“Keep Your Hands High”

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S1: What’s up, yo? This is Joel Anderson. When you’re about to hear is an excerpt from our live show in Washington, D.C. on February 5th. At the show, I spoke to Tracey Lee, a hip hop artist who collaborated with The Notorious B.I.G. On the song. Keep Your Hands High in late nineteen ninety six before later becoming an attorney. Tracy tells us some really interesting stories that I wanted to share with you. Our Slate Plus members about being in the studio with Biggie and about being there the night of biggest fatal shooting. Thanks to everyone who attended the live show. And thanks to you for subscribing to Slate. Plus, here’s our interview with Tracey Lee.

S2: All right.

S3: Soon we’re gonna have a guest now and our first guest of the evening. He’s an emcee, an educator and attorney who is right here in D.C. He’s been working in hip hop entertainment for more than 25 years, first as a rapper who had a single that was on the Billboard charts for 37 weeks.

S4: Today, still in the game.

S5: But he’s also working on behalf of a lot of celebrities you might’ve heard of. Kelly Roman Salina’s Eric Roberson and God bless the day, Kobe Bryant.

S4: Anyway, let’s welcome him to the stage. Tracy Lee. Thank you for doing this, bro. Roma integration happen every season. Absolutely. So you want you can show your sweat off your how great you.

S6: Yeah. All day. Yeah, yeah, yeah, yeah, yeah. Yeah. There you go. Yeah. Yeah.

S4: So can you tell me what leads one to get a college degree and then pursue a career in hip hop.

S7: Interesting dynamic especially back then. I mean it was in my DNA before I started to pursue an education, you know, with guys who were secondary education. I think when I went to college it was like okay for the first semester, let me see if I can veer off and find a profession and, you know, get my degree in how I wanted to be a sportscaster, actually. Huh. But then I saw the people that were on campus at that particular time. Derrick did an Angel Leddy, Sean Puffy Combs, Mark Pitts knees. During that time, there was an entrepreneurial spirit going on and everybody was into music. And so that rekindled the flame that I had before I got to Hollywood. And so that was my focus from that point on. I was going to get my degree, but I was going to pursue a music career.

S8: I want to I want to ask you about Dave Chappelle. So you’re at Howard during this puffier. You said you made it seem like 18, 19, right? Yeah, absolutely right. So for people that don’t know they weren’t around. What was that era like? What were those parties that Puffy and ACM would throw like in D.C. around that time?

S9: You heard the legend, right?

S7: I mean, it was it was legendary. It was I would consider the golden era like between eight years and maybe eighty six or like 96, 97. Anybody and everybody that’s in the game at the top of the game right now in the entertainment industry went to Howard, like I say, Puff did at Anthony Anderson. Taraji P. Henson, the anonymous little world. I mean, everybody was there. Tallahassee coach. You know, I’m saying like everybody was there was something magical, some in the water, you know?

S8: Okay. So you went there knowing that you want to get to the game where you’re from. Philly, though. Yeah, right. Right, right. So you grew up and we were talking backstage, but growing up in the 80s and 90s. Who are you rocking with and hip hop like back then? Who you mothers suffer like Schooley D?

S10: Who you I mean, a hometown favorite, you know, I mean Schooley D. Jazz, Jazzy, Jeff, fresh prince, all that.

S7: But I’m a lyrical guy. So back then it was, you know, the cool Modise at a world. It was the Meli mills of the world. But the God and I really idolize was L.L. Cool J. L.L. Cool J to me was the first rap superstar. I mean, it was it was KURTIS Blow before him that kind of laid the foundation, but LLB took it somewhere else. And I believe that Allow is really the person that is responsible for the GS and the bigs and the parks because he again, back then, you have more groups, you know, I mean, you have more where the D.J. was in the forefront. Grandmaster Flash and a period vibe and J&J’s definite fresh but allow a longer Run DMC just took me somewhere else.

S4: Yeah, but it basically made it a part of pop culture where essentially because people look at L.L. now and they just like, you know, there’s a dude from Harlem procedurals on TV. Right. Exactly. But for people that look like grown up in hip hop and we talk about this old song, like he was like pretty much the first superstar, it was Dale Izmit.

S11: I mean, he was lyrical. But then he can make a ballad out of out of a rhyme like you’ve never heard of it like back then.

S9: So it was like he had the versatility to do whatever he battled. He’ll battle everybody. I mean, he battled like six people, one record. You know, I mean, for those that need to go do the research wrote, you know, saying he battled Ice-T and Hamah and all these other Kazulin war records so he could give you a bad rap. But then he also did a ballad. And he’ll make a record for the radio. But now he’ll come back to Destry like he had. He had the full Gamby.

S4: Right. Right. So you’re holding all these influences in your head. Oh, kumo dudes for Philly. You got, you know, Puffy and D Dot or him Chuck D all at. Yeah. Yeah. Yeah. Yeah.

S8: So now so let’s take a move for a little bit. It’s late 1996. You’re kind of a brand new artist. Don’t have an album out at that point. Right.

S7: How and how were you able to get Biggie to jump on a song with you. That was all moffett’s like. I got signed to Bascomb Universal in March of 1996. And for those who don’t know, the Muppets is more. Pitts runs by Storm Entertainment. He’s responsible just to bring it up to date. Is responsible for cats like or molding the career of cats like Usher and Chris Brown and J. Cole and Bego. But I was his first artist that he signed when he got his deal after being an understudy under Puff badboy.

S12: And so while he was an understudy and a puff, he also was fortunate enough to be able to manage B. And so with that connection plus Myanmar went to school together. It was like, OK, this is your debut album. He’s trying to make sure that his artists now on his label, which is me, has every advantage in the world. So it was a natural connection. You know, me, not to mention I think Big was partially responsible for Meegan sign because Mark would play demo tapes that I sent them. And Big was in a car. And so he will let big hair. And so basically big kind of callsign.

S8: He was like, yo, yo, man, his nose is the mirror, his nose jobs.

S7: And so that that’s what it was me. There was that connection as well.

S4: Rookwood. Let’s play a clip of what they did together with Woody’s ego self.

S13: Let’s bring it back now from the one of the backboard in charge to be right for the sword to stay down. Make him a star.

S14: What brings you bring about to you? What’s the background in your mouth?

S4: You know how I mean, how does it feel to hear that today, knowing you like when those people do got to collaborate, building a real size bed, no makeup, shirts, news?

S11: Yeah. I mean, it’s always surreal. You know, I’m saying especially because you’re not here. But I can tell you in the studio, like it was a respect fact. It is like I know it was big. I knew he was at the top of the food chain and he respected my craft as well. But it was like, I’m coming for you next. That’s how I was going at him. And he was coming at me the same way.

S7: So much so that a lot of people consider those balls that he’s spent on that particular record, some of the best big Bosie ever heard. But it was a respecting nan, like I told you more was playing, you know, a lot of the cuts before I even got signed. So he already knew what I was bringing to the team Obata Way.

S15: I think he bit a couple of my lines to win, but I’m a leader right now. Yeah.

S8: If I was me, I would say yo. So I heard you tell the story before sometimes. But like can you for people who did like we ain’t been in no studio with big. So can you set the scene for us what it was like meet and be like, hi ladies.

S11: OK. So. So it isn’t. Wahhab is. So I come in the studio is D-N.D Studios is our deejay premier studio, Baghdad. And I walk in. He’s already there. There’s a couple other people in the room, too, like Jeezy. So he got on the make jazzy that is got on me. He’s still in Canada. The hustle days, you know, I mean, he gave me the Paon or whatever, and then he leaves. But now is me a big just in there trying to create a record. So. I say we in about eight hours, but during these eight hours we have a conversation and things like that. You know, I mean, drink it a little bit. Got a couple more things in the air. You know, I’m saying so as we’re talking and he’s making people laugh. I just see big black out and just getting to a zone if you start doing this while we talk. I’m paying attention. I got my pin on my pad to beat his own at the time. So I’m you know, China called my join out. He’s coming back. He’s got some in a drink in a hand. And then he’ll black out again and start. And I’m thinking to myself, what does it do? And then eight hours later, he says, Yo, treme., I’m ready. I’m ready for what? I’m ready to get in the booth and back down. OK, so I got my pen and a pad and most MCO a Wrightwood opinion. So I’m like, yo, where’s your where’s your people in Japan? Like, you’re just my going here freestyle on his record. Now we’re trying to make a classic man. You can’t go in here. Come up the top of the dorm or my record. Nah, he was like, nah, man, I can write it down. It confuses me. I was like, oh, so he gets in the booth.

S16: And basically his whole process is he writes everything in his head. And I didn’t get it back then, but I get it now when he says it confuses him. It’s like writing it down from his head to the pen and then back into the mike. So basically he got rid of the middle man and got rid of people and wrote it all in his head. And then piecemeal the rhymes all the way down from his dorm room. It wasn’t like he was top at a dorm with it, but he kept it in here and then translated it to the mike. So when he got on there and just started seeing it, blocked it, approach it.

S11: I bring it back to a preacher man now reaches to the Stooges. I cut it right there. And then he just jammed. He just went all the way down so that when he played the joint back and you heard this incredible rhyme, I was like, holy shit. How did he do that? And so after that, you started hearing folklore of other cats that claimed me right on the top, like J. Like Low Wang. But he was the first guy that I ever saw in person. Lab did actually do that. Now, I was like, man issued is incredible.

S4: That’s crazy. In Everett, you call him the most efficient emcee in the history of Hip-Hop. Can you explain it?

S16: Well, I mean, Baghdad is big to me. Say more with less meaning. He could take one were that most emcees, it would take three or four or five words to get across.

S11: But bigger find out one were in those perfect syllables and started a flow of the record like every syllable was always impacted. You listen to it is almost like you could sing like really melodically saying every record that big is done. And that’s based off of new waste. No space within the flow, within the bars, within the musicality. And so that’s why I say he says more were less, probably better than any M.C. that I’ve ever heard. You know, I mean. Yeah.

S4: So after this, you’ll leave the studio. No, but you’re supposed to keep in touch.

S10: Oh, yeah, yeah. Yeah, absolutely.

S12: Like big drop a lot of jewels on me at that particular time because like I said, he’s at the top of the food chain. Right. So, you know, I’m I’m trying to pick his brain. It’s almost like, you know, I mean, would call became came in the game and he’s picking Joynes brain trying to be the best. So I’m like, yo, man, what is the game like that?

S10: He already got like five years. Because I think he came in a game in 92.

S12: Some like it anyway. So, you know, he has experience on his belt. So I’m just picking his brain and he’s telling me about, you know, just all these ventures that helmet on got set up. You know, I’m saying he had the clothing line out, the Brooklyn men’s clothing line. You know, he already had junior mafia rolling. You know, I’m saying so he’s writing, publishing checks off that. And then eventually, you know, one of the conversations we had.

S11: You know, he he told me that he fulfilled whatever he had to fulfill with badboy above. He was out. He was going to start doing other things. So he had already planted the seed in my head. OK, cool. Now I see that this game is even though I love the music and I continue to make music as I do today. This is not the end all be all you have to expand. You have to do something else outside of that because this will last forever.

S12: Least by like 99 percent of the artists out there. So those are some of the things that we talked about outside into, you know, just being in there, being in a booth and spitting and all that, you know, in this room.

S4: So I recorded that near the end of 96. So there’s only a few months later, you were at the Soul Train Awards. You were at the after party, correct? Absolutely right. You’re from Philly? Yeah. Here in D.C. Just recorded a joint would be who you’re going up to L.A. at the height of this so-called East Coast. West Coast beef was created here. Why did you go? Did you feel any danger while you out?

S11: Yeah, absolutely. I’ve got a couple of death threats. Just put on a record would be what? My mama was in Old Town and I forget the On-Air personality I was, but I know I was in the Bay Area. And so we’re talking about our minola and all of a sudden the ball phone ring and you know, we go off to the side because I think some music would think he was playing wanted a record or whatever he was doing. And then he got on the phone. And, you know, Myanmar, my people’s you know, we talk Indian army, blahdy, blah. So then he hangs up. He says, all right. At the district. Jokingly, I said what was going on? I go, I just got a death threat. Detonate it in acid more. And it was all but cut. And I think. Keep your hands halves on it. I think that was the regular plan. But aside from that, I never really felt threatened or scared. I mean, it was like, you know, not to not to see it as my arm is my arm, but that’s just how I roll. You know, I mean, we are here. We are we are here to do a job. We are our fun.

S10: So I never really felt threatened in Cali like that. But that night, it was some weird in the air to me.

S4: No, I’m saying I was gonna ask you. So you made it. You saw big. Oh, yeah. At the Petersen Automotive. I know.

S10: We were there was I mean, everybody was in a mess. Missy was in there. I mean, who else was in need?

S4: I think I’ve seen like basically like your mama’s ebony 19. They made three.

S17: I mean, everybody’s like in a circle dance, obeys, hovering around where big was in all that other stuff.

S10: So but it was just something and it just didn’t fit. I know this is like kind of crazy because it’s hindsight, but I’m telling you for me, I just didn’t feel right. I don’t know why. I just didn’t feel right.

S11: And so, you know, after it was over and I think big it on my face, he was like, yo, Dre was going almost murdered males. They are all male. Just saw me, right? He was like, nah, man to man. We bought the border you miss, but we go to the Playboy Mansion because it was at the party at the Playboy Mansion today.

S15: So I’m like Sunis. He said that. I was like, okay, yeah. I mean, I know that. And now let’s do it, man.

S11: So we both walk out together, literally. He goes to the right. I go to the left and get in the car with Mark and a couple of my homes that I ran with on the road. And so we’re sitting in a car. We didn’t even get out of the parking lot or whatever it was. They had a bunch of cars just sitting there, but big, you know, went to the right and gotten his truck. So we’re sitting here just waiting to get out and all of a sudden more. It’s a phone call. It had to be about five minutes later. What gets a phone call? There also just seemed it just seemed like he saw ghosts. His whole face just went blank. And I was like, damn, I look down like, what’s going on? So you pick Usher. I said, oh, shit. So he immediately at the got over the initial, you know, just stone effect of what just happened. We told the driver, you know, you got to get a body, blah, blah, blah. So we went straight to think with Marzano. Right. The hospital said so. Yeah. So once we got there was just me and mom.

S18: And so Myanmar walked up to the hospital door. He walked in. I stayed outside. Is me farty Burton is a whole bunch of other people out there. Hey. By crying and all this other shit.

S11: And then he walks out because he was the first one to get the news. He walks out, pulls me to the side. He says, your big is gone. Just like that. Why? So I’m walking up the block with him because he’s bawling and I’m trying it. You know, I mean, get him together.

S18: And then there’s a couple of people that we hear is like dark, but there’s like voices and they call him Mark and he’s saying, your mom, you-I you good. And so, of course, did the story no more handsome like yo. So then the duesler. Oh, you’re gonna love. But it was cause no more.

S11: I’m like you. What the fuck is going on, right? You know, it’s crazy. So it’s all hell, yo. You need to get on a plane and get a body. He had already got a call from Pop. Pop was on the first thing smoking, you know.

S18: I mean, so it’s almost like it was real, man. But that’s just how crazy you were. So, you know, of course, they told me, oh, you need to get a body to a. I’m going. I mean, you know, I just didn’t feel like I needed to go. But again, it was just something.

S4: You know me as well. Well, that’s March ninety seven were almost twenty three years away from that. Kind of stuck with you. Like, what have you taken like that night? Just even that night. But like that moment. Right. Because it just seems crazy like they’re young men. You were young men and it was only 24.

S10: You know, as a young man. And I was only twenty six stone or twenty seven at the time. We were all young men, young say. So I mean, just it I mean, I got my I got my theories on certain things.

S11: But, you know, I’m saying like that’s a private conversation, but I just feel like it made me look at the game differently. You made me look at what this industry is really all about. You know me. And it made me just start to take measures into not putting so much into this industry. You know, I’m saying, of course, there’s still love for the music and it’ll always be that way. But these particular incidents that I was like falling interest in fooling around. It just made me look at everything and everybody just different. You know, it wasn’t like the happy go lucky image that I had in my head about the music industry. It was something else. Now it went longer than that. You went to law school and an hour stayed in the game, at least from the commercial aspect.

S10: I was signing Universal stayed in the Universal until 2000, 2001, and then they dropped me. I was working on a second album. Actually, the second album was done. Laughing. It took off. I have production from a young Konya on record I had once yet unreleased. I’m sitting awesome hits.

S15: Yeah, I’m sitting. Sitting. So he was he doing the vote? The voice joins. Oh that. Oh yeah. Yeah. I’m so low. So, you know, coming to the stream platform if you want a little service.

S9: But yeah after we made that record and it was done and complete and you know, we did a video that call we like it featured a young Ludacris on a young low job. These cars wouldn’t even names yet, you know, I mean.

S11: So after that, Universal decided to go to another direction because here comes cash, money. And here comes nollie in them. The same lunatics as sort of priority went to them, the money went to them. And the total market, your services are no longer needed. So he went in, got his deal with will face. But Universal decided to keep me as collateral to kind of make up for the money that he lost. So I was really in there building by myself. So when the nellies and the cash monies or the world came in, I got lost in the shuffle when they weren’t trying to put money behind me, which is the business. But I wasn’t really surprised because again, like I told you after that shocking situation in L.A., it made me look at things differently. So I eventually got dropped in 2001 and then that’s when I started to do some soul searching. I went back home to my mom’s crib, stayed there for like three months. And then she came up there, told me, okay, you got a role.

S15: I said, well, Jimmy, three months. I know. I mean, I’m 31. I’m so she’s like, oh, okay, where you go. But you’ve got to get about it. So I call my brother.

S9: I’m like, I’m coming down Orlando. So he let me come down and we, you know, stayed together for about a year and he won a baller grad school.

S11: So now Downey and I’m just like me. So I want to be in a church.

S10: You know, I’m talking to God every day, like, yo, you’ve got to give me a sign, please. So I just took my last seven dollars that I had in my pocket and I put it into please not gamble in and nothing.

S19: But it was just like, what of would do research dollars? I don’t go get a meal. But then after that, then what? So I was just like, I’m putting on my favorite.

S7: You put it in a plate promise. A week later, I got a call from Wayne Barrow.

S12: Wayne Barrow is more his cousin, who the president of regularly. Market, the CEO, always the president. He said, no, Trey, I just got a call from Universal. They say, do you have a publishing check for you? But I don’t know how much and they couldn’t find you. So you need to call them. Give me your relaxing in his chair. So I will say. Yeah, give me that.

S11: As we get that at, I get a check in the mail. $7000. Wow. Wait a minute. There’s more.

S19: So didnÂ’t that is seven thousand comes in. I’m like I call. That’s in my pocket. Hey, awesome.

S11: They’re still figuring out what it would do to 7000 or less, the law we’ve laid out that I get another check for fifty seven Thousand Oaks. Wow, I can do no mccraney. I got on my knees, man. And I just thank the Lord until I was blue in the face. I couldn’t believe it. So I paid off Howard.

S15: I was in debt. So now I’m sitting on a low number like I need to make a move on.

S11: So I made a couple of records, independent records while I was down here. But then some click again. Good Lord. Talk to me, man. You got to make a move. Want to go to law school? Why would I come from.

S20: But it makes sense because a lot of the things that I went through in this game was because of the deals that you signed as an anxious artist. You know, saying just trying to get on. Just trying to get your records heard. Things like that. But then in hindsight, at the you look at the contract, it was really bullshit.

S11: Right? So I was like, you know what?

S20: I’m a go to law school, but it’s not only for me so I can get my shit right. But it’s also for up-and-coming artists that are coming into games, soccer, school them properly and give them the guidance that I never had to release.

S11: Make an informed decision even if you don’t go the way that I think you should go. Elise, you have all the facts in front of you and you can say, hey, my lawyer told me or Ameritrade told me this is what it is, but I decided to do this.

S20: That and the third. You ask the data that I never had. That’s. So in 2003, I went to law school with Southern University Law Center in Baton Rouge, Louisiana, graduate in a 2006 Gama’a JD, and then passed the bar in 2007 in Louisiana. And here we are, a licensed attorney and an MSA asked for Scarbro.

S8: I mean, I could be asking you questions for a real quick thing, because I’ve got to ask you, were you in a studio recording?

S4: Yeah, all the time. Who was Kaiya in 2001?

S15: This is this. Listen, this is a blow your mind real quick.

S21: Connie, 2001 was the same kind of thing in 2020. It’s just that he got his money now. Right.

S15: That should make you stick your chest out when you’ve got it in the bank. You know me, right?

S21: He was the same arrogant, same, you know, AKAs spit. Same IBS is the hardest in the world. He would the same to get off the train with a backpack from Chicago. Same to our promise. Wow.

S4: That’s cause you go along.

S7: God, it was me. Yeah. Good. Good. No phone.

S8: All right. I got five rapid fire questions for you for this hour. So you kind of already answered this already.

S4: But who’s your all time favorite NPC ELO? Easy, as easy as see who’s number two.

S15: That’s what you get.

S11: That’s when it gets sticky. I mean, because you’ve got the Mount Rushmore cast and ammo put in this conversation like the Murley Mels and Chuck D Iraq Hills and G Rapp’s and Coolmore D. So if I gotta stick to my peer group, I mean, big gotta to be in conversation. Gotta be in the conversation. Dogra has gotta be in the conversation. Right.

S8: U.W. East Coast Castle. So I met with your favorite 2.

S4: Three thousand gotta be represents after episode 3000 is a ham. Yeah. Yeah. He could just he just don’t give us enough banal. Did you rock with Tupac where you were Tupac. Oh no. I actually liked his music part to me.

S11: Made records you understand and seem like a lot of cash and I’m talking about niggas spit. They got bars j make records being made records. Nas. He got bars. He’s a great writer. Records.

S15: Yeah. I like to be the first nas is. Don’t don’t get it twisted. But I’m talking to his record dog.

S11: I’m not talking about the lyrical genius that he is in the penmanship that he shows. I’m sodomite. His rector’s is a distinct difference.

S15: I don’t want to get into this right now. I always say that because that’s one of my faves.

S10: But I was said to Rick Ross has made more albums and wrote Ross makes records. Yes. Not to me made records is just a pop was a complex genius to me. His emotional rollercoaster is crazy. I’m saying right. He sold a man got shot, man. You know, Sam was part of the Black Panther movement and also the stubborn to stop here to see, you know, grown up and things like that. I met Pop once. Oh, I was at a conference in DC brp and he was sitting in in the hotel lobby in Emons.

S12: People’s Lemar peoples and someone mams, they go a little pop and like I call. So in each woman walks up to a load trying to smoke.

S15: Pot was like, finally, that’s a real tease. See what he said? Yeah.

S19: He went out right on the side of the hotel, got half an hour conversation and all DA wants.

S8: Oh, Hustler. What’s your favorite Tupac song?

S11: Oh, man. He’s so many tears, so many tears, man, at that record for me is just man. You know, Larry, he said lately, I mean, one babies. So obviously a part of me there wasn’t always shady like that. LA Right. Dangers encapsulate a pact to me that just gave you the the real version of Pop, your favorite big song that doesn’t include you like you did.

S15: Oh, man, there’s so many.

S11: Goodness gracious. I’m going to say. Ah! I mean, if you talk to me all these days, it will be something else. But right now, warning maybe one who was crazy.

S4: I mean, does not you know, there’s not a wee suicidal thoughts as to everyday struggles as we age.

S22: I mean, wouldn’t bore. You’re right. Who’s your favorite emcee today? Active working emcee.

S11: I mean, you know, the usual suspects are like Kendrick. I like Cole. I like. I mean, I like what Griselda is doing because they bring him back to gritty, you know, I mean, like Kendrick and call from a debt standpoint, from a pen standpoint and bores me records.

S12: See if you could combine all of that. That’s why the greats are the greats. And the mediocre sort of media organs in spitters are spread as if you can combine it. Then you throw to me like Kendrick and Paul.

S8: Okay. Our time is almost up. Which race were it? Real quick. You do it all costof. You’re an attorney as well, but you won’t tell the folks, the people which you’re working on right now.

S12: Oh, absolutely. I did drop the beginning of 2019. Call expect unexpected produce. My my brother. Oh.

S17: I have a wine pairing event that I partnered up with. My box of wine of the rail will pay. Why would hip hop albums, classic hip hop and R&B albums like we have an event coming up at City Winery on February 19th. We’re repairing wine with the Who is Jill Scott album that is already sold out.

S15: Yeah, yeah, I know. I know. We got more we got more state, so we got a whole year.

S17: Once a month. The city winery also released a new show called The Tea Leaves. I’ve got a warn here right now. I’m saying it kind of like kind of. I know. I mean, come in black and white, you know, got a trace of EMusic.com. You can also get my catalog, which is new music, GOP.com as well. And I’m also helping out the copyright office right now with the new Music Modernization Act. I’m on board of the Grammy board here in D.C. So, you know, Bahamut talks with them just so that the genre can understand how to monetize off our music, especially with these streaming platforms.

S12: It’s crazy. So that’s what we doing. That’s what’s up.

S23: Are we ready? Please check that out. Man, prices are coming down. Iran calls the truce worthwhile.