was, like, my first real job, my first corporation job. It helped me understand the music industry and artists and what it actually takes into breaking artists and understanding how to make people care about an artist versus just thinking like, yeah, bro, this is my artist. I'm put out some songs, and I'm going to get a show, and then we're going to get cracking. That's not it. It's the back end. And understanding why you need to do certain things or what the full 360 of an artist is. What was the other part? [01:28:13] Speaker B: What's something you regret? [01:28:14] Speaker C: Something I regret is, while I was in the building, there were certain artists who I really wanted to sign that I should have fought for harder because I believed in the artists, and they turned out to be who I thought they would be, but because somebody else was paying the check, it was like, I fight until it feel like, I don't want you to think I'm getting no back end money or no. So I'm just leave it alone. [01:28:43] Speaker B: Got you. [01:28:45] Speaker C: And then the last thing I say, I wish I would have, when I was in the building, tried to be more intuitive and involved with what was going on in the west coast. [01:28:56] Speaker B: I feel that project, I was going. [01:29:00] Speaker A: To say, let's get to the music. [01:29:01] Speaker B: The project is coming. Well, technically, project is out now. [01:29:05] Speaker D: Project is out now. [01:29:07] Speaker B: What is something that you took a year off, which is crazy. It's something that you put into the. I mean, what's something that you learned throughout the project that another artist could benefit from? Not from you. Somebody else watching you take time with. [01:29:23] Speaker D: Your craft and make sure every time you working in the studio, you fully focus. You can't always answer the phone. You can't always be on instagram while you're in the studio. You got to be locked in, because that take away a lot of your time in the studio. Being on the phone, you got to sit that motherfucker down and just think about shit. You got to sacrifice time. You got to sacrifice. Not even. I'm not saying no demonic sacrifice type shit, but I had to sacrifice time away from my daughter down there. Half of the time, she'd been alive. Majority of my days, I'm in a studio. So the other twelve, I'm with my daughter. So it's like, sacrifices is one of my biggest things I learned. Like, you can't bullshit sometimes. You ain't got a second chance, man. [01:30:12] Speaker A: We appreciate the conversation, man. Got a bracken? Push a ride, man. It's homegrown. I love these conversations. And we'll continue to go up the next go round, man. Chuck Dizzle, dj head. Catch you all next time.