7 and 7 number four: DJ (Thee)Mike B (of Camo UFO’s/Banana Split)

Here’s a great capstone to the first month of the 7 and 7 sessions, my captain creveren since WAY back DJ Mike B. (however he decides to spell it) was player enough to lace me with an interview and fill in the blanks for the knownots. His new project Camo UFOs is blazing from bassbin to bassbin (here’s a link to their last mix that was on the blog in a earlier post) and that is only ONE of his endeavors! From NY with Stretch Armstrong to L.A. with DJ AM (rest in peace) and Steve Aoki and literally everywhere in between with a soundsystem, If there is a person who has been here and done that with them, then it’s him. I’ll shut the f@#k up and let you read his story and be informed about his lifestyle, one that you may have come into contact with and been influenced by in one way or another. Please get familiar…

1. two things you are in the L.A. scene are very popular in a infamous sort of way and simultaneously slept on by the whole “industry” populace, do you agree with this and how do you feel about it? I know you work hard, but still…..

>I guess that’s one way of looking at it. People often tell me I’m ‘slept on’ but I don’t really feel that way. I gotta say I’m crazy happy with where my career is at. I get to play at all the most fun parties around the world and not really ever have to compromise. But definitely I’m known more by music heads and other DJ’s and not so much the general population. But I kind of like it that way. Pase Rock recently said I was one of his favorites in LA for an inteview he did in BPM. He had a list of three: Marques Wyatt, J Rocc and me. He refered to me as ‘a dj’s dj’, which I thought was a really cool way to put it. Just be mentioned in the same breathe as J Rocc and Marques, two LA legends, was an honor. Especially coming from someone I respect as much as Pase.

2. you have dipped around in many “scenes” but if someone were to take a step back and look at your movements, you keep it extremely consistent and at a high level. from when I first met you on the rave scene (Toontown!), to your time in NYC with Stretch Armstrong (and many others), to you coming back west and getting into the dance game at the jump off of it (and throwing some of the best dance parties with some of the best deejays)  and exposing people to rap and new shit the whole time, to now where you are BACK in the D&B scene with a newfound fury! HOW can you be such a chameleon? is my nickname for you ” the jewish salaam remi” the next time I see you on a rooftop? can you fill in any blanks as far as stuff I missed on your resume?

>Yeah… wow. It’s rare that I get interviewed by a good friend and you have the benefit of knowing a lot about me. Basically, since like 91 I’ve been obsessed with DJ’s and dance music culture. When I’d go record shopping, I’d buy hip-hop, house, r+b, jungle, rock, techno, breaks, hardcore, whatever sounded dope to me. As well as copping tons of mixtapes from Tony Touch to Rob-One in addition to DJ Sneak, Jason Blakemore or R.A.W. and DJ Hype… Just banging shit from good DJ’s. NY guys like Funk Flex and Stretch were also big influences on me. I was never in to blending too many genres together so my approach was to play every genre of music as the masters dictated it should be played.  I wanted to be able to play 6 hour funky house sets like Doc but also be able to drop crazy smart quick hip-hop mixes like Stretch, Clark Kent or Capri. Playing the music as it should be played for crowds that appreciate it.

>I’ve been really lucky to be involved in many scenes without ever compromising my involvment in any one. I just go one at a time. I spent high school summers interning for Guy Oseary at Maverick and learning about how major labels work and understanding pop music. While simultaneously going to Wu-Tang shows as well as raves. And at the raves I’d spend equal amounts of time in the House room as the Jungle Room, Hip-Hop room or even the Gabber room. Just trying to understand how it worked.

>I figured out that music is like food. Served the proper way with the correct ingredients it’s always good. No matter what genre.

>I spent many years in NY working with Stretch Armstrong and djing some of the grimiest hip-hop parties in the city. During that time I learned to fear no crowd and that if you love the music, you will make it happen.

>When I got back to LA, bottle service began it’s ugly takeover and there were 40 other dj’s in my scene all playing the same shit. Thats when AM and Aoki had the idea for Banana Split which was a huge game changer for me. I finally had a platform for all the dance music I loved so much. But I never left hip-hop behind. I continued to play sets at parties like The Do Over and do the Drive By Bangers mixtapes for The Hundreds. I think of myself more of music historian/collector who dj’s to showcase his music collection. But I also have skills so I get away with it and get props. I love it. I hope to remain unclassifiable forever.

3. I asked the homie Nasa to do this a couple of interviews ago, but could you recount some of your fondest NYC/LA memories from the last 10 years? I imagine you have seen a lot….

>One that comes to mind was the Banana Split 2 yr Anniversary party. First I dj’d, Then AM and I went for 1 for 1 for like 45… then AM and JFK from mstrkrft went 1 for 1 for a while , then DJ Falcon played the illest ableton set followed by Busy P. It was just so goddamn icey. Seeing the culmination of this party. All the Ed Banger guys were in the booth as well as Crookers and tons of friends and DJ’s from all over. I was just floored by the positive energy and amount of musical talent surrounding me. Definitely a special night.

>Another is at WMC 08 when I played at this Turntable Lab party. It was Eli Escobar, Blu Jemz, Lloydski, Woodman, Induce, Egg Foo Young and myself and we all went 1 for 1 for like 2 or 3 hours. It was soooo rad. I think I just really like djing with my friends because we bring the best out of each other.

>There was also this Crystal Castles party in downtown LA a couple years ago too… MFG promoted it and there were 1000’s of kids there. I was playing on the outside stage at the same time CC was playing inside so my stage started off a lil quiet. But then CC threw a fit and left the stage and incited a riot or something so they closed that whole room down and made everyone come outside to my stage. That was around 1am… I played til 3am and played so much dope shit! Truly a memorable gig and the crowd was the most energetic i’ve ever seen at any of my gigs.

4. How was it working with Stretch Armstrong And Shecky Green back when the whole Game Records thing was popping? did you hook up with any game girls? do you co-lab with Stretch now that he runs a dance label?

>Those guys put me on. They taught me almost everything I know and i have so much respect for both of them. they always treated me as an equal even though I was a dumb ass teenager and they were legends (Stretch being one of the most relevant hip-hop radio djs ever and Shecky having founded The Source Magazine.) They granted me access to all of their resources. taught me the music game, introduced me to legend after legend… I can’t even start name dropping cuz it’s just too crazy. I still can’t believe some of the people I  got to talk to, nevermind smoke hella blunts and get lap dances with. Hahaha. Seriously though. That shit was the best of times. I got to live a life I’d only dreamt about. And both of them are still my very close friends to this day. Stretch and I have talked several times about collaborating on something for his Plant label but as yet nothing has come to fruition, though I’d imagine it will soon.

5. I know something that lots don’t and that is you are an AVID skateboard head! you got the sick collection of vintage decks to the point where some of your boards were used in either Sean Cliver or Marc McKee’s artwork book! (please clarify fi you can!) do you actively skate today? what is your set-up?

>I wouldn’t say I skate actively, but when I do I roll with Krooked decks 8” + on Indy’s with risers and 58mm med hardness wheels. Usually Spitfires. And yeah… I’m obssesed with early 90’s Skate culture. I have a huge collection decks, t-shirts, stickers and vids from World, Blind, 101, Menace, Plan B, Girl, New Deal, etc. Sean Cliver came to my house in 03 to take pics for the edition of his Disposable book which is the greatest book in the world next to the Ego Trip books. I bugged out having him at my house. He came and took pics of my 101 Gabriel Rodriguez grenade deck, which was an old Andy Jenkins design and my Jovontae At Night which was a Mark McKee design.

6. You also rep The Hundreds clique, if I am correct. You did a couple of mixes for them and whatnot. Can you speak on the whole streetwear re-wiring and how much it parallels with skate fashion for those uninitiated? I kind of see Hundreds as the new Fresh Jive whereas Fresh Jive is like Stussy and Stussy is like Gap in the early 90’s with backpackers at Hamilton and Westchester. What do you think about that?

>Honestly, I don’t know a whole lot about streetwear culture or any of that. There was a time when I was djing all the streetwear parties in LA and it was no doubt due to my association with The Hundreds. I just always liked their shirts. It was that simple. I met Ben cuz he would come to the Brooklyn Projects party at Nacional on Friday that i used to DJ. That party was THE SHIT!!! I told him I liked his shirts and he said he liked my djing. He hooked me up with so much shit and I offered to do a mixtape for them as a thank you. Thats how all those mix cd’s came about. I’ve been friends with all those guys ever since and still rep TH everyday. They are the kings of that world no doubt.

7. For a number of reasons that you are too familiar with, last year truly was the capstone for the end of an era. With everyone moving up and out in entirely new (or old) directions for the new decade, what do you see happening in the entertainment industry as a whole? smashed out collapse or a brave new world? you have a different P.O.V. as a deejay…..

>I dunno man… the new ableton-serato combo is about to drop. It’s a wrap. hahaha… Honestly I don’t care that much. People will always wanna dance, and of those people there will always be people who want to hear better music mixed by better dj’s. I’ma just keep it on some Too Short shit and ‘Get In Where I Fit In’. Pause.

RIp DJ AM.

7 and 7 number two: NASA (of The Presence/Uncommon Records)

The Honorable Paul Loverro A.K.A. Nasa is another dude who wears many, many hats. Coming up as a youth in the truly seminal NYC hip-hop scene of the mid/late 90’s, he was first hand witness and part time architect in some of the east coast’s most important avant-garde rap contributions. From the Institute of Audio Research to Ozone to Def Jux to Uncommon Records and everywhere in between, the dude is a survivor and vet in the game, both on the mic and behind whatever boards you want to reference…. thanks too much to Nasa for lacing me with this amazingly informative interview and DO YOUR RESEARCH.

1. you have seen a LOT in the NYC/east coast hop-hop scene over the last decade.  what are some of (if any) your fondest memories that come to mind from 2000-2009?

>Man, in reality, myself and the scene in NYC, go back further then that.  It really kicked off in late 1995, and most of my favorite memories of it are from 1995-2000.  2000 is when things started to become over saturated and influenced by outsiders.  Things were really pure in the late 90’s.  My life back there was really fun, a typical week would include the following:

Stay up all night Thursday Night listening to Stretch & Bobbito, Saturday hit up Fat Beats to try and grab some of the shit that I’d heard and then go digging at all the other record spots in the Village.  A Saturday Night maybe we’d go see a show at Nuyorican, Wetlands or Tramps and the whole week I’d be going to Institute of Audio Research which was in the heart of all in the Village learning Audio Engineering and Production.  It was a golden era.  And it was all brand new, to everyone involved.  There weren’t any publicists, the labels that were around didn’t know what the fuck they were doing.  It was all about the music and if you got lucky and people liked your shit you’d sell like 10,000 copies of a single on vinyl or something.

Things have changed so rapidly, that it sounds like I’m describing something that was happening 25 years ago, but it really was only about 10 years ago or a little more.  I won’t let that time go though, that’s what made me who I am today and where I want things to be today, just suited for today’s times.

2. when cannibal ox’s record first dropped, it seemed like a golden age for new rap and definitive jux was at the center of it. now it looks like NY has other sources to turn to for that and the market has taken a dip, so to speak. while elaborating on as much as you see fit, can you possibly fill in the blanks so people can get an idea of what made uncommon records a necessity in the later part of the 2000’s? 

>Let me start it like this. In retrospect, “The Cold Vein” was really a culmination of what I just described. All the energy in NYC that was around in the late 90’s built into that record. You had two dope emcees raised on that shit working with that scenes most influential Producer. They created one of the best records of that era, but that record was promoted in a way that was different then many before it.  Somehow they were able to create a true anticipation for that record, it was almost an “Illmatic”-like build up.  That helped the record grab enough ears when it dropped that it was truly appreciated for what it was.  People forget about that.  That was a key line in the sand for NYC indie music, here you had a record that was representative of what was happening, but it was promoted worldwide.  It changed the “game”.  Man, I hate that term, haha.

As far as why that didn’t strengthen the scene here long term.  Hmmm, I’d say initially it did.  I remember going to packed Can Ox shows.  My theory on NYC Hip-Hop, which has nothing to do with “Cold Vein” at all, is this-

A lot of dudes from the early era picked up and left NYC, a lot of other dudes stopped throwing and doing shows.  When you don’t do shows in your city there is no culture.  I don’t care if it’s NYC or Wallamazoo.  So even in the biggest city in the world that will effect you.  The cats that got theirs in the late 90’s and early 2000’s frankly did not pass the torch correctly.  You never saw dudes that had that hot 12 inch do a show with some younger cats that was coming up behind them, at least not by the mid-00’s.  It at least wasn’t attempted enough.  I think that really neutered the scene here.  It left NYC victims to the influence of sounds that were foriegn to New York naturally since not much was being developed here anymore.  

We at Uncommon Records feel that we are filling that void.  We are a New York label.  We do shows here, we support young artists here, we support each other here.  It’s all love.  It’s about showing pride in your damn city, and your damn music scene.  I’d rather die broke with my pride in tact.  I’m 31 now, prove me wrong, I ain’t never changing and I’ve been saying that shit for like 10 years plus.

3. there was a LOT of wax dropping out of the east coast at the end of the 90’s and turn of the millennium (hah!), what happened to 85% of these artists? why don’t companies like fat beats or amalgam digital, etc reach out to the independent artists in their city? it seemed like all sorts of dudes were poised to drop and all of a sudden, those names were replaced with different ones and while a lot of “normal” (read: boring) music dropped for the masses to some type of response, all of the “exciting” sounds got funneled to the background. I see that uncommon is intent on preserving that sound and the direction that it was going in (thanks!), but straight up, what happened?

>Well, it goes to what we’re talking about mainly.  You have 3 factors: You have publicists and promoters invading what we created and neutering it.  They went in and took what we were doing that was raw and made it more accessible.  Don’t get it twisted, there is a “Mainstream Underground” and PR people service it.  Most of these people just want to hear tracks they can dance to, stories about their fucking tours or their fucking backpacks.  Music that talks about good music instead of being good music appeals to these people.  Fuck that, that’s where you get that “mediocrity” from.  Secondly, like I said, people stopped repping in NYC.  They left, or did shows elsewhere.  A lot of these folks don’t understand something really simple- if you do a show out of town, your gonna get paid more then if you do one in your hood.  It’s not a diss, it’s just if your getting in a car, plane or train, you naturally will be hit off.  If your not, your getting ripped off.  So cats go here or there, get they little 800 dollars and then come back to NYC like “Nah, I get 800 bucks to do shows now”.  Haha, really?  That’s not how it works dude.  So for a while you had iller shows featuring NYC artists happening far from NYC.  That’s why you had a lot less shows happening and why the scene here was in critical condition between the years of 2004-2007ish.  Straight up, I feel like Uncommon is part of a movement of a few shows and crews that are bringing it back and I’m proud of that.  NYC is on the upswing and so is all of the Indie Scene.  The third factor is simply the individual.  Some of those dudes that we loved from the 90’s either weren’t ready to do this full time and were just having fun, some were just unstable and couldn’t be worked with.  You never know.  I’ve seen many a self destructive career, especially then, when it was all so new.

4. as a label owner, ex-casualty of the industry (both in and out of the office) and music lover, what is your viewpoint on free downloads and their place in 2010? anyone reading this that knows you, most likely has 1-4 of your free downloads on their HD, so we know that you are supportive of the medium. WHY?

>I think as a business owner I’ve learned quickly that you DO NOT fight technology.  EVER.  I have been and am still one of the toughest fighters against illegal downloading.  I don’t think it helps the artist one iota.  I’ve fought against download websites the entire time I’ve had Uncommon.  With that said, I think artist provided free projects are a helpful tool.  I think it helps you get that fan base for your next record that may be a pay record.  It’s almost like what radio did or was supposed to do.  We just dropped “Law & Order”, a project with myself and Willie Green.  How many people downloaded that that had never heard of either of us?  How many people saw it were like, damn, Nasa’s still around?, haha.  It’s about awareness.  The more people hear those fresh ass beats I did, the more are gonna buy Artist X’s project when I drop a beat on em.  The more they’ll check for all the rest of the Uncommon stuff.  It works the same way for Willie and his career.  You can’t argue with that.

I think the key is to blend the Freemium model with a Pay model.  That’s where we are right now.  On January 26th, we test this theory with Taiyamo Denku’s release.  We’re dropping “Articles of Mind” in all stores online and dropping “Articles of Mind- Bonus Tracks” as a Free release on Bandcamp the same day.  The “Bonus Tracks” will have remixes, alternate versions and exclusives on it that aren’t on the record.  So now you have it where, someone that buys the full length is like “boom- bonus tracks” and someone that grabs the bonus tracks is like, “I gotta go get the real shit now”.  That’s the theory.  But, these days you have to experiment like that.

5. in the new decade, what are your goals as a label boss and artist? are your personal goals as an artist opposite to those of a label head?

>No, they fit together. I’ve always prided myself as someone that can wear many hats.  My goal in life is to do music full time.  I have a lot of confidence in myself and my ideas/visions for the business.  I have another business venture that I seriously want to get started this year along with Uncommon.  I think between that and Uncommon Records I can get to a point where I’m generating money as a business man and consider THIS my job.  I want the artists on Uncommon to be more and more successful.  It’s always a proud day when I can send someone on my label a check, even if it’s not a huge amount, for their sales.  As an artist, I’ve realized I need to work with as many like minded individuals as possible.  Every collaboration I do means two people are talking about it. Me and them.  That helps both collaborators.  That’s how you spread the word.  Plus, creatively it’s more fun to work then not to work, that’s for sure.  Fuck getting money for my work right now as a Producer, that will come.  Folks have to know who I am first, it takes a while to figure that out, but once you do, you get a lot more busy.

6.  in reference to your days at Ozone as an intern, you were around for a lot of music that ended up laying a part of the foundation for how we all work (and in some cases, sound) to this day. what was it like being a young dude around what appears from the outside to be a deluge of creativity? did you take anything from that experience that you would be willing to share?

>That was the cocoon for me right there. That was another golden era for me. I worked with younger versions of Anti-Pop Consortium, Mike Ladd, Saul Williams, Co-Flow, Juggaknots and the list goes on and on. I was meeting all my heroes and learning about new ones at the same time. I was about 19 years old then. I worked my way from intern to assistant engineer really quickly and recorded many classics. All this was around 1999.  It was like “Fame” up in there. I think it was an idealistic kind of place for a period of time, and maybe that’s part of where I get my idealistic side from that I’ve held on to.  Most likely it just strengthened that part of me being there at that time.  I’m glad that I haven’t let go of my experiences being a student at IAR and experiencing the indie scene and then landing at Ozone during that formative time.  That’s the foundation for who I am musically and what I do at Uncommon Records today.

7. for the people like myself who are beating their heads against the wall, trying to navigate themselves through this new electronic world as an independent hip-hop artist, do you have any advice for both new jacks and lifers on how to stay afloat and ahead in this game without drowning in the overflow of information being presented every 10 seconds?

>A few things, like I said, resist nothing (practically). As a younger business owner I was on some ‘Fuck Myspace’ shit.  That turned out to be counter-productive. So when Twitter and other tools came along I was all over it.  It’s resulted in lots of new and amazing opportunities for myself and for Uncommon Records. Use all these tools to promote yourself and be tireless. I’ve left an imprint of some sort on Twitter, Facebook, Myspace, Livestream, Soundcloud, Tumblr, Ning, Last.FM, Youtube, Vimeo, Flickr, ReverbNation and more.  Plus, we have our own site of course at www.uncommonmusic.net, we have free projects on Bandcamp, I do a podcast called “Uncommon Radio” and more.  Of course our digital distro deal gets our music in almost every digital retailer online as well.  You just have to push.  Every moment I’m not at my day job, seemingly, I’m busy doing something for Uncommon, whether online or just doing music.  Everywhere there is a chance to reach people, you should be there.

Let your guard down, don’t let money stop you from achieving your goals.  The music business is not like working at a bank.  You don’t get paid when you walk through the door.  You’ve got to get yourself out there first.  That goes for shows too!!!

I think what I’m trying to say is, open your mind.  Things are NOTHING like how they were even 5 years ago. Move on and adjust or prepare to be irrelevant.  Music is infected by technology and growth. The tech biz has always worked this way, where something new comes along every few weeks. Now music is essentially part of that tech industry. Get used to that, it’s not gonna change. Use it to spread music, spread word, sell music, meet people, meet listeners and to make money where you can.  If you don’t, prepare to stop being a musician.

(go get that new Law & Order project available for free, as well as a bunch of other cold, cold material at uncommonmusic.net)

7 and 7 number one: Luckyiam.PSC (of mystik journeymen/living legends)

(in my goal to find a new creative outlet for my work, I decided to interview the homies around me that have influenced me in one form or another over the past decade plus. I ask everyone 7 questions and ideally, they give me 7 answers. as usual, I’m about that information…)

Tommy Woolfolk AKA Luckyiam.PSC or PSC or whatever he says to call him at the time, is one of my oldest friends in my fledgling rap career. He served as a mentor to me during the turn of the century and unknowingly got me off of a path that would have surely ended in self-destruction of some sort, so I love the dude. Ladies love him, dudes wanna be him, he’s a great dad, an amazing lyricist with volumes and volumes of work to his credit and he never gets the accolades that he is due on the mic. He DOES get them in the boardroom though, he and his partners in crime Living Legends basically wrote the book on how to hustle in underground west coast hip-hop. When I say such a thing though, this is A.D. (After Deals: when every rapper got dicked by one label or another and went underground to regroup…) versus some time in the far past where it was truly the wild west and you could do analytics on your product by watching people dance in the record store when they played your record…..

1. what is the immediate difference in PSC and LuckyIam that should be discernable upon first listen or look?

> Ummm, PSC was amateur underground rap & Luckyiam or @luckyovlegends
is a savage Altered Beast like the video game.

2. you and your group/crew wholeheartedly spearheaded a revolution in how independent hip-hop was released and marketed on a grassroots level in the west coast. so much so, to the point where you had a yearly festival, your own label/s complete with deals, endorsements, YOUR OWN REEBOKS. you were even one of two artists from L.A. to release a 12” on rawkus records when that type of thing actually mattered. WTF was going thru your head when all of this was happening before your very eyes? did you see a ceiling for any of this? have you guys even reached your ceiling yet?

> We was just young doots doing shit..we peeped game from Too Short & E-40 and ran with our own version of DIY hustling. And ceiling? What the fuck is a ceiling?! Yup, looking back on it all now is like whoa! I wish we would of documented the ish better cause a lot of the ish is unbelievable!

3. coming from a time frame where your group provided D.I.Y. tactics to a scene that was (and still very much is) ran by egos and the ubiquitous “cult of personality” that exists and transcends actual talent, can you tell me and whoever is reading this about some of the obstacles you and your team had to overcome to get to where you are now? what are things in “the industry” that you still have to deal with 15 years later? are you guys still knocking out errant promoters that don’t know how to live up to their end of the bargain?

>first we couldn’t get shows so we said fuck it and threw our own shows. Then we couldn’t get in magazines so we started our own..then we went through the whole East coast bias shit..and dealt with the westcoast ppl who were all on New York’s dick & etc..these days it’s still a struggle cause we have new issues from shady promoters & everybody in our genre touring the same cities at the same time  to having to earn the respect of newbs that think Murs is a rap god cuz he rhymes with Slug or because Brother Ali an Aes Rock was they’re introduction to hiphop.

4. do you sit around at your house “listening to your friends” on the radio all day or are you in touch with the “real world” in regards to music, as it were? what are YOU listening to these days?

>I’m listening to mixes of my new unreleased stuff alot… I listen
to other ppl when I’m on tour and that includes the homies* I listen
to classic rock nonstop on XM radio and I’m in Love with Natasha Kahn
of Bat for Lashes* also I have a BBD cd that I bump & Bobby
Brown..plus Stevie Wonder rules.

5.  name 4 guerilla marketing techniques that you developed and implemented that have been appropriated by the mainstream urban music community? who fared better, legends or them?

>1. The internet. We invented that shit, fuck Al Gore.
2. Tapes/cd’s for sale on the street…we kick anybodys ass in that medium.
3. Hennesy,Patron & ecstasy. We did all that before any gangster
rappers learned it or rapped about it..before Mac Dre (RIP) knew what
thizz was. (ed. note: this is true, we got high at lots of raves and rode around in golf carts all thru our twenties…)
4. Being independent/controlling your destiny. Come on now, the shit’s a
novelty nowadays.

6. after literally assigning a price to wholesale units and setting the standard as far as how music was sold on the west coast underground (I mean sold WITHOUT a distribution deal), and then getting exclusive licensing deals in other countries when that was unheard of in our community and THEN working with all the relevant labels of the scene, what do you think about the current pervasive download culture that is kind of setting up shop, not unlike squatters do in old government buildings? do you think the sudden outlet that has become available to everyone and anyone (coinciding with the drop in price and instantaneous availability of pro-quality recording equipment for under 300.00) is actually helping the community, or is it similar to a tumor that was malignant but now out of control?

>I could say hella ish but I won’t…basically fooos need to pay dues*

7. what do you think the immediate future is for the “rest” of the music industry, meaning those who haven’t made their own market over a decade ago? what about the dude who dropped his first album for free on new year’s day? do you think that dude has the same chance and opportunity to make a name for themselves in this day and age, even if he has the talent, drive and support of his scene and sub-genre but no true promotion?

>Unless you get a golden ticket and have Jesus executive produce
your album, without history, a significant co-sign or talent much
greater than mine & my comrades, you just ain’t gonna matter. But that’s
cool, do you and occasionally I’ll rap about you or disassemble you via
twitter. It’s all love, fun, art, sex & money . Get some bitches.
Peace. Luckyiam

(oh yeah, he has LOTS dropping and already available in both free and paystyle formats. go cop.)