#128 - Victor Burnett

or so. Like I feel like, you know, blastling from being like LA's best kept secret to being the I mean, one of the biggest artists in the country. Yeah. You guys just hit number one on two formats at radio. Like right, kind of take me back to the beginning, though, How did you get involved with Blasts? Because, like I said, he's been around for like people act like he's like a new artist, but he's really not. You've been around

for a minute. I mean me, honestly, I didn't know Blast when like until like twenty seventeen because I was in college. I went to University of Washington, So I moved to Seattle and going to Grass Yeah, and then I played football there and then I ended up going to grad school in southern Illinois. I went to Illinois after that. She was gone for like six years, a lot of school. What were you going to school for?

So I got a bachelor's and journalism advertising, and I got a bachelor's of psychology, and then I went to grad school for PR and media development. So your a culmination and all that, and you're just the one stop shop if I need a shrink and a PR guy. Exactly, exactly exactly, But yeah, I mean when I moved back home from college, I started working for Bennie Boom and then I was working at their production studio and coach svery video director. So I had really started working like

on the post production part of the Tupac movie. So I was doing a lot of like merchandise design product

development for them. I was like that's what I was like doing internships for in college, and it really just kind of like transitioning in and doing a bunch of stuff in the company and they ended up letting me after I worked with This was stuff for Dame Dash too, like Damn Dash Studios because we're doing like the back in all the internet digital distribution, So doing merchandise production with him too, with like the CEO brand of wine and a whiskey. But he was just over there a

couple of weeks ago. Yeah, he was, uh, he was jamming out and we were on shrooms and okay, that's crazy. It was. I mean it was he took rooms with Dame Dash. Yes, that's wow. It was. He was like, I was like, of course, let's go yeah, and that's

you did the podcast on Trump, Yes, thousand percent. I gotta go back and watch that again because I'm like, that's different one million per at the end that kind of alluded to it, and he was like, yeah, I don't say it, you know, because this is technically illegal. I was like, well, look, I took trooms. You don't know what he did. Yeah. I mean, so with the after the Damn Dash situation, I pretty much took over the product merchandising department at their production company, Dames Booms yep.

And so I'm convinced them to let me like take over the studio and like manager studio on the facility. It was already like a podcast room, but me and my boy was already intern in there. So I'm like, let's just had them built the studio and put the actual equipment in here for us to like rent it up, so they shot us to live and let us do that.

And then pretty much I was doing like consultations with independent artists on teaching them how to monetize content and teaching them like digital distribution platforms and how to do it, at what time to do it, how to like pretty much beat the algorithm as an independent artist. So I was charging for that. Then I added on the studio services to that, and so eventually I'm at Blast and Jason Cash on the same day actually shout out to

both of them. He had shout out to both of them, so they both pulled up to the studio with the actor that played Tupac Demetrios Ship yep yep so Ship. He plays the piano as well, So there was pretty much all just coming up to use the studio to start making music. So I got introduced to all, well, both of those two at the same time, and then

really I took a lik into both day music. To be honest with you, but Blast was the one actually consistently renting the studio off from me, and so, like you know, Blast is pretty much like a man of little words. So one day I just knocked on the door. It was like, bro, you were into the studio for me like five times and they said shit, like what are you doing in here? So you playing me music? He played me Savage first and I was like, without

being no, that's before I even Nu bo So played me. That, played me a couple other songs, played me some videos. So I started asking questions like who produced it? He is like me, and every answer was me. Every answer is me, from production, graphic design, post production, on the video, merchandise, whole vision. I'm like fuck, I'm like, but why are you in the why are you in this grade space?

Like what is it that you actually missing? And then so we just started having conversations and I was just like, well, this is what I do, this is what I went to school for. I'll do it for free for you just to see if you like what it is that I'm actually trying to teach, and then if it worked, let's just keep applying it. So I just started off doing like marketing, marketing campaigns, rollouts like hand and hand

stuff with consumers end up taking over the merchandise. And then we just kept working, helping on videos, helping doing creative and then one day we went to the studio, it just like it should be my manager, like just randomly. Uh. And it was just prior to the first six tape. Yeah, yeah, yeah, so it's all prior to the first six tape. This is probably like six months before that. So yeah, so I was working with him for a whole year and

some change before I even became as manager. So yeah, you know, it was just like the dedication and the day to day grind. We was together every day. We're just starting to be together every day. And then it was in a lot of like having a lot of business conversations and then yeahs you know, his musical talent, and then at it with our natural business acumen, and then like the shit I went to school for and studying all that type of stuff came together and it

was like making southern vinegar. Yo. It's crazy because like you went to school for all of so much different things. Yeah, I'm sure a lot of that you ended up applying to what you're doing now, for sure, because a lot of people are like, well, you know, if you want to be in the music industry, you really don't got to go to school. But like I feel like a lot of people who do go to school, it ends up helping them out. Yeah, there's so much you can

apply to any sort of situation. I'm sure the psychology part first is just like just understanding people and understanding how to move in different rooms and just understand how to switch faces being in different places, whether it's in the streets, whether it's in the boardroom, whether it's in a classroom. So that that really helped me out a lot, just being able to speak the language of a lot

of different people. Journalism perspective, like just getting like write ups and shit done early on one seat and understanding how to put that in format and then shit the pr part to speak for cour like I just understood at the back end of marketing. So and that was around the time where Instagram started to actually develop an algorithm when I was in college, so it wasn't really a algorithm yet, but that was what they were teaching

us in class. So it was like I was just learning it so fast early on, not knowing that the music shit was gonna be able to be applied to it. You mentioned Blast being in like kind of a grade space prior, which I feel like a lot of artists that we both might know, or there's a lot of artists out there that are really talented that might be kind of wrapped up in that great space. What is like advice you would give to somebody who has all of the tools necessary to make this shit work but

just really can't get over the hump. Maybe should build a great team, because I mean, it's not just me and Blast, like of course crazy just say it's just me and Blast, Like we still got four employees on full payroll. Well early on it was just you two though, well early on it was just us two. I mean we had videographer, you know what I'm saying, so that he was trailing us and then taking all the pictures

and all the bts. Right, but I think right after probably like a little bit after that first six tape, that's when we actually nah, actually during the first six tape, that's when we started hiring people. So he made like our first hire. Her name is Alison, so she's our general manager and she's a Blast tour manager too. So but same time, everybody is like super qualified, Like Allison went to school and got a degree in music business and audio engineering, so she qualified to have these audio

conversations on stage as a tour manager. And then she's also qualified to you know how those first conversations run the email, be the first responder when it's talking about actual business logistics. So you know that's that's really like a constant thing throughout the whole company, Like everybody is highly qualified for the job they do. But I would say the same thing for an artist. I cent that position,

Like I mean, obviously I don't. I'm really a proponent of like you don't really need a manager to you got some shit to manage, you know what I'm saying, Like if you're not overwhelmed with shit, you really need your manager at that point, you know what I mean, You just really need somebody to actually help you probably funnel your ideas and actually like get to the point because you can only be one place at one time.

So if you want to be in the studio, you may need somebody to help you make the merch, do the creative on that. Because Blast is really an anomaly when it comes to doing all that shit. I really just like, yeah, it's really just him, and like I mean, Russ I guess was similar, but I mean I don't think the creator Tyler, But yeah, I mean just like in terms of like engineering yourself. Yeah, but I don't

even think they knew graphics though. I was gonna say the one thing I'm not sure Russ is making his own. I don't think it's photo shopping. Bro. We went on tour for this, this tour in September. First city was Seattle, so you know they got show graphics and ship on the So Blast was like, I'm not happy with the graphic that like the graphic designer delivering me. So I'm just about to chill today. Literally spent fourteen hours in the hotel making his whole show graphic for the concert. Wow.

So it's like an hour and a half reel of a whole bunch of shit going. But he created him, what's going on behind him while he's performing. He made all that shit. So it's just like for me, you know, it's like a cheat code. At the end of the day, it's like, you don't really got to outsource that much. You saved money. Facts is the definition of vertical integration. Like all money in for sure, you really don't got to spend. I mean, our marketing budgets be so low

just because we don't got to outsource for engineers. We don't got to outsource for graphic artists motion graphic artists. So it just gives us a lot of time to work, work with capital and actually distributed how we want to, oppose to being like we're being spread in because we got to pay all these people to do a job. Yeah. I think it's I mean, it's a it's a nice convenient thing to have in your pocket because most artists everything has a bill for a recoupable bill. Yeah. Cool.

So that thing going on mind blast Head. You know, most artist probably placed it with fifteen hundred dollars or something like. That's like fifteen thousand. That's fucking crazy. It's crazy. People are getting over on motherfuckers out here. Definitely, that's a lot of money. But it's shit that Ted's work. People don't want to do, so they'd be like, I want to whoop you over the head for it, Yo,

that's crazy. And so when you guys, obviously, you know, I feel like there was like a real, real organic buzz about Blast, Like I had heard about Blast before six tape because you know, obviously did this show ahead. And Head's been a huge proponent of blasts since forever him and Salas, and so I was kind of already hip to like, you know, his talents, and you know Ed was like, yo, you don't think this dude does

it all makes the beat cords himself. And so I remember when six Tape first came out talking to my guy Buys who was working Bino over at Depth Jam, and like everyone was like yo, Bino. I mean, obviously I love Bino, but everyone was like yo, But the Blast guy is also like that guy too, like you know what I'm saying. And I think that that was

kind of the beginning. I feel like we're like a lot of discussions are being had, but like what what I feel like you guys probably actually I kind of know inside information that you guys had a lot of situations on the table. What was it about red Bull music? Because that caught a lot of people off guard? What was it about the red Bull situation that you guys were like, this fits because it obviously worked. It was the first time. You guys are the first people to

make that work in a hip hop space for sure. Sure, it was a culmination of a couple of things, right, Like we understood what we wanted from a business aspect, like if you look at Egle, you could take like all money in OLP A TD and somebody's formula like a E forty and just combined all those together and we just understood like one ownership because Blast was a producer as well, so we were already doing so much money in merch and he was already doing enough money

on Distro Kid from his production catalog and his artist catalog that it was like, we ain't got to take twenty thousand dollars right now because the nigga can make twenty thousand dollars in a month just off his natural services that he does as a creator. So that was

how we first stepped in the room too. Like I said, like most people don't expect somebody to come in there and have an educational conversation, like especially like a young black dude that's under thirty and that's never worked in music beforecause I never worked in music before Blast, So me having these conversations were like super raw anyway, But

shout out to our lawyer. Our lawyer is twenty nine to two, and so he professor at Drexel University, got a sports firm, got his own law firm, all that shit. Can we get Can we get the lawyers? Can we get a name drop on the lawyer? Folks, Folks shout out to the lawyer. So I mean, just with us three walking in the building together, it's kind of like you really cross all the t's and dot all the i's with that, because it's like you got your legal

assistance right there. Then you got me who actually understands like business structure, business development. And then we came with an actual staff, with an actual vision, with a brand with color schemes, with already visuals put out. So I already know when you come to the table with that much, it's really not much you can really give us in that space. It's more so just like what you can throw with gas, you could throw in the flame that's

already kind of like heating up. But overall, I just understood Red Bulls are privately owned company, so they're like they're not on the stock market, which means that if they grossing four billion dollars a year, that mean they're doing something right. But lastly, I did my my senior dissertation on Red Bull because I wrote my paper on vertical integration and real bull is a marketing company to

start off, it wasn't an energy drink. So that's where you see all these advertisements, all these events and all that type of stuff just source from them being a marketing company. So me writing that paper already understood too, Like we can make so much money that's non recoupable. That is like we'll make more money and non recoupable funds than advances just because Real Bull got so much stuff, i e. The f ones, the events, the extreme sports game,

the skydiving airplane shit. So we get so much money off of sync plays from internal re Bull sources that it's like we can make so much money and just keep recouping every advance by just defering the appearance fees were getting. So the way that we can cru like cross collateralizing most of the time is like negative because it's like most people going the hole from cross collateralized and whether it be like a producer cross collateralized with

an artist or however it goes. But in this sense, we crossing over between reil Bull Music, Real Bull Culture Team, reil Bull Extreme Sports, and we're going through all these different fastest of rel Bull and we get money with these different divisions. But all the different paces, got their own CEOs. You know what I'm saying, all their own different branches are real, bull, All this shit is not

under one. So you know, just with breaking the artists and understanding creativity and understanding that Blast was like a super creative artist on top of everything, I was just like, bro, you really need to go somewhere where somebody can like tap into your talents and actually bring your talents out, Like have you designed some shit for the effluent Speedway to where that shit gets featured and then you get a royalty off all this merched that so worldwide. So

just that type of thing. So because when we think of like the traditional record deal, right, like most artists would come off the street, take a cute as big of an advance as they can get, right, but then you know, two years later they complain they've never seen a check off of music because you've never recouped. Right, So when you guys went to Red Bull, you figured

out kind of a life hack. If we go to Red Bull, we can get so much money within Red Bull that we don't have to really ever worry about. And you know, I take a crazy advance in front because you know, like like you said you were in a position where he was making so much money off this stro kid, and you know a lot of people go for that first, they want the bigger advance. But it's like, if you don't need the advance, whitic it? Honestly, bro,

It's just like it's a precedent. We all to say it for real, for real, because I mean it's saying it's deeper than rap. It's kind of cliche, but it's really deeper than rap though, you know, because we already just seen the people go be superstars, but they have nothing at the end, you know. I mean, Mik Mill

just complained about this. I mean a lot of people who we look at like not one hundred percent, A lot of our favorite people are like aren't seeing money off their exactly, they got to stretch that check, but which is why they dan be killing theyself while we're doing so many shows and being on the road so much to see that upfront tickets hill, you know what I mean. So it's just like I already knew you don't want to stretch yourself out with anything you do.

So however, you can create fillers in between the times that you want to take breaks throughout creativity. Okay, what is the best avenue to be able to do that? So not having to take a crazy advance but still being able to make six figures plus just on outside entities within the company is like, Oh, that's guaranteed checks I'm gonna get just because I'm doing business with the companies and their best favor to make me happy and

vice versa. So you know, it's just I think that I thought the people are real bull when we signed, I was like, really, pretty much, this is us being the cool kids coming to sit with the nerves and making the nerves popular. And I'm like, but it's mutually beneficial because the nerves got the answers to all the tests. So I'm like, I'm not tripping off kicking it with the nerves because I see the mutual beneficiary part of

the whole thing. Also too, I think you guys are in a great position too, where it's like Red Bulls. I'm sure their music division doesn't have to make money because they have so much other shit going on. Yeah, I mean, it's stand there like a guinea pig they started, you know what I mean. Like, it's like it's like when we think of Red bull like the eleven thing we probably think about is the fact that they put

music out too. Yeah, but I mean just to know they got rock bands going platinum on it, I didn't know that. I didn't know that. Yes, It's like they got a band called bear Tooth and they got these girls called the Aces, Like they both go crazy. They sell out crazy product, crazy merchandising like them type of deals. It's like, really, what like entices me? Because I already know, bro, you don't really you make pennies on the dollar on music, you feel me, even if you got a very favorable deal.

It's just like streams just don't pay you that much for you to sit there and be like I can make all my money off that. So it's like I believe in physical product and actually, you know, branching out and investing its actual money we got going on and different shit that's gonna make it's way more money. So grand scheme of things just like, yeah, we just decided to take the steps over the elevator for real, because

we could have jumped it so many times. We had crazy, outlandish offers on the table, you know, but it's just like shit, you know, we know what we want and we know how we want to move, and we understand it's like, okay, the same amount of money if we get this lump sum. We understand music math. And I think that's a big problem, Like a lot of people

don't understand music math and how that actually works. Cause it's like, even if you got a fifty to fifty deal, you got to make double what you got given to even make your recoupment back. So it's like, and that's a fifty fifties. I think if you got less than fifty percent, you're fucked. You're fucked, you feel me so. But having those of small nuances and having that intelligence behind that part, I think that helps navigated a lot. Just do this talk about music math because I we

talk about it a lot on the podcast, right. I try to tell people like, hey, look, if you take let's take one hundred thousand dollars and you have a fifty fifties an easy number for you understand, right when your money comes in for your music, the money the balance that you owe only they're they're advancing you money

on your half of the of the bread exactly. So like you said, you have to make two hundred thousand dollars to be to get back right, to get back even But the fuck that part is like even though you're the major up two hundred thousand back, you don't already made them two hundred thousand and two. Yeah, they're making really made half a million before you even you any anything. So it's just like understand, and then you think about taxes, taxes, I mean, and then think about

most deals. Yeah, a favorable deal would be like getting thirteen or fifteen points off your music if you're in a major situation. So then then let your mind wrap around how much of a fucking shitty situation that is ridiculous. It's ridiculous, but you know it's some people just don't give a fuck. Yeah, Like you know, me and head it during the pandemic, we had yg on and he said he had never seen a deaf jam check like off of his music. Like he said this during an interview.

I'm not speaking on anything that he's I've seen it. I've seen it for sure, and it's like, yeah, well, you know, at the end of the day, like you take that that that every time you drop an album, if it's a check associated with that, like you know, that's the money you takeing up front. I mean I had an artist asked me yesterday, like how do I

not be bitter about this stuff? And I was, honestly just like you just got to take an ownership of where you at with it and where you signed your name on a dot line because it's like you can you signed the deal right, Like you can kick and fight all you want to, but you had an ample chance to like review this, take it to whoever else you wanted to review it, and he made your decision. It's not people don't want the slow steady check. They want that upfront nut because they want to get they

want to be a part of like the smoking mirror shit. Yeah, And it's like wouldn't you rather have like fifteen grand a month? Bro? But when I figured out, like all this shit is smoking mirrors at the end of the day because me. I also used to design all the clothes for like all the V live ship clubs and shit, because I was like a contract they had through Bennie Boom, Like really they was getting all the merchandise periods Phoenix

yep V live in Phoenix one out here. I used to make all the shirt hoodies, like all the shit for themselves. This was a death trap. So even going to v Live, right, I'm noticing like I'm seeing the artists who walk throughs and I'm seeing the manager come collected back in and they also getting five seven thousand of ones though a just complimentary ones that throw back

to the house. So it's like in Yo min you like, okay, you're trying to compete, like they got the street dudes competing with the rappers to see who can buy more bottles, who could throw more money. When it's like so you're saying the back end would include your actual back end, and then the club would be like, here's some money as well. Exactly, it's just because it's gonna come they just say you gotta throw it all though, So it's

gonna come right back to the house. It's just gonna entice everybody else to feel like, oh, such and such is in here blowing the bags. Blow a bad y'all go buy the bottles, right, So one side is comped on the other side, it's like you spending your money.

So when it comes down to that and understanding like tax right off, so all that type of shit, like how to write off jewelry, It become a whole different ball game when you understand that rather than you just being like I just want to spend my cash right now for it. Yeah, I think the tax right off thing is how do you write off jewelry? Give us help us understand that, because yeah, so like this right here,

like well, one gold is an investment. It's a mineral, true, so it can go up in value and it has universal trade value. So in the simplest term, it's like the government is like, if you're gonna invest in an asset, whether it's property or there's jewelry, then you can write that off because you based you're saying, this is a future investment for me to be able to do something with it, and as far as dependent, it has my actual brand on there. I'm my owner of the company.

I'm on the paperwork, so I'm able to say this is a costume fee or promotional fee for my company and just be able to write it off at the end of the year rather than we spend the upfront cast. So let's say technically my tax bill at the end of the year, we're thirty thousand. If I spend fifteen thousand on this chain, I only got to spend. I only got to pay fifteen thousand of that back to the government and the other fifteen thousand goes down is

a write off through jewelry, costume expense all that. So it's like the simplest way I guess you could say it. And most people who are buying jewelry don't write their shit. No they can, they don't appraise it, they don't do nothing,

you feel me. All that shit is tax defable. So just really understanding how to like move around that type of spectrum rather than just what are some other things like you like like obviously you know for people who don't know, like obviously you know, if you're on your own LLC or you're you can write off certain meals you can, But what are the mills? I think I think the biggest thing for like entrepreneurs and business people.

You can give students college credit. Like we've had like two interns that we've given three to five college credits based off of a simple curriculum we built submitted to do you have to pay them? Nah? I didn't know that because I know at heart they had like banned interns for a while because there was some lawsuit. Yeah, so I mean radio. But see, you know, credits cost money in college though, so you've you've given college credits. That's basically like saying you've given x amount of money

to them within the educational delivery. So it's like going to we need some interns. Cook for sure, we got some credit. Cook. You can hop on once you get approved by like the little UC system or whatever private college you're going, indeed and put the ship out and then people just apply. Indeed, dot Com is a great sponsor of the bluet capture. By the way, go to a d dot com fort slash credit today and get

your resume skills tests. Go ahead, there is But yeah, I think that's the biggest one, like being able to have extra hands ship the ship. Don Kennedy talk about like most people probably think OPM is just a label. That's a real business term. Like I learned that in like business one on one, like one freshman year of college. Like OPM that's other people's money. Yeah, using other people's money.

It's a literal business term, like through credit, through credit lines, through loans and just making sure like you're not using your own physical cash. Yeah, you're leveraging someone else's money. To, you know. See, that's something that I think there's like depending on who you talk to, there's mixed perceptions on that. Yeah, because there's some people who are like have zero debt always if you can't afford it, you know. But then

there's other there. But most more most people that I know like to leverage debt in their favor facts cause it's like, I mean, credit is pretty much just your history of borrowing money. So at the end of the day, the bigger shit you want to buy is the bigger record of shit you have to have on your record of actually borrowing and paying it back, even if you can, even if you've got the money out right, I'm still like I can go buy a MacBook right now. I

just bought a brand new desktop computer. But I just financed it just because just so it can just come on my account and just add to my credit score to show like I'm still paying or something in a positive way. So, I mean, it's it's so many like life hacks when they come to like finances and financial literacy. I think it's just out there just to research it though, Like, yeah, I watched so many YouTube videos because like you know,

especially with the credit thing like I always. I started telling a lot of people close to me, like, yo, if you can afford to just use your credit card for everything, but you have to pay it off this year every month, where you're gonna get you know, credit card? Yeah, interest rates interest, right, they're horrible. So I'm gonna give you another hack though, so said, if you got too much money on a credit card, let's you know, they

give you like twelve or sixteen months free. You can do a balance transfer to a brand new credit card and transfer your whole balance and get a whole another sixteen months on a new credit card with that same balance without the interest rate, without the interest rate. Wow.

So that's what most people really be doing. Like they'll open up a credit card with Union Bank, run up like ten fifteen thousand until the year hit up, and at the end of the year, if they're not ready to pay that off, all they're doing is just switching that balance over to another bank, and they're giving you another sixteen months to be like, oh, I just use my credit card for everything and then I just pay

it down to like two dollars every month. No, I do as will because I don't even I don't even want to go through because then if you use your credit card and some some some some shit happens or it's it's you're totally not liable for it, you know, Like it's if you use your debit card all the time. Let's say you swipe it at the gas station and someone fucking takes your ship. That's your actual money that's missing.

That's your money that's gone. And then now you got to wait for the bank to get their shit together. That happens with your credit card, You're like, oh, will fuck it, I cancel my card. You guys will figure that shit out. It's not coming out of my ass. Yeah, hey my money. Yeah, but that's a great way to like just build your credit, right. It's just yeah, credit is I feel like not a lot of like, like there's a lot of misconceptions about how people get credit.

People be like, man, I got to have my phone for six years, bro, Like that shit don't matter, do not matter. It only matters if you don't pay it. Card notes, leases, house notes, real ship. You gotta finance

credit cards. Everyone should get a credit card. And then another thing you can do is you can add like if you have kids, you can add your children as an authorized user on your credit card to start building their mom got me right, My mom taught me all this shit, so it was like definitely early on she was on my ass about credit card utilization all that type of stuff. So forgive me for not knowing this often.

I know, you guys just really There was a press release that just came out recently about what you guys are doing next year educa we did an admin deal sh right, yeah, we'll want to travel and so we pretty we did that with Ryan Press to Ryan Press, so but then we also did one for Eagle as well, so we got a joint venture a rebel with Ego. So we just did the same thing to co publishing with Blast and with Eagle as well, because we got an artist signed to us as well. So whose artist?

Jay Million? Okay, yeah, yeah, so I mean he's been working with us for a minute, but you know he falls under that whole Ego bracket. Year producer do a lot of stuff. You're hear his tag. He did half the six tape two. The pub thing is interesting too because it's also another avenue in which people have traditionally gotten over on creatives. Right, do you think about the MDRC shit, which is I guess kind of out now. I've heard like it's very very frowned upon if like

a pub company offers you that, because it's very pati predatory. Yeah, it's super predatory. I mean, I'm sure they're still in this day. Well I'm saying I'm sure people are still signing those. But like we think of like what hip Boy was talking about recently, you know, and hip Boy was in a really bad situation, so I mean, obviously you guys took your time with getting a pub situation, because yeah, for sure, I mean it just like like I said, like we did so much within the merchandise

in space early on. I know, I bought a bunch of shit too, bro. I think we probably made like a good twenty thirty thousand off just the first two three week sales and no Love lost merchandise when he dropped that project. So it was like we were doing so much in the space of merchandise and then these Red Bull activations and then actually him like walk through Money was so crazy this year just because it was like we were on the left. We was in a perfect situation to where he wasn't too big to do

a small club and do a walk through there. But at the same time, like he wasn't too small to not do some premier shit in La two though. So just from those two spectrums and we was actually like managing the money properly. It was just like we could really take our time see what this shit actually mean. Our lawyer he teaches music publishers, so that's like his class at Dresu University, so that's like his specialty with

all of it. So he was just taking his time with actually getting relationships with these right people and leverage at the same time. Hell yeah, see who could actually come through though, like seeing who can really deliver on what they was talking about. So we've been going through this process for like a year and some change. Yeah, explain to me for I know why. But people might not understand. When you guys announced the initial tour run,

Blast probably could have done like the Hollywood Bowl. Yeah, but you guys did the ROXY, which was dope because you guys did two nights. But from the outside looking in, people might be like, why the fuck is the Blast doing the Roxy, Like he's the biggest artist in the city, He's the bigges artist in the state. You know what I mean, Like, yeah, so kind of explain why artists

do that, because that's it. The same thing happened when Roddy went on his first tour, like his first big tour obviously, but like he was doing venues that like most people be like, yeah, well the shit sold out in twenty four hours, like he could have did this, or but there's a reason why, Like yeah, I mean, so everything mattered, like when it comes down to ticket sales, like ticket sales is damn, they're like your your good

name in the streets, you know what I'm saying. When it come to booking festivals, artists are getting the ticket that they getting a festivals because what they doing and their independent show ticket sales. So we already understood what blass going into the festival season. Also with him that's his first tour ever, so him having a game stage presence. We actually let Allison and hired her internally as a

tour manager. See the first time tour manager. So we were thinking about scaling the business before anything, you know what I mean, Like we understand we got to scale the business properly to what Blast talent is. Even though he could have played bigger shows US as a company may not have been suitable enough just to have the write operations, you know what I'm saying, to maneuver throughout these places on tour deal with that many people fulfill

that much merch and all that type of stuff. So we just wanted to give ourselves a sample size one and then two. It was a part of tradition. Like Blast had never played the Roxy before, so it's like he wanted to play the Roxy still, Like he's like on New Year's he still want to play the Novo, even though we can do bigger shows than the Novo and so on and so forth in different cities. Yeah, that makes sense. It's like like he he's blown up

so fast, but he hasn't. Like you said, it's like you don't want to skip the like everyone has their Heyo, I did the Roxy, I did the Novo. It's like just because he might be past that, it's like you still gotta kind of got some legacy ship. Yeah, you

gotta honor that. It's some la ship. Like if you were to skip the Roxy and said he never did a Roxy show, Like how would that be in your biopic down the line, Like that's something that you want to highlight because that's really to have that whole block line down the line. That's like something to talk about whether it did sell out in two seconds or not. Yeah, no, for sure, we know we're not going back to the Roxy now though it's a it's a sweat box for sure.

Every every I've been to the Roxy so much, every time I go up, like it's gonna be so hot of that bitch man, it's gonna be so sweating. Yeah, you know, I'm with you. Go to that rainbow spot next door or whatever this is that it's called the restaurant next door that uh yeah, all the loot kebobs and ship like that, all the like Motley that's where one of the dues from Motley Crew overdose next door at that really. Oh shit, I didn't know that fu Yeah in that Netflix movie that Mgk's in. Yeah, yeah,

that I didn't know that. Yeah, wow, that's kind of nice. Yeah. I went to I saw the baby there and that I took my wife to eat there, and then Ron Jeremy was in the booth next to us. I was like, yeah, that's Ron Jeremy. And I told my wife who Ron Jeremy was. Yeah, and she She was like, why do you know what the dude's names are? What's wrong with you? I'm like, but you don't understand. He's like a legend

like Ron Jeremy, Like I could see her perspective. He's also a fucking a rapist who's in prison right now. Oh yeah, they like hit him with like a like I don't know, it's a solid amount of like like in the last twelve months, I've been under a rock for sure. For sure. I mean, I mean I've been moving around radio. So like, you know, we look at all every day. We got to do our fucking show prep. Every random story that pops up, we have to talk

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save twenty percent off man. Shout out to our family at odd socks. If you support us, go support them. Has it been like, you know, for you on some executive shit, like like you said, like you've you know, you mentioned some of the other la imprints, whether it's NIP or domb or TDE. It feels like you guys are really with ego. It just feels it just feels fresh. It feels like, you know, it feels different than anything

we've seen coming out of LA Yeah. I mean so, I think one thing big thing to not is like also, Blast is different than anything we've seen Yeah, that's all I was gonna say. Like Blast is in game bang, So it's like it really doesn't come with any type of affiliation, you know what I mean. It's really just kind of like the organic team that we built internally. But at the same time, it's like Blast made du Yogudda for hitter j FI isn't hit ji, right, I think J hit a J three hit a J three.

He made that and like Kendrick yg problem, all of them was on that in like twenty and thirteen type shit, you know. But so Blast has worked with probably every single artist from at least a artists from every single hood from Compton to la whether it be making him graphic design, doing doing the engineer and they beat. So I think people just respect like the organic build from Blast and understand like he always just played his lane

and never try to jump in nothing else. Yeah. Bro, it's just like we coming from a standpoint to where we're not going into it doing a deal with a major right away, Like we took a real left field approach. But a left field approach was a gamble, but it worked. I mean, I say I say this like this, the thing is like, what's dope? About Blast is like, there's no It's one of the few cases in music where it's really all about how good the music is. Because

Blash is a very mellow dude. I would say he might be an introvert, Like definitely, he's very chill, Like there's no like, doesn't smoke weed, he doesn't smoke weed, he doesn't like, he's not wrapped up in no bullshit, there's no Instagram antics. It's just like it's all about the music and the branding, and like I feel like for you that I mean, especially coming out of LA, we see so much where the politics of l A

getting I mean, it's politics everywhere. You feel me like, you gotta deal with them when you gotta deal with them. But for the most part, I feel like everybody on our team, including myself and Blast and even Shit to security, even the engineers, videographers, everybody just we have mutual respect from our peers just because again none of us are even involved in the streets, like we allt and grew

up in south central LA. But again we've always played our perspective lanes whatever that was, and then now we in this position, I think people just respect how we move and how we get around and how we really not nobody else business but ours. What is is the long term goal to kind of ride out with Red Bull and just you know, I mean right now, I mean, like I said, we got the JV with them, We

just did that. So of course building out through through Red Bull seeing the other things that have to offer. Because again, mind you, we've done all this not in the office for real buy during the pandemic. All this happened during the past. So we've only had two meetings of Red Bull in the Red Ball office to one was to actually have the meeting about if we wanted to do the deal, which was in twenty nineteen, and the other one was just this past month when we

did a twenty twenty two planning meeting. So that's the first time we met all the new hires, all the new people that we've only been seeing it on zoom. Yeah. Right, So just like actually being able to be in the physical or Red Bull now, I feel like that's gonna take it up either another notch. Right, We're going to Miami in May to do the F one event. Like Red Bull team they pit team and then they actual racer just won both events. So they're building a whole

track around the Miami Dolphin Stadium. I know that one is serious. It's ridiculous, right, It's like it's almost like, you know, we live here in the States and we don't understand, Like I mean, some people understand how big soccer and soccer's like I guess a little bit different because you know, if you grew up around Latinos, you understand soccer is a fucking the thing. But like F one racing, no one, I don't know though, Like I didn't realize how big of a deal it is, right Netflix,

So its right, yeah, blew everybody mind. But I mean, you know, just even shit like that, we won't have so many opportunities to cross promote what Blast brand is and integrate that into a whole different culture that has nothing really to do with hip hop at all. It's amazing, but I feel like F one is damn there like the race the race cars of hip hop though it's like the hip hop NASCAR. What's the name of the the guy who uh is like the guy in Yeah,

I forget his name. He he just lost to the Rebel but he's won like ten years straight though, so he's like hem he like, he's the person in this world. I can't remember his name. I just think of a borat Sosherbaric Cohen playing the F one racer who joined NASCAR and raced Ricky Bobby Yeah, calib that's funny. Ricky

Booby Yeah nah. So I mean, you know, just kind of trying to dive in more to what Rebel has offered, just from a brand standpoint, being like in blast position and being such a staple in LA hip hop for a long time that maybe wasn't you know, like I said, he was kind of you know, LA's best capt for a long time. I can only imagine have you guys ran into old blast shit people trying to put it out like, hey yo, we did this in twenty sixteen, yeah every week. So how do you deal with that?

Do you like let do you let let shit fly? Or do you say, hey, look man, it's times are different now. Nah. I mean me, I think the whole point of having a manager in the first place is so as an artist, you don't have to have those awkward conversations like sometimes if you got a personal relationship with the person, yeah, you're gonna have to have that conversation on your own sometimes because they gonna come directly to you because they probably got your number, or being spaces.

But for the most part, it's me having a conversation. It's like, hey, my music, and it's like it's not it's not like it's disrespect. It's just more so like what we're doing with the culture that we build in the timeline that we still don't line up. Yeah, just don't line up. It got I say, all business has to be mutually beneficial. I've had at least once or twice someone play me blast records in the studio here that like are old. Yeah, like yeah, you know, we've

just been holding this and good luck. Yeah it's never coming out. But I mean, you know, it's all like super peculiar artists art it Like I don't sound like that no more, one hundred Every artist is like that, right, Yeah, it's so crazy to be like, but this shit is fire, and like that shit happens with my artists all the time. But we'll have a song that we love and it's like a year old, and man, that shit is old, and it's like but it's fire, like just like you

held onto it too long. Yeah, And so yeah, we get that every day. I just had that conversation yesterday with No. He's definitely I feel like shaping up to kind of being the like you know, he was on

Ross's album, He's on NAS's album. I mean, he's been on so many people's but it feels like some real Nate Dog, you know, kind of filling that gap of being like the hook guy now and then and by the way, with having amazing solo records that are number ones simultaneously in two formats, which I don't think Nate Dog ever did with his so the records, God bless him. But but yeah, like like you guys feel that too, like you, I mean, I feel like everyone's probably saying

that for sure, for sure. And then I mean, yeah, the hooks all the time, Like I think blasts voice is just super unique, like in an R and B space, because it's not like he likes singing his heart out like it's so it's so it's so easy to like, yeah, it's like rap singing, you know. So, but I mean he could take it there if you want to. So I think, like the Ross record, like, I don't think nobody really ever heard Blast come off like that on the hook, Like right out the gate in a minute

at least compared to his old shit. But even now it's like, shit, people want that sauce and they want that organic West Coast field without having to feel like they're being super cliche and like, okay, yeah, let me tap in with Blast see what he got going, just to make sure that we're not, you know what I'm saying, skipping over something that could be a good long term relationship.

What's something you talked about being around Dame earlier? What was something you learned about being around Dame Dash because we spent one night with him and that I mean, man, the guy was just yeah, profusely, just spewing jewels the whole time. Yeah. I mean at the time, I was like, so I was like twenty, I was fresh out of college, so that's twenty fifteen. It's like six years. Oh yeah, that's a while ago. I was twenty three years old. I mean, it just learned like, don't take it personal,

like you feel me. Like the first day I walked in the office about the internship, he asked me like, who the fuck are you? Like why are you in here? And I'm just like, well, shit, it's either I'm gonna get upset or I'm about to start talking and tell these niggas what I do. So I got to talking,

you feel me. But I think just understanding, like again, personality types, understanding like how to work with certain artists, because by the time I got to working with blast as, like I walk in the park dealing with Dame or just sitting in meetings and taking notes and being like a minute taking on meetings with Dame and shit like that, being a fly on the wall, like all that type

of stuff. I think it just helped me move into the space of like, I don't really get too imbalanced if people be out of their mind or you know what I'm saying, or you feel like they comeing off disrespectful, because most of the time it's just be people delivery at the end of the day. And if you take this shit personal, it's like, I'm not taking a shit home with me. This is basically work for real, for real. So yeah, I think that's something that people need to

learn how to do better. It's just like a lot of people take a broad stroke approach to how they deal with people, like they just deal with people all the same way. But if you know certain people are certain ways you gotta kind of I think that's just a good a good yeah attribute of a leader. You know. Not everyone's going to take the same approach to the

same person because everyone's got different ways they react. And for sure you watch did you watch Game of Thrones when I was on of course, So like I tell people, like people be asking about the same type of question, I'm like, you gotta just treat it like Ariya in the Mini Faced God, Like every room you walk in, you just gotta become a different person. Sometimes you may be in a student position. Yeah, it's like, you know,

I am nobody for real. So it's like that's the approach you gotta take, Like, yeah, I am who I am. But at the end of the day, if I walk in a room with Benny Boom, I'm sitting on the couch in the corner and just really soaking in the game or taking whatever order it is if they hear to deliver it to me. But when I'm walking in a room with the Eagle Staff, I'm the person delivering

that message, you know what I'm saying. But it's taking out the ego to understand the difference between those phases, though what is something from your experience so far up and coming artists. We talked earlier about how sometimes we talked about that the video behind Blast would cost fifteen grand, right,

which is a lot, right, that's crazy. But what are some things that you see artists wasting money on or maybe getting taken advantage of that, you know, whether it's video production, whether it's you know, it annoys me when I have homies that are up and cooming artists and

they're like, hey, this guy hit me. He's saying he could get me on complex and all these blogs you think I should do it, and I'm like fuck numb, Like, but what are some of those things is that you know, you kind of think artists could save some money on, or that you see them getting took on a little

you know, I see it happening a lot. So I think one music videos, right, Like some artists think that they got to go pay a bag to a director and that just because they got a bunch of bread in the video and like a bunch of females in the video, it's gonna go right when it's like you can really do the opposite, like I said, like touchdown on these college campuses, and realize, like there's a whole film department of a bunch of kids that need work,

and it's probably some out there that's actually going to be the next who's who to be able to tap in with them and get on that type of level because it's all about recruiting from the ground source. So I feel like in the digital digital media space, photography and videography, like a lot of videographers get over on artists just because they don't understand like the one two step process with the differences and having a steady cam and the difference between having a handheld camera, like the

price difference between all that type of stuff. I also think, PR, damn, it'll be jipping sometimes too, because it's like explain that because you could have that background, and like, yeah, like public relations is pretty much like one people need to understand and PR. They're pitching your story to people and they can't guarantee anything. You can't guarantee, and the same way no label could guarantee you to be on right.

Nobody can guarantee. All they can do is put you in front of the people and hopefully the person who is pitching you has a good enough relationship to where they don't accept. So that's what that is, like, right, Like, it's not it don't matter about if you pay five thousand to the PR you may give three fucking pickups.

It's about the product that's on there. So I'll be telling people all the time, like you don't need a PR if you do not have the demand for PR right now, Like, I understand you want to service some music out there, but that's what you got Google ad Words, Facebook marketing, Sprizzy, you got all that type of stuff to be able to do back end marketing for people to actually get to be able to see it because

most of the times, motherfucker's not reading articles knowing. Yeah, I think that the most like overrated shit is like you know, back in the day, your life might get changed if you ended up on a complex or two Dope Boys or whatever blog, right, but like yeah, whatever it is, right, But nowadays it's like we're not even consuming like media that way anymore. Like unfortunately, you know, obviously those sites are still very you know, they they

produce dope content, they do dope things. But like you know, there used to be a time when if you got one of those looks, it would matter yeah, but it would move the needle. But it doesn't move the needle anymore. It doesn't because streaming platforms took they pretty much their essence. If you take if you take five grand and give it to a pr person they get on these websites, it's like you might as well you should have tooken that five grand and shot five videos. Yeah for sure.

Me personally, I look at pr as like just momentum pushes. I don't even think them articles really be that important. But perspective is Yeah, it's for your consumer to see like, oh, he looks like he bubbling up right now, he got a double like reinformation, Yeah, just a bomb to drop, just to be like keep your momentum going in, but to keep the channel noisies as they're saying journalism like keep the fans almost excited, like oh yeah, this ship

is going. Yeah. It is kind of crazy because if fans think or see certain things, it makes them want to fuck with you even more, even though that they're

like I noticed that, bro. It's like Sigmund Freud, the power of the subconscious, Like somebody mental so much and you you present something it's Instagram at the end of the day, Like you present one thing to them so much, they're gonna start to take that in and really like associate that with you, regardless of if you're telling him that they are actually like just giving them a visual

of that. Shit. It's gonna go the way you want it to go if you if you consistently, because nowadays, right there's like, uh, our generation, now what's it called? They just like all these ig pages and people paying it on, right Yeah, and like you'll see the ones you know that are like it's like, Okay, this guy's paid for that. Look God. And now unfortunately with some of these pages, it's like almost most of them you could tell are like the label dropping the bag. So

would you say world Star started that though? For sure, because world Star pretty much start the whole business model, right, Yeah, for sure. Internship posted and then but see world Star used to really like damn there. I don't think people was understanding like what like Google own YouTube and all that shit. So I don't think they understood like world Star was just taking a personal in money you paid anyway and just putting it behind the ads and shit

like that. So that's why I was picking up so many views. But again it's a difference between people looking at the system from the broad perspective or looking at it from like a functionality perspective. Yeah. Now, the World Star thing was like I had some homies over there, so I never really had to you know, we had a music video we put up on on their YouTube page that they did they just looked out for me on for free. But usually they were charged. I mean

this is a two years ago. They were charging people eight grand just to upload their video on their channel. I remember I had a good artist I worked with like in the past, and it's like, yeah, they got

twelve million subscribers. I get it. But it's like the other thing people don't understand is if a YouTube video is uploaded on any other page but your own, right or your labels, it's not uh, you can't put it towards your album sales, right, Yeah, you can't monetize that towards I said, just because it's like a well, I don't know if it's the same now, but I know

before you didn't. Yeah, like it didn't count towards your total sales, right, Like, so if you wanted to go number one, or you wanted to go gold or whatever, like not register what's that shit called your upc whatever it is. Yeah, and you think of like damn look at all like someone like you know, young boy who had a lot of his relea shit on World Star or just like something like damn, like imagine some of those I mean, by the way, most of those songs

are gold or plating them anyway. But yeah, but so many people probably could have gotten a plaque if they would have just yeah, but also they might not have had the had the you know, if it wasn't on the World Star page, maybe not as many people would have discovered it. I'm pretty sure, like hell of conversation with artists that really just don't give a fuck to learn about none of that shit. Oh nah, yeah, most. I mean I think now people are starting to get

a little bit more interested in that. I feel like though the last few years, there was a lot of artists that would just come in that were just like, what is my kid doing in there? Jesus? But yeah, no, I feel like that. I feel like recently it seems as if most artists are trying to be more self aware of the business. You know, I shout out to russ I think Russe has done a good job of like trying to educate people. No, Russ is dope, and

he'd be really giving it. Like honestly, people really should just listen, Like Russ is not lying to y'all, right, Like he's not saying you might not like the messenger. And by the way, Russe is to me as fire as fuck, but you might. You know, I understand, Oh he was amazing that Trumps is amazing. But but he's

telling everyone the truth. You know, He's like what he's saying is like, yo, if Drake or Kendrick or one of these guys decided to go and if Drake went independent, it break it breaks the record game, yeah for sure,

because it would like fully pull the mask off. And so I think that's what stope upbout what you guys are doing, because you guys easily could have signed with anyone, Like I know this, you know, so like you know, uh, to to do the red bull approach is like it's funny too, because I don't think everybody was like, you know, people are trying to throw like a little jazz. Oh I dude me And when me and had saw that ship,

we were like wow, hmm. And you know, I just think of as a warm Brew that was on Red Bull and they had another. I just was like, I just never seen a work because I'm not hip to I'm not hip to the rock groups you're talking about. I just know that I've seen rappers signed the Red Bull. Yeah I've seen it. Like you know, I mean, bro really to be thousands with you, like shout out to re Bull for sure. Like also there's a difference in the product product. No disrespect the warm Brew, but you

guys are like generational talents. Like when you can whoever you and across a rear Bull ever, like you can ask them this the fact check it Like the first meeting we ever had a Red Bull, we was like, we want to own all the incellary income that all the masters were not doing the publishing deal with you and we're only doing the one off for a short license.

And they was like what. And then we came back to the second meeting with like a Manila envelope all the numbers and shit from this your kid and all the products, and then we broke down the whole staff for the flow chart and they was like, oh shit,

like y'all already operate as a real company. And I think that's the biggest, biggest difference, the fact that we were able to show and actually communicate what our business vision was, how we seen the whole year going, and then have the music attached to it on top of that. And nobody's going into those meetings that way. Most people aren't. No, I would say like ninety most of the time. It's like, you know, you go to a meeting, they get a little spiell I do this, I do this, and it's

like so this song, this song. Yeah. Yeah. So majority of the time it's just me and Blas going into these meetings because our attorney in New Jersey. So it's like me and him walking in. I'm damning wearing basketball source of these meetings and last and the damn Dickie suit or something like that, and they talking to us

like we're just a natural rapper. And then once we get to actually having conversation and tell them like what we want in the breakdowns and all this type of shit, like everybody jawers be dropped and they'd be like, aha, like one of these labels we went, they literally stopped this mid conversation, was like, bro, this is above my pay grade, like we get just in this meeting. I can't even have conversations about the type of shit that's

so crazy. So you guys, do you know, would you say you pretty much had meetings with most of the majors? I don't know what major we haven't met with. Yeah, we met with every major, every single one. Damn. I'm trying to think. Yeah, was there a situation that was a close second as far as what you guys are considering? Uh?

I mean, I think when we after we finished that one off portion, we were considering everything, you know, like we knew we were at a different place in negotiations to go to negotiate with a major just because we knew they couldn't give us anything less than Rebel had already given us on paper. So we was like, all right, that precedent has already said, so we know, at the minimum, if our mind I made up, we can go to another one off in another place, match that same deal

and see what comes from that. But uh, we got some great relationships with some other people of different labels, but it didn't ever go that far to where we was like biting nails, like, fuck, what do we do? That's fair? And get that far what is uh what obviously big New Year's show, so I think sold out. They sold out in two and a half minutes. That shit's crazy two and a half minutes. Obviously we're waiting for the official Blast album. Yeah, gonna get in next year.

I know Blast is gonna drop probably something in between his next album, so another another like something, yeah, probably like another small EP. Definitely, you know, music is still just ramping up. I mean, Blast got so much music, bro. I gotta note on my phone with like seventy five songs in it. So it's like you make music every day, you record at home every day, so it's like it's never ending. But anymore collab projects, I mean don't I don't know, well, we don't have none on the calendar

for the collab projects. But I also think that I don't really think anybody else would be able to capture

like the chemistry like him and Beino got. And that's not even saying like it's not much larger artists that you know what I'm saying that are in Bino's category, like in different parts of the country and stuff, but just the organic build that it was and a time that we were both in like Nip had just passed away, last was just producing for beingo and Beno didn't even know Blast was an artist, right, So it was like through all of that, that's how that shit just built

so naturally in the sound of a built naturally. But I can't see that being replicated. To be honest with you, Well, let me ask you this, because there was some records on six tape two, pop Out being one of them, like where I was like, Yo, this song, why is I'll tell you how what I heard from the deaf jam side, So essentially like Yo, why the fucking y'all activating pop Out a radio or whatever, And they'd be like,

we can't because it's Blast side on their side. They're not clearing that side, you know, like because I felt like that was like just the whole entire project of records that could have went I mean, and they did go crazy, but I mean in terms of like budgets, radio pushes, whatever, like yeah, I think that, I mean, I think on that side, I don't think that really was like low hanging fruit for like us, like for Eagle.

I think that's more so having to do with like probably radio politics, because you know, they was doing working chosen all at the same time, right, so you as you know, you got whole working shorty shorty, right, And so with when it comes down to like these radio teams what I'm and this is my first year working on radio teams, but they get hell of feisty and

like possessive over they shit too. So it was like a lot of that stuff don't even be making it back to us of having conversation about taking us from shit to radio or like just activating behind certain stuff. But even on top of it, I think that both of them just where uh Beino was in his process with they camp and then where Blast was at like coming to were trying to renegotiate the red Bull situation.

It just wasn't on either side. I don't think it was like available for us to just be like full blown out, let's go crazy, because it was so much great area in between like both sides and an individual business or whatever makes sense sense. So from what I know, I just thought that I thought we got three videos. It was a great project. Yeah, we did the premiere. Did you come to the movie? Shit? I did not. We did the documentary premiere, shot the documentary all that

type of stuff. But definitely I feel like there's probably some music on there that, you know, if more of the world heard, it probably would have went crazier. But well, there it is, man. Anything like, obviously, you guys have been dropping so much merch I feel like you guys dropped merch often. Yeah, it's feels like you know, yeah, I mean everything's are you is this something that Blast has direct his hands directly on the designs or so Blast does all the designs for the merch Yeah, all

of them. Yeah, so all the tour merch. There's probably one design on the tour merchy like this little bibblehead I think he didn't do. But everything else as far as like the sheesh button, all the different logos and shit, that's all Blasts. So he's doing his design part and I do the actual manufacturing, getting distributed, sourcing, fabrics, all that type of stuff. So that's where can people go. What's the website for the official You can go on

blast dot com. Okay, yep, on Blast dot com find all the products there, Sheeh buttons, t shirts, hitties, all that. There's a lot. And then the artists you were telling us about who's on ego, when are we going to get some solo music? Man? Well, I mean he produced the Uh, he produced Go to War with Blasts and Snoop, and then he produced pop Out One of Them, One US a bunch of stuff. So right now he's just really getting this production back so heavy. It damna seemed

like he's taking that same type of path. But he only twenty years old though. Oh yeah, it's like, you know, he's still working through growing pains and understanding, like I said, music math, Like he making money doing all these productions, but I really hold him accountable to understand, like how you need to distribute this, how much you're about to have to pay through Texas. All the shit we talked

about today is like my constant conversations with him. The last thing I thought it was, I mean, obviously double XL has habitually left West Coast Ship off of their list throughout the years. You know, they're obviously, I mean it's as most media as he's But it was great to see Blasts on the cover. YEA. Was that like was that something that you guys just expected to happen or yeah, I mean we knew head along even before the little whole publicity stunt like oh go vote, we

already knew Blasers on the cover. Yeah. So I mean even through all that type of stuff, I think that, like what you said earlier, like the music just spoke for herself. Like when we did those interviews, it'd be ridiculous for music. They was just like what the fuck? Like where does this keep coming from? You know for sure? And I also feel like, you know, we live in LA, so we're in a very like biased consumer market for the shit that we think should be on the Freshman cover. Absolutely,

but I also have lived I've lived in Florida. When why'd you drop my crazy life? And why g came to Florida and sold like thirty tickets? Like it was crazy because in my head, I'm from Phoenix, I'm a West Coast dude, and I'm thinking this is the biggest shit ever. And then I see with my own eyes,

oh yeah, it's different. So I do think like as much as like, yes, WLEXL has snubbed some West Coast artists, I also feel like nationwide they're maybe like like if we think of like Roddy probably being the only other LA artists like I would say the only right I don't want to say that, but but but it's like crossing over. But that's just like undeniably a superstar, you know, Like there's artists that I've I thought should have been

what do we doing over there? Cook? Shut Jesus fucking crist I thought there was like you know, I mean, I would have loved to seen Mazzi on the cover. I would have loved this, by the way, that's the artist. I wanted to see him do a project with him and Mazi Mazzi, I mean, him and Mazi got so much music. Shout out to Mazzi, shout out to Devo like them is like two of the two of the early people. Is one of my favorite rappers in the world. To Mazzi is a good person, Like I know, he's

the best Dave. Dave's the best. That would be to me outside of the Beano shit, there's so much music between Blast and Mazzi. I would agree with that though, that that would be the most natural other thing if they did a little four or five piece for the streets. I think they both bring some different They both got like super significant voices and the fact that Mazzi can like really rap rap when they did timing is perfect.

When it sat in the corner for like three minutes and road on a piece of paper and was like, fuck this paper, let me go to the studio real quick and laid the whole ship. And I was like, whoa, because I'm not used to people being able to record as fast as Blast, So seeing that them going crazy, Yeah, yeah, so you're not and shout out Todavo. I think that would be the only I think, to me, when I think of like a Like when I was talking earlier, I was like, yo, Mazie to me, would be the

most natural. Like if Blast ever did another EP with somebody, Yeah, Mazi one of my favorite rappers, So I can respect that, that'd be crazy. Then they got so there's something about their chemistry they never missed. Yeah, hey, I'm telling you definitely probably gonna get some more music out of there for sure for sure. And then just on the like do you do it yourself? Agenda? Him and Rust doing something would be crazy. I mean, I know they've they've

done they've done records. I know. Yeah, I'm just saying in terms of, like, you know, that'd be kind of crazy for them to do something. Yeah, I mean shit bro Rest. Bro Rest brought us to his house all type of shit and so his whole process, how you really be creating all that type of stuff? And Blast is definitely very intrigued. So what Mike does blast us when he record himself at home? I definitely don't know that.

You know what's crazy because I think when Blast was I was talking to Blast and he was telling me, like the interface he uses like and it's like the most like go to Guitar Center, to guitars and spend like six hundred dollars or something, and like you you can have the setup. Blast cuts his ideas at home on yeah, I got the Internet. He just takes me in interfaces like he picked me up one of them. That's crazy. There it is, Man, I appreciate you pulling

up bro There it is. May go follow him Victor Ruler uh new ship coming into New Year from from the Eagle Team Boom