2021-6-23 i find yall trolls FUNNY AF
[0:00 - 0:26] I'm gonna walk around in there y'all.
[0:26 - 0:29] What up guys?
[0:29 - 0:45] So apparently some of you guys mistook what I said in my line earlier, or not in my line,
[0:45 - 0:50] but in my latest video about what my label with my brother Sean is about, what we're
[0:50 - 0:55] about is, how the payment method works.
[0:55 - 0:59] Unlike most labels, I'm gonna explain this in full detail for y'all.
[0:59 - 1:04] That way there's no confusion and there's no bullshit, and there's no getting things
[1:04 - 1:11] mixed up and you guys actually understand what's going on.
[1:11 - 1:19] See, the way we're gonna run the label is like this, alright?
[1:19 - 1:24] This is exactly how we're gonna run the label, cause some of y'all seem to have what I said
[1:24 - 1:33] mixed up, especially when it comes to the payment side of things, so I'm gonna explain
[1:33 - 1:36] shit for y'all, so there's no getting it mistaken.
[1:36 - 1:42] See, when we bring a new artist onto the label, alright, let's say when we bring a
[1:42 - 1:46] brand new artist onto the label, they're super dope, I've shown them my brother Sean,
[1:46 - 1:48] he approves, and we bring him on.
[1:48 - 1:55] For the first few months, for the first two to three, maybe four months, alright, we're
[1:55 - 2:01] gonna let them keep 100% of what they make in sales, alright?
[2:01 - 2:06] We're gonna let them keep that money 100% for the first three to four months, so they
[2:06 - 2:12] can build themselves up, so they can have some money to feed off of, so they can have
[2:12 - 2:17] some money to do what they gotta do and get themselves up there.
[2:17 - 2:23] Now, once those three to four months are up, then after that, within like the fifth month
[2:23 - 2:30] or so, or towards the end of the fourth month, we're gonna ask for maybe 10 to 20% and let
[2:30 - 2:37] them keep the rest of what they fucking make, because shit's not easy, it's hard being
[2:37 - 2:43] an artist, it's hard being a music artist and trying to get yourself out there.
[2:43 - 2:47] And I know some of y'all are gonna sit there and laugh and be like "hahaha", but if you
[2:47 - 2:53] really think about it, that's not a bad deal, that's actually fair, because you let that
[2:53 - 3:00] artist build themselves up by representing your label, you let them keep 100% of what
[3:00 - 3:06] they make and get themselves up, let them get their equipment up, all that stuff, you
[3:06 - 3:10] know, you let them purchase their equipment and all the stuff they would need to better
[3:10 - 3:20] their music. And then once they have all that, then they could start paying you that 10-20%
[3:20 - 3:27] for the sales that they make and albums and merchandise and all that shit. Like, that's
[3:27 - 3:42] a fair deal. Yeah, but in all honesty man, that's a fair fucking deal if you really
[3:42 - 4:11] think about it. Think about that. I'll be right back.
[4:11 - 5:41] [inaudible]
[5:41 - 5:53] Sorry, I had to help carry the dog downstairs. But like I said, you know, a lot of people
[5:53 - 5:58] want to sit there and laugh and talk shit. All right. A lot of y'all want to sit there
[5:58 - 6:03] and run your mouths and laugh and be like, "Oh, haha, that's not how you run business."
[6:03 - 6:13] Or really. How do you think every other artist that's a fucking major deal in the independent
[6:13 - 6:21] artists scene, like Tom McDonald, the Hangover gang and all these other independent artists
[6:21 - 6:30] like Ryan Upchurch, Noah Rockefeller, all these major artists that are out there that
[6:30 - 6:37] are independent, they started out the same way that I started out on their own label.
[6:37 - 6:50] They started out the same way that I'm going to help Crucifix and Dirt Rock Entertainment
[6:50 - 7:02] or Dirt Rock Records, whichever it is. Hell, ICP encyclopathic records, Magic Ninja Entertainment,
[7:02 - 7:14] Hatchet House, Native World Inc. Hell, even major labels like Interscope Records started
[7:14 - 7:21] out the same exact way. And guess what happened? They made it huge because they started from
[7:21 - 7:27] the ground up. They didn't sit there and ask people for a million fucking dollars
[7:27 - 7:32] right off fucking rip. They didn't sit there and make artists pay them to sign to their
[7:32 - 7:38] label. No. You know what they did? They started out the same way that me and my brother Sean
[7:38 - 7:47] are doing. Like I said, for the first three to four months, we're going to let artists
[7:47 - 7:54] keep the money that they make to help provide them so they can go out and purchase the equipment
[7:54 - 8:00] that they need, the stuff that they need because you can't very well be a recording artist
[8:00 - 8:05] without your equipment. That would be like saying that you're a skateboarder, but you
[8:05 - 8:11] don't have a skateboard or you're a construction worker, but yet you don't have your drills,
[8:11 - 8:17] your saws, your screwdrivers, any of that shit. How are you supposed to do your job
[8:17 - 8:24] if you don't have the equipment that you need? Which is why we're doing it the way
[8:24 - 8:30] that we're fucking doing it. To give these artists like myself and my brother Sean a
[8:30 - 8:41] chance to be able to get their music out there and get it heard. And like I said, we're
[8:41 - 8:47] not looking for no fucking troll fucking artists. So if you're a troll artist, don't
[8:47 - 8:53] even think about it because we know I can see right through y'all motherfuckers. We
[8:53 - 8:59] are going to be looking for very real artists that are very good, that we feel can be a
[8:59 - 9:12] valued asset, like my homie C West, my homie Jenkins, super cool dude, my boy Bradley,
[9:12 - 9:22] my homie Ted, AKA Grim the Rap Reaper, who's an amazing fucking artist. So you know, we
[9:22 - 9:28] are going to be looking for real artists that are dedicated, that are putting out music,
[9:28 - 9:34] that are doing real shit. Because if you come to us as an artist, like let's say one of
[9:34 - 9:41] you trolls comes to us as an artist and says, Oh, I want to be signed to your label, but
[9:41 - 9:47] you don't have any music out. Or we find out that your music is stolen music. Well,
[9:47 - 9:56] guess what? You're gone next. We're looking for real artists who are dope as fuck, whether
[9:56 - 10:03] you do DJ work, whether you do EDM, punk rock, country, hip hop, jazz, it don't matter what
[10:03 - 10:09] style you do. If it's got a fucking positive message, or we see that you're busting your
[10:09 - 10:15] ass working hard, then guess what? We're bringing you on board and we're gonna fucking
[10:15 - 10:22] help you get somewhere. Because like the label description says, we're out here to
[10:22 - 10:28] inspire people. We're out here to help people like ourselves. We're out here to promote
[10:28 - 10:34] anti suicide, anti bullying. We're here to help people like ourselves have a voice.
[10:34 - 10:39] We're out here doing what we can to help people, whether that be putting out our own
[10:39 - 10:45] music, promoting another artist that's putting out dope ass music. We're out here doing
[10:45 - 10:50] what we got to do to make a name for ourselves so we can get paid so we can provide for
[10:50 - 10:58] our families. I mean, if you really think about it, letting an artist keep that money
[10:58 - 11:03] for the first three to four months so they can build their stuff up while we promote
[11:03 - 11:08] them is actually a pretty good deal because you get to keep 100% of what you make for
[11:08 - 11:13] the first three to four months, you get to purchase the equipment that you need like
[11:13 - 11:26] a mic, fucking the deals that go to the mic like the stand, the road arm, the boom arm.
[11:26 - 11:31] You know all the equipment that they would need to have a home studio. That's all they
[11:31 - 11:37] would need is a home studio. And once they have that stuff set up, and we see that they
[11:37 - 11:43] have everything set up with the interface or whatever it is that they're doing, then
[11:43 - 11:52] we're going to go in and be like, hey, now that you've got all the stuff you need, now
[11:52 - 11:58] you can go in and whenever you sell your next album or whatever, all we ask is that you
[11:58 - 12:05] cash out us 10 to 20% of what you make and you can keep the rest. Let's say an artist
[12:05 - 12:17] makes say $150 in sales off the record, right? They sell $150 in merchandise and or records.
[12:17 - 12:23] Either one. We're only going to ask for maybe five to 10% of that. And then the rest they
[12:23 - 12:33] get to keep. And then that five to 10% is going to be split between myself and my brother
[12:33 - 12:40] Sean so that we can keep shit going. Like, if you think about it, that's not that's
[12:40 - 12:46] not a bad deal. Like, if you really think about it, that's not a bad deal at all. That's
[12:46 - 12:59] actually fair. That's actually a very fair deal. If you really think about it from a
[12:59 - 13:17] business standpoint, that's not bad at all. Why do you think I rock this song so fucking
[13:17 - 13:23] hard right here? Actually, you know what, I'm gonna tell you all something here that
[13:23 - 13:30] I learned from my boy Jeff Theralero, aka the rap artist known as the Soldier of the
[13:30 - 13:38] Bay, aka Soldier Heart of Red Con 1 Music Group. Free never paid the bills. I got mouths
[13:38 - 13:47] to feed. That's a song right out of that's a fucking verse right out of one of his songs.
[13:47 - 13:58] Free never paid the bills. I got mouths to feed. And that's facts. And why do you think
[13:58 - 14:06] I fucking rock this piece right here? Look at all the rappers that the games kill record
[14:06 - 14:10] labels making billions. Why can't artists even pay bills? You can take advantage of
[14:10 - 14:13] if you take deals. They're the devil. You know, interest in the outfield. Get your chains
[14:13 - 14:17] in the bracelet. Maybe a fake grill. You get you paid in your famous baby. It ain't real.
[14:17 - 14:28] You want another distribution plan, Skull Kid? Guess what? I ain't telling you jack
[14:28 - 14:34] shit, Skull Kid. I ain't telling you nothing, boy. Especially after what you did, I ain't
[14:34 - 14:42] telling you jack shit, homie. So fuck you, you pussy. I ain't telling you shit. See,
[14:42 - 14:48] you think you got me beat? You ain't got shit, dawg. Haven't you ever learned? A magician
[14:48 - 14:57] never reveals his secrets. An artist never reveals his secrets. A true businessman never
[14:57 - 15:05] reveals his fucking secrets. My business plan with my brother are my own, boy. That's ours.
[15:05 - 15:12] That's for us to know and for you to never find out, boy. That's for us to know, not
[15:12 - 15:17] for you to take advantage of. I know what you're trying to do, homie. I know what you're
[15:17 - 15:23] trying to do. See, it's motherfuckers like you that I can't stand, bro. You expect me
[15:23 - 15:30] to reveal my plans just so you can take advantage of it and ruin it. Well, guess what? Not
[15:30 - 15:37] gonna happen, boy. My business plan is with my brother on my own. I ain't telling you
[15:37 - 15:44] shit. See, that's a mistake that a lot of fucking companies make. That's a mistake
[15:44 - 15:52] a lot of little pussies like you make. You reveal your business plan and then what happens?
[15:52 - 16:00] Another person comes along, takes that business plan and fucks you over. So guess what ain't
[16:00 - 16:20] happening, skull fag. Yeah, you say that. See, here's the thing. You say that you've
[16:20 - 16:26] got no plans to take what I've got, but we all know how you are. We all know how you
[16:26 - 16:36] are, bro. See, that's one mistake that I'm not making. I'm not revealing my business
[16:36 - 16:45] plans to no motherfucking body. What's said between me and my brother Sean stays between
[16:45 - 16:53] me and my brother Sean. You know how they all say in girls, what happens in Vegas stays
[16:53 - 17:04] in Vegas. What's said between you and a person stays between you and that person. I don't
[17:04 - 17:17] reveal my business plans. I don't reveal that shit. That ain't me. And this song right
[17:17 - 17:23] here that I'm about to play for you guys, this song represents me and my brother Sean
[17:23 - 17:37] and the people that we will have on our label because we're all doing contracts that the
[17:37 - 17:47] game's killed record labels, making billions. You can take advantage of if you take deals.
[17:47 - 17:54] I'm going to get into that. I'm going to kill him with tracks. I'm going to deliver the
[17:54 - 17:57] fact. No money holding me back. I ain't brain dead. Never signed a deal. It don't make sense.
[17:57 - 18:00] Never let a label manipulate what I'm making. I'm invading the industry. Independently I'm
[18:00 - 18:04] breaking. I'm killing game keepers with a crazy gig. I'm mainstream, I'm receiving fame.
[18:04 - 18:08] Want to break bread. So lame for sale. Never sell. I'm trying to pay rent. Illuminati published
[18:08 - 18:12] in industry. Hail Satan. The devil making deals. I won't shake hands. Independent underrated.
[18:12 - 18:15] These other rappers don't hate it. Going viral with no label with no manager or agent.
[18:15 - 18:18] Call my mama. I got so much money going crazy and she crying trying to tell me that she's
[18:18 - 18:25] happy for a baby like, ooh, aye. When they got that deal, got them in my hand. Ooh, aye.
[18:25 - 18:30] Try to buy it from the hell I am. You can keep your cash. I'm not that broke. I won't
[18:30 - 18:36] sign no contract. I do big. Got a castle. Stealing people's discs. I'm in the street.
[18:36 - 18:43] It's all bad, bro. It's gone with cash and land, bro. I'm independent. I'm dead. I quit
[18:43 - 18:48] the music industry. Artists really only want to chase dreams. We broke all our lives, making
[18:48 - 18:52] labels. Please take me. Trick this into thinking, getting deals. It's a great thing. Spend a
[18:52 - 18:55] whole career trying to break free. The fans say they love us, trying to give them music
[18:55 - 18:59] they need. Label doesn't like it. That ain't mainstream. Looking in the mirror like what
[18:59 - 19:02] happened, man. It's saying me. I guess that I just don't see what they see. Give me I'm
[19:02 - 19:05] hiding the rules. I'm in the diary. The truth. I'm in the diary. The truth. I don't think
[19:05 - 19:09] I see the rules. Labels are hiding the rules. Look, I'm gonna give you a clue what Illuminati
[19:09 - 19:13] symbols of the logos major labels use. They're calling me an industry plan. I gave them that.
[19:13 - 19:16] I'm the total opposite of what they want. I'm straight to the facts. I make songs about
[19:16 - 19:19] the honest things you wish for the fam. I'm exposed to government. They want to kill
[19:19 - 19:22] me for that. I'm with the pedophile sex club. I didn't get it last. I leaked the industry
[19:22 - 19:25] secrets and I did it with rap. Don't dare you try to say that my intentions are an act
[19:25 - 19:29] and that audition is a pillar of their history plan. I want to manage my decisions and if
[19:29 - 19:32] any goal backs, I'm a multi-mind issue. I'm a visual contract. I'm independent. I look
[19:32 - 19:36] deader. I'm a bit of old man. Middle fingers. I'm a missile that they can't hold back.
[19:36 - 19:43] Ooh, hey. Got that deal. Got a pen in my hand. Ooh, hey. I'm trying to buy who the hell I
[19:43 - 19:50] am. You can keep your cash. I'm not that broke. I won't find no contracts. I do me. Got the
[19:50 - 19:56] cancels. Needing people stands up. Can you sleep? It's all raffles. Don't want cash in
[19:56 - 20:04] Lambo. I'm independent. I'm dead. I quit the music in the street. Miss me with all of
[20:04 - 20:08] that industry talk. Working my whole life with the things that I have. Why would I give
[20:08 - 20:12] you the keys for the car? If you just gonna drive while I pay for the gas? I ain't gonna
[20:12 - 20:16] come to your meetings no more. Told you already ain't even you have. Don't can't wait to
[20:16 - 20:20] get your feet in the dark. That knocked me outside while you spit from my fans. Keep
[20:20 - 20:27] your cash. I'm not that broke. I won't find no contracts. I do me. Got no cancels. Needing
[20:27 - 20:34] people stands up. Can you sleep? It's all raffles. Don't want cash in Lambo. I'm independent.
[20:34 - 20:40] I'm dead. I quit the music in the street. Miss me with all of that. I won't find no
[20:40 - 20:46] contracts. I do me. Got a cancel. Needing people stands up. Can you sleep? It's all
[20:46 - 20:54] raffles. Don't want cash in Lambo. I'm independent. I'm dead. I quit the music in the street.
[20:54 - 21:04] And see, and that's facts, man. I quit the music in the street. I quit looking for a
[21:04 - 21:08] fucking label. And you want to know why? You want to know why? Quit looking for a goddamn
[21:08 - 21:16] label? Because this whole goddamn time I fucking realized that I don't need no fucking label
[21:16 - 21:23] to do what I fucking do. Well, yes, I'm starting my own label, but I'm running it in a different
[21:23 - 21:32] way that people don't think about. I'm running it in a way that makes it fair for everyone.
[21:32 - 21:38] I don't sit there and be like, Oh, give me all your money. Give me all your money. I
[21:38 - 21:43] want all your money. I want, I want all the money you make from this is this. No, I don't
[21:43 - 21:49] do that shit. I believe in artists being able to fucking keep the money that they make
[21:49 - 21:56] and then paying us a little bit, a small amount, not the major. I don't fucking sit there
[21:56 - 22:03] and be like, Oh, I want 50% of what you make that you keep say 20 to 30. No, I don't do
[22:03 - 22:10] that shit. I believe in letting your artists keep a majority of what they make. I believe
[22:10 - 22:16] in an artist being able to keep their master tracks and keep the shit that they make.
[22:16 - 22:21] Because I know what it's like to be a broadcast. I know what it's like to struggle. I don't
[22:21 - 22:28] sit there and steal from motherfuckers like people like little bitch ass skull kid and
[22:28 - 22:53] all these major levels too. I don't do that shit.
[22:53 - 23:11] And trust me, there will be a site with every single artist, social media and music on it.
[23:11 - 23:38] I can guarantee you that. This right here is full of fucking in the art side that holds
[23:38 - 24:03] up. I don't know what it's like to be a broadcast. I don't know what it's like to be a broadcast.
[24:03 - 26:40] I don't know what it's like to be a broadcast. I don't know what it's like to be a broadcast.
[26:40 - 26:47] I don't know what it's like to be a broadcast. I don't know what it is. I don't know what it's like to be a broadcast.
[26:47 - 26:59] I don't know what it's like to be a broadcast. I don't know what it's like to be a broadcast.
[26:59 - 27:06] Y'all sit here. Talk all this shit. But then when somebody like me actually fucking blows up,
[27:06 - 27:10] then y'all want to turn around and be like, "Oh, I was a fan the whole time." No, you weren't.
[27:10 - 27:15] If you were a fan the whole time, then why are you sitting there talking shit?
[27:15 - 27:21] Think about it. Think about that for a minute.
[27:21 - 27:40] But yo, with that being said, all my mods hold down. I'll be right back.
[27:40 - 29:59] [silence]
[29:59 - 30:14] Hi, what up, y'all? I'm back. But, speaking on the big homie,
[30:16 - 30:33] Redcon1 Music Group, speaking on that label.
[30:33 - 30:48] [silence]
[30:48 - 30:53] Since I know some of y'all got family out there that is in the military that
[30:53 - 30:59] are currently serving just like I have friends and family that are currently serving,
[30:59 - 31:01] this next one's for y'all, man.
[31:01 - 31:10] [silence]
[31:10 - 31:14] And shout out to all my friends that do watch us that are military, man.
[31:14 - 31:19] Fucking miss you guys. And to all my friends that are out there serving right now that
[31:19 - 31:23] are in the military, I just want to say what's up to those guys.
[31:23 - 31:29] Want y'all to know that I miss y'all. Hope y'all make your home safe. Fucking love you guys.
[31:29 - 31:36] But for everyone else out there that does have friends and family that are military,
[31:37 - 31:43] this is for you guys. Shout out to the homies, Stephen Hobbs, on this one, man, for sure.
[31:43 - 31:46] [silence]
[31:46 - 31:55] Man, I ain't trying to go, man. But I gotta go. I got to.
[31:55 - 31:57] Redcon1 Music.
[31:57 - 66:15] [silence]
