 So, 50 Cent, right? Had some advice for Danny Brown. I want to know what y'all think about this advice. I remember 50 Cent told me that. Hanging with 50 Cent. He was like, man, because he was always talking about like, man, you got to make a hit song, you know, this and that and that and this. And I was like, man, I just want to be like artistic and like push Brown to reason like be progressive and like make like experimental type music like I never heard before and shit like that. Like, man, if you want to make music, music. He's like, if you want to make music, ain't going to make no money, then you just make that shit for yourself and listen to that shit in your basement. Because that's where you're going to be. Yeah. Yeah. Yeah. That's the words. Never been spoken. Hey, man, y'all, y'all. Shoot. He probably Uncle 50 now, man. Y'all let Uncle 5th, you know, guide y'all to the truth, bro. 53 dropin' game. He need to write another book. He does. Yeah. He need to write another book. His books are always, you know, more like strategic series, but he needs to drop like just funny game, like funny way because he got such a personality and the shit he saved, man. Like, bro, have you, do you watch Power? Did you ever watch Power? I watched it like earlier on, not anymore. I'm like a good couple of, I ain't going to say a couple of lot of seasons behind. It's funny. I'm weird because I was one of the people who were opposite or I watched. I missed the first season, three seasons. I never, I still haven't watched them. And then I watched everything up from there. Or maybe it was first two that I missed. I think that's why I stopped. And the season three was why I stopped. And it was, I never wanted to watch it, bro. My sister just, she got me. She got me, bro. But it was one of those things. The 50 had one of these things. I think it was like to Tariq, his buddy son. So it's 50. I forgot his character name. Ghost son is Tariq. And he was like, if they say he did that shit, he did that shit. I can't remember the exact quote. I'm going to find that like, EJ, bro, you going to have to put that up, man. Like it's just, it's the funniest thing though. And it's truly 50 cent. I think they're saying something like ghost killed somebody. Right. So that's Tariq dad. And it was just like, hey, yo, if they say he did that shit, he did that shit. He said it so serious. I'm a father. But like the advice itself, man, we're getting off track. Advice itself, man. Like that's how I really feel. Yeah, same. It's music business. People need to hear that, bro. Yeah. Like people really need to hear that. If you want to create something for your artist. Oh, I just create music for myself. No, this is the music business and the music business is within the entertainment industry. Yeah. And this is why I always say is the biggest benefit that comedians have that artists don't have specifically music artists. And that is that feedback loop. Oh, yeah. Yeah. If you don't laugh. It's not funny. Yeah. Period. And they take it as is. Stupid crowds, bad crowds. But like generally they kind of understand like, hey, if they don't laugh, it's not funny. I'm here for the people. I'm here for the people. Yeah. Artists, they can convince, oh, they don't get this shit, man. It's deep. Y'all don't understand where it's coming from. And it's this whole, you know, there's a, there's the positive level of delusion that artists might need that they need to have at some level, especially if they're doing something different. But then, you know, there's a lot of people that know, no, you really need to hear that. Like you really shouldn't have been on American Idol because you actually can't sing. Yeah. You know, let it all go to music. It's like, bro, no, you actually can't sing. Like I used to think when I was little, you know, Mervyn, I don't came out. I was probably single digits or something or like right into the double. And I'll be like, man, they probably put all these people on their own purpose. So we can laugh at them. Or we can laugh at them. I wonder if these people, these people, there's no way that some of these people actually think they can sing. Now that I'm... Now that I'm where I'm at, the things that I get set, the things that I hear. That didn't know that was a joke. That didn't know. I feel like a lot of artists get, I think, they get the love of the music. Like their love of the music, their love of the crowd confused with, I guess, what fans want to accept. It's like, just because you like it, just because you love it doesn't mean the eyes of the listener have to feel the same way, right? I agree. And I don't know, man, I feel like that's a real mature moment for artists to be able to say like, okay, this is what my audience maybe wants from me or maybe this is the type of stuff that I need to make to get me traction. And if they like that enough, then I can bring them back to maybe what I really want to make. Because like you said, there's a very small percentage of artists where that is true for them. Like that some people that's like, okay, maybe like you are a little bit of heavier time, the music is still good, but it's maybe just different from what we're used to. Right. But then it's like the other 99.8%, it's like, nah, bro. You need to list that shit. See, I mean, that's it right there. It's simple. Meet me where I'm at. Yeah. And then take me somewhere new, but you can't just start over there. I don't trust you. I need to know, man. You off in the distance, bro. I ain't trying to come over there yet. I don't know you yet to come over there. What you holding under that coat? I don't know. I don't trust you. So now that I trust you, you can take me somewhere new. Yeah. Show me the block. And man, I like it over here. And now you get created like, you know, the typical Kaey use samples can get more familiar than samples. Right. Yeah. Outside of covers, but use samples. Very hip hop backpack. Then he does graduate, not graduation. I know. Right. Took us somewhere after he connected, right? Yeah. So you can either do that or you can stay in your corner and with your good music and just let it be for you. Or hope, right? There's some people that they get situations. God just blesses them and makes it happen even though, you know, they didn't do the work. And a lot of artists try to use those people's inspiration, but that is not the norm. That anomaly, yeah. That is 100% of an anomaly. Most people have to figure out a way to hustle, be strategic about what they create. Yeah. And then there's some people who even you'll create music and I'll create this other stuff as a throwaway, not as a throwaway, but I know I'm not going to put marketing dollars because the label isn't going to put money behind this because it doesn't represent the brand that they bought me for. Yeah. Right. Or they're in partnership with and you have, you have a fiscal responsibility, so to speak. Yeah. Like it go with artistry, but in music business, yeah, do. All right. So you have that. And then you have some people who they get off there. They get their creative climax by saying, hey, this is my main brand. This is what people want to hear from me. So I'll continue to sell this way. I might create something and just put it out there as a Lucy and let it happen. And then I also might write for other people. Yeah. Take that experiment energy somewhere else. Experiment. Yeah. Let them do it and they get all that, but at least I was able to get that creative itch out. Yeah. And then, you know, somebody like Drake every once in a while, you'll see them collaborate with somebody in a different space. It's like them dipping toes in the water. Yeah. I've got context. Oh, why does Drake sound like this? Well, he's on this track with this artist who makes sense. So he doesn't get a knock for as if it was his own song. Yeah. So there's strategies and ways to go about it, but you can't expect any. But it's hard to accept, have anybody accept you for all of who you are. Yeah. Let's put it that way. Yeah. And you said something important. 250 cents said it. I mean, he's not saying like you have to quit making music. You just have to understand like this ain't, this might not go where you want it to go, right? Like it's like, it goes back to, I think we were talking about an older episode, but like consumer behavior isn't going to fold or bend for you. Unless that shit is amazing. If it's amazing, we'll bend a little bit. If it's like less than amazing, which it could be great. Great music is less than amazing, but great don't always, you know what I'm saying? Bend the culture, you know what I'm saying? Yeah. Good music don't always bend the culture. Yep. Terrible music damn sure ain't going to bend. It isn't going to bend the culture. And I don't know, I always feel like a lot of artists who like to use the different excuse for like trash. That's me personally. It might be a hot take. What do you mean different excuse for trash? Like they like to say, oh my music is different. So that's why people don't understand. And it's like, no, that shit is really just bad. It's not different at all. It's bad. But I don't know if we have that context because we get so much music. You know what I'm saying? We have to listen to so much music. You know what I'm saying? So I don't know. Like I've literally had a concept in the arts that you think you're different. You do a 15th person. I've heard this week. That sounds exactly like this. Yo, I think that's something that I don't know how you escaped that because as an artist, I feel like they have to believe that in some sense. Yeah. And maybe, you know, an artist, y'all can comment on this man. Like I think there's sometimes maybe what's in an artist's head, right, is more different than their output. Right. And maybe you're not in the space where you have all the production, right? Or, you know, guidance collaborators to pull those things out of you. That's why collaborations are a real thing. I think people like sleep on the value of collaboration being behind other around other people to pull those tools in different ways to communicate things that you already got inside of you. Yeah. Because it's like, yeah, you you felt different. And when you're hit and you were saying something different in your head, but it came out just like what I already heard. Bro, you how different can you be when you got to beat off a YouTube? Yeah. Yeah. And I think it's like, I guess, situational context too. Like if I'm a Atlanta trap or if I live in Atlanta, I'm surrounded by, let's say, Atlanta trap rappers and I want to make punk rock music, I'm going to feel different because my media surroundings, I am different compared to my media surroundings. But then once you hit the internet, it's like, well, now you're not different. You know what I'm saying? There's hundreds and thousands of punk rock artists that make great, amazing, really good music, right? And so then you go from, I guess, what is it? Like big fish in a small pond to small fish in a big pond, you know what I'm saying? Like as soon as you put it out. And so I think it's just kind of like artists get caught up in an echo chamber a little bit. I'm not even really echo chamber, but it's like, like just that like situational context. I am different compared to my understanding of what is out there and my understanding of who is doing what. So I think it's easy to think that. But as I say, I think that's why we see it. What we see is because we hear multiple artists of different types of genre to know like, yo man, I ain't saying it's a knock you. You know what I'm saying? You still make good music. You just not as different as you think you are. You know what I'm saying? And that's not, that's not a bad thing. Cause I mean, you can have 10 people that make the same type of music, but one of them is going to obviously be better. People are going to obviously like one more than other. So it's not the worst thing not to be, you know, not to be super different. Cause being different today is really just being yourself openly. That's what I would argue. You know what I'm saying? This is true today where everything's kind of out there. It's hard to find different. Like different is so hard. So it's not even a knock on you. Right? To be like, oh no, it's not really that different. We've heard like literally, I mean, you, what you said, I want people to know like, Corey is literally talking about, no, I just talked to an artist that sounds just like, that is not a abnormal occurrence for us. Right? But it's not a knock. Different is hard. And that's why when it's done on a high level, it gets put on a pedestal because it's hard to truly achieve different. It should be hard. Be different and good. And good. Yeah. That's the magic combo. That's a whole another thing. Let alone great. So I think, cause different doesn't sell. And I think we think different sales. Right? And we all want to be different because we've seen something different, right? That might have inspired us, but I don't think different is as important as authentic. Yeah. Good point. Authentic sales. Different sales when we know you enough. Right? When we know you enough, different will begin to sell. Yeah. You gotta take us to that place. But authentic can sell when the music isn't even all that great. You just have something to say and it comes from a perspective and it feels so raw. Yeah. That's what people are getting from Glow Rilla right now. Yeah. Right? Yeah. Just feels authentic and real. Yeah. And people love Cardi on her come up. All right. You know, you have all these people that put on these airs on their music or whatever. And then they're just like this different person when they're in their normal life. Yeah. You listen to Cardi, you like, but she wowed her and when she regularly talking to she is on the track. Like she just saying some crazy shit. She sound funny. She heard various voices really like that. So different isn't as important as authentic. And it goes back to what we said earlier, which is just that whole idea of your POV. All right. Your perspective is the value. Last time when we went to LA on a plane, I was listening to, well, I watched a bad movie. And then I watched this master class, you know, the brand master class. Oh, yeah. The out there. Yeah. I had never seen any of those before, but they had one on Howard Schultz. He's the CEO of Starbucks. I think he was actually the founder too, but I know he left and came back. He did like some Steve Jobs stuff like a company go down, come back, flex, show you how bad I am. But one of his business tennis that he talked about was not being so focused on being different and being more focused on disrupting. Yeah. All right. And the difference between different and disrupting because people always kind of think, well, I'm going to do something different. I'm disrupting, but disrupting is anchored by what the norm is. And so is difference is a contrast of what the norm is, but disruption is, hey, I'm going to give Mike unique take on something that already exists. You know what I'm saying? So it's like us getting on the same track, but you make a love song and I make a, I don't know, hood banger or something like that. Or we both make a love song, but I do it from a hood voice from more of a R&B voice where it's just like, what is your perspective on what's already happening? So if you can authentically cut through and give a unique approach to a genre that already exists, like that's what you're seeing now with the, what is it? What is it? The toxic R&B, right? Yeah. Toxic R&B, you know, I had like an old person moment the other day where it made me feel old. I was like, this should already existed. This ain't nothing really all that different contextually when you look at the lyrics and everything. And then you look at Trap Soul, right? That was a flip of basically still just R&B. Then you look at Neo Soul, and I think it was an executive who really like marketed that whole thing and put these artists in a batch. We're a new soul to, you know, say, hey, how do we separate ourselves? We ain't the temptations. R&B, yeah, we're not the temptations. We definitely ain't the temptations, you know what I'm saying? We don't got froze. We wear temptations. We don't got, we got the temptations, bro. And so it was like, how do I not only market if something new, but also alleviate that, that, ooh, difficulty that comes with being compared to greats that have already been there. You know what I'm saying? Yeah. It gives you more freedom because I reframed what you're consuming. Yeah. So don't, if you can just take something and disrupt it by giving us a unique tweak. And again, of course it has to be good. Can't go back to that enough, right? Yeah. It has to be good, but that's how you disrupt because we're used to it so we can consume, but when another thing that happens when you're used to something, it's like a cover. A cover is the best way to describe it. If you did a cover song and you sang your ass off, because I know the song already. Check it out. I paid more attention. No, not just that, right? But I paid more attention to you because I already know the song. So I know the unique qualities you brought to the song. Yeah. That's a good point. But if I didn't know the song, it's kind of like I'm just hearing it all. You know what I mean? And that's why I think it's easier for artists to not only get attention with covers because we know, yeah, it's just something you're already used to, but to get appreciation for their talent because we know, oh, dang, he did this and they did that. That was the norm. Yeah, it was a preset bar for it pretty much. It was a preset bar, so we have something to compare it to. Humans compare it. That's all it is. So, like, well, I don't want to harp on this too long because that all came from the 50s. Dirty route advice. I didn't know we were going to be on that long, bro. But you got to see, this is artist advice.