Original upload date: June 11th, 2021 (automatically grabbed from title)
[0:00 - 0:35] [ Pause ]
[0:35 - 0:36] What up, y'all?
[0:36 - 0:37] [ Pause ]
[0:37 - 0:38] Now...
[0:38 - 0:41] [ Pause ]
[0:41 - 0:44] What you don't seem to realize,
[0:44 - 0:46] Schmekl
[0:46 - 0:48] and Skullbitch,
[0:48 - 0:52] is, yeah, you may have connections to Shaggy Tudo,
[0:52 - 0:55] but because I have connections to Matt,
[0:55 - 0:57] I have connections to Dax,
[0:57 - 1:00] which ultimately means I have connections
[1:00 - 1:03] to the fucking goat himself.
[1:03 - 1:07] And trust me, you don't want that heat.
[1:07 - 1:09] And you don't know who the fucking...
[1:09 - 2:17] [ R&B music ]
[2:17 - 2:20] I don't be hearing a fuck of me so fast.
[2:20 - 2:22] I got you beat, bro.
[2:22 - 4:14] [ R&B music ]
[4:14 - 4:16] Fuck you now, Skullbitch.
[4:16 - 4:18] Come on, dawg. What you got?
[4:18 - 4:29] [ R&B music ]
[4:29 - 4:34] You got shit, kid. You ain't got a goddamn thing going for you, dawg.
[4:34 - 4:38] [ R&B music ]
[4:38 - 4:40] Like I said, bro, through my format,
[4:40 - 4:43] I got connections to high-end motherfuckers.
[4:43 - 4:48] What do you got? Shaggy Tudo? So fucking what, dawg?
[4:48 - 4:52] So fucking what? Big fucking whoop.
[4:52 - 4:55] You got connections to Shaggy Tudo,
[4:55 - 4:59] who happens to be a fucking sellout.
[4:59 - 5:05] No offense to Shaggy. No offense.
[5:05 - 5:11] But, bro, do you really want to fuck with somebody who's above you,
[5:11 - 5:19] who actually knows motherfuckers?
[5:19 - 5:24] Hell, I got connections to the motherfucking homie, Hobson, dawg.
[5:24 - 5:27] Shaggy.
[5:27 - 5:29] The motherfucking big dawg himself.
[5:29 - 5:33] Motherfucking Hobson up in that shit, boy.
[5:33 - 8:05] [ R&B music ]
[8:05 - 8:11] Now, do I also need to bring up the fact that I actually know the dude that actually owns
[8:11 - 8:18] Tom's old label? Do I really need to bring that up?
[8:18 - 8:28] Now, if you don't believe me, I'll show you the interview with the man.
[8:28 - 8:46] Look the man up. Look who came on, where my fucking friends was, bro.
[8:46 - 8:52] This is a live TV interview. That's just about the live channel.
[8:52 - 8:58] I'm pretty good at J.I.U. I'm pretty good at yourself. Man, I'm amazing at that, man.
[8:58 - 9:01] That's always good, bro. That's always good to be like that, my brother.
[9:01 - 9:03] That's a whole fact.
[9:03 - 9:10] Hi, brother. My name is Danny from Wired Up TV. This is my boy. I think he's still on your win hour talk.
[9:10 - 9:15] Yeah, once I came up. I'm good, bro.
[9:15 - 9:19] That's good, man. That's good.
[9:19 - 9:22] I want y'all to kick back and watch his interview.
[9:22 - 9:31] Everything's been good, bro. I didn't work today, but I try to do a little thing here and there sometimes when I'm not working.
[9:31 - 9:36] So I just need to do that. I'm just going to shoot it real quick and I'm ready to do the interview, bro.
[9:36 - 9:39] Come on, man. Let's get to it.
[9:39 - 9:42] Okay. Tom, do you want to get started, my brother?
[9:42 - 9:53] Yeah, so I guess my first question is, on YouTube, you're under the real Machiavelli records that's underneath the theme.
[9:53 - 9:56] So can you tell us a little bit about that?
[9:56 - 9:59] Okay, do you want to go back to the interview?
[9:59 - 10:05] Yeah, tell us a little bit about that. How'd you get involved with that?
[10:05 - 10:12] All right, so how I started was, I can give you the long answer, the short answer.
[10:12 - 10:22] I figured I'd tell you the journey. It's always been a seed of Machiavelli, a seed of Tupac.
[10:22 - 10:26] You know what I'm saying? I studied this blueprint growing up, you know what I'm saying?
[10:26 - 10:30] I'm from Rochester, New York, you know what I mean?
[10:30 - 10:35] I looked up to him as a father figure, you know, I said like, "You ought to have a dad."
[10:35 - 10:40] My mom was a single mother. She's a singer. She basically got me into the music business.
[10:40 - 10:46] And I experienced my mom getting beat by a man that wanted to have sex with her in the music business.
[10:46 - 10:52] And shit kind of like turned me off. So I started my own company, Black Soul Records,
[10:52 - 10:55] which is a company that I initially created for my mom.
[10:55 - 11:01] You know, and I wrote this like 16 years ago when I got started, you know, forming this company for my mom.
[11:01 - 11:05] You know, I didn't really know what I was doing, what direction to take, you know what I'm saying?
[11:05 - 11:08] But, you know, it's always been a seed of Machiavelli.
[11:08 - 11:13] I know, you know, kind of wanted to form Machiavelli Records before you got killed, you know what I'm saying?
[11:13 - 11:17] So, you know, I'm like, well, you know, I'm still trying to be like, "Pop, let me just learn from,"
[11:17 - 11:21] you know, where he left off at, which is starting my own record company.
[11:21 - 11:24] And that's what I did, but I didn't want to call it Machiavelli Records, you know what I'm saying?
[11:24 - 11:29] You know what I'm saying? Because, you know, I was part of that, you know, to stay true to myself, you know what I'm saying?
[11:29 - 11:38] So, but the long, make this long story short, I was basically releasing a tribute album for 2005, called "7."
[11:38 - 11:43] This is last year, and so we fast-forwarded to 2018.
[11:43 - 11:48] I got this tribute album that I wanted to put out, but I didn't want to point it out without the family's blessing, you know?
[11:48 - 11:51] So first, I reached out to Napoleon, you know what I'm saying?
[11:51 - 11:56] And Napoleon had basically told me, you know, to seek out Kenya, you know what I'm saying?
[11:56 - 11:59] You know what I'm saying? Because, you know, Napoleon, you know, really, you know what I'm saying?
[11:59 - 12:03] He don't really rap no more. He got in a business like that, yes, because he's a Muslim.
[12:03 - 12:07] So, you know, he basically said, "Seek out Kenya, you know what I'm saying?"
[12:07 - 12:15] That's I'm his first cousin, and he's basically carrying on, you know, the Machiavelli label, you know?
[12:15 - 12:19] And it became more like a family, a family company now, you know?
[12:19 - 12:25] So, you know, I've always been a person that, you know, I never wanted to, you know, seek recognition for things.
[12:25 - 12:28] So, you know, I just really wanted to do this tribute album from my heart.
[12:28 - 12:33] I called it "7" and "7" tracks on there, and I just wanted to remind, you know, the universe,
[12:33 - 12:37] remind the world that, you know, Tupac or Machiavelli's spirit isn't dead, you know?
[12:37 - 12:40] And that's basically what the tribute album was about.
[12:40 - 12:45] And I reached out to Kenny, and I said, "Listen." Yes, and I got my own company.
[12:45 - 12:49] I was sweeping in the hotel, me and my family, you know what I'm saying?
[12:49 - 12:52] We were traveling all over the United States, you know what I'm saying?
[12:52 - 12:55] So, we're in a hotel. I call out Kenny on Instagram.
[12:55 - 12:58] I am on Instagram, and I'm like, "Yo, this is not my tribute album."
[12:58 - 13:01] And, you know, you're listening to me at the mall, so we got at the mall.
[13:01 - 13:06] And I basically told him, you know, everything that I knew about Tupac was a blueprint.
[13:06 - 13:10] This guy was sitting there looking at me smiling, and I'm like, "Yo, why is this, you know what I mean?
[13:10 - 13:13] Why does this whole thing just get me smiling at me?" You know what I'm saying?
[13:13 - 13:18] Like, you know, so he told me, he said, "Listen, when you go back to the hotel, I want you to watch this interview."
[13:18 - 13:26] So, you know, he wants to interview, and he said, basically, you know, I did this interview, like, seven years ago.
[13:26 - 13:29] So, in the interview, you guys pick it up. I mean, look it up.
[13:29 - 13:33] It's all YouTube type, and Kenny was saying, and Kenny was saying, you know,
[13:33 - 13:36] "I don't know what to do with the Maccadilly grant." And he said, you know,
[13:36 - 13:37] because we didn't know it was on tour, he said, you know,
[13:37 - 13:41] "Our lot is going to save me somebody that knew exactly what Tupac wanted to do
[13:41 - 13:44] on Maccadilly is going to be his." So, the niggas are all dirty.
[13:44 - 13:47] Niggas are all dirty, a little bit shorter. You know what I'm saying?
[13:47 - 13:51] Not only am I going to give you the blessing, you know, to put out your nixtape or your tribute album,
[13:51 - 13:56] but if you want a full business proposal, Maccadilly is yours. You know what I'm saying?
[13:56 - 13:59] So, I wrote up the bill, and suppose I went to school for business administration,
[13:59 - 14:03] so I know business. I know the music business from my mom.
[14:03 - 14:06] I got a lot of times in the music business, you know what I'm saying,
[14:06 - 14:09] that, you know, we can possibly talk about, you know what I'm saying?
[14:09 - 14:13] It's another question, you know, presents that, but I definitely want to keep, you know,
[14:13 - 14:16] the interview focused. But to answer your question, you know,
[14:16 - 14:19] that's how Maccadilly records came to be, and I told the author,
[14:19 - 14:22] "The grand Maccadilly basically gave you a full control of everything,
[14:22 - 14:25] the creativity of it." You know, and I ordered the grand Maccadilly records,
[14:25 - 14:28] because there's a lot of people out here claiming Maccadilly,
[14:28 - 14:31] but we're not connected with the same. You know what I'm saying?
[14:31 - 14:33] So, you know, I just wanted to be, you know,
[14:33 - 14:37] a lot of the rhythm basically signifies the bloodline, you know what I'm saying,
[14:37 - 14:40] that this company is laying, and it's orchestrated, you know,
[14:40 - 14:44] and this decision is made out from the blood, you know what I'm saying,
[14:44 - 14:50] of the two blocks to the core of the legend, AKA Maccadilly the dong.
[14:50 - 14:53] For sure, no.
[14:53 - 14:56] So, you mentioned that your mom's in the music business,
[14:56 - 14:58] but you don't want me to ask you who is your mom?
[14:58 - 15:02] Yeah, my mom's name is Rowlett. That's her name is Rowlett Macfadon.
[15:02 - 15:07] She was a model, a singer. She was on Anita Baker's first album.
[15:07 - 15:13] They used my mom's voice for synthesizers on Anita Baker's first album,
[15:13 - 15:17] but their brother ate on the project and wanted to have sex with,
[15:17 - 15:22] and she declined. She's 18 years old, and basically gave her like $200
[15:22 - 15:25] and sent her back, you know, to New York, just a little.
[15:25 - 15:30] And she had, basically, you know, she did that for them,
[15:30 - 15:33] and they took her name off of the project, you know what I'm saying,
[15:33 - 15:43] but my mom, she didn't. And it's still been a little deep on my real world.
[15:43 - 15:47] Now, do I need to make my point any more clear, bro?
[15:47 - 15:51] Do I really need to make my point any more motherfucking clear to you guys, man?
[15:51 - 15:55] I have connections to fucking legends, bro.
[15:55 - 15:58] Legitimate fucking legends.
[15:58 - 16:02] And you want to put a diss track out on me, bro?
[16:02 - 16:05] Dude, turn the fuck on.
[16:05 - 16:09] I have legit connections to fucking legends.
[16:09 - 16:12] Matter of fact, you can look out K-line on my fucking friends list.
[16:12 - 16:17] Look out P.F.V., Matt Ginsbury on my friends list.
[16:17 - 16:20] Look those two motherfuckers up.
[16:20 - 16:23] Look them up on my Facebook, dude.
[16:23 - 16:26] I have connections to fucking legends, skull fag.
[16:26 - 16:28] What do you got?
[16:28 - 16:30] Connections that shag you too, though?
[16:30 - 16:37] Who you probably fucking lied to to get a paid fucking verse?
[16:37 - 16:40] Like, bro, come the fuck on.
[16:40 - 16:44] You're fucking with a goddamn legend in the making, dog.
[16:44 - 16:48] A fucking legend in the making.
[16:48 - 16:50] What are you doing?
[16:50 - 16:55] Running your mouth like a bitch, thinking that you're hot shit.
[16:55 - 17:03] Bro, you ain't even worth the goddamn dirt on the bottom of my motherfucking boat, boy.
[17:03 - 17:08] So, skull fag, if I were you, I'd shut the fuck up.
[17:08 - 17:11] You ain't got the connections that I got, homie.
[17:11 - 17:15] I have connections to talks, real fucking label.
[17:15 - 17:22] I have connections to King on the Arts, a man that runs the legendary Machiavelli Records.
[17:22 - 17:26] The number one label in the fucking world, bro.
[17:26 - 17:31] The top label from the legend himself, bro.
[17:31 - 17:34] The legendary Tupac himself.
[17:34 - 17:36] Meanwhile, what are you doing?
[17:36 - 17:39] Running around looking like a bitch?
[17:39 - 17:43] Talking all this mad shit like you know something?
[17:43 - 17:45] Nigga, you don't know shit.
[17:45 - 17:49] You've only been in the music business for like, what, five minutes?
[17:49 - 17:55] I've been in this shit since I was fucking 13, bro.
[17:55 - 17:57] Meanwhile, what do you got?
[17:57 - 17:59] Not a damn thing.
[17:59 - 18:01] And I know what a lot of y'all motherfuckers are thinking.
[18:01 - 18:05] Well, why don't you reach out to these guys and get a record deal?
[18:05 - 18:07] Because I don't believe in handouts.
[18:07 - 18:12] I believe in busting your fucking ass to get to where you want.
[18:12 - 18:15] If you want to get somewhere, you've got to work for it.
[18:15 - 18:21] If you want to do something with your life, you've got to be willing to bust your ass for it and work hard at it.
[18:21 - 18:24] That's why I don't reach out to these motherfuckers.
[18:24 - 18:28] That's why I stay independent because I like the hard work.
[18:28 - 18:30] I enjoy being in the trenches.
[18:30 - 18:33] I enjoy busting my ass.
[18:33 - 18:37] I enjoy the hard work of creating something.
[18:37 - 18:45] I don't fucking take the fucking cheating route like have y'all motherfucking want to be rappers do, man.
[18:45 - 18:49] I don't do that shit.
[18:49 - 18:51] I believe in hard work.
[18:51 - 18:53] I believe in busting my ass.
[18:53 - 18:57] I believe in if you're going to do something, do it by yourself.
[18:57 - 18:59] Don't take the fucking easy route.
[18:59 - 19:01] Don't take no handouts.
[19:01 - 19:05] You bust your ass for that shit and you fucking work at it.
[19:06 - 19:12] That's why I don't fucking take these mainstream deals because I like the hard work.
[19:12 - 19:14] I like busting my ass.
[19:14 - 19:17] I like doing shit that I got to fucking do.
[19:17 - 19:19] I enjoy the hard work.
[19:19 - 19:23] I enjoy getting dirty and grimy and doing what I got to do.
[19:23 - 19:28] I enjoy fucking up on a track and rebuilding it from the ground up.
[19:28 - 19:30] I enjoy the fuck out of that shit.
[19:30 - 19:32] You want to know why?
[19:32 - 19:36] That shows hard work, motherfuckers. That shows hard work.
[19:36 - 19:42] That shows that I got the guts to fucking help myself.
[19:42 - 19:48] That shows that I got the goddamn balls to dig into the goddamn trenches, unlike you, skull-bag.
[19:48 - 19:50] You ain't got shit, bro.
[19:50 - 19:52] You ain't got goddamn shit.
[19:52 - 19:58] I have two major connections to major fucking artists.
[19:59 - 20:05] I got two connections that give me access to pretty much any artist that I fucking want.
[20:05 - 20:09] What do you got?
[20:09 - 20:11] One guy.
[20:11 - 20:12] Shaggy Tudo.
[20:12 - 20:14] Big fucking whoop.
[20:14 - 20:18] Eminem would fucking shit on that dude for breakfast, bro.
[20:18 - 20:28] Em, Dax, those motherfuckers would fucking eat Shaggy for fucking breakfast and spit him out for lunch, bro.
[20:29 - 20:35] So, skull-bitch, if I were you, I'd shut the fuck up.
[20:35 - 20:48] Now, it is true I have been on a track with Sean Snags.
[20:48 - 20:52] By the way, shout out to Sean, man. What's good, bro? I see you, dawg.
[20:53 - 21:00] So, dude, don't sit there and act like you know something, bro.
[21:00 - 21:05] Don't act like you sit there and know something, skull-bag, because you don't know shit, bro.
[21:05 - 21:09] You've been in the music industry for, like, what? Five minutes?
[21:09 - 21:11] You think you're Billy Badass?
[21:11 - 21:13] Dawg, you ain't shit.
[21:13 - 21:20] Oh, yeah, yo, I forgot you are shit.
[21:20 - 21:22] You're dog shit, dude.
[21:22 - 21:25] That's all you are. You're motherfucking dog shit.
[21:25 - 21:29] That's all the fuck you are, man.
[21:29 - 21:44] Matter of fact, I was gonna keep this a fucking secret, but your boy is coming back with some brand new music,
[21:44 - 21:48] but it's gonna be under a brand new motherfucking name, dog.
[21:48 - 21:55] Your boy is coming back with some dope-ass, EDM, Daft Punk style music, man.
[21:55 - 21:57] That's right, you heard it.
[21:57 - 22:03] Your boy is coming back with some dope-ass, Daft Punk meets Skrillex type shit.
[22:03 - 22:09] Your boy is coming back, and guess what? I am going for a fucking record deal.
[22:09 - 22:16] Matter of fact, I may just hit up Kaylon tomorrow, hit him up and talk to him and see what I can do,
[22:16 - 22:18] see if I can work out a record deal.
[22:18 - 22:26] All you gotta do is hit Kaylon up and be like, yo, I'm down, I got some new shit I want you to check out.
[22:26 - 22:34] Like, here's a brand new sound that nobody's got that's out there that I know I can do very proficiently.
[22:34 - 22:39] So, matter of fact, you know what? I may just do that. Fuck it.
[22:39 - 22:42] Why the fuck not?
[22:43 - 22:47] Since y'all want to sit there and run your mouth and say that I ain't gonna get nowhere,
[22:47 - 22:51] let me prove y'all motherfucking is wrong. Let me do that shit. Let me prove y'all wrong.
[22:51 - 23:06] And as a matter of fact, now that I think about it, and I just realize this,
[23:06 - 23:28] I also have connections to these guys now, and I didn't think about this until just recently.
[23:28 - 23:43] I didn't think about this until just now. I just fucking realized this shit.
[23:43 - 23:50] Now because my boy Matt has all these connections, I now have connections to these guys.
[23:55 - 23:58] And I know y'all motherfuckers know these guys.
[24:18 - 24:29] Now, now, I'm gonna cut the line off for one little track here.
[24:29 - 25:15] [music]
[25:15 - 25:22] How many of y'all recognize that voice, man? How many of y'all recognize that voice?
[25:22 - 25:38] [music]
[25:38 - 25:49] Now, if you don't recognize the voice, let me give you a better idea as to who that was.
[25:49 - 25:56] How shall I do this?
[25:56 - 26:39] [music]
[26:39 - 26:44] Hello, you motherfuckers.
[26:44 - 26:51] [music]
[26:51 - 26:53] You just won't last.
[26:53 - 28:54] [music]
[28:54 - 29:10] Now, having access to them through my boy Matt and all these other artists, who he has connections to, also gives me access to these crazy motherfuckers right here.
[29:10 - 32:50] [music]
[32:50 - 33:16] Now, not only does that grant me access to them, but it grants me access to this badass motherfucker right here, who has worked with people just like these guys.
[33:16 - 33:34] You might recognize them, you might recognize this guy because he has been featured on songs with legendary bands like Korn, The Doors, Used, Muse, just to name a few.
[33:34 - 34:12] [music]
[34:12 - 34:18] I don't know him, but I got access to them, man.
[34:18 - 34:30] So Sculfag, what are you going to do now, bro?
[34:30 - 34:39] What do you got, man? You ain't got shit, Sculfag. You ain't got shit, bro.
[34:39 - 34:47] You ain't got shit, man. You ain't got shit, man.
[34:47 - 35:12] [music]
[35:12 - 35:24] So Sculbitch, I'm not the one to fuck with, bro. I have way, way fucking more connections than you could ever hope to have, kid.
[35:24 - 35:36] Every one of these artists you just heard, guess what? I got them in my back pocket at a most noticed thanks to my boy, Matt, and my boy, Kalon the Artist.
[35:36 - 35:47] So if I were you, I'd shut the fuck up and back down. You don't believe me? Do your fucking research, kid. Do your motherfucking research.
[35:47 - 36:00] Through these two people, I have access to basically any artist that I fucking want. Any artist that I fucking want, I have fucking access to through these two motherfuckers.
[36:00 - 36:10] So if I were you, Sculfag, I'd shut the fuck up, because you ain't been in the music business club for two fucking minutes.
[36:10 - 36:19] And like I said, the only reason why I don't reach out to these guys to get a quick record deal like that is because I enjoy working hard.
[36:19 - 36:27] I enjoy developing my sound and getting it to where I want to be before I take a fucking record deal.
[36:27 - 36:41] I would rather take my sound and get it to where I want it to be to where it sounds perfect and good to me before I go reaching out to a record label and go, "Yo, I got a dope new sound. Check this the fuck out."
[36:41 - 36:53] I want my shit to be clean and crisp and nice and neat before I ever go reaching out to a label, because I don't want to give them some half-ass fucking bullshit, bro.
[36:53 - 36:57] I don't want to fucking half-ass my shit like you do.
[36:57 - 37:11] So believe what I say here in a few days, once my new sound is complete that I am currently working on, guess what? I will be reaching out to Kaylon to work on Machiavelli records.
[37:11 - 37:20] I will be reaching out to him for a record deal. I will be going through my boy Matt and hitting up different people to get a record deal and send my shit to.
[37:20 - 37:32] So Sculfag, you may as well just give up. You may as well give the fuck up, dude. You don't know who you're fucking with.
[37:32 - 37:45] When I told you I'd run this fucking music scene, like I said, Sculfag, if I were you, I'd shut the fuck up, because you ain't got shit.
[37:45 - 37:49] You got one person that Eminem can't even fucking stand.
[37:49 - 37:59] I mean, how many of y'all remember, how many of you guys remember back in the day when ICP wanted Eminem to sign with him and he made him look dumb as fuck?
[37:59 - 38:05] How many of y'all remember that shit? Because I do, I remember that shit playing this fucking day, bro.
[38:05 - 38:25] Like I said, Sculfag, you ain't got jack shit going for you. I do. Whether it be my fucking artwork or my fucking music, I have a lot more going for me than you do.
[38:25 - 38:39] It just so happens that I took a little bit longer to develop my sound and my style and find my sound and style, which is more of an EDM, Daft Punk kind of sound.
[38:39 - 38:52] So dude, I'm doing what's right for me. I don't know what the fuck kind of drugs you've been fucking on, dude. But bro, you need to get the fuck off that shit.
[38:52 - 39:02] Like I said, bro, you can, as a matter of fact, Violet can even tell you Violet has seen my fucking friends list.
[39:02 - 39:15] Violet has seen my fucking friends list. I have my boy Matt on there. She's seen the guy. He's on my friends list on Facebook, bro.
[39:15 - 39:26] So all you gotta do is get ahold of him or go through him and go through his friends list and start reaching out to motherfuckers.
[39:26 - 39:44] So Skullbitch, you ain't got jack shit at home, boy. Get the fuck out. This music scene ain't for you, dawg. This music scene ain't your scene. This is my scene.
[39:44 - 40:00] Matter of fact, let me give y'all a little taste of a little something I've been working on here. Let me give y'all a little taste of something I've been doing here.
[40:00 - 40:07] Let's see, where's it at?
[40:07 - 40:15] Risen files.
[40:15 - 40:19] Where is the PZ?
[40:19 - 40:44] Let's see.
[40:44 - 41:25] Okay.
[41:25 - 41:35] That's wrong. I ain't doing it. Where's it at?
[41:35 - 41:40] Oh, wait. Here we go right here.
[41:40 - 41:56] There we go. This is the one I was looking for.
[41:56 - 42:25] Let me go in here and do my music.
[42:25 - 42:54] There we go right here. Here's one I know y'all will fuck with.
[42:54 - 43:23] Let's see, y'all motherfuckers do something like that, bro.
[43:23 - 43:32] Yo, Quinn, what up, dawg?
[43:32 - 43:45] Bro, it's fucking music, dawg.
[43:45 - 43:58] Matter of fact, I'll do y'all one even better.
[43:58 - 44:07] I'll do y'all one even better, man. Hold up.
[44:07 - 44:16] I'll do y'all one even better. Hold up.
[44:16 - 44:26] Watch how quickly I can make that dope ass trap.
[44:26 - 44:45] Switch over here.
[44:45 - 45:10] As you see right there.
[45:10 - 45:30] Now matter of fact, let's go right here to Club Basic.
[45:30 - 45:59] Move this out of the way. Let's go here. Piano roll that shape.
[45:59 - 46:10] Let's see.
[46:10 - 46:18] Let's see. Let's see what Groove has to offer.
[46:18 - 46:47] Oh, there we go, I like that.
[46:47 - 47:16] Let's see what he has to offer.
[47:16 - 47:34] Now let's go in here to view, plug and picker.
[47:34 - 47:36] Let's see what dope ass plug and picker we can grab.
[47:36 - 47:40] I want to use something that I have not used yet.
[47:40 - 47:48] I'm going to use those.
[47:48 - 47:54] Where is Wasp?
[47:54 - 48:05] Citrus.
[48:05 - 48:17] You know how it's going for morphine.
[48:17 - 48:25] Let's hybridize it so it sounds good.
[48:25 - 48:47] Let's piano roll that shit.
[48:47 - 49:15] Let's see what he has to offer.
[49:15 - 49:44] Oh, there we go.
[49:44 - 50:40] Let's see what he has to offer.
[50:40 - 50:52] Now that we have that, let's check this.
[50:52 - 51:05] Let's go here.
[51:05 - 51:23] I don't know what I need.
[51:23 - 51:37] No, I don't know.
[51:37 - 51:55] I don't know what I need.
[51:55 - 52:08] Let's see what he has to offer.
[52:08 - 52:24] There we go.
[52:24 - 53:20] Let's see what he has to offer.
[53:20 - 53:44] No.
[53:44 - 54:08] Oh, there we go. Hold up.
[54:08 - 54:22] Now, let's go in here into the a cappella shit.
[54:22 - 54:43] I'm going to download this.
[54:43 - 55:04] Oh, here we are right here. Just the one I was looking for.
[55:04 - 55:26] I'm not the one I was looking for.
[55:26 - 55:49] Ah, here's what I can use it on.
[55:49 - 56:01] Now let's go in here and to plug in bigger or back up there as well as I should say.
[56:01 - 56:29] Drag it over here.
[56:29 - 57:45] Oh.
[57:45 - 57:53] Now let's chop this up to make it even better.
[57:53 - 58:22] Let's do one more.
[58:22 - 58:50] Oh.
[58:50 - 59:19] And they're making a few extras of these because you never know with shit like this.
[59:19 - 59:48] Oh.
[59:48 - 59:57] Oh, no, there's no more.
[59:57 - 60:26] All right, playback time.
[60:26 - 60:54] Oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
[60:54 - 62:19] Oh.
[62:19 - 62:48] Oh, yeah, yeah, yeah, yeah, yeah, yeah.
[62:48 - 64:12] Oh.
[64:12 - 64:40] Oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
[64:40 - 65:08] Oh, yeah, yeah, yeah, yeah, yeah, yeah.
[65:08 - 65:24] Oh, yeah, yeah.
[65:24 - 65:53] What see you do this year, right?
[65:53 - 66:22] Oh, yeah, yeah, yeah, yeah, yeah.
[66:22 - 66:51] Oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
[66:51 - 67:20] Oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
[67:20 - 67:48] Oh, yeah, exit out of here and go back into it because I had to fucking reopen the motherfucker.
[67:48 - 67:57] Yes, I still got the same dope ass motherfucking wallpaper. Same dope ass shit, bro.
[67:57 - 68:20] I love that. That's actually my permanent wallpaper too. I'm not choosing that for jack shit.
[68:20 - 68:28] Here's the thing, bro. For real dog, Ed is alive, dude. Jesus, criminy.
[68:28 - 68:35] Time for a hot fucking Andy, bro. Time for a hot fucking break, nigga. What? What?
[68:35 - 68:42] You're kidding, right? Time for a hot fucking break, bitch, please.
[68:42 - 68:57] Bro, what the fuck? What the actual fuck?
[68:57 - 69:10] I'm going to exit out of all these, exit out of this.
[69:10 - 69:26] Oh, God, Skeletor. What do you want, Skeletor? What do you want, Skeletor, the bitch?
[69:26 - 69:55] What the fuck is going on with this shit?
[69:55 - 70:10] All right, hold on, y'all. I'm going to have to probably shut down and restart, I think.
[70:10 - 70:18] But back to my point, as you can clearly see, I'm developing a dope ass sound.
[70:18 - 70:29] Now, to boot that, since I had access to all these other artists through my friends,
[70:29 - 70:42] I want to show y'all somebody else who I have fucking access to who is a dope ass artist
[70:42 - 70:56] who has worked with these people before. So, let me pull these guys up.
[70:56 - 71:06] And I know you'll recognize one of the people in the freaking video, so let me play that shit back.
[71:06 - 71:34] And if y'all ain't recognized the man in this fucking video, then something's wrong with you, bro.
[71:34 - 72:02] Fast forward a little bit.
[72:02 - 72:18] Shut up, shut up. I don't want to hurt you.
[72:18 - 72:30] Now, if you don't recognize that motherfucking man right there, you're blind as fuck, bro.
[72:30 - 72:48] Now, if you don't recognize that man right there, then you're blind as fuck, bro.
[72:48 - 73:04] If you do not recognize that motherfucker right there, you're blind as fuck, dude.
[73:04 - 73:09] You are blind as a motherfucker if you don't know who the fuck that is.
[73:09 - 73:31] And if you don't know who that is, allow me to refresh your fucking memory for a second here.
[73:31 - 74:00] Now, if you don't know who the fuck this is, then you're really dope.
[74:00 - 74:58] Now, if you don't recognize that motherfucker right there, you're blind as a motherfucker if you don't know who that is.
[74:58 - 75:27] Now, if you don't recognize that man right there, you're blind as fuck, bro.
[75:27 - 76:19] Now, if you don't recognize that motherfucker right there, you're blind as fuck, bro.
Transcribed by lolcow.city as id '1477' on August 18th, 2024
