Speaker 1: Of Course, Love Supreme is a production of I Heart Radio.
Speaker 1: This classic episode was produced by the team at Pandora.
Speaker 1: What off yafte zumpe Phil. For this week's classic, We're
Speaker 1: revisiting September five teens Quls with Steve Stout. Steve talks
Speaker 1: about managing Nazi's career to superstardom, growing up around hip
Speaker 1: hop and Bill Smith's comeback episode of one hundred with
Speaker 1: the Commissioner, enjoy Suprema sub frema role called suprema sub
Speaker 1: frema road called subprema s sub frema role call sub
Speaker 1: Fremau subfremo. Of course love got nineteen jobs mind. Yeah,
Speaker 1: I'm on a hot streak. Yeah, because if you don't work, Yeah,
Speaker 1: you can't eat. Call Subprema subprema role call sub frema
Speaker 1: so suprema road call. My name is Sponte. Yeah, and
Speaker 1: I ain't dissing you. Yeah. Of course love Supreme. Yeah,
Speaker 1: with the commissioner, I forgot on the road called subprema
Speaker 1: sub frema road call. I'm sugar Steve. Yeah, but there
Speaker 1: ain't no doubt. Yeah. The greatest Steve, Yeah is r
Speaker 1: roadma something suprema role called suprema Suprema road call. Yeah,
Speaker 1: the one only Steve Stout. Yeah, I'm here for the
Speaker 1: money advice. Yeah, I don't know what you're talking about.
Speaker 1: Road car, Suprema sub Frema road called Suprema Suma road call.
Speaker 1: My name is Steve. Yeah, and you know what I'm about. Yeah,
Speaker 1: they called me Stout. Yeah, you got Clout said Freema.
Speaker 1: Roll call? Was my Jordan six seconds rolla roll, roll call, Sugar, Steve.
Speaker 1: Let it be known that that's how you insist. Again,
Speaker 1: you do it. You saw the ball tip, It was
Speaker 1: like three seconds, like it was hanging on the rim. Yeah,
Speaker 1: there he goes. There he goes, because he's still mentioned that.
Speaker 1: By the way, never a long story. Ladies and gentlemen,
Speaker 1: Welcome to another episode of Quest Love Supreme, only on Pandora.
Speaker 1: I'm your host Quest Love. We're here with you, Supreme.
Speaker 1: What's up? Hello? What up? What up? What up? Hello?
Speaker 1: I'm good? Just Mr Love? How are you? I love
Speaker 1: you like? I love more to see this gold be
Speaker 1: We're not even a minute? Won't we on our shot?
Speaker 1: Passive aggressive? Ben? Yeah, see that's why I'm glad we
Speaker 1: we we have a a man of business, someone that
Speaker 1: can play a bridge between us. Interesting. Yes, this will
Speaker 1: be you're actually here Steve Stout too, to Dr Phil
Speaker 1: to Dr Phil exactly, Ladies and gentlemen. Most of our
Speaker 1: episodes we sort of speak on the conflict that is
Speaker 1: art and commerce, and often the theme of it is
Speaker 1: it truly possible for both sides of that world to
Speaker 1: exist in art and commerce? And for most hip hop
Speaker 1: purists usually the latter is seen as a seven on
Speaker 1: commerce is actually eight letters, so an eight letter word. UM.
Speaker 1: But I believe that our guest today can shed light
Speaker 1: UM for us that one can be a creative and
Speaker 1: in business without compromising either side. Uh. He has been
Speaker 1: an artist manager for UH most of the nineties, like
Speaker 1: you were four years old? Yeah, okay, Uh he soon
Speaker 1: he soon rose up in the ranks as a record
Speaker 1: executive UH sony an interscope and soon after that, UH
Speaker 1: used his promotional talents for the boardroom by establishing the
Speaker 1: marketing Firm Translation, which served as a I'll say a
Speaker 1: crucial bridge for companies UH to figure out ways UH
Speaker 1: two hit key demographics and market other than me tried
Speaker 1: in true face of UH Middle America, UH and bring
Speaker 1: some much needed color and diversity to the game. UM.
Speaker 1: And He's not done. Hopefully, hopefully he will establish the
Speaker 1: uh the darning of a new era of how music
Speaker 1: gets distributed by launching a United Masters. There's so much
Speaker 1: to do. I can go off his whole resume, but
Speaker 1: that'd be twelve hours. Uh Adi and Johan, please welcome author,
Speaker 1: speaker and marketing director, CEO, Philanthropists, executive and still the
Speaker 1: commissioner Steve Stout. The question. Yeah, so thank you for
Speaker 1: having me question. I shouldn't know. We've we've been talking
Speaker 1: about this for a while and I'm glad it worked out.
Speaker 1: I'm very uh honored to be a part of what
Speaker 1: you're doing, and uh, you know this is let's let's
Speaker 1: go there, let's go ask me. I'll see the very
Speaker 1: the very first time I met Steve Stout, I was
Speaker 1: I was half asleep on a couch at the Hit
Speaker 1: Factory and I think I think this was during the
Speaker 1: we were working on I was working on the soundtrack
Speaker 1: to UH Space Jams with the Angelo. We were trying
Speaker 1: to figure out what player there's like the beginnings of
Speaker 1: player player back when it was on Space Jams, and
Speaker 1: he was in the break room and this is like
Speaker 1: right when it was written. It was like maybe a
Speaker 1: month or two old, and you know back then when
Speaker 1: your opinionated twenty hip hop head, you know you're unfiltered whatever.
Speaker 1: And his first worst to me was like, wait, you
Speaker 1: hate little Black Girl Loss. Yeah, yeah, it was obvious, right,
Speaker 1: and he was like no, like I had no no
Speaker 1: idea who Steve was or his size to nods of
Speaker 1: the track masters. But it was just like that was
Speaker 1: my introduction that like i'd seen this, ask you that
Speaker 1: without even having a warm up. I just want just
Speaker 1: because yeah, like you would, you would do that. That's
Speaker 1: the reason I'm just it's it's crazy hearing ship that
Speaker 1: I did back then. I was, but the thing was,
Speaker 1: but what I did was I went back that night
Speaker 1: because he he I know that he's a great busines
Speaker 1: it man, because his debate points were on on point
Speaker 1: and to the point where I don't know if he's
Speaker 1: Stockholm syndroled me into liking it eventually, but all the
Speaker 1: points he gave then I went home to like I
Speaker 1: actually gave an hour to that song. Like what I remember,
Speaker 1: I remember everything around that time because he was supposed
Speaker 1: to do it right, you know, well, the whole thing
Speaker 1: was super sensitive um making that it was written album.
Speaker 1: Um essentially, you know, everyone loved Nas and obviously Illmatic
Speaker 1: is one of the greatest albums ever made. And I
Speaker 1: come in and I'm making it was written and everyone
Speaker 1: wants Nas to be the guy on Atomatic. Nobody wants
Speaker 1: him to It just feels like nobody wants him to grow. Um.
Speaker 1: They just wanted him stuck in that spot. They want
Speaker 1: him to be a cougie rap guy. Right And I'm
Speaker 1: sitting there going, I'm not doing that. This is guy's
Speaker 1: got to wrap his ass off. Good looking dude, like
Speaker 1: he could move and and and and like the art
Speaker 1: form is growing, like why can't he be a part
Speaker 1: of it? So when I was making the album, the
Speaker 1: the first person that really put me in a corner
Speaker 1: because a lot didn't use a lot of producers that
Speaker 1: was on the first album, right was was was cute
Speaker 1: Tip and I mean Tips my man, but like the
Speaker 1: kid Tip was like hated I rule the world, Like
Speaker 1: thought it was blasphemous that I would have had this
Speaker 1: man do that song. And I'm sitting there thinking, well,
Speaker 1: his friends the beat rather than his friends. We got
Speaker 1: Lauren Hill. It's Curtis, but we got Lauren Hill. Singing
Speaker 1: and hook the funk are you talking about? Like why
Speaker 1: are you? Why are you holding him to this standard
Speaker 1: that he can't do that? And I made sure to
Speaker 1: mix the record maybe fifteen times, man, just to make
Speaker 1: sure the drums was hitting the heart so that nobody
Speaker 1: could say it wasn't bing or whatever and it wasn't
Speaker 1: hip up. And then obviously the song work. But any
Speaker 1: time I had met anyone, anyone that like understood music
Speaker 1: and was a purist, I always wanted to have that
Speaker 1: conversation with them. When I look at the album twenty
Speaker 1: years later, twenty five years later, whatever it is. Now
Speaker 1: people love that album, like people talk about that album
Speaker 1: as like people call it a classic. I don't think
Speaker 1: it was a classic at all. I think it was
Speaker 1: a great transition piece for nas where music was going,
Speaker 1: and I'm very very proud of it. Um So not
Speaker 1: a classic, but like I think it's I think it's
Speaker 1: deserved this purpose and it was. I don't think everything
Speaker 1: like I feel like the pressure of Illmatic was that,
Speaker 1: like metaphorically speaking as an artist, like everything had to
Speaker 1: be a Rembrandt or a Picasso, which I meant it
Speaker 1: wasn't necessary. I don't think anything will ever reach the
Speaker 1: heights of Illmatic was a moment in time, and that's
Speaker 1: like trying to capture lightning in a bottle. Were you
Speaker 1: with Damn? I hate starting the normally. I started at
Speaker 1: the beginning and we all right? So were you with
Speaker 1: him the night of the Source Awards sitting right next
Speaker 1: to Okay, I need a first person that I can't
Speaker 1: tell you everything about that night. Wait wait, wait wait,
Speaker 1: but I gotta tell you when I first heard about
Speaker 1: you before we get to that night. Now, I'm almost
Speaker 1: I remember hearing about the group UM and I forgot
Speaker 1: was who was the A and R was a woman Wendy,
Speaker 1: Wendy Goldstein talking about signing you guys, and it was
Speaker 1: way ahead of its time, live music and all that.
Speaker 1: But I remember Wendy Goldstein talking about the group and
Speaker 1: like it was this live band guys from Philly, And
Speaker 1: I'm like, really wow that she Because Faith Newman had
Speaker 1: signed NAS so it was like there were women, white
Speaker 1: women in in in in the record business that was
Speaker 1: putting rappers on and putting hip hop on. So I
Speaker 1: looked at Faith, and I looked at Um, at Wendy
Speaker 1: and and and actually Wendy was Wendy was cool. She
Speaker 1: had really broad taste. Um and like, so that's when
Speaker 1: I first heard about That's when I first heard about
Speaker 1: the roots. Um. So that was when you guys get
Speaker 1: signed in nineties three no, no, she signed this December
Speaker 1: of yeah, wow, like that year, like it was like
Speaker 1: eight labels and then on a fluke, we're supposed to
Speaker 1: sign to Mercury PolyGram with Lisa. Lisa was all right,
Speaker 1: she was mad at ship basically on on a lucky fluke,
Speaker 1: which prevented us from signing the contract for that particular day.
Speaker 1: Like the contract was messed up, you know, ripped it up.
Speaker 1: They were gonna send a new contract on Monday, but
Speaker 1: in that weekend, Wendy Goldstein just swooped in and offered
Speaker 1: the world and no, Geffen Geff right, And at the
Speaker 1: time we were like, Geff and they haven't got nobody
Speaker 1: like whatever, like we're not gonna do but we did
Speaker 1: it because that whole year was about them courting us.
Speaker 1: And you know, when you're like courting an artist, you
Speaker 1: take them to the best restaurants and all that stuff.
Speaker 1: Like we came from nothing like like that, Like an
Speaker 1: executive has orange juiced in their office was like, don't
Speaker 1: let her have a bathroom forget it right, Like we've
Speaker 1: never seen like that. So all that year we just
Speaker 1: basically said, all right, well we'll do it for the
Speaker 1: steak in the in the lobster, like we're least going
Speaker 1: to get a good dinner out of this, and just
Speaker 1: messing with her. We just gave her this laundry list
Speaker 1: of ship we wanted and she called our bluff. The
Speaker 1: next day was like, all right, I'll give it to you.
Speaker 1: And then we were like, oh man, we gotta tell
Speaker 1: at X nine that we're not going to sign him
Speaker 1: breaking and go there. But wait, I gotta ask you something.
Speaker 1: That night the Source Awards, I'm sitting and you must
Speaker 1: you know Ed's father, but you grew up in his music,
Speaker 1: so you know I'm really going to sign that I
Speaker 1: wanted to. Yeah, So I'm sitting four rows behind NAS.
Speaker 1: All I remember was I remember I didn't know it
Speaker 1: was Nas because I remember he had a very specific
Speaker 1: Tommy Hill figure shirt one, and all I knew NAS
Speaker 1: was my Nas was my uh barometer for how that
Speaker 1: night was going, because when he first arrived, we were
Speaker 1: in If you noticed, they had him all separate, like
Speaker 1: the underground heads were on the floor. Yeah, they set
Speaker 1: it up like that Midwest End and Cruise and they
Speaker 1: moved Southern rappers over here. The whole thing was set
Speaker 1: up like so the New York Underground rap side was
Speaker 1: our side, and you know we're telling everyone's picking up
Speaker 1: NOAs and everything like he came in, you know, And
Speaker 1: then as each award that Biggie one, I just watched
Speaker 1: NAS's body language like, well, like just just get smaller
Speaker 1: and smaller. Do you remember the crowd getting upset. Yeah,
Speaker 1: the crowd was upset that Nas didn't win Lyricist Year
Speaker 1: or something like that. Yes, everybody was like what fixes on?
Speaker 1: So I told Tak we were looking at him the
Speaker 1: whole time, and I told Trek, I said, he's never
Speaker 1: going to be the same after this night. I don't
Speaker 1: know what it is, but to watch and I never
Speaker 1: like rea person's body language. But he came in like
Speaker 1: like like came in like a king. And when I
Speaker 1: watched his body wilt as each award was was won
Speaker 1: by Biggie, I was just like, yo, this something, something's
Speaker 1: about to happen to him, that can I I want
Speaker 1: to tell I want you to tell me you know
Speaker 1: it is well. It was my whole thing with NAS
Speaker 1: the entire time was I'm not gonna be surprised about
Speaker 1: any of this stuff because we have to fuck these guys,
Speaker 1: funk all these guys, like we're gonna build our own
Speaker 1: ship and not let um the industry sort of dictate
Speaker 1: the rules. So going there and letting and watching that happen,
Speaker 1: it was like, yeah, his body language is sucked up,
Speaker 1: but he he he was in bad spirits that day
Speaker 1: because the record company like didn't they like he wanted
Speaker 1: money to go like get fresh for the thing, to
Speaker 1: get fresh for the show, and like the record company
Speaker 1: didn't want to give him any money, didn't want to
Speaker 1: give him like anything to help him. There was no
Speaker 1: like artists development thing like he's gonna go he may
Speaker 1: win awards. He had to go on stage like there's
Speaker 1: not a stylus involved. It's not like and he not.
Speaker 1: They didn't give a ship about the source of awards
Speaker 1: or really about him at that time to to to
Speaker 1: put money behind him. Who was at the helm was
Speaker 1: it Jermaine Germaine's dad was later Yeah, forget that part
Speaker 1: um so so Donnie and there was Donnie and we
Speaker 1: didn't know. But like remember during that time, it was
Speaker 1: all about like Mariah Carrey, Michael Bolton and all that
Speaker 1: that stuff that's saying, like that's what it was about.
Speaker 1: Those things were selling a lot of records, and Illmatic
Speaker 1: hadn't gone gold at that time. It was it wasn't
Speaker 1: it wasn't a big money maker, so they weren't really
Speaker 1: about putting money into him and all that. Um. So
Speaker 1: that was one reason that um, you know, he was
Speaker 1: walking in and people was tapping him up, but he
Speaker 1: wasn't feeling good because he wanted a whole another look,
Speaker 1: being very really intricate here. And then when the whole
Speaker 1: thing happened with Big and him not winning the award,
Speaker 1: I was just charged up, like, Oh, we're gonna go
Speaker 1: We're gonna make records. Bro, We're gonna we're gonna do
Speaker 1: this thing big, Like I got it. They're doing that thing.
Speaker 1: What was the conversation at left the conversation when we left, Well,
Speaker 1: the conversation we left, we went to the tunnel. After that,
Speaker 1: we we did someone was gonna die. I mean we
Speaker 1: we You gotta remember when Sugar went up on stage, right,
Speaker 1: the only thing that mattered at that point was not
Speaker 1: awards anymore. So let's let's say our first thing was
Speaker 1: then you can't you believe Biggie One. I think carross
Speaker 1: One got jerked that night too, Best Live Best Yeah,
Speaker 1: best Live Performing, Biggie One that yeah, this is were
Speaker 1: there because that was our nomination. But I was like
Speaker 1: and even I was like, oh carrots One got that one.
Speaker 1: Yeah exactly, But Biggie actually said, yo, man, like he
Speaker 1: big up everyone else. He's like, I don't even deserve this,
Speaker 1: Like yeah, so carross One, that's a good recall. So
Speaker 1: carros One got jerked. So it was the whole thing.
Speaker 1: When's that happened, everybody was like, oh, the this is
Speaker 1: not a real thing. It's like the with the how
Speaker 1: you when you look at the Grammys and you're like,
Speaker 1: this ain't the real thing. That's how we felt about
Speaker 1: the source of awards when they gave listens to the
Speaker 1: Year whatever, like live performance. I mean, Kariss One has
Speaker 1: been ripping down every stage, so anyhow, um, but by
Speaker 1: the time she got on stage, it didn't matter anymore
Speaker 1: because it was the conversation. What we were holding onto
Speaker 1: was now, like, you know, somebody's gonna get shot somebody's
Speaker 1: gonna die and NAS had you know, Queensbridge was out,
Speaker 1: was ready, and you know Wu Tang was ready and
Speaker 1: like the whole thing was of course Dre and those
Speaker 1: guys obviously they didn't come out to New York. I'm
Speaker 1: prepared um and it was remember that night the production
Speaker 1: like they had better production, the like Biggie and like
Speaker 1: uh Puffy performed and it was like cool. But when
Speaker 1: they came out, I think they had like it opened
Speaker 1: up and they had jailed. They came up. It was like, man,
Speaker 1: these guys got money in production and this is fantastic.
Speaker 1: And then after that they're talking ship. Yeah, but the
Speaker 1: truth did the matter that nobody would I ran out
Speaker 1: after Dre when Snoop did that whole Diet tribe about. Yeah,
Speaker 1: but I'll tell you one thing. Snoop actually saved that
Speaker 1: night from going crazy because he pushed it, but he
Speaker 1: didn't go so far. Like New York ain't got love
Speaker 1: for Snoop, Doug and Dr Dre, and like everybody was
Speaker 1: kind of giving it up, but like it was dominated
Speaker 1: with industry people, so they weren't gonna give it up.
Speaker 1: But some of the fans started to give it up.
Speaker 1: A bit, and like he could have said when Funky out,
Speaker 1: that's what it felt like he was gonna do. We know,
Speaker 1: so it wasn't. It was like so when he didn't
Speaker 1: do that, he kind of calmed it back down, which
Speaker 1: was which is the only reason why it wasn't like
Speaker 1: people got trampled and shots went off and all that.
Speaker 1: It was by the way, it was the most dangerous
Speaker 1: thing room I've been in. I consider that hip hop's funeral.
Speaker 1: No no, no, no, you don't know. I don't understand.
Speaker 1: I've said that's hip hop's funeral, Like, no, no, you
Speaker 1: don't understand what that from a dangerous day, Like you're
Speaker 1: sitting in the room and all you know, there's guns,
Speaker 1: and there's bad intentions and and everything looks like it's
Speaker 1: about to happen. And when he went up on stage
Speaker 1: once he shipped it on Puff and then Snoop started
Speaker 1: talking like that it was it was about to happen,
Speaker 1: like it was, and it felt like, in fact, the
Speaker 1: fact that it didn't happen is amazing cool. I ran
Speaker 1: met Agelo got that God the Brown Scard cassette, and
Speaker 1: that was that. I ran, like as soon as that
Speaker 1: should happened, the crews don't go through metal detectives. Yeah,
Speaker 1: I ran so Steve, I want to know where were
Speaker 1: you born? I was born in New York. In New York,
Speaker 1: New York, what part no no no, I was born
Speaker 1: in Manhattan, but my whole life and I was born
Speaker 1: in Manhattan, but I spent my life in in Queens
Speaker 1: and Queens Village, UM, right off of Jamaica and Jamaica
Speaker 1: Queens and UM. My parents from Trinidad. Oh okay, okay, okay.
Speaker 1: So your early your earliest hip hop experience with oh,
Speaker 1: it was great. My my I had a I had
Speaker 1: an older brother. He passed away, UM, but he got
Speaker 1: hit by a car going to the There's so much
Speaker 1: about this story. So my brother got hit by a
Speaker 1: car and he was going to UM a show, uh,
Speaker 1: the Superfest at UM. It was a Bellmont Race track
Speaker 1: which we could walk through from my house. So he's
Speaker 1: on his way there and like the point of Sisters
Speaker 1: and Luther and Ros it was that, you know, that
Speaker 1: kind of kind of uh early eighties show, and he's
Speaker 1: on his way to he gets hit by a car,
Speaker 1: so hit and run. A year later, he just gets
Speaker 1: of age and he gets to check the insurance check
Speaker 1: like dirty grand or something like that. It felt like,
Speaker 1: and he takes the money and he buys all of
Speaker 1: this equipment. Um, and this is eighty two coffin um techniques,
Speaker 1: all kind of reverbs, everything like a DJ said right, um,
Speaker 1: so he could roll up, do block parties, whatever, and
Speaker 1: it was that. It was when he did that is
Speaker 1: when I first got into really into the music. Because
Speaker 1: guys would come over in DJ. He was all right,
Speaker 1: but his friends would come over in DJ. But it
Speaker 1: was like, oh mickey, yes, so fine, yes to find
Speaker 1: it was like that. It was don't stop the music.
Speaker 1: It was like every breakbeat, it was all that kind
Speaker 1: of stuff. And that's when I first got interested in
Speaker 1: the art form um and I started to love it.
Speaker 1: So I grew up from from twelve years old from two,
Speaker 1: I've been in hip hop music. Did you ever have
Speaker 1: rap aspirations? Yeah? I was a rapper. I thought I
Speaker 1: was Steve ski as Steve ski I was I was doing. Yeah,
Speaker 1: of course, what else name was there? Yeah? With Steve
Speaker 1: ski I already have where I was gonna tag. I
Speaker 1: used to write my little graffiti right my name practice,
Speaker 1: how I was gonna do it. I was spitting rhymes,
Speaker 1: um everything. So it was management your first foray into
Speaker 1: the business or like, oh yeah, my first roady? First
Speaker 1: were you carrying records? Were you? I was a roadie,
Speaker 1: then a road manager, and then a manager. Um, who
Speaker 1: were your first clients? My first class was kidn't play okay,
Speaker 1: Oh yeah, we were kidn't play um earlier. But I
Speaker 1: had the truth of the man is I was selling
Speaker 1: real estate. UM, so I had money, Like I already
Speaker 1: had money, like more money than than than than I needed.
Speaker 1: So by the time I was a roadie, it was
Speaker 1: really me learning the business. I wasn't doing it um
Speaker 1: for money. But the first thing I did I found
Speaker 1: during that process. I found this guy. Um, his name
Speaker 1: is Steve Kitt and he's a Jehovah's witness and he
Speaker 1: was producing for Herbie. Herbie as off. Herbie loved her
Speaker 1: who right, And Herbie was tip doing the typical thing
Speaker 1: like taking credit for everything, buying guys out. Oh wait,
Speaker 1: please don't tell me that. Yeah, Herbie wasn't doing He
Speaker 1: was sort of the figurehead for he may produce some records.
Speaker 1: He was a conceptual guy. Like he definitely was a
Speaker 1: concept guy. He was the puff like, so he was no, no, no, no.
Speaker 1: He knew like what salt and pepper should look like,
Speaker 1: and he knew like what kid in place should be like.
Speaker 1: He had that kind of but it was a bunch
Speaker 1: of guys making the records. I think they had a name.
Speaker 1: It was like the Hitman type of dude that they
Speaker 1: had a name. Herbie. Yeah, you're right, right, right, we're good, right,
Speaker 1: So he had the dudes. So guys wanted to be
Speaker 1: down with the Invincibles in a lot, but they wasn't,
Speaker 1: you know, they weren't getting their credit and all other
Speaker 1: kind of stuff for getting jerked up. And there was
Speaker 1: a guy named Steve Kid. He was a Jehovah witnesses
Speaker 1: as I said, so he didn't mind not getting the
Speaker 1: credit because he didn't even want to like his name
Speaker 1: out there. And they were associated with with cursed words
Speaker 1: and all that. But the first thing I did when
Speaker 1: I got him and we were on I was doing
Speaker 1: roady work. Martin Lawrence used to open up for Kidd
Speaker 1: and play and when so I got to know Martin,
Speaker 1: and then Martin got his TV show. Martin gave me
Speaker 1: the opportunity to make the theme song. So the first
Speaker 1: work I've ever published or been a part of doing.
Speaker 1: Was the theme song to the Martin Lawrence Show. Yeah,
Speaker 1: we took that from Yeah, they changed it up on us,
Speaker 1: like the second The first one was way better. Martin
Speaker 1: took the second one because somebody in his camp must
Speaker 1: have said, you know, he could make money off of this,
Speaker 1: So all of a sudden we probably had a four
Speaker 1: or five year run. Yeah, that's the one. The other
Speaker 1: one was stupid. Wait, so you said, and you always
Speaker 1: credit Wiz with a lot of like your beginnings trajectory
Speaker 1: and being Yeah, whis is the one who um DJ
Speaker 1: wis Mark Eastman was the one who put me on.
Speaker 1: He seemed a little a little forward anyway, because I remember,
Speaker 1: like I feel like it was a decade ago. He
Speaker 1: was the first one that started doing the video DJ
Speaker 1: and and whatnot. What's he always that dude? So you
Speaker 1: you helped him him? Yeah, we signed the kid, by
Speaker 1: the way, we we did. I got the kid, But
Speaker 1: the first dude I got a record deal for was
Speaker 1: the kid from Philly. Shudacious. I'm gonna put down talking
Speaker 1: about it's wizards artist. All Right, here's the funny so
Speaker 1: in it's such a Philly title I'm gonna pull my
Speaker 1: thing down like it was. It was making a lot
Speaker 1: of little it was apendent record. He was making noise
Speaker 1: yea And I remember, all right, see here's the funny ship,
Speaker 1: which leads back to the Wendy Goldstein situation, which is
Speaker 1: not me not knowing the business. Like when word got out,
Speaker 1: yo shot they just signed r C Records people for
Speaker 1: fourteen album deal. We're thinking like, yo, he's gonna make
Speaker 1: records until two thousand and seven. Like this. Back in
Speaker 1: I didn't know about the whole like option deal where
Speaker 1: they can drop you but you can't leave, like that
Speaker 1: sort of thing. So in my mind there were two
Speaker 1: artists that were always referenced to and Roots capt until
Speaker 1: my manager and lawyer were like, no, that's not the
Speaker 1: right president to set. It was saudacious, and then it
Speaker 1: was Helmet the Seattle because they got signed for a
Speaker 1: million dollars and we're like, yo, helmet. We pulled a
Speaker 1: helmet on Wendy Goldstein by saying, yeah, we want two
Speaker 1: land cruises in the apartment the studio. Uh da da
Speaker 1: da da da m And she was like but back
Speaker 1: then it was just like yo, man, I just want
Speaker 1: to saudacious. I want a fourteen fourteen Now, I don't know,
Speaker 1: but I don't know where you guys got the fourteen
Speaker 1: album from. Maybe you know, people always fabricator because they
Speaker 1: make it sound. He probably was putting it out there
Speaker 1: to make it seems like he was getting more money. Yes, yeah,
Speaker 1: because I was. Yeah, but it wasn't. And then like
Speaker 1: I'm not saying it was a great deal. We signed
Speaker 1: him the r C A, the Standard probably seven. That
Speaker 1: was a big deal for Philadelphia. Yeah, where if you
Speaker 1: happen to know? Like, I don't know, but I don't
Speaker 1: have no idea. But the video, boys, the man was
Speaker 1: in the video. Um, I think Randall Cunningham may have
Speaker 1: been in the video. He was Philly's hope is gonna
Speaker 1: put the Philly on the map? Boy? Damn this like
Speaker 1: this is neck and neck with the organics, Like he
Speaker 1: was like the Street. The thing was like he would
Speaker 1: go on we do these shows with and he had
Speaker 1: a cool dudes around him that was rapping. Yes, they
Speaker 1: were like the Street, woutang element. They were like on
Speaker 1: that ship and then he coming with our Birkenstocks and
Speaker 1: oscars arrested development. But the thing was like we they
Speaker 1: underestimated us so much that then, like when you underestimate
Speaker 1: somebody and then may rise to the case and it's like,
Speaker 1: oh shit, they dope. So it kind of helped open
Speaker 1: it for anyway. All right. So back to with entertainment.
Speaker 1: So that's how and you were managing him at the time,
Speaker 1: managing Sunday, that's how you got him. No, no, no, no,
Speaker 1: no no no no no. I was well he managed
Speaker 1: Kid in play and with no no. In fact, Whiz
Speaker 1: had his thing with entertainment and I did. Me and
Speaker 1: Kid had a thing called uh kid entertainment actually okay,
Speaker 1: so yeah, different entities. Yeah, we like and it was
Speaker 1: me and Kid partner. And then I had gotten a
Speaker 1: a production deal with our c A. So Wis had
Speaker 1: the guy already signed, Shade Asius, and the record was bubbling,
Speaker 1: so we signed the record. We signed him to our
Speaker 1: deal that we had at our ci A, and I
Speaker 1: became an A and R guy at our CIA shortly
Speaker 1: after that. Wow. Okay, So this is also doing the
Speaker 1: time when uh the other Steve Yes with loudon, so
Speaker 1: Riff wasn't I was there. What was the difference between
Speaker 1: like R c A proper Like I know SWV and
Speaker 1: all that stuff they didn't have. They didn't have no
Speaker 1: rappers on this show. You could talk about all of
Speaker 1: this type of stuff and like you don't care, like
Speaker 1: they don't have to be like the audiences into all
Speaker 1: of us. We we are the Black nb R, We're
Speaker 1: the Black NBR. Yes we have awesome and f And
Speaker 1: you know I wasn't even it wasn't even the curag,
Speaker 1: just like the audience gets off on the nerds. So yeah,
Speaker 1: I was at r C A the time and the
Speaker 1: kid after we put the Shade Asians record out, it
Speaker 1: didn't work like we thought it was gonna work. We
Speaker 1: picked up the record. He was about to go and
Speaker 1: then for some strange reason it converted and I became
Speaker 1: an A and R guy, and as an A and
Speaker 1: R guy. Um I was there in Clue was my assistant, UM,
Speaker 1: and I knew him because I grew up in Queens
Speaker 1: where I grew up at the area. Now they went
Speaker 1: from like two shady villas they could call the area.
Speaker 1: And like Clue was out there making those mixtapes. Um,
Speaker 1: his ship was going. And then I broke Clue and
Speaker 1: I'm like, if he's making mix tapes, he's probably a
Speaker 1: good A and R guy, So I made him my
Speaker 1: assistant whatever. So we started whatever, we started, you know,
Speaker 1: finding music. And my younger brother was his manager, was
Speaker 1: Clues manager. So um I signed Clue. I mean he
Speaker 1: was my assistant. And a guy named the big Dude
Speaker 1: at the time, I was this guy named Kenny Ortina.
Speaker 1: Kenny signed s w v UM and like all Star
Speaker 1: used to come around, and that's when I first met Farrell. Uh,
Speaker 1: Farrell came around. Farrell did work on SPUV. Farrell has
Speaker 1: been around. Yeah, so Farrell came around. I met him
Speaker 1: and I also met Dave Matthews. They were and he
Speaker 1: was super cool, like very very very cool, but like
Speaker 1: I knew that back then as an A and OUR guy,
Speaker 1: and then I was got. I got. I was really
Speaker 1: close with all the dudes from WU Tank because they
Speaker 1: got signed and I was there in the office and
Speaker 1: they would come around and walk around the building. In fact,
Speaker 1: they shot cream in the r c A building. Um
Speaker 1: they seen when they were in the count cource And
Speaker 1: I was cool with Power Ray goes um Rizza like
Speaker 1: you know, and I had known. I didn't know Riz.
Speaker 1: I knew that he was and Tommy Boy when he
Speaker 1: had the others when he put out the solo joint
Speaker 1: um and then like so I like I knew those
Speaker 1: guys as an an r uh and most of an
Speaker 1: r is that we get on the show. They give
Speaker 1: us their three like ones that almost got away? Who
Speaker 1: who are your three? Could have had him, could have signed,
Speaker 1: could have had him and missed? Oh easy? Um Alicia
Speaker 1: Keys for sure, I always have the caveat because she
Speaker 1: didn't play the piano, and then which he did get
Speaker 1: signed when they signed it to Sony, and then they
Speaker 1: obviously they dropped her at Sony, but when they signed her,
Speaker 1: they didn't drop Hurts on it. They didn't want to
Speaker 1: deal with her manager and they just discarded the situation.
Speaker 1: Nobody questioned her unbelievable talent. But when they signed her
Speaker 1: initially she had played the piano. When I gotten to
Speaker 1: see her, we had just started. It was nineties nine
Speaker 1: seven at an office of four people, and that same
Speaker 1: manager brought it in and she sang um and she
Speaker 1: could sing. But like, I didn't see the piano thing,
Speaker 1: and I didn't see I didn't see the potential of
Speaker 1: the truth of the matter is um I was in
Speaker 1: the hip hop ship at the time, I probably was
Speaker 1: too shortsighted. I definitely was too shortsighted to even think
Speaker 1: like maybe there could be a piano involved and what
Speaker 1: that would what that would be? So I would say
Speaker 1: that who got away? Um? I signed fifty cent um.
Speaker 1: Originally I signed fifty cent I did all that UM.
Speaker 1: But I could have resigned him again at interscope um
Speaker 1: and in fact I should have resigned them beginning in
Speaker 1: the scope. And a lot of the reasons why like
Speaker 1: him and I have had this not good relationship is
Speaker 1: because I told him I would sign him at inter
Speaker 1: Scope and I thought I could get him signed. Even
Speaker 1: to this day, yes, we I've known the guy. I
Speaker 1: bought him. He wasn't a deal with Jim mass j
Speaker 1: I bought him to sign him. He was with the
Speaker 1: Onyx in all life. I signed him Boom. He was
Speaker 1: with current NAS. We went up to Bearsville to Woodstock
Speaker 1: and did all those joints made power to Dollar put
Speaker 1: him with Shan Money. Shan Money was another kid in
Speaker 1: my neighborhood, so it was clue Shan Money. I started
Speaker 1: putting these guys on. They grew up in in my
Speaker 1: neighborhood and my younger they were friends with my younger brother.
Speaker 1: They were talented obviously, and um, I shouldn't resigned him.
Speaker 1: And and I'm like, okay, I went to Timberland, I
Speaker 1: went to the rough Riders, I went to everybody, like, okay,
Speaker 1: this guy signed him. But at inter school we were
Speaker 1: signing everybody under labels. We were basically giving producers had
Speaker 1: labels and everybody would sign today. So I asked everyone
Speaker 1: would they did they want him? And when they didn't
Speaker 1: want them for whatever the reasons were, Um, I couldn't
Speaker 1: deliver all my work. I said I was gonna sign him.
Speaker 1: And even with the heat, with all the mix tapes
Speaker 1: that he was where it winks that had jes started bubbling. No,
Speaker 1: they didn't you know what it was. It was like
Speaker 1: it was obviously got shot at. So it was problems, right,
Speaker 1: So it was a bit. It was a bit of
Speaker 1: do we want to deal with these problems? Do you
Speaker 1: want to get in the middle of all this ship? Um?
Speaker 1: But the only person obviously that wasn't aware and didn't
Speaker 1: give a fuck was Dre that's not about to ask
Speaker 1: you was eminem and different. They didn't they didn't get
Speaker 1: I mean, you're talking about everybody else. Yeah, that's what
Speaker 1: they were dealing with the music. Everybody else was dealing
Speaker 1: with the super and for that he's you know, I
Speaker 1: didn't do so that got away. But I tell you
Speaker 1: probably those two things. There's some songs that got away,
Speaker 1: some songs I wanted, Butterfly I wanted for a group,
Speaker 1: and that song Butterfly before they gave it to Michael
Speaker 1: Jackson had the song seven or two with my girls
Speaker 1: that I had that for a group, and then ship
Speaker 1: uh from Missy and Mona gave it to somebody else.
Speaker 1: But like the thing that got away from me that
Speaker 1: I signed and the guys around them funked it up
Speaker 1: badly was blah yo. For half a second, I was like, wait,
Speaker 1: I know that name, break that down. They signed him
Speaker 1: badly awful singles except for maybe fast Lane was not
Speaker 1: no awful singles. Well, I say fast Lane, which is
Speaker 1: not the single. As a radio person at the time,
Speaker 1: on the radio, it was like, okay, it was the
Speaker 1: first song was the video was dope for but like
Speaker 1: it was that was crazy. And remember he had these
Speaker 1: guys around him. I can't remember it was yeah, and
Speaker 1: they were so not wanting to hear anything that I
Speaker 1: would say, they would not even at all, and then
Speaker 1: they and then they did the dumb ship, which is
Speaker 1: going around me thinking they were gonna go to Jimmy
Speaker 1: and like they were gonna get a different outcome, and
Speaker 1: no that didn't work. And it was fucked up because
Speaker 1: that guy, I mean, it was so crazy, like I
Speaker 1: had signed him and I'm like, man, this guy is
Speaker 1: gonna go. Prince came to his show to see him
Speaker 1: because they were like, this is the next guy, the
Speaker 1: next prodigy of music and I and I was ready
Speaker 1: for that moment for him. Um. And then after all
Speaker 1: this ship ended. I remember like I gave Maxwell fortunate,
Speaker 1: I got the r Kelly song and then like what
Speaker 1: the m two may guy what's his name? Was like
Speaker 1: why didn't you give I'm like, y'all don't even listen
Speaker 1: y'all have records. It's funny because at the time I
Speaker 1: was on Radio Black Rind I said, call a mirror
Speaker 1: all the time and be like, but sometimes it's just
Speaker 1: so sometimes I don't understand. It's easy. It was, but
Speaker 1: it was a it was a way to edit and
Speaker 1: it was a way to make it sometimes just great.
Speaker 1: Right now we're fast Lane was Dre and Jada kissing.
Speaker 1: It wasn't we're trying to do something. Look, it was
Speaker 1: one of those things that I That's why I said
Speaker 1: almost because that guy should have been way more than
Speaker 1: the contender. Yeah, I wouldn't be curious to hear how
Speaker 1: you would have it was written bloud, like what would
Speaker 1: it was written? I wanted to do that, Yeah, I
Speaker 1: would have. I would have like you knew what D'Angelo
Speaker 1: was doing, so that was super clear, and he like
Speaker 1: he definitely wanted to do like jazz. He wanted to
Speaker 1: feel jazz around it. Yeah, but I think that there
Speaker 1: was a way that you could have found, um, the guy,
Speaker 1: the other kid that came out of Philly music music
Speaker 1: like there was a way to split the gap where
Speaker 1: he could have ran and that was the available And
Speaker 1: I mean Erica Bardod when she first came out, like
Speaker 1: that was there and he was the better singer out
Speaker 1: of everybody by far, performer, good looking kid like it was.
Speaker 1: That was the thing. But we couldn't even experiment with
Speaker 1: all that because they already had some producers in their
Speaker 1: back pocket. They just wanted the money to take the money.
Speaker 1: Let them come back and say is this it? No?
Speaker 1: But why don't we try this? No, aren't you shut
Speaker 1: the funk up? And then let's go back to Yeah
Speaker 1: in an atmosphere like Interscoope, which had easily fifteen to
Speaker 1: sixteen multi platinum are is like, how are you able
Speaker 1: to get a seat at the table to get Jimmy?
Speaker 1: I mean, especially with everyone else that's Yeah fighting for Like,
Speaker 1: how are you able to unless it's a clear cut winner,
Speaker 1: Like how are you able to develop something from? Like
Speaker 1: did you were part of the City High helming? Correct? Yeah, Yeah,
Speaker 1: I didn't sign City High. I made the record that
Speaker 1: I think we made, Oh the remix this City High remixy,
Speaker 1: that was my second goal record that they sample. It
Speaker 1: was based on a roots song. The original Caramel was
Speaker 1: based on our song Silent Treatment. So I have a
Speaker 1: history of collecting golden platinum records that weren't mine until
Speaker 1: five years So like here man, I was like, oh,
Speaker 1: what's that still hanging up there? Yeah? So I A
Speaker 1: and R the the the City High. Um, I was
Speaker 1: the president. I was running all the black music and
Speaker 1: in the scope and then I I was Jimmy's right
Speaker 1: hand so all the music that I was dealing with
Speaker 1: had a had a seat at the table. To be
Speaker 1: honest with you, it's as it relates to Bla. Jimmy
Speaker 1: looked at Blal like a rock star. Jimmy thought that
Speaker 1: Blah was gonna go like like all the way like
Speaker 1: he Jimmy didn't like that type of music, but he
Speaker 1: thought that kid had to be. Like I don't want
Speaker 1: to say anybody's name because if I say, like if
Speaker 1: you if you connect them to anybody who's great, and
Speaker 1: people don't even know who Bla is or may not know,
Speaker 1: it just sounds crazy. But Jimmy thought that Blow could
Speaker 1: have been one of the great artists of the time. Yeah,
Speaker 1: forget hip hop, R and B whatever, that kid could
Speaker 1: be anything. He's special um and that obviously didn't happen
Speaker 1: um as a recording artist on inter Scope. But so
Speaker 1: it was easy to get a seat at the table
Speaker 1: for him with like Maya and City High and all
Speaker 1: the other things. I think Jimmy was like, Steve, go
Speaker 1: do your thing, you know, And so I was over
Speaker 1: there doing my thing. Is But is there really a
Speaker 1: Black music department of Interscope? Because to me, the Interscope
Speaker 1: is like a label is like you're either winning or
Speaker 1: you didn't get there yet, and it wasn't. It wasn't
Speaker 1: the Black Department. The first member early they signed n
Speaker 1: l A. That was the guy who got the big deal.
Speaker 1: I can Nelly got four thou dollars and like nine
Speaker 1: one nine. It was like fucking huge, Now I can have.
Speaker 1: His first album was signed to coming coming off a
Speaker 1: live at the Barbecue. He got paid and went to Interscope.
Speaker 1: They signed him, They signed Marky Mark in the Funky
Speaker 1: Buck had good vibrations. They signed Gronto, so they were, uh,
Speaker 1: they were signing. Um, it didn't make it different, like
Speaker 1: there was no Black music Department. You're right at Interscope. Um.
Speaker 1: Jimmy was just trying to really what did he felt
Speaker 1: madded culturally and like we should be in business with
Speaker 1: those people. Wow, were you okay? Were you there for
Speaker 1: the hot crawl period? It was hot core? Okay, maybe
Speaker 1: not okay, So damn not gonna look up his name.
Speaker 1: I can't remember his real name. You mean, don't want
Speaker 1: don't get me live? He was brasy, He was a
Speaker 1: white rapper. He signed Interscope around oh one to something
Speaker 1: like that. I know I wasn't involved. I didn't, I don't,
Speaker 1: I don't know about that two thousand one. Uh yeah,
Speaker 1: I mean he was like could have been a contender.
Speaker 1: And he has a book out now called gener Cart. Yeah.
Speaker 1: Jesser Carr is now the showrunner of Drop the Mic,
Speaker 1: and he occasionally writes for My wife showtime. Who's America? Yeah,
Speaker 1: he's he writes for Who's America as well. But he
Speaker 1: was a battle rapper that was on the Baker Boys
Speaker 1: show that he had like a two year streak and
Speaker 1: Jimmy signed him for a million And in his book,
Speaker 1: his book is entitled Kanye West Owes Me three hundred Dollars,
Speaker 1: and it's a memoir of his life between in two
Speaker 1: thousand five, like the senior period. But it's he could
Speaker 1: that book. No, it's it's one of the most I
Speaker 1: couldn't put it down. I finished it in like two days.
Speaker 1: But he insinuated without being specific. My guess is that, uh,
Speaker 1: Paul Paul Rosenberg really wasn't keen on Jimmy, you know,
Speaker 1: promoting both. Yeah, well the truth of him, I was
Speaker 1: gonna say, knowing Jimmy, Like it sounds like eminem but
Speaker 1: just like like battle rap up Baker Boys, That's exactly
Speaker 1: how Jimmy found it. Wasn't Baker Boys. It was the
Speaker 1: same but the same same structure. Well, initially in the
Speaker 1: book he was saying that, you know, Jimmy was like, look,
Speaker 1: I have different rock acts, like why can't I have
Speaker 1: the same you know, hip hop X. But then something
Speaker 1: happened and then like so I was there at that time,
Speaker 1: but it went away so fast because I didn't even
Speaker 1: I didn't That's what I'm saying. Everything at Interscope was
Speaker 1: such a highlight that how does one even navigate? Usually
Speaker 1: labels lucky enough to have two or three, uh, lows
Speaker 1: that have a lull at all. He's saying, it's a minute,
Speaker 1: not for a minute. But there were lows and not
Speaker 1: long lows. I mean, because you had an eminem album
Speaker 1: that you could put out and it was just clean
Speaker 1: everything up, and it was always a moment and then
Speaker 1: like Drake came and then like there was a moment
Speaker 1: and then so there was always moments um but like
Speaker 1: there was a moment between. This is how I came
Speaker 1: over there when Death Row was essentially leaving, an aftermath
Speaker 1: record started. That's the reason why the firm was on aftermath.
Speaker 1: That was the that was Dre's first thing. He did
Speaker 1: um when he when he left, because he did understand.
Speaker 1: I'm saying, so that was a law because because Teddy Riley,
Speaker 1: basically they had Teddy staying and he had Queen Pin
Speaker 1: and back and then I kind of Cato and then
Speaker 1: it was like it was that and in death Row
Speaker 1: and those were the production deals he had. So then
Speaker 1: we when I came, it was always like finding new things.
Speaker 1: I was finding new things or getting new uh new
Speaker 1: opportunities for us. And it was like, okay, so I signed,
Speaker 1: Uh I signed, Yeah, well I signed the Rough Riders
Speaker 1: and um, then we did our Kelly's deal, uh Rockland
Speaker 1: Sparkle right. Um. Then we had um Robin Thick, we
Speaker 1: did for ELL's deal, and we did Timberland's beat Club
Speaker 1: Beat Club. We had Bubba sparks Man. That was great
Speaker 1: that he let me tell you something. You gotta read
Speaker 1: the book because well basically I got I gotta stopped
Speaker 1: calling him hot Carl Jensen's. Jensen basically states like him
Speaker 1: and Bubba's book a lot about the situation. I'm like,
Speaker 1: wait a minute, they on each other shoulders, Yeah, pretty
Speaker 1: much like they cried on each other. Yeah. Meanwhile, Paul Wall,
Speaker 1: like I don't know what y'all talking about. He was
Speaker 1: on Asylum. I'm gonna go I'm wanna go to something there,
Speaker 1: Bubba Sparks, because we're gonna skip over this because I
Speaker 1: learned something and it helped me right the Tang of America.
Speaker 1: So I go down to Atlanta and I'm gonna go
Speaker 1: meet Timberland wants to sign this artist Bubba's box, and
Speaker 1: I want to go meet him, Like, but it's Timberland signing.
Speaker 1: So I go on there and usually go to Atlanta.
Speaker 1: You know, I I went in Atlanta. I stay in Atlanta.
Speaker 1: I could drive fifteen minutes off from Atlanta. Fifteen minutes
Speaker 1: out from Atlanta. Bro, you are in fucking trailer park
Speaker 1: thinging ringing the Beverly Hills. Billy Dukeson has it. You know.
Speaker 1: I just realized the other day that Dukeson has it
Speaker 1: on the side of that car. I just realized that's
Speaker 1: just crazy watching I didn't even know what was going on.
Speaker 1: So anyhow, go out there and they're obviously poor and
Speaker 1: uh poor, and this guy tells me, it's like, who
Speaker 1: is your favorite artist? Man? I love Andre three thousand
Speaker 1: and I love goth Brooks. I was like, oh shit,
Speaker 1: this is a real, real thing. Time it was a
Speaker 1: real thing, and then and then it was a then
Speaker 1: it was a Fader cover or whatever magazine was not Complex.
Speaker 1: I forget what it was. No, it wasn't Beckon, No,
Speaker 1: it was ludicrous and Dale Earnhardt on the cup and
Speaker 1: I remember thinking, I know what this is, but nobody
Speaker 1: would believe me. So I'd go speak to um Complex
Speaker 1: you found its complex cover? Wow? Oh yeah, oh yeah.
Speaker 1: And I remember telling everybody that's where the world is going,
Speaker 1: and nobody I wanted to. I was telling it to
Speaker 1: advertising companies, anybody I can find, like, this is crazy.
Speaker 1: And this guy just told me like Dar Earnhardt Jr.
Speaker 1: And fucking God, I mean God books. And then when
Speaker 1: we shoot the video. If you remember the video, Timberland
Speaker 1: and Missy are racing and traffic trailers and there and
Speaker 1: they do a fight a mud fights. But this is
Speaker 1: not even them making this up. This is like if
Speaker 1: like we get money and like black guys would getting
Speaker 1: mon at the time, it's like by the car, you
Speaker 1: want to shoot the video and make it look like
Speaker 1: more of what you already are, more of what they
Speaker 1: were of. What he already was was fucking mother wrestling
Speaker 1: fun the guy who he fought in it was like
Speaker 1: starting offensive lineman for the Denver broncos he was into it.
Speaker 1: But that's why we bug Bubba Sparks because he seemed
Speaker 1: like he was being was he was being his authentic
Speaker 1: self and that was some new ship. Bro. Like, when
Speaker 1: I seen that, Bubba Sparks taught me so much about
Speaker 1: where the world was going to him that regul he
Speaker 1: was way ahead of his time. Where is where do
Speaker 1: you say where he is? Um? I don't know where
Speaker 1: Bubba is right now, but m yeah, he definitely had
Speaker 1: he fell to depression. Like when the second album was
Speaker 1: and that was the one that was the third album,
Speaker 1: it was called The Charm. That was the misnew Booty record.
Speaker 1: Deliverance was the second one where like which to me,
Speaker 1: which is funny because most of us also on Interscope,
Speaker 1: Like it was a period where it was it was
Speaker 1: Tyler was signed, Funny mc A, Raucus was on. They
Speaker 1: were signing Raucus. It's funny Raucus. The lead investor in
Speaker 1: Raucus was James Murdoch Son. Yikes, Yeah, you don't know that.
Speaker 1: I forgot that. Yeah, maybe you wanted to forget right story.
Speaker 1: But you know, wait before because you mentioned something critical, Uh,
Speaker 1: the the Firm album, Yeah, which shouldn't on paper, on
Speaker 1: paper it was, but not it should have been easy
Speaker 1: as a field goal kicked on the twenty yard line.
Speaker 1: Why why didn't it work? Why was the ball dropped
Speaker 1: on that? Or was the ball dropped on yeah? It
Speaker 1: was yeah, no, I'm here, So what happened was mm hmm.
Speaker 1: You just said it earlier, like when you when people
Speaker 1: when the expectation, they don't expect much from you, and
Speaker 1: then you um, when you're underestimate something. What we was
Speaker 1: trying to do, it was Dr dre producing half track
Speaker 1: masters doing half um. It was who was in the firm?
Speaker 1: Was it Cormega or Nature and this and that and
Speaker 1: egos he goes with the artists and just like, I
Speaker 1: wish I could take that one back because outside the
Speaker 1: phone on top and we could have we could have
Speaker 1: we could have over delivered it. I mean, there's obviously
Speaker 1: some good rhymes on it, but it's not that's all.
Speaker 1: It was like good rhymes. And I'm proud of it
Speaker 1: because for me to get nas on Sony and a
Speaker 1: z on E m I and Foxy on Deaf Jam
Speaker 1: to record an album for Interscope. Wait, how did you
Speaker 1: pull that off? Was having that? That's why they called
Speaker 1: me the Commissioner, bro I'm not even joking around. I
Speaker 1: feel you. That's that's what I do. I feel you
Speaker 1: could tell me the Brooklyn Bridge right now, and that's
Speaker 1: what I do. Did the Monica come from that move though?
Speaker 1: The commissioner Monica? No not now it's called me the
Speaker 1: Commissioner on the street dreams real because I went to
Speaker 1: the R as a whole other thing. I got the
Speaker 1: R Kelly thing done like, and my whole thing was,
Speaker 1: were gonna get the r Kelly thing done before Biggie
Speaker 1: puts out his R Kelly sucking you tonight? Yeah? I
Speaker 1: want to get this one out first. So I went
Speaker 1: and got the remix done. We went like I was
Speaker 1: just always on it like that, um because at that time,
Speaker 1: back then everybody was like, who can get the R
Speaker 1: and B singer first? Like you didn't want to be second? Right,
Speaker 1: So we had Lauren Hill first. You know what, Biggie
Speaker 1: was gonna get R Kelly first. It was like, nah,
Speaker 1: I forget that, but we can't wait find the next
Speaker 1: album because Biggie's album We're Gonna Do It a remix,
Speaker 1: and it was like, oh shit, okay, yeah it was
Speaker 1: that type of energy. How that's how I got So
Speaker 1: it was that and plus all the things I was
Speaker 1: doing where the monica came from, and then um obviously
Speaker 1: doing the firm ob and all that stuff was on
Speaker 1: an average your daily life, how many fires do you
Speaker 1: have to put out before three pm? Like to you
Speaker 1: as a good day where it's just like I don't
Speaker 1: gotta worry about and I know your life is different
Speaker 1: now back then. I'm talking about back then, and and
Speaker 1: when you were knee deeper than music, like the idea
Speaker 1: of like oh ship Big and Kill is about to
Speaker 1: do something together, we gotta do it first before they
Speaker 1: do it. It was always well I was looking for
Speaker 1: fires and probably creating some fires too. We want all
Speaker 1: the smoke, right, So it wasn't My job was to
Speaker 1: make nas the biggest rap star in the world. So
Speaker 1: I didn't give a fuck about like Biggie or jay
Speaker 1: Z or Tupac or this. Like. I was just going
Speaker 1: very single minded focused on that thing, and that's what
Speaker 1: it was. And the track Masses, I was like, we
Speaker 1: have to have a number one record like once a month,
Speaker 1: like because that's what we need to do, and like
Speaker 1: fuck the Hitman and all those guys we're making we're
Speaker 1: making joints. And it wasn't just toning poke, it was
Speaker 1: just it was toning. It was like a live musician.
Speaker 1: Yeah who was playing like on Fiesta from Lisa Yeah
Speaker 1: yeah wait, how do you know that? How did you
Speaker 1: know that? I read it something. I'm not the dirt
Speaker 1: he is for real? Yeah he has Spana do spani
Speaker 1: crazy your Spana door was playing Lisa Lisa Culture, yep,
Speaker 1: and he was on like that's when and you could
Speaker 1: listen to up this City High remix here that Spana Do.
Speaker 1: I thought that was cle that's funny. Ship. I was
Speaker 1: about to say, they're the ones that brought Yeah yeah
Speaker 1: they yeah, yeah tracks fake for the Tricken Chicken Grease Snare.
Speaker 1: I feel like I'm an official track master. That's the
Speaker 1: It was nice. When did you make the decision or
Speaker 1: when did you finally realize that the music executive platform
Speaker 1: was uh not as sturdy as uh platform as it
Speaker 1: should be, and that you should sort of finagle your
Speaker 1: way into the business room in the boardroom. Well, when
Speaker 1: did you have enough of music, Like well, no, I
Speaker 1: say this a lot, but I was. I did the
Speaker 1: soundtrack for Men in Black and Will Smith just a
Speaker 1: backstory on the nerves. Ship had gotten dropped from Jive,
Speaker 1: right um. And I had known Will Smith from the
Speaker 1: kid in play days because they were the light skin
Speaker 1: rapid you know, so and they were always doing uh
Speaker 1: they would they would have safe rappers and they would
Speaker 1: mostly do things together or they'd be either one like
Speaker 1: taking a house party, could have gone to willis yeah,
Speaker 1: like it's all that kind of stuff. Right. So I
Speaker 1: had known Will and James Lassater and Charlie mac and
Speaker 1: I had gone to UM. So they brought I was
Speaker 1: at Sewing at the time Colombia. But when we get
Speaker 1: the sound track, the ship does what it's supposed to do.
Speaker 1: Will walked in with that sample. It wasn't like that.
Speaker 1: It was like they had they had a thing going.
Speaker 1: I think Omar. I think Omar was involved. No former
Speaker 1: answer that later became an Overbrook had Omar as cool
Speaker 1: as ship and like they had they had the skeleton
Speaker 1: of it. And of course that's right up track mass'es aale.
Speaker 1: So we did that and this is this is the yeah,
Speaker 1: so we signed the soundtrack Boom. Will walks in with
Speaker 1: that joint track Masses Boom. We get SWV. Will Smith
Speaker 1: is so cold at the time that s WV don't
Speaker 1: even want to be in the video. They sang the
Speaker 1: song I didn't even want to be in the video.
Speaker 1: So that's s WV singing the hook on minute yeah Coca.
Speaker 1: I was wondering why are they? I thought, you guys
Speaker 1: are like, are you kidding me? We as if we
Speaker 1: wanted them in the video, they didn't want to do it.
Speaker 1: A blockbuster moved because he was I just he just
Speaker 1: got dropped and they thought like, oh it was it
Speaker 1: was it was the Woo Tang Biggie Nas or nobody.
Speaker 1: It wasn't that time, and Will Smith changed the music.
Speaker 1: Uh definitely, Will Smith the whole ship and like boom
Speaker 1: ten million homes later. But the glasses was selling like crazy,
Speaker 1: and the company that did the product placement to getting
Speaker 1: those ray bands on in the movie on Will I'm like,
Speaker 1: how are you making all this money? And like we
Speaker 1: have nothing to do with it, but we're the ones
Speaker 1: driving in the sales. And literally I left Sony, I
Speaker 1: went to Interscope and I decided um. It was a
Speaker 1: lot of dumb ship in the music business at that time.
Speaker 1: It was street ship um. And the business didn't know
Speaker 1: the difference between good and great. And when an industry
Speaker 1: doesn't know the difference between good and great, that industries
Speaker 1: in trouble. And I could show you many examples of that.
Speaker 1: When an industry can't tell the difference between good and great,
Speaker 1: when you don't know, like you don't know why it's
Speaker 1: working or why it's not working, but just working for
Speaker 1: reasons that no one understands, that industry is in trouble
Speaker 1: because that is not a real metric for success. You're
Speaker 1: supposed to understand it. And it was just like it's rap,
Speaker 1: it's selling, it's wrapped, it's selling, and no one really
Speaker 1: understood what and they would hire these guys, but artists
Speaker 1: really know the science behind talking about the executives that
Speaker 1: were getting jobs, they were bums getting jobs and making
Speaker 1: seven fifty dollars a year because they were because no
Speaker 1: one knew they were bums, because it was like, oh,
Speaker 1: it's wrapped, it's selling. Give him high repotism. No, it
Speaker 1: wasn't even nepotism. They were highing. It would be executive
Speaker 1: at a company, finding some guy who was standing next
Speaker 1: to a hot group, a manager, some guy who didn't
Speaker 1: know to run a record company or run a division,
Speaker 1: but he would get a job and get paid seven
Speaker 1: a million dollars And the I literally wasn't talented at all.
Speaker 1: He was just a guy who was around something that
Speaker 1: was hot, and he'd get the job and and he'd
Speaker 1: be responsible for a bunch of ship And I'm sitting
Speaker 1: there saying, that's my peer. Be fucking crazy, you know.
Speaker 1: It's that kind of thing. It's hard. I was speaking
Speaker 1: to jay Z about this recently, about how hard it
Speaker 1: must have been for him to go through a period
Speaker 1: of time righting writing those rhymes and doing all that work,
Speaker 1: and like Ludicrous and Nelly and all these guys are
Speaker 1: selling three times more records than him and getting much
Speaker 1: more accolades than him, and yet you still gotta keep
Speaker 1: doing that every single day. That's a hard thing to do.
Speaker 1: Like and as a true artist, that's your north star,
Speaker 1: the art. But if you're in the business and the
Speaker 1: business doesn't realize how to appreciate your art, I'm sure
Speaker 1: it's difficult. Like the Root story, right, yeah, very similar,
Speaker 1: that's that that's why they like, that's why question, That's
Speaker 1: why question Jane. The all the real guys know who
Speaker 1: the real guys are because they went through that, they
Speaker 1: went through that period of time. Um, I forgot what
Speaker 1: we was just saying. What made me go to that?
Speaker 1: But it's when I was like, I'm not doing this anymore.
Speaker 1: In fact, if I know that the music business can
Speaker 1: actually drive sales of things around the music business like
Speaker 1: more efficiently, then I'll actually be down with the glasses.
Speaker 1: So you figuring out that ray band made a grip
Speaker 1: of money off of something that you created a platform for,
Speaker 1: you wanted to know how to get involved in that
Speaker 1: and that and actually went to that advertarl Or like,
Speaker 1: so how did you? I knew that I met the company,
Speaker 1: the guy who did the who did the product placement
Speaker 1: because I was that close to the to the movie,
Speaker 1: to the soundtrack, right, and then that's the only person
Speaker 1: I knew in advertising. I ended up leaving to go
Speaker 1: be a partner in that company, like it was the
Speaker 1: only company I knew, And I became a partner in
Speaker 1: that company and then I did it was the first
Speaker 1: thing I did, Um, Jay z Reebox perfect that was you. Yeah,
Speaker 1: all every sneak, all of its wrapped sneaker ship. I've
Speaker 1: seen that ship. I started that ship period. So what
Speaker 1: was the difference in the s Dot Deale versus what
Speaker 1: was going well ship? I guess you won't say what
Speaker 1: no deal? There was no deal? Did you get for
Speaker 1: the his deal or did you yes? So Pharo yes,
Speaker 1: ice creams Okaya had diamonds on I just forgot still, yeah,
Speaker 1: the ice creams. Then we did um fifty G units
Speaker 1: and then we had s card is. Do you remember
Speaker 1: that commercial with jay Z? Yeah? I did. I was
Speaker 1: that was me. I was doing all that. That's why
Speaker 1: you had to tell us that, Yeah, I was. So
Speaker 1: I was trying to figure out. But and that connects
Speaker 1: to why United Masses and why I'm back into music business.
Speaker 1: So it's just like, okay, the s cart is with
Speaker 1: my version of the will Smith glasses, the G units
Speaker 1: was the will Smith glasses. I just kept on trying
Speaker 1: to make glasses. Again. You were not involved in the
Speaker 1: funk Flex lugs were you know? Those are all said
Speaker 1: that no little to the slow for me, because you
Speaker 1: know I was gonna say the funk the Funk Flex
Speaker 1: lugs actually sold, which they did, and then by the way,
Speaker 1: you got the Birdman came right after that. The Birdman
Speaker 1: came right behind that. Then there was a couple of
Speaker 1: other stupid ship that just this was terrible. But like
Speaker 1: you know, it's a me too business. So when people
Speaker 1: copy what they've seen before, the original too. Yeah yeah,
Speaker 1: so um, but I was always I was thinking we
Speaker 1: launched it. I put the Reebok store on South Street. Dude,
Speaker 1: I talked about eight They were a comfortable, like I know,
Speaker 1: fashionable or whatever. Those are some they were the originals
Speaker 1: just like slippers. Yes they were. They were a little narrow.
Speaker 1: If you've got wide feet, they're a little narrow. But
Speaker 1: I mean we we Goti the Gucci shoe from back
Speaker 1: and I mean we should have been locked up. Yeah,
Speaker 1: but it's come the most ship I've missed. That sneaker
Speaker 1: I got, like I'm waiting for, like the turnaround, the
Speaker 1: half the Gucci put, Gucci put them there, Gucci put
Speaker 1: their copy the escarters out. I know. It's just like
Speaker 1: it's like a meta meta. So fast your your relationship
Speaker 1: with Gucci then, right, because you're the deal is done
Speaker 1: with that Dan, right, right? So how did that relationship grow?
Speaker 1: Did it start at that moment with that was your
Speaker 1: brain child, Damn Steve Stout. So we just gotta say,
Speaker 1: just literally, I know, I feel so disgusted when you
Speaker 1: ask questions because I needed this platform to defind out
Speaker 1: who's behind who and real business people, real business people
Speaker 1: like people that that yell from the rafters and with
Speaker 1: their megaphones, Like the loudest person is always the lowest.
Speaker 1: Total is the quiet people that make moves and but
Speaker 1: Steve a quiet though. I don't know, but you've never
Speaker 1: been out there like you. I mean a lot of
Speaker 1: the stuff. I mean, I'm just found out you were
Speaker 1: the guy behind I mean I was aware of all
Speaker 1: of it, but and I'm sure a lot of listening.
Speaker 1: I know that you're everywhere, and you're and everywhere I
Speaker 1: see you. You know what it is. I don't know
Speaker 1: how to comfortably do my job and then stand there
Speaker 1: loudly and take credit for it like I could, like
Speaker 1: like this is the forum to have that conversation. But
Speaker 1: what don't you do stand in front of Dapper Dan
Speaker 1: and say it's me sucking Dapper Dan. Bro, it's jay Z,
Speaker 1: It's for but Dapper Dan knows anyway, Can you just
Speaker 1: give me let me alaund your list of deals that
Speaker 1: you broke it that I might have known about. I
Speaker 1: don't know I know about. Let's stop. That's what we got.
Speaker 1: We got thrown off. So my brother get hits. My
Speaker 1: brother gets hit by the car. You're not you're not listening. OK,
Speaker 1: I'm listening. And he was going where And that's where
Speaker 1: I copied Made in America from because I I don't
Speaker 1: remember hearing. It's an Al Hayman production that deserves a
Speaker 1: siren good. And I was like, yo, Jay, remember the
Speaker 1: Budweiser made in America, that super Fest ship. He's just
Speaker 1: like us, like he remembers the whole ship. I'm like, Joe,
Speaker 1: I just want Budweiser. I'm gonna go pitch them. We're
Speaker 1: gonna do that today. And made in America was a
Speaker 1: that's a whole another how he even got to the
Speaker 1: made American thing, but it was like they had they
Speaker 1: owned the trademark made in America Budwise. So it's just like, oh,
Speaker 1: this is perfect made in America. Boom, that's a super Fest.
Speaker 1: We're gonna do it, remember, and then we're gonna put
Speaker 1: all these acts on the same way Al Hayman did
Speaker 1: when we grew up right now the first made in America?
Speaker 1: Did you share a little gangster to here? Because you
Speaker 1: It was like it was awful circle between the you
Speaker 1: know what it is, Um, I haven't taken the time
Speaker 1: and I don't take enough time, and the people who
Speaker 1: are close to me and and love and care about me,
Speaker 1: Um want me to reflect more on that kind of stuff.
Speaker 1: I want to do it? Yeah I don't. I was there.
Speaker 1: I looked at it. I was like, this as big
Speaker 1: as ship, this is important. Got round Howard to do
Speaker 1: the documentary. Yes, I remember he was around that year.
Speaker 1: You know Jay. All the stuff that Jay and I
Speaker 1: have done together, specifically, it's been um easy to do
Speaker 1: because like once we say we're gonna do it, there's
Speaker 1: a very shared vision and it gets executed really well.
Speaker 1: He has a great team around him. I've a great
Speaker 1: team around me. It gets executed well. But from day one, UM,
Speaker 1: we we had we we we we wanted to be
Speaker 1: two steps ahead, and we were um in front of everybody,
Speaker 1: including jay Z Blue, which was like if that that
Speaker 1: was the most brilliant thing that I've ever had thought
Speaker 1: Blue jay Z Blue was like we wanted to authenticate
Speaker 1: things but not have him in it all the time. Like,
Speaker 1: so what you do to get somebody to go, oh,
Speaker 1: that's cool is you stand next to it and through
Speaker 1: some proximity you say it's cool. Right, And because jay
Speaker 1: Z said so whatever, whatever, But how could you do it?
Speaker 1: Like the good Housekeeping seal? You know, the good Housekeeping seal.
Speaker 1: He used to do that in the fifties so that
Speaker 1: moms knew to buy stuff for their kids that was childproof.
Speaker 1: If you would have copied that idea, how do you
Speaker 1: make something so that everybody knows it has so if
Speaker 1: we if we made a color, and if it only
Speaker 1: if things that came in that color. So I'm like, okay,
Speaker 1: I gave this color. I gave the idea to this
Speaker 1: guy who should take like, uh, Motorola two way pages
Speaker 1: and ship like that, and like could make special versions
Speaker 1: of him by painting them or whatever. But he was
Speaker 1: really like a mixologist with paint. And I said, make
Speaker 1: a unique blue paralyze it. And I kept on showing
Speaker 1: jay Z different versions of this that was coming back
Speaker 1: and we finally found the color. Then I went and
Speaker 1: found the Pantone family who makes all the paint chips,
Speaker 1: the Pantone charts. They're like the Encyclopedia of Color and
Speaker 1: got it so that they were gonna put it and
Speaker 1: run it as a as a color option. So now
Speaker 1: we're basically inside the encyclopedia. You can own use Yes,
Speaker 1: what the f I did not know? You can own
Speaker 1: a hue. Nobody knew this. I'm googling right now. This
Speaker 1: is an actual huge Yeah, I'm looking at jay Z blue.
Speaker 1: See this explains alright, the favorite huge jay Z Blue.
Speaker 1: But so now, alright, there we went and I saw
Speaker 1: that to GM, yes he did. I'm sorry, I just
Speaker 1: saw the picture of the truck in jay Z Blue
Speaker 1: fucking around? Man, are not? This is all right? Tom out?
Speaker 1: Can you poor people make this? This explains all right
Speaker 1: now that you explain that, all right, real quick? I
Speaker 1: did it. I did a co commercial like the one
Speaker 1: where he was in the booth with the with the
Speaker 1: window that was or even before then, and I met
Speaker 1: a woman on set and her job was strictly to
Speaker 1: see what color the coke was in the light. And
Speaker 1: I was like, that's a weird job. He's like, no,
Speaker 1: you don't get it. See we own brown number nineteen
Speaker 1: to Brown forty seven. But Pepsi owns brown forty seven
Speaker 1: to brown Dada Da da da, And if someone's at
Speaker 1: home watching and guarantee they will, they'll they'll compare hughes
Speaker 1: then they can sue us for And I was like, well,
Speaker 1: it's not like I buy the can of coke and
Speaker 1: then look inside and see you like, this is Pepsi's color.
Speaker 1: So literally, I thought it was the silliest shit I've
Speaker 1: ever heard of people fighting over huge colors and didn't
Speaker 1: realize that this is a multimillion dollar business. How I
Speaker 1: have a question, Yes, um, for the people listening on
Speaker 1: the show, Um, you keep mentioning throughout the show that
Speaker 1: you did a deal with this person. You got the
Speaker 1: deal done with that person. Deals deals, deals, deals, deals like,
Speaker 1: but then you don't mention, um, all the work that
Speaker 1: goes into negotiating those deals. So just to me, that's
Speaker 1: the that seems like the tricky part. I mean I
Speaker 1: could cut deals all day long, you know, for for
Speaker 1: you know, because I mean we all want to cut
Speaker 1: more deals, don't we. So how is like, you know,
Speaker 1: do you just come up with the concept cut the deal,
Speaker 1: you know, in in with a handshake and then leave
Speaker 1: all the other things to to lawyers and things like that.
Speaker 1: To actually get get a deal, usually you gotta know, um,
Speaker 1: sort of what what your intentions are. What do you
Speaker 1: want out to deal? What what not money? What do
Speaker 1: you want out to deal? What like if this deal
Speaker 1: started backwards, if this deal is successful, this is what
Speaker 1: it looks like to me, right, and if you if
Speaker 1: you start thinking about it that way, um, then you'll
Speaker 1: know sort of the general architecture of what you want
Speaker 1: to deal to get to look like. And then you
Speaker 1: give that to the lawyer. Right, That's the way I
Speaker 1: do it. I would basically at the bullet points of
Speaker 1: what I no needs to be done, and then let
Speaker 1: the lawyers deal with it. But then manage it. But
Speaker 1: make sure these things are non negotiable, like whether it's
Speaker 1: equity or the amount of money or whatever it is.
Speaker 1: You get sort of layout the non negotiable things, because
Speaker 1: those are the only reasons why you're doing it. Okay,
Speaker 1: thank you, it does. Yes? Can I ask you, since
Speaker 1: we mentioned made in America, we gotta I gotta ask
Speaker 1: you the moment that Mary Kenny made that announcement. Of course,
Speaker 1: by now everything has been cleared. Made America will stay
Speaker 1: in Philadelphia but the moment that that dropped, What was
Speaker 1: the process of from your y'all thoughts to jay Z's
Speaker 1: response in the paper, like, what was the I don't
Speaker 1: even want to say emotional because I know y'all a
Speaker 1: business man, so you don't get emotional. But how did
Speaker 1: the thought change by the way, I do get emotional
Speaker 1: and that's probably what I shouldn't do. Yeah, I yeah, Well,
Speaker 1: I don't know if it's wise. I don't it worked.
Speaker 1: It'll It'll take me as far as it'll take me.
Speaker 1: So then did you get emotional when well, I'm no
Speaker 1: and in in fact, J and and and in the
Speaker 1: team at Rock Nation, they handle it. I had nothing
Speaker 1: to do with. Yeah, I set the whole thing up
Speaker 1: and they run the show. Um the other mayor, Mayor
Speaker 1: Nutter Um, he was the one who did it originally,
Speaker 1: and he was a big fan of bringing that show
Speaker 1: to Philly, and I figured a new mayor came in
Speaker 1: and between noise complaints and he didn't invent the idea. Yeah,
Speaker 1: that's the latter. I was gonna say, we we have
Speaker 1: that same problem with him. We do two festivals in Philly,
Speaker 1: and his first thing to his staff was like, well
Speaker 1: you know that's Nutters Area era, like I'm want to
Speaker 1: start my own era, so well, you need to get
Speaker 1: rid of the bicycles and every and e was good
Speaker 1: and it came up and now he's just he's petty.
Speaker 1: Like it's almost like Trump, like he wants to race
Speaker 1: the entire playing to build his own thing instead of
Speaker 1: just moving forward what was already established and working and lucrative. Um. Yeah,
Speaker 1: So well, I'm glad you guys shell that ship, because
Speaker 1: how did you deal at the time When I think
Speaker 1: the first time I've met you, it was like super quick.
Speaker 1: It was in Baseline and this was I mean, this
Speaker 1: was like back in old five. I want to say,
Speaker 1: when uh a little brother we were mixing the Mistal
Speaker 1: Show with Guru and uh no, no, no, I'm sorry,
Speaker 1: I'm sorry. It was before that. This was when ninth
Speaker 1: he got threat on on Black album and uh we
Speaker 1: ninth it came. He brought us to Baseline. He was like, yo,
Speaker 1: y'all gonna meet Jay whatever, and like we set up,
Speaker 1: but you were in there and I was like, oh ship,
Speaker 1: Steve's in here. So we drapped each other up real quick.
Speaker 1: But how how were you? How did you position yourself?
Speaker 1: And what were your thoughts at the time when Jay
Speaker 1: and Naas were going through the ship because you were friends,
Speaker 1: they have relationships with I never thought to ask that question.
Speaker 1: How did you How did you do that? How did
Speaker 1: you probably that? Um? I knew that. There was the
Speaker 1: underlying way I dealt with it that I always kept
Speaker 1: there was that I know the amount of mutual respect
Speaker 1: they have for each other because of ME being close
Speaker 1: with both of them, they have ultimate admiration for each other.
Speaker 1: And it was never they would never have let it
Speaker 1: turn into anything. So I knew those two things like
Speaker 1: a there's mutual admiration and then I gonna let this
Speaker 1: thing get out of hand. So you never felt you
Speaker 1: had to pick a side. No, I always felt like
Speaker 1: I had to try to fix it mhm. And I
Speaker 1: could never fix it. But I could be a voice
Speaker 1: of reason, and I tried to be and I believe
Speaker 1: I was a voice of reason for many years. We're
Speaker 1: both of them, and it was I think it was stupid, um,
Speaker 1: but necessary at the time. I mean, there was a
Speaker 1: lot of things that were stupid and necessary at the time.
Speaker 1: East Coast versus West coast and this versus that, and
Speaker 1: the competition and nobody knew how big the whole thing
Speaker 1: was gonna be, So everybody was fighting for what they
Speaker 1: thought the pie really was, right, no one knew how big.
Speaker 1: Like the truth of the matter is that Nas and
Speaker 1: jay Z's conflict or the East Coast West Coast conflict
Speaker 1: or whatever it was, everybody was fighting to be the
Speaker 1: best and this thing that was small when everyone could
Speaker 1: have won outside of that because the no one sort
Speaker 1: of bigger picture. Um. But I do believe that these
Speaker 1: stories actually helped create or part of creating the bigger picture. Um.
Speaker 1: The interests in it, the global interests in it, the
Speaker 1: narratives of it all are the things that anywhere you
Speaker 1: go around the world, there's interesting, you know, and it's
Speaker 1: fucked up. It's like the unintended effective stuff of something
Speaker 1: like you know, Biggie in Tupac's thing. There's a lot
Speaker 1: of people who've made a lot of money and built
Speaker 1: careers benefiting because of that. And you see it when
Speaker 1: you go around the world. It's like you go around
Speaker 1: the world, you see graffiti everywhere, right, why and that's
Speaker 1: a bronx thing, Like what what what? It's just you know,
Speaker 1: it's like conflict, um, and all of the stories that
Speaker 1: we went through, the art form has gone through, has
Speaker 1: helped grow the art form worldwide and created these opportunities.
Speaker 1: It's not like you think, um, you want that to
Speaker 1: be the case, but those are the unintended effects of
Speaker 1: what took place as a result of that taking place.
Speaker 1: What was the story Jim Jones, Um the flower of
Speaker 1: What was the flower pot stories that involved you? It
Speaker 1: was something you got hit with a Jim Jones. It
Speaker 1: was I'm I'm I don't want to make sure I'm
Speaker 1: not mixing something. Were you you were hit? You got
Speaker 1: hit with a Yeah, so over to hate me now video. Yeah,
Speaker 1: I got jumped. Puffy came in my office with three
Speaker 1: of the guys and I got jumped. Um And because
Speaker 1: it was Puffy and they was became like hit in
Speaker 1: the head with a champagne bottle. But I mean that's
Speaker 1: not like you don't get hit it like I have.
Speaker 1: I wouldn't have a ball you get cut up in
Speaker 1: all that ship. No, that wasn't the case. Um, I
Speaker 1: did get jumped. That was the case that was sucked up.
Speaker 1: That was the case. It was hard to deal with.
Speaker 1: What was that? What was the what was the beef
Speaker 1: there was a scene in the video where they were
Speaker 1: on crosses um and you know, remember Puffy shot it
Speaker 1: and didn't want his his his um passer decided like
Speaker 1: two or three days before he didn't want to him
Speaker 1: on the cross It was the video was a million
Speaker 1: dollars and you know, the record company, Donnie Einner and
Speaker 1: those guys was like, when I taking those scenes out,
Speaker 1: that's the reason why we paid the million dollars. And
Speaker 1: you know, but they jump, which I never understood that,
Speaker 1: yes you did, That's like, come on, no, no, no, no.
Speaker 1: The reason why the reason why I'm saying I don't
Speaker 1: understand is because if the video is a million dollars,
Speaker 1: you know, it's not You're the only one that they
Speaker 1: can touch. And not getting real fast forward. Now y'all
Speaker 1: have friends and I must have made a lot of
Speaker 1: money together to you know. No, I think that I
Speaker 1: hope that if we all grow over time. It was
Speaker 1: Believe me, it was embarrassing. It was fucked up. Um.
Speaker 1: The first thing I asked him to do was speak
Speaker 1: to my mom because my mother was very like her
Speaker 1: son's out there in the wild wild west of the
Speaker 1: music business and Chip and that's it was hard for
Speaker 1: like three or four years. But it certainly made me
Speaker 1: know I was not going to be known as the
Speaker 1: guy that I got jumped all got hit in the
Speaker 1: head with a champagne bottle. I can tell you that
Speaker 1: for sure. That's the one thing that kept on thinking, like, oh,
Speaker 1: I'm gonna run so far from this can't define me.
Speaker 1: I remember I used to look at the beginning of
Speaker 1: Google and see how far away it was because I
Speaker 1: was just, oh yeah, because I was just I was
Speaker 1: just gonna do all kinds of crazy ship. Like you
Speaker 1: guys are hearing now, I'm only giving you pieces of it.
Speaker 1: Like there's so much things that I've I've done to
Speaker 1: contribute to hip hop and contribute to culture to moving forward.
Speaker 1: But like I was always saying, funk this ship, it
Speaker 1: ain't gonna be that. It's gonna be all of this
Speaker 1: great work that I've done. And that's so it was.
Speaker 1: It was certainly something to motivate me to do great
Speaker 1: ship because I didn't want to be known as that
Speaker 1: can I actually something speaking no, no no, and the
Speaker 1: like you ever had like a Phillies cheese stick in
Speaker 1: your hand and somebody just slapped that ship on the
Speaker 1: floor because you don't mean going by the time they started,
Speaker 1: you know, I just what do you call it? Okay, okay,
Speaker 1: what do we call New York? I just did that
Speaker 1: to somebody the other day. It was various. First first,
Speaker 1: it's funny as hell. Don't say it still works cruel hands.
Speaker 1: I want to know, uh, with the the the the
Speaker 1: uh this arrival of Nas as a businessman? Yeah, like,
Speaker 1: what are your opinions of he's now becoming like to me,
Speaker 1: the definition of I never knew that lightning could could
Speaker 1: strike four times in a row like his. Well, I
Speaker 1: don't know the team he rolls with now, but every
Speaker 1: month something I have I'm hearing, you know, Nas broker
Speaker 1: as sixty million dollar day here in this pharmaceutical company there,
Speaker 1: Like what are you? What are your opinions on that?
Speaker 1: Are you a couple of things? So Nas and I
Speaker 1: have really really close and I hope that you know,
Speaker 1: only years he's seen me push him um and watch
Speaker 1: my career grow even outside of him. That that was
Speaker 1: part of that port his thoughts. Nas high the manager
Speaker 1: kid Anthony Sleigh, Anthony's UM really smart young guy. Um.
Speaker 1: I work closely with him and but like I have
Speaker 1: nothing to do with Nas doing those deals. I'm just
Speaker 1: saying we're very close as far as uh, what we
Speaker 1: talked about, the relationships that we we we've built, and
Speaker 1: Nas is a great person. Like at the end of
Speaker 1: the day, he really is a great person. He's aid
Speaker 1: he he always means well and he may take his
Speaker 1: time to do what he gotta do. And we all
Speaker 1: have no stories of waiting for ship. Um. But he's
Speaker 1: a great artist with a beautiful soul and great intentions.
Speaker 1: And the fact now that he's using that energy and
Speaker 1: applying it to business in a very bespoke way. He's
Speaker 1: not running around, let's get a deal, Let's get a deal.
Speaker 1: He's not doing that type of ship. He's picking and
Speaker 1: choosing his spots. He put a good team around him
Speaker 1: and it's working a man all right. Before we close, Um,
Speaker 1: I do want to talk about United Masters. United Masters.
Speaker 1: Let's talk about it so well. He explained to our
Speaker 1: our listeners what United Masters is. So how I got
Speaker 1: to the idea was, I'm like, we need to be
Speaker 1: able to build a distribution service for artists so that
Speaker 1: they can not only distribute their music and circumvented record company.
Speaker 1: But if you build a really smart distribution system. Then,
Speaker 1: because music is all digital now, you'd be able to
Speaker 1: find who are the people who are listening to your songs.
Speaker 1: So if you're an artist and like you put your
Speaker 1: music up and it's on Spotify and this that in
Speaker 1: the third you'd like to know who's the person who's
Speaker 1: listening to it the most, so you can target that
Speaker 1: person to sell them tickets because they're because they're a
Speaker 1: fan of you. But like the way these services work,
Speaker 1: there's no algorithm with Spotify or any of those Spotify,
Speaker 1: there's a spot there's an algorithm for that you're distributing.
Speaker 1: The distribution service is the person who feeds the music
Speaker 1: to Pandora, Spotify, right. But if you built a smart aggregator,
Speaker 1: a smart disc that was able to take the feedback
Speaker 1: that came back from those platforms and then turn that
Speaker 1: information into a way that the artists can find their
Speaker 1: own fans, then now the artists are empowered to build
Speaker 1: businesses on their own. So whether you have five million
Speaker 1: fans or one thousand fans, the fact of the matter
Speaker 1: is that you can build a business because you know
Speaker 1: who those people are and you can sell directly to them.
Speaker 1: And that's the record companies never wanted the artists to
Speaker 1: know who their fans were, because if the artists knew
Speaker 1: who their fans were, they wouldn't need a record company.
Speaker 1: So I wanted to build my intention, And what we
Speaker 1: are building with United Masses is a way so that
Speaker 1: artists can get their music and all these streaming services
Speaker 1: and then in turn, not only did they get paid
Speaker 1: and they own their rights, but in the background, we're
Speaker 1: building a data capturing engineering a team uh team of
Speaker 1: engineers that's getting that data and then turning it into
Speaker 1: um CRM systems. And CRM systems is basically customer relationship management,
Speaker 1: but it's it's knowing who the people are that are
Speaker 1: listening or engage with your content the way they use it. Now,
Speaker 1: it's like when you going Amazon and you buy, you go,
Speaker 1: you go, you listen to q tip and it's as
Speaker 1: people who like q tip also like Pharaoh. That's not
Speaker 1: what q tip wants. People q tip wants people like
Speaker 1: q tip also wants to buy tried tickets, also wants
Speaker 1: to buy tried shirts. Here's the one. But they're using
Speaker 1: the data in service. But no one's using the data
Speaker 1: in service of the artist. But and none of the artists,
Speaker 1: managers or anybody has the money or spent the time
Speaker 1: to build an engineer and infrastructure to be able to
Speaker 1: do that on their own. That makes sense. It makes sense.
Speaker 1: So how do you in your opinion, when do you
Speaker 1: think the old system of the labels will be done with? Well,
Speaker 1: I think done with three sixty deals and done with
Speaker 1: I think yeah, I think the labels look for all
Speaker 1: said it to me a while ago, like you gotta
Speaker 1: be rights protectors, not rights holders. So don't sign artists
Speaker 1: and take their rights. You should partner with artists and
Speaker 1: protect their rights. So united masses about rights protection not
Speaker 1: rights holding, and I think artists are now you're seeing
Speaker 1: it every day. The value of a major label is
Speaker 1: diminishing quickly. Um there was a report that came out
Speaker 1: um a time back. Um Um City Bank put out
Speaker 1: this report being basically that twelve are the this forty
Speaker 1: three billion dollars created in music in two thousand and
Speaker 1: seventeen and the artists received twelve. I mean, this is
Speaker 1: this is a problem. So you're you're creating the work
Speaker 1: but not getting paid for it. And all of the
Speaker 1: work that the record companies used to do historically, printed
Speaker 1: ship it set it up and they're how to do
Speaker 1: that no more. But the economics are not shifting back.
Speaker 1: And I thought, that's what that's what technology is supposed
Speaker 1: to do. Redistribute value the value chain to who provides
Speaker 1: the most value and the consumer gets the best price.
Speaker 1: The consumers getting the best price, but the value chain
Speaker 1: is still on the record company side, and that's not
Speaker 1: that's we're solving that. And you're not dangerous for you
Speaker 1: to dangerous like how I mean, you're kind of doing
Speaker 1: the Samson and seeing the pillars and destroying well the building.
Speaker 1: Charlie Chapman, that's where United he did that with United Artists.
Speaker 1: United Artists was yeah, which is excame the idea that
Speaker 1: the movie studios locked all the talent up to seven
Speaker 1: picture deals and you have to go through if you
Speaker 1: assigned the paramount, you did seven movies with paramount and
Speaker 1: your movies only with distributed and paramount theaters. And that
Speaker 1: whole got broken up. But Charlie Chapman was the driver
Speaker 1: of that by creating a studio in which the artists
Speaker 1: made movies that they wanted and they were not beholding
Speaker 1: to these major studios. And the United Masters is basically
Speaker 1: a derivative of that idea, well, those values of like, man,
Speaker 1: you should be independent, you made it, you should own it.
Speaker 1: We should get paid a small fee to be your distributor.
Speaker 1: If you want other services, those are things that we
Speaker 1: can bord and engage on. But like, you don't need
Speaker 1: us to distribute your music, and like the way it
Speaker 1: works today, Instagram is MTV and radio right and Pandora,
Speaker 1: Spotify title those are the record stores, right, Okay, Like
Speaker 1: that's where the commerce takes place. And Instagram is the
Speaker 1: way radio discovery and MTV that's where that takes place.
Speaker 1: You don't need a record company for those two things.
Speaker 1: But if there's a distribution service in the middle, that's
Speaker 1: really smart, that's intelligent. That's gonna give you not just data.
Speaker 1: People throw that word around all the time, data data.
Speaker 1: So they give you a fucking dashboard that says fifty hey,
Speaker 1: chriest hey goes a big idea. Your fans are in Philadelphia?
Speaker 1: Who fucking cares? I see? I want to know who
Speaker 1: are the people that are listening to my album, my
Speaker 1: songs the most, because those are the people that are
Speaker 1: super fans of me, and I can then if I
Speaker 1: can find them I can actually do business and conduct
Speaker 1: business with them, because what Instagram and all that stuff
Speaker 1: does just like it's even long with it, like saying
Speaker 1: like it's not that doesn't mean you're a fan like
Speaker 1: Nicki Minaj is ninety million people following him. That is
Speaker 1: has nothing to do with how many people are gonna buy,
Speaker 1: keep pushing back, pushing back. So the nine I'm not
Speaker 1: talking about that. Who's figuring it out is the video
Speaker 1: game business. You play video games, ain't know exactly who
Speaker 1: you are, and you know what they're doing. They up
Speaker 1: sell you right there, the virtual jacket, the virtual this,
Speaker 1: and he's getting the game. Ain't even he still I
Speaker 1: think he's still playing like the demo of the game.
Speaker 1: But it's all the game, end game. But in the
Speaker 1: in game purchases are bespoke to your son, not not
Speaker 1: in game. Certain in game purchases are based off his
Speaker 1: plane behavior. It'd be like in the middle of it'd
Speaker 1: be like in the middle of um big pimping. If
Speaker 1: the song plays and right before the hook comes, it
Speaker 1: stops and goes, Yo, I'm gonna be touring in your
Speaker 1: city sometime soon. You want to buy a ticket right now?
Speaker 1: And then like yes, or no big pimping. They don't.
Speaker 1: You can't do that in music, but they do that
Speaker 1: in video games. They get you right at the hot state,
Speaker 1: and they upsell you in music. If Kanye West knows
Speaker 1: who listened, If if you listen specifically steve to father
Speaker 1: stretch of my hands seventy times, that's a great que
Speaker 1: But yeah, right, he could then sell you the easiest
Speaker 1: directly because he knows how highly engaged you are, and
Speaker 1: him as an artist at least you're whether or not
Speaker 1: you want to buy the easies or not. He's not
Speaker 1: fishing in the right water. But the way it is
Speaker 1: right now, it's random as fun. Guys don't know where
Speaker 1: the tour. They're waiting for a promoter to call, they
Speaker 1: don't know who their fans are. They're running around looking
Speaker 1: for him. Like. That's not the way the business should be.
Speaker 1: That's supposed to be the pros of digital. You make
Speaker 1: less moneyparent but there's but there's much more efficiency in
Speaker 1: your marketing. That's why that's what Amazon does. They know
Speaker 1: you're gonna buy Tide soon as you get on the ship.
Speaker 1: There's tide there. You're an artist, you put out a record,
Speaker 1: you put out music, you're supposed to know who the
Speaker 1: people are you're making the music for. You can't. And
Speaker 1: you say know the people so united matches you say
Speaker 1: know the people, I mean you know them first and
Speaker 1: last name or you just know yeah, because because yeah,
Speaker 1: I'm like, I'm thinking of data like that sounds kind
Speaker 1: of scary. How does how how personally are you? Well?
Speaker 1: How much of the person do you know? I mean
Speaker 1: it's as personal as you can get without violating the law. Yeah,
Speaker 1: I mean yeah, personal enough to know this is the
Speaker 1: device that's been streaming it. Okay, okay, got you, Okay, Okay,
Speaker 1: well now we know we gotta wrap up the show.
Speaker 1: I had a good time with you guys. Look, I'm
Speaker 1: super sorry you're cut off. That's like slapping from earlier.
Speaker 1: I remember when we was outside we didn't finish with
Speaker 1: Me and Steve were having a little brother conversation and
Speaker 1: he was like, yo, man's mad. Niggas jacked your ship
Speaker 1: And I was like, yeah, like, well listen, we all know, Drake,
Speaker 1: I mean, and this is you know that. Yeah, all
Speaker 1: these guys. That's why for me is never know because
Speaker 1: all these dudes told me so Drake, uh cold. I
Speaker 1: mean when I say told me they were like, like, yo,
Speaker 1: we came up knowledgement. He opened for us like like
Speaker 1: ten like him, j Rock and all of them, Like
Speaker 1: I mean this is he was, you know, just coming up.
Speaker 1: But yeah, yeah, all those dudes man, all them cats,
Speaker 1: like I got love all of them. It ain't the
Speaker 1: production the album's tight. I was always like a New
Speaker 1: York hardcore hip hop fan, A right, this stuff I
Speaker 1: listened to and then I was never a big Day
Speaker 1: Last Soul fan for instance, Like I just didn't I
Speaker 1: respected what they were doing. I just wasn't a fan
Speaker 1: of it. I wouldn't listen to it a fan low
Speaker 1: end theory that was it. I wasn't a fan, like
Speaker 1: I wasn't like every trying to try bobbum came out.
Speaker 1: I was on it like that. But like jay z Nas,
Speaker 1: it was so funny now that you're saying this, it's
Speaker 1: so funny that you say you want the Daylas sold fan,
Speaker 1: because me and my homies always we specifically mark the
Speaker 1: day that it was written and Steaks Is High dropped
Speaker 1: on the same day that literally that was the Beatles. Beatles, Yeah,
Speaker 1: that was straight like hip hop on apartheid. That was
Speaker 1: when I mean, it was like that was the start
Speaker 1: of it, like because it was written. And I agree
Speaker 1: with you. I personally didn't like the record when it dropped,
Speaker 1: but two things, it grew on me and too, I
Speaker 1: understand that Nas would not be where he is now
Speaker 1: if not for that record. He if he would have
Speaker 1: there's no way he could have out undergrounded illmatic. So
Speaker 1: him trying to do that record again, I mean, he
Speaker 1: could just would have been it would have been over.
Speaker 1: I didn't I didn't even realize how big the art
Speaker 1: talking about how big the art form was, that there
Speaker 1: was all these different artists that had different experiences, so
Speaker 1: their opinions and the way they made music was different.
Speaker 1: I just thought they couldn't make what rock him like?
Speaker 1: You can't wrap like rock him? So you did that,
Speaker 1: you can't wrap like so you And then I realized
Speaker 1: that's just another way of expressing your urban your you know,
Speaker 1: the urban, the the urban experience as told through New Orleans. Yeah.
Speaker 1: I didn't even I wasn't thinking about it like that
Speaker 1: at the time. Yeah. So it's funny you said, because
Speaker 1: for me, both those records dropping the same day, and
Speaker 1: I remember listening to Eyes and I was like I liked,
Speaker 1: I like the message, I like shootouts, like I like
Speaker 1: the I like like the street ship. But Steakes is
Speaker 1: how it was the one where I was like, Okay,
Speaker 1: this is where I want to be and that just
Speaker 1: kind of that led me into Dealer and all that ship.
Speaker 1: So it's odd that you said you weren't a fan
Speaker 1: because that was that dropped the same day and did
Speaker 1: not know that. Yeah you mean, but yeah, I want
Speaker 1: to ask you, man, yo about the stash. Was trying
Speaker 1: to go, man, we about stashed real quick. What's going on?
Speaker 1: My buddy Kausim. He was over there for a while
Speaker 1: and he yeah, it's his um it was his company.
Speaker 1: We did an interview me, Primo and Royce. We did
Speaker 1: an interview over there for the mag and UM and
Speaker 1: and because he orchestrated it and we were sitting there
Speaker 1: and he was this was before or you know, this
Speaker 1: is like a couple of years ago. And I said, man,
Speaker 1: so Steve, I said, I've never had a lot of
Speaker 1: dealings with him. I said, but he just lets you
Speaker 1: just do this. He was like, yo, man that he
Speaker 1: came to me and was like, yo, if I'll give
Speaker 1: the interviews twenty minutes, if this ship is dope, We'll
Speaker 1: throw it up. I was like, word and so, so
Speaker 1: what happened? But thank you? I wanted because he because
Speaker 1: he had the idea. He had a small team, We're
Speaker 1: gonna build some a magazine, a website, you know, uh,
Speaker 1: and just tell great stories. And after some time he
Speaker 1: left to go take a job at like someplace Bleacher
Speaker 1: Report or whatever. And I think the team got kind
Speaker 1: of mismanaged and he left or whatever. Um. I always
Speaker 1: like the name, and I'm like, if I was if
Speaker 1: the if the content thing was to keep going, what
Speaker 1: would I do as an extension of it. I'm like, man,
Speaker 1: you could build a great retail store. And so I
Speaker 1: just felt like, Uh, my entire company, with translation and
Speaker 1: United Masses is the convergence of technology, culture, and storytelling.
Speaker 1: And I believe that those three things coming together is
Speaker 1: what's gonna disrupt the incumbents, all the companies that are
Speaker 1: sitting there out at a slow that if you can
Speaker 1: build nimble companies that um have those three elements baked
Speaker 1: inside of each person, you have to have two or
Speaker 1: three of those things inside of you. You have to
Speaker 1: be a storyteller and a person in culture. You have
Speaker 1: to be a technologist that understands culture, a story like
Speaker 1: you need two or three of those things to work
Speaker 1: at my company. And so in San Francisco where we
Speaker 1: where all the engineers are who are doing all the
Speaker 1: data ship for United Masters, I put it was an
Speaker 1: art gallery in the space, as I'm gonna put the
Speaker 1: sneak is still a stash right there. So while the
Speaker 1: engineers are coding, is a line of two kids trying
Speaker 1: to buy easies. So like that, I stand outside the
Speaker 1: place and I look at it, and there's guys up
Speaker 1: there headphones on, building some dope ship, love culture, and
Speaker 1: they are engineers, some of the best engineers in technology.
Speaker 1: Got some Dropbox, Facebook, um uh Pandora, like great talented engineers.
Speaker 1: And there's these two kids down there lined up to
Speaker 1: buy off white human made yeasies, Nikes, whatever. And to me,
Speaker 1: that's where the industry is going. When you can put
Speaker 1: culture in technology together in the same proximity. Um, so
Speaker 1: I thought that name Stash was working. Put that together,
Speaker 1: Sonny out that's where it is. Thank you so much
Speaker 1: for having me, sir, Thanks for saving me on. We
Speaker 1: don't need to talk about the tannent of America. We
Speaker 1: don't even get into the book. We got a lots
Speaker 1: we just leaving earth. We can do another. We gotta
Speaker 1: make we gotta make that yes his this the style.
Speaker 1: Yes has to be a a like now as to
Speaker 1: be a bit. This gotta be a sound bite. Will
Speaker 1: take it. Yes like it's just the look of disgust
Speaker 1: when niggas asked you about you. Yes, I did. Yes,
Speaker 1: that's just funny. Thank you man a team supreme. Uh,
Speaker 1: this is of course love. Thank you Steve Stout once again,
Speaker 1: and we will see you in the next round. Of course,
Speaker 1: love supreme, course, love Supreme. This is a production on
Speaker 1: my Heart Radio. This classic episode was produced by the
Speaker 1: team at Pandora. For more podcasts from my Heart Radio,
Speaker 1: visit the I Heart Radio app, Apple podcast, or wherever
Speaker 1: you listen to your favorite shows.