Stevo Interview: Managing OG Parker | "Never Too Many Plaques" | Love for Atlanta -

Find a way to make one. If you beat anybody from Clark Atlanta, we believe in that statement. Like no other. My thing was if I don't have an internship, if I don't have an OG, I'm gonna figure it out some kind of way. The One More Time Music Podcast. Genuine conversations with genuine people about music. Hosted by Henry with a three and playback Ben. We're from Bebo coops to Pizzles, don't want this to end, so part that one more time. Part that one more time. Part that s*** like one more time. They part that one more time. Ladies and gentlemen, welcome back for another episode of the One More Time Podcast. I'm your host, Playback Ben here with my co-host. H3, no Hummer. H3, who do we got in the hot who do we got in the hot seat today, my friend? Welcome again on episode 72 of the One More Time Podcast. Legendary actor, it's Anthony Anderson. What? Hey, go watch my show, Black-ish. I've never seen it. How is it? It's cool.

You know, I love what I do. There you go. In all seriousness, we have legendary manager. We got record executive AR, we got Steve O in the building. Steve O. Hey, appreciate you all having me, man. A one more time podcast. The world famous. It's right. It's been a long time coming for sure. At least city famous. At least. At least the city famous. Hey, I'm actually feeling a little bit on like a power trip because like now when we go out to events, maybe it's because we're the only white people at like a lot of these events. But they're like you guys do the podcast. And they're like, hey, you know, you guys do the podcast, right? And I'm like, yo, that's awesome. Yeah. So it is cool to like see it making waves through the city at least for sure. So, but you and I met actually playing pick up basketball. Absolutely. So I was familiar, you know, with what you have done in the you know in the industry, but I actually got to meet you while we were hooping. You're like a huge sports guy. Yes, sir. So I do want to talk about we've we've mentioned this on other episodes, like draw some parallels between sports and like the characteristics it it takes to be an athlete, right? To this music shit, right?

Like, what kind of stuff are you drawing from from your like experience in sports and just the world of sports, and how does that translate to like the music business and what you do? Um I I was an athlete growing up. I'm not an athlete anymore. Even how me and Ben met, I don't play in those games anymore. My knee is shot. Hey, he was a, He was a hooper, man, and still is. He's still. Yeah, the jumper's there, but the knee is definitely not. The knee's not there. Yeah, but um, that comes with age. So indeed, indeed. Um, growing up, I played every sport baseball, football, softball, even a summer of soccer, summer tennis. But um I guess if I could draw a parallel to how I view the music business and sports, it's not even the sport directly in that aspect. It's more of like being from Atlanta and still being here. Um when I play all these baseball, middle school ball, and then once once I hit seventh grade, it was all basketball. I play AAU. It's people who I grew up with and I played with and played against that just showed me how the Metro Atlanta area is so intimate. Even though you go either direction from Henry County to Gwinnett, it's about an hour, hour and a half, or from Douglasville to DeKalb, it's about an hour.

I played every school AAU, we're crossing paths. So it was when I got into the music business right after college in 2012, going to Clark Atlanta, it's like it was that same thing to where like once I got in the business, there were so many people from the AUC from the Metro Atlanta area that it wasn't even networking. It was like, I played against you. Like that's the homie. Yeah, yeah, that's the homie. I went to this party with you. So it was the parallel is sports. I would play against all these kids from all over the country, but the Metro Atlanta area. Then when I got in the business, it was like the same thing. And I think that's just a testament of how much I love the city and what it's done for me. And I wouldn't be where I am today without those foundation relationships that came almost by default. Yeah. So like, what about some of the intangibles though, like competition and like teamwork type of shit. Like are you seeing yourself like treating how you move in the music business at all of like how you like operated within you know team sports specifically, like basketball and that sort of thing? Or is it not really something you ever draw from?

I wouldn't attribute it to sports. I mean, playing sports, it helps, of course. Um, I was a point guard in basketball, but can I be a leader and my leader? Yes. But I tell people all the time, like my vision was never like, I want my own company, I want to be the president CEO, and I'm gonna run my own ship. That's never been a dream of mine. If it happens, it happens. And I own my management company, but that's never been my thing. And point guards are usually like, yo, I'm the top, I'm gonna run the show, put the pieces together, et cetera. For me, I always reference this movie Slumdog Millionaire. Like the guy wasn't the smartest, but his life experiences gave him all the answers to the questions. And and also I love posse films or posse stories, Power Rangers, Fast and Furious, Ninja Turtles, like anything where a group of people are accomplishing something, I just was like, I didn't care who to be. It was just, I love that everybody has a task and we attack the task to accomplish something. So my parallel with music, it's more of teamwork in general, not necessarily like a direct connection to sports. It's just, I want to play a role, and I like that we all are holding up the trophy at the end of the day.

I don't care what position I play personally. But like that that willingness and like desire to win, though, like I've seen you on the celebrity softball game at 404 Day, and like you're a competitive motherfucker. Oh, for sure. Do you do you feel like you also have that like intense desire to win in this music shit? Oh, yeah. And now that yeah, the desire to win is is definitely I guess you could say that's a parallel from sports, but I also don't do things I'm not good at. So like it those sports that I only played for a summer, I was okay at. And I stole with basketball because I was the best at it naturally. Like none of these baseball I grew up like training to play. But then once I tried basketball in fifth grade, I was like, I'm naturally better at this than baseball. So I went with, excuse me, what I'm good, what I'm good at. So when I have this intensity, it's not only like I want to win, it's I wouldn't be doing this if I didn't think I could win. So that's why, and it is there's some conflicts with like, I think in my career to where I didn't attempt certain things because I'm like, I'm not gonna succeed. Like those were internal things.

But if you see me doing something, you don't ever have to worry about that. Cause that was it. In order for me to even do it, I have to think I'm can we cuss on here? Yeah. Oh, I have to think I'm the shit at it. So that's it. For that reason, I'm always gonna be competitive and think I'm a winner. It's interesting, right? Because we've got some people that come on here and talk about like the things that are uncomfortable for you to do, sometimes lead to like the biggest wins. You seem to take maybe a slightly different approach that you know, from what I'm hearing, as far as like you're gonna focus on what you fucking do well, and you're gonna like beat that shit to a pulp of like I'm in your face with how good I am at this, you know, realm, right? Absolutely. I'm just now starting to get out of the imposter syndrome stuff. Like, I'm 32 years old, I've been as many as 10 years, like, and this whole trying new stuff is new for me. So I still my comfort zone is oh, I'm the shit at this, and I'm just gonna keep reminding folks how I'm the shit at this. So that that describes me to a T. I'm just gonna beat it over your head that I never get tired of showing how good I am.

Like, it's kind of like the Michael Jordan, they're like, you retire because you're so good, but then you're like, I miss this shit. Like, or you hear Mike Tyson talk about like I miss beating the brakes off people. I'm good at this. Like so yeah, I definitely have that have that similarity with that. So, how do you feel about the state of Atlanta professional sports right now? How are you feeling about the city? Hey man, we're reigning champs in baseball, so Yeah, until there's another champion, that's us. Um the Hawks. Yeah, but I see you at like every yeah, team your support, the dream, United, Falcons, Braves, uh, Hawks. I mean, you if there's some other weird professional sports. It may be odd. I don't know which camera I'm looking at, but this week lacrosse, we won in 17. That's the lacrosse type right there. I didn't even know we had Eric Gwinnett. Yeah, but um but still. Yeah, and I still haven't made it to a game. Yeah, I catch them on, on TV sometimes. Wait, you got a tattoo and you haven't made it to a game.

I haven't made it to a game. Wow. That's fucking weird. But, yeah, we won the ship, I was like, I'm getting that. So and then my first name starts to pass. So you know, I was like, it coincides. Kind of works. Yeah, but we're gonna be all right. The Hawks, we're getting it together. You see, we got Dejounte, um Murray now, so that's dope. Uh I don't know about the Falcons this year, man. I was they were saving them for last, but we can just, we don't know. We don't we're opening up with the Saints, so that's dope. Zero Zero. See who, you know, that win will be my Super Bowl. If we beat the Saints week one, I'm good. That's a good season. Exactly. We beat the Saints. Facts. Exactly. The problem is we're gonna do just good enough to get a bad draft pick. We're gonna go on some stupid run and like be like do the best we can do and still miss the playoffs. That's RMO, right? Yeah. That's RMO. I want to take for Bryce Young, but that's RMO. Yes. We have just enough games to be out of a good draft pick. Um, and then the Dream have the rookie of the year. We didn't make the playoffs this year, but hey, number one draft picking it ends up being the rookie of the year. Can't be mad at that.

So what is your involvement with the dream? So I was uh working with Renee Montgomery. Um she has a podcast, um, Montgomery and Company. And um through her podcast, she uh books um she uh invites celebrity guests out to the court. So I was just assisting her with that. Like if there was somebody she had in mind, she wanted to come to the game, or somebody I could pitch to her and say, hey, they wanted to come to a game, we would just, you know, we set it up like that, and you know, they interview on our podcast and you know, get a trip to the dream game. So that's it, yeah, build camaraderie in the fan base with the dream and get you know the community through celebrity activation, get everybody hyped about the team, the season. And I mean, I'm not gonna lie, this past year, like the WNBA got money as a whole, but we also have new ownership, new management, etc. Down there at that arena, like you see the changes. Like, you're like, oh, okay. I see if you went before and see it now, you're like, oh, this is different. So yeah, I think the dream is just up, and up, not only as a team, but just as an organization as a fan base, I think we're on the up and up. Well, if she ever wants some celebrity podcast host to be sitting courtside, I mean Henry and I would love to come check out a game.

There it is, down there on the south side, man, in college park. For sure. Let's do it. So, yeah, we also bonded over Tar Heel basketball. Hey, the only non-Georgia team I root for. Yeah, why? Yeah, I was gonna say, tell the people like how you even became a Tar Heel fan, because it's in my blood. I mean, my grandpa, my mom played basketball there, my sister. He has an excuse. Me, what is your I'm brainwashed into it a little bit. Are you some kind of Bandwagon, though, I don't know. No, it's not bandwagon. When I was 12, 13, I think I was sixth grade, something like that. Um, my both my parents from South Carolina, different parts, but both from South Carolina. My dad was good friends with Raymond Felton's mom. And we went to high school, like I remember we went to Myrtle Beach, and I saw him play for the first time. Because like a little tournament or something. And I just, and I was a point guard. I'm just not getting into basketball. And I was like, oh my God, this is the like, I was just so enamored by the way he played. I'll never forget him throwing like a full court bounce pass. And I was just like, yes, I know exactly what player you're talking about. Yeah, I'm like, huh?

So we went to the McDonald's All-American game. And my dad was like, yo, we're gonna go to New York. and I only went for him, but it was the All-American game with Amar'e Stoudemire, Carmelo Anthony. Oh, man. You know, Rashad McCants, Sean May. That class was insane. Yeah, D-Brand. I'm like, I didn't even, I was like, who's this Carmelo guy? Like, Rick, I think Raymond was two in the country and Carmelo was one. And I was like, who is this Carmelo guy? We're here for Raymond. So um yeah, that and I just followed him through. So when he got to UNC, I was like, that's that's where I'm going. So I'm strictly, I have a sign Raymond Felton, in my bedroom. Damn. He's my favorite Tar Heel of all time, and that's what got me locked. So being, you sound more like a Raymond fan than a Tar Heel fan, though. I don't know. Yeah, I mean yeah, but you get fucking sucked into the culture, man. Like, you can't not. You start hating Duke immediately. Yeah, yeah. And then like Matt, who was the coach, Matt Doherty. Oh god, yeah, he was terrible, but then Roy comes over after you watch the Carmelo Syracuse National Championship, you're like, oh, we're getting him. Like, we're getting that coach.

Okay, then they win the chip. It like I'm saying, it's Raymond after two years, three years, you're like, I can get used to this. Yeah, so it just divine timing. But it's had I been older, it probably wouldn't have happened. But catching me like right when I started playing basketball, I'm impressionable, I'm 12. So like I'm an Atlanta sports fan, I'm a Falcons fan, Hawks fan, but like college was still kind of iffy for me. So it just was, he caught me at the perfect time, and I've been Tar Heel basketball fan ever since. That's amazing. So on the kind of basketball front, you used an analogy in another podcast interview where you talked about like for producers specifically, how important it is to put up more jumpers than anyone else. Absolutely. For those that aren't basketball players and don't really understand what you meant, can you kind of like unpack what that analogy like actually means for producers? Yeah, for sure. Um there are so many artists putting out music. Like I'm I don't even know the stat, but everybody says like there's 60,000 songs uploaded. Yeah, a day. So that that's ridiculous. And that's that's like, and then we know even the major artists, it's a lot.

Like, so one thing about our team, me, Melita, Parker Romano, um, and by extension, all of our producer affiliates and songwriter affiliates. It's like you can get a couple big hits, and we've had success and have success in this business, but it's so easy to be forgotten about because there's always new talent. There's those 60,000 songs, some artists are gonna hear one of them and be like, I want that producer. Like, we've seen Future use, like a lot of his producers are family from Wheezy to uh, uh, uh, Rob, but then he just used ATL Jacob, but Southside, like we've seen him, and I'm sure he can call everybody, but we've seen him transition through all these producers, so it's like it's always gonna be one new hot thing. Mm-hmm. So for producers, you gotta, okay, you gotta hit with this. We gotta hit with the Migos. Okay, who's the newest artist? Okay, uh, QC, who else you got? Oh, you got uh Lakia. Can we get in with her? Oh, Atlantic, you got Cardi B. Okay, appreciate it. We gotta track with her, but who's your new artist? Okay, you got uh uh uh whoever the newest act is. Like, it's just you gotta keep it it's not guaranteed you're gonna get on these albums.

So it's just you cut like I gotta constantly ask these ARs and managers, yo, you recording, they're working on some new stuff. Let's get into my the producers gotta steadily hit up these artists or other producers. What you working on? Can I get in? And you have to do that so many times just to get one placement. Because if you just like, oh yo, I produced a number one urban hit, they're gonna call my phone. Yeah, they may, but then it's gonna be other people in their face pulling up to these sessions, these writers' camps, et cetera. And they're gonna choose demo because they're in their face, they're on their phone, they're in the email. So if you just think you're gonna get hot and be like, hey, put my hands up, kick my feet up, that's not gonna work. And I'm saying you can buy yourself two or three years if you get a hit, but why would you do that when you could be working hard and not work everybody? And that's I think that's why we're so successful. We got our first hit and we still act like, besides the price, of course. The price went up. Yeah, the price went up, but we still work as if we're new producers. And I think that's why, and it's not even about other people, but I think that's why we're we don't have that phase. Like, you know how you have those producers who last a lifetime.

Um, and you have those producers who's like, oh, that so-and-so era was crazy. That so-and-so era was crazy. But we, even though we've been in six, seven years now, you can't say we had an era, like we're still going. Yeah, we haven't fallen off and say, oh, that Parker Romano era was crazy. Like, no, we're still going. And I and I'm proud of us for that. Yeah. No, I mean, I think what you're to summarize, like being hungry as fuck, like you need to get that next, you know, placement, and like, you know, that you need to be working with the next big thing, right? Like, that's so important. And it's crazy to hear that, even I mean, you guys got platinum records, Grammy nominations. I mean, you know, the accolades are incredible what you've achieved so far. So it might be easy to just kick back. Yep. And and especially for the talent, like you as a manager, maybe you might have that, but like it sounds like your your camp, like your your talent also has that same mental. Is that is that fair? Like Parker and Romano, are they still still just as hungry as like what you're describing?

Absolutely. Yeah. Like I I think we're just all a partnership made in heaven because we all have that that same attitude. We all want more. And then like I said this in another interview, but just like I'll never get tired, even if a song goes platinum, okay. Like I'll never get tired of another song going platinum. Like I'll never get tired of that. It's not like, oh, I already had a song going platinum. Okay, whatever. The next like, no, I there's never too many plaques. Like, yeah, I'm not gonna complain if I have a whole wall and just say, okay, I'm done here. No, I want my house to be flooded with plaques. Next room. Yeah, the next room. So I think we all have that attitude to where like there's always a new goal, even if okay, you got just double platinum, triple platinum, diamond, double diamond, like it's never ending of success. So, like, I kind of like the idea of you can't reach your ceiling. Like, there is nothing. So just when you think you're right here, it just like automatically raises up. So you got a diamond song. We don't have a diamond record, but like even if we did, that's not can you go double diamond? Like, there's always something to reach for more.

Now that's what I love about this game, is like there's always something more. I'll never get bored. Like, even if I go attempt like sports, film, et cetera, I don't think I'll ever like just completely leave music. Yeah, has anybody ever gone double diamond? I don't know, I don't think so. I don't think so. I haven't seen it, but I was saying it's it's a hell of a goal to try to achieve. It's like 20 times platinum or something. Yeah, that's crazy. So you mentioned this also in another you know, piece I I uh listened to. You talked about producers need, and hopefully I'm summarizing this correctly. Producers need the right people to like you. Artists need a lot of people to like you. Oh, I like that. Right. Because I mean, to your point, if you do get in a rhythm with a select group of co-producers or a select group of artists or select group of ARs, right? Like, that can be all you need, really as a producer, right? Versus an artist, you need a hell of a lot more than five people, 10 people to fuck with you to succeed in music, right? Absolutely.

So what do you think are like tactics for both, right? So if you're a producer, how do you tactically and like actually go about finding and cultivating the right people? And how do you know who the right people are? Exactly. Like talk to us about like, you know, what you do to actually execute against that. Yeah, I don't I don't think there's like one way. So even the the ways I'm about to describe, there's still other methods outside of the ways I'm about to describe. So to give a firsthand account of Parker, for example, I met him when I was managing OG Maco. So then when he came around through the OGG crew, you know, we were at QC, Maco ended up signing QC. He took advantage of that and said, okay, I know I came through Maco, but there's Johnny Cinco, there's Rich the Kid, there's Miko, there's Skipper the Flipper. He just stayed at the studio three, four days a week, wasn't going to class at college, but like he would just, you know, whenever the bit, I need some beats. He I remember him like just getting up from the I got some. Like he didn't care, like whether they were the hottest on QC or not. It was, I know I have to take advantage of this opportunity.

And he just, those are the right people. He's like, I don't came with Maco, I'm in this bubble of QC. I'm gonna work this these little three rooms right here. And it ended up, you know, you get placements, and people like, what's that Johnny Cinco song? Like, I still that songs came out in 2014. People still talk about that's one of their favorite Parker beats, the Johnny Cinco Understand Me song. So it's like, as much as it is not a world renowned record, that's a record a lot of people reference to like yo, Parker, can I get something like that? And nobody like, if you're not, I don't even know if y'all know what song that is, and that's what I'm saying. Like, but you don't know whose ears those are gonna lay on. So it's just it's just taking advantage of opportunities, but then you have the producer, like, I don't know how to say his name, but OZ, the guy who does like Drake stuff. Yeah, like Switzerland or something. Or like France or some shit. I still don't know if he's ever touched down the states. I don't know him personally, but he signed to the same publishing company Parker is. Yeah. I don't know how he got Drake's info, but like when he got those placements, he didn't even touch foot in the States. Like, I don't I don't have the method of how we did it, but apparently he got something into the right hands, and that's the point.

I didn't even know what he looked like for years. Like, and so that's why it wasn't even important for him to make sure I get to the states to get in these writer camps. He worked his moves some other kind of way. Same thing with, I guess the person who produced Old Town Road, isn't that guy from another country or something like that? And then it was like a beat stars beat. Yeah, yeah, something crazy. From a European guy. So you have that. Yeah. And then lastly, the thing is the loot makers. Like, yeah, loot makers are saying, okay, I don't have these contacts with these ARs, these managers, or these producers, not producers, but I may know one producer. I may know a Romano. Can I, Romano? Can I send you these? Whatever, whatever. Oh, well, yeah, these are hard. And then now when you're doing the credits, people may go back to you and be like, okay, produced by Romano and so and so. And then now you have relationships like that. And now you got Joan Creston. when you email and say, hey, I'm the producer of now. You have something to reference back. So bro, the the Parker producer grind clip about loot makers, though. The I co-sign, I stand with my brother. I saw you in the comments, bro.

I stand with my brother. I'm way meaner. Like, he's nice. When he's like all that split evenly, and but even he said if he does most of the work. I'm with, even if they sent the loop and you take it exactly how it is, I'm still you need more. Like Park, for placing the record. Yeah, because you're using like we had to get up and do this work. Like, I had I've been in this 10 years and got these relationships, and Parker's been sleeping on couches and all that. All that comes into play when it comes to a placement. So like I think all that work comes into it when you're miles away or wherever you're at, you're in your garage, and we're out here doing this. Like, yeah, you deserve your credit. You worked on it. But I think it should never, I'm sorry, it should never be even. But when it's the creatives, if they all are fair and they agree, I'm never gonna get in the way of the creatives being okay. But just business wise, when like especially, I'm gonna get selfish for a second second. Especially when like you may have I may have placed it, and like I'm making a call for my client, and then you reaping the benefits. Like, I'm like, hell no.

Like, but yeah, I have a question for you on that note. So I'm a producer, I have beats, but I also know other people, and I find people that make beats that I really like. And there's one guy, he doesn't have any type of connections, he's in the middle of nowhere, but he sits at his computer and makes beats all day. They're all hard, and he's just begging me to like get them, you know, placed kind of for him. And he said he doesn't care if I just throw like an open hi-hat on it. But like, how do you if I don't even if it's a full beat that he sends me and I get it placed, how do you think that should break down in your mind? Um, it's kind of like an A and R almost. I speak frankly about my business, it's not some people tell me I'm crazy, I don't care. Because as much as I said what I said about Parker, he's nicer to me. Like, even if I make those calls, this is I I need to clarify. If I form my own publishing company, this may not stay true. But as it stands today, if I place a record, because I don't make beats, right? And I didn't add a hi-hat, but I place it, I'm asking for 5% publishing. I'm so like, to me, I think that's a fair, like, I haven't come across anybody yet who's been like, You want what?

Hell no. Everybody been like, five? I can, okay, I can do that. Should have asked for 10, bro. Yeah, like I really should. I know people who like who do this. Who are like Steve O, you are tripping, ask for 20. And I'm like, you know, maybe one day, but right now, like, I'm cool. If I don't manage you or anything, and I'm just using my relationship to people, and just boom, boom, like I to me, that's just fair. I don't produce. I'm just picking up the phone or I'm just making an email. I think that's fair. With you actually producing, and like people will call your phone and say, hey, H3, I need this beat. Because when you send it and you're on a publisher and you're actually a producer, they don't know that you didn't do that. They just see a percentage, two producers' names. Right. So you to me, it should be higher for you. But also and then also, like you said, you were able to go off that and say, You're still the producer of this song. Because if I'm if I'm a producer, I'm not telling people what I did and what I didn't do. I'm the producer of so-and-so by so-and-so. Yeah, getting this song placed is producing. You don't have to make the beat or work on the beat to be a producer. Yeah, because in the credits, it doesn't say hi-hats by H3. No, exactly.

Drums by. Placed by. Yeah, exactly. It doesn't exist. So yeah, whatever y'all agree on, but yeah, you definitely to me, you did definitely deserve something by getting it placed for sure. But that's just something y'all gotta, everybody got their own price. Like I said, I know people, you know what I'm saying, who will take half the record for simply placing it. And who am I to tell them they're wrong? You may, still be on whatever place you're at. You can be broke and this person changed your life. So if the beat maker's super stoked to just get half and get something placed as opposed to stockpiling beats that aren't doing anything unless it works out. Now, if I'm in the room and I suggest something, I'm not saying I'm this not for anybody, but I'm just saying, like, say I book a studio session and the beat you made in here that I fronted the money for, yeah, that five is dead. We're definitely going up. I don't know what it would be. Yeah, but I'm only talking about, hey, Stevo, here's five beats. Do what you want. I'm only, yeah, if it gets placed, I just want five. That's hard. Okay. I was actually referring also to him joking about like, just don't hop in the email thread talking crazy, like he was saying people would like jump in and well, actually, I want this. And Parker's like, bro, you're gonna literally fuck up the money for all of us.

Like just shut the fuck up. And they're good for that. And they and that, but that goes to my point of why, like, I'm telling you, you ain't getting the same amount. Like that, because they start that shit. They just be like, yo, but I did this. I that's I don't care if he used your bloop, how it came. Because he was talking about adjusting it, doing this yeah, exactly. He was saying some crazy shit. Just how it came. And I still don't care. To me, you don't deserve half. That's crazy. But they'll get in there if you say that. But I did you use my loop just how you did. And like, yeah, and we're placing it. This is what you send it to me for a reason. Like, but that's nice. They do, they do it's oh, the worst is when they send a loop or he, she sends a loop, and you think it's a he or she, and it's four people. Then they want you to break it down as if it's five, like, say Parker co-produced with uh Go Grizz, and then they use a loop. They want you to split it six people rather than Go Grizz, Parker and the entity. Yeah, that's a they'll fuck up like that too. Yeah, they'll be like, yeah, we want to split it six, and then the label hit you like, we didn't know it was six producers, we thought it was three. What y'all got going on?

And then that's when, that's when Parker gets to what he's talking about. You're like, you about they about to be like, fuck the record. Because we didn't know it was all these parties and all this. Yeah. So yeah, they get talking spicy and ruin everything. That's definitely interesting. Two or three people on a beat, you don't need more than that. No, I mean, you can definitely have more, but to his point, it's that like if you send something over to us, unless they make and I think he made the point of like, unless you make it explicitly clear up front, you're gonna assume that this is from one person that's gonna get one piece of this publishing pie. But then when it's like a surprise, bitch, there's six of us. We each want an advance, we each want a fucking you know, points. We each want this amount of publishing. Like, that's when it gets like, man, fuck all this. Like, we do we got any other simpler records to clear, like put that's why I also please put everyone's name who worked on the beat in the file name. That would be amazing.

It's that easy. Put their, and I don't even like name, I put the at I put their social media handle so you can find them out, and you don't have to just guess what their social media shit is. Here's the three of our handles at at, at, in the beat name. No confused. That's true. That's true. So take us back to the early days, right? You mentioned this before, you know, Henry County, and you spent time between there, and then your pops, I think, had moved to the SWATs on the west side of Atlanta. Talk to us about like those were vastly different experiences, right? Like, what did you learn, I guess, or like how did each of those kind of like shape you into the Stevo that we have here today? Yeah, um, so I was actually born on Washington Road, like literally Washington. road. So in East Point, but you know, Camp Creek, you go one exit up, you're in Towers, Atlanta. But um, so my parents they moved down to Henry County, and then when they split, he went back to the area. So I was familiar going back, but um, yeah, Henry County, when we first got down there in like '94, it was like it was a good old boy town, like a lot of woods, gas station, no Walmart, no movie theater, like everything was in Clayton. Like if you wanted to have fun, go to South Lake Mall, AMC 24.

Like, that's what all the the parties, the little like little venues you can go to to have a birthday party with American Legion and stuff like that, it was all in Clayco. So by the time I hit like, it might have been even high school, I don't know, middle school, we got a bowling alley. And that was like our it spot. Like that was the first thing we got and we're like, oh, got a Clayton, like all parents can just go up the street and drop us off and don't have to go 15, 20 minutes up the road. Like that was cool. Um, but to see a county go from like country, because the, you know, every I don't know if you heard the statement, you know, you get out of Atlanta and you're in Georgia. Henry County was Georgia, right? Um, but my dad worked in Atlanta too. So even with us living in Henry County, I was all he worked for Bronner Brothers, which is a popular black hair care company. Like the Bronner Brothers show, everybody, like Ludacris mentioned it in Area Code, stuff like that. Or people all over the world, excuse me. But um, and my sister went to Clark Atlanta. So I always had the Atlanta reference, even in Henry County. But um I I think when I was in middle school, it became like it was like the third fast growing county in the country. Um so I saw like when the Walmart was built, when all these things were built, it started getting industrialized.

But I also had those country friends, like the Confederate flags, the you know, the white boys drinking beer and stuff in the parking lot. Like, I saw that, but then when I would be with my dad, I would be you know, be in Greenbrier Mall, be on MLK at the AUC. And so I saw a lot of like black entrepreneurship, uh, ownership, a lot of businesses and stuff like that. So it's just like it gave me a well balance to just like people. Like, that's why like people get mad at us sometimes. Like, a couple, like my redneck friends was cool to me. Like, I rode four-wheelers and stuff growing up, like, and I've seen a deer been skinned and stuff. Oh God. like that. Like, I was and like they were cool with me. Like, I ain't really running. Like, I had a it was one thing in high school that was got got kind of racy, but I like it just taught me about people. So then when I saw the black success, and then I had this white country success. It was just like, I don't know, I under that's why I'm a Georgia boy too. Like, I got all, I just think I got the best like experience ever just experiencing like okay black folks white folks like I just got it and that's why like I could be a country boy but also a city nigga, you know, whatever, like, yeah, I just feel like I got the best of both worlds, man, so it's it's interesting. I think it was 808 Blake who came on the uh podcast and talked about how like HBCUs aren't like real representations of the world because like it's just black people right and and he didn't actually want to go to an HBCU he like went for a year I think and then he transferred to Georgia because he wanted more of like a real world like you know all different types of people that sort of thing like you went to Clark though right did you you know like being immersed in like you know an basically all black community at that point for college that that is that something that you think was like valuable for you or or did you think that it was kind of like a false sense of you know reality at that point I understand that perspective that Blake provided and I've heard that from a lot of people so that's a real perspective but um for me like when my parents split and my dad moved to SWATs and I then by that time I was two years removed from driving. So like I would always drive up to the house after school like you know weekends I used to go to figure eight that was right across the street like it was nothing so like I really fell in love with like Atlanta and that that specific part of Atlanta like I'm saying as soon as I could get out of Henry County I was in Atlanta like as soon as I could drive whatever so when I had you know I got I got a kid I got a 14 year old so I had my kid my senior year.

So I knew I had to stay home. So I because I I was good at basketball junior year. I had a scholarship offer to Winthrop, if I'm not mistaken. Lost that because I worked at Zaxby that summer, didn't play AU going to senior year, worked at Zaxby's, you know, eating late, getting all. So I played basketball senior year, but my style I went from averaging 16 in game to like 11. Like I just so it nothing ended up shaping. So I was like, okay, Albany State, Clayton State, Clark, Atlanta, Morehouse, and maybe I think I just did Savannah State. So I had to go somewhere in Georgia because I had a kid coming. So once Clark accepted me, I was like, oh, I'm good. Like, I'm in Atlanta. I'm gonna stay with my dad. Cause I could stay, I didn't, I never stayed on campus because I had a kid. I could I didn't have to. So um, and then my sister went there, I was familiar with being around the AUC. So for me, I just was like, I love Southwest Atlanta. Like, I'm good. I just was I was fine with staying in my hometown, raising my daughter and going to school here. It wasn't like a I was going to be around black folks or I was looking for some certain experience. It was familiarity, and I just love being in the city, especially the part where I was partly raised.

So yeah, nah, for sure. So for someone who's never been to Atlanta, describe Atlanta in like a couple of sentences. Um I think Atlanta, and this is some propaganda, I'll keep it real, because we have our problems, but Steve-O propaganda. Yeah, Steve-O propaganda for sure. But like I said, my upbringing just showed me that like it's just a land where specifically black people, I say I'm only black, so I can only speak for that. Is that like we can really make something of ourselves? Like again, a lot of people get upset with me, uh not just black folks, but people like to me, it wasn't a lot of things in my way to reach this whatever level of success I'm considered as. Like when I look back about like what was possible, the grades, basketball, getting in music. To me, there was a lot of resources everywhere for me personally. And I just, and I don't think that could have happened anywhere but Atlanta. Because like I said, the slumdog millionaire thing, a lot of this stuff, I didn't know I was gonna be in music, but a lot of relationships and friendships I had from the Metro Atlanta uh area overall came into fruition by being from here. And I just think that's a special thing that I don't know if it happens in other places.

So I'll just say the resources, the people, and the ability and to see successful black people here, like that's not uncommon. So I know when I talk to people from other places, they I'm sometimes talking from a privileged view because they don't know what that is. They're like, that doesn't happen where I'm from. So that's not, you can't have that perspective on the world when that's just specific to you. But I understand that. So Atlanta is just getting like my dad used to take me around Green Brown Mall and just be like, oh, this is black-owned, or go down Cascade. He'd be like, This is black-owned. This is black, and he worked for one of the biggest black-owned companies. Like it's like the Russells, the Bronners. I mean, you all know the Kings, Jose the Williams. Like, the fact that we can even run down those names, and then the Jacksons, Maynard Jackson, we've had a black mayor since I've been alive. Like, it just seems like what can I do? I've always had that attitude, just like, I've seen this. I can do, like, I see it. So I mean that was a little long. You said a few words. No, no, no. That's good. no, that's perfect. And and I think that there's been crazy statistics shared on social media that I've seen about exactly that of like this is a very, you know, opportunistic place for specifically like black Americans, right? Like we have one of the highest like success rates and like per capita, like income.

I don't know, like just all these like metrics, right? That like basically say that like black people can actually thrive. Atlanta is like one of those like top places in the country for sure. Absolutely. And so that's that's dope. Um, okay, so is Greedmont Park like your first foray into like the music space? Yeah. Yeah, that that's that's why still live in my bio and all my social media. That is like my there's no Steve-O without that foundation. That's my foundation into music for sure. So for those that aren't familiar, talk to us about that like first entrance into the realm of music, right? Like, what was Greedmont Park? What were you doing? How did you even get started? You know, talk to us about that. Yeah, this is around 2009, 10, maybe 11. I suck with dates. Me too, man. I'm always impressed when people can go like back in 76. Um, I can't do that. So I've heard like 75-year-old like historic rock musicians that have been like, yeah, on May 12th in 1965, I was at this club, and I'm like, how? I'm so impressed. Did someone give them that like statistic, or did they actually fucking pass through their like Alzheimer's to arrive at that?

We have like three-year windows we can operate it. That's exactly. So I'm like, 9, 10, 11. Um, it was one of those yeah, I was in college. That's what I do know. Yeah, it was it was the big blog era time, yeah. Yeah, Tumblr was huge. So I'm not a creator, I don't consider myself a creative. Um, but Tumblr was the wave. Like, I was always a Twitter guy, like Facebook guy, something you just type, put a picture up, cool. So I was like, I gotta find a way to get on this Tumblr Wave, but like I don't have cute pictures and snapback hats and all like I don't. So I was just like, okay, I like music. I'm gonna just start reviewing albums. Just on that was my Tumblr thing. Just review. I remember I did like a game album, I did a Drake album where I called him, it was Take Care, and I called him a girl the whole time. Like just being trying to add my little jokes. Like if you follow me on Twitter, you just knew how I joke. So like I was just like, yeah, her album was amazing. I was complimenting him, but I would just be like, he she, stuff like that. But um, that would not fly in 2022 now. I mean, I'm just kidding, hey, but uh, I'm just a guy at college just doing this stuff, yeah.

But uh, and you know, everybody knows how like take care is just all sensitive and stuff, but yeah. Um so going to Clark, I met Nina Brown. Um, and she was producing for the Frank Skin Wanda show um at the time. Because she actually came back later on and did it recently. But she had three girls who went to Clark who helped me out with this event. So that's how I met her through my friends at Clark. And so I met her and she started following me on social media. So then she saw the stuff I would talk about on Twitter, and she was like, Oh, your album reviews are so funny, you should meet my brother. And I was like, okay. She's like, yeah, he works with Neo and some other stuff. And I was like, all right. So she had a kickball thing at Piedmont Park or something, and it was Noah, Noah's Ark. Yeah. And I was like, okay, like we met, exchanged contacts. Um, and then he was with one of our current good friends, Suli Chillis, um, who was going to Morehouse at the time. And um, so I remember like reconnecting with them at um a Steve Stout, and it's crazy because I work for United Masters now. Yeah, Steve Stoute had to drop this book. Full circle. Yeah, and I didn't meet Sue, but I saw that's like outside of Nina.

I saw them, I was like, oh, what's up? Like, okay, we have the Steve Stout book signing, whatever, cool. Yeah. So then we just started just linking up more and more. So Noah was the connection to Greedmont. Like as we got cool and just talking about music, chopping it up. And I was like, yeah, bro, I don't, I'm just reviewing albums on like I'm from here. You know, we just connect and talking about what we do, et cetera. And I'm just a college student who goes to party on the weekends. I'm at Figure Eight. I'm from here though, Blah, blah, blah. So he's like, man, you should meet these two guys. They do music, A-Wear and Corey Davis, Corey tattoos, A-Wear works at the shop, but they do music, but they also got this blog. So I'm like, Atlanta, Atlanta has a blog? Like, because you know, it's two dope boys. It's Ashley Outrageous. It's Hustle Girl, Karen Civil. blah, blah, blah. Smoking section. So I'm like, Atlanta got a blog? Cool. So we went to, we used to call the House of Greedmont Mansion, um, over there in uh little five points area-ish. Um, and I met Corey A-Wear, and he was like, yo, I've been kicking it with this dude. He he writes funny reviews. What we think about him posting music on the blog, whatever.

And we just sat there, had to have some beers and stuff, just chopping it up, and then they just like, yeah, like try it out, whatever. Here goes a little, I'm gonna make you an email tomorrow, and here's how you do it, and stuff like that. So I was just like, me being from there, I was like, okay, I'm gonna go to these shows and I'm gonna run up on people and like tell them, hey, I want to post your music, send this to me. Because I was as those people I just named, I didn't know what anybody looked like. so I was like, I'm gonna be the guy who puts a face. I doubt. These artists are even if the smoking section posts an artist from Atlanta, you don't know their name, you don't know what they look like. Like, I didn't know what actually Outrageous looked like for the longest. So I was like, I know they're gonna feel good to see like there's a guy from a blog at my show. Like, well, because this is like pre-Instagram blowing up. Yeah, this is like I'm saying, it's like 2010, 11-ish, like the blog, because you had the Wale's, the J. Cole's, so the blog era was big, but like, yeah, Instagram wasn't that huge. But like I said, these people were just digital. So I was like, I'm gonna be the guy who's just in your face. So that's how I got to know through Noah and Greedmont as well. Cause they with them working in the City of Ink, um, on Peter Street, or

Walker Street, which is still there now, like everybody would come. So I was I would hang out there now. I mean, like, my life changed because I was like I said, the Atlanta guy, going to Clark, AUC, and at Figure Eight in downtown Underground Clubs. When I met Noah Greedmont, that's when you get the Hollyweirds, the Grips, the Protons, like Mach 5, that was the name of their group. Mach 5 was like it opened me up to a whole new side of Atlanta that being born and raised here. I'm like, what the fuck? Is this shit? You just hear the whole time. Yeah, like what this hipster shit. Like, what is this? So that's when I'm like the MJQs and yeah, the other shit, the other side. I'm like, yo, what the fuck? So through that, that's like I was just like, I met the two nines, met Trinidad, like, just by going to these shows I'm hearing about. And then eventually I got, that's how I got my first artist, Milo. I was hanging out at City of Ink. And my homegirl put me on because she was like, yo, you should post this artist. And Milo Smith. Milo Smith. Yeah. So that like it just, it just was a trickle effect from the Greedmont shit. And my whole lifestyle changing from being this club kid in Southwest Atlanta to now I'm hanging out at MJQ.

Yeah. It was just a total flip. And that's all from Greedmont. That's crazy. What was your pitch to Milo? Or was she just like naive and just like, well, whatever. I guess this is Steve-O guy, my manager has no experience in like, you know what I mean? Because she was like kind of, you know, she was buzzing a little bit, right? At the time. Yeah. Um, I was like, So, like, what was your pitch to her? Like, yeah. Like, why you? I I really want to know that answer to that question. I have no clue because like I I can't remember if I met her before I had to. Say some slick shit. Like, I just don't, I'm trying to understand. It was the Slumdog Millionaire thing. Again, I remember listening to the because she dropped the project by the time I got, I was aware of it and I ran up by Noah. I'm like, Noah, what you think of this? And he's like, nah, this shit dope. Like, she was cool. So I was like, man, yeah. Uh I said, I think I'm gonna reach out and try to manage her, whatever. And he was like, he was just like, okay, whatever. So I just called her, and I just remember, I remember pacing around my house, just like, look, you are super. I listened to Sweet 404. It is fucking amazing.

Look, I've never managed anyone before. I don't even know what your situation is. And then she was like, no, I don't have a manager, whatever. I was like, okay, look, I just studied the game. Because once again, like, as I said, Ninja Turtles, Fast and Furious, whatever, whatever. I would also look at my favorite rappers and be like, okay, who is doing what? So I knew Coach K, not personally, but like I knew KP or Lyor, Russell. Like I would look and see who the players were around all my favorite rappers. I'm saying KP from OutKast and Dungeon Family, Coach K, of course, the Jeezy stuff. Um, you know, Def Jam, of course, Lyor, Russell, all those, Kevin Liles, etc. So I knew like players, and then from that, as I was moving around meeting these artists, I meet, I meet like a Key, you know, Key, Keith Henderson or you know, whatever, key open doors. Um I meet uh uh Quinn, like it's just all the Atlanta guys. You see, Meezy was around throwing parties at club, like Ray C I went to school with, so um at Clark Atlanta. So it's just like I was knowing all these players, so I was just like telling her, like, look, I kind of studied the game a little bit, I've read these books, I'm familiar, I know these people, I can get you on show. I know people with those shows. So all I can just tell you,

like, I believe you, I would really love the opportunity. I didn't even bring up no money, nothing, just I literally love the opportunity, just like let's work. And I said, I promise I can just get you some shows. And she's like, let me think about it, whatever. I don't want to say it was the next day. It may have been 48 hours, but I know it was no longer than a week. She was like, let's do it, man. Let's she's like, there's nothing to like, let's just try it. And we just went and got show, like, we just were doing shows like every week, it felt like. And it just went from there. So it wasn't an extravagant pitch. It was really that it sounded boring to me. It was really that boring. And she just got me back. here's the value I can bring, and here's a free trial. You know, what can go wrong? No, I think I think what I like what resonated with me the most, because I think this is exactly the type of person I was when I started getting into the game like a few years ago now. At this point, I knew all the people. I knew Key Henderson, and now I have her phone number and text with her and shit. But like I knew who the fuck she was. Quinn, like I knew him and like saw him then, like managing, you know, Tate and like what he was doing at Stream Cut. Like, I knew all these people, and like even Henry was like, How the fuck do you know like who that is?

Like I didn't know them personally, just like you. You know, now I do know some of them, just like you clearly now can pick up the phone and call Coach K and like these people that you just like were fascinated by. Like that's like I'm hearing it and I'm like, holy shit, like this is literally me. Of like, I just love like seeing these people aren't doing this on their own. Like, who is next to them? Like, who's in that picture? Like, let's click through to that person. Like, fuck going through this artist feed. I want to now like click through to the next person who's standing right beside them. Yep, that's right. Or that they shared on their story. I'm like, if they shared on their story, they probably fuck with the person, maybe, right? Let's see who that is. And then you start understanding like who these like behind the scenes, you know, kind of movers and shakers as they as they call it are. And like that's what I heard from that is that like, yo, if you want to get in the music business, like fucking study this shit first of all. Like, know who's doing this, like and doing it well, and like see who's who, because to your point, if you pull up to an event, you want to be armed and ready to like shoot your shot because you see them at this thing or whatever, right? Um, because that's you know, that's like the biggest thing because you might walk right past someone who literally, you know, if I didn't like do my research on you, I would have showed up to the court, and there's a fuck ton of people that play basketball with us that aren't in the music shit.

Yep, but whoa put me on that league with Cam, and I was like, there's gotta be someone here that I like recognize. I knew you, and I was like, I gotta introduce myself to Steve-O for real because like I respect what you're you know, what you're doing, man. Speaking of, that's how I met Cam actually. I mean, excuse me, when I was saying I met Noah through Suli, we we met, whatever, and then they were Cam and they were throwing a show, Schoolboy Q's first show in Atlanta. Oh, wow. And I just like I remember I was at the sorry, I was at the um City, everything just I was at City of Ink, the tattoo shop, and that's Tukey's spot, right? Yeah, yeah, Tukey Maya. Yep. And um, they were what they doing, I think they were it's like a meet and greet that was supposed to be there, and I didn't know. So Suli pulls up and they're like, Yeah, we're throwing the show tonight. And I remember and Noah was there, and I remember and that's how I met Cam that day. And then because they you know they went to Morehouse together. Yeah, and I remember just getting in the car and helping with the show. Like, didn't even know I was just like, yo, what's up, guys? I was just hang out shop. Like, yo, we throwing Schoolboy Q, we're getting because it was a free show. And it's like, we're just getting canned goods, like getting everything set up. People donate canned goods, they get a ticket to the show. So I was like, it was like schoolboy Q's gonna be in a while.

Then we gotta take him to his hotel, then we gotta go to center stage, and I just hopped in the car and just helped with production. Yeah, right place, right time. Yeah, so I met Cam Kirk that day, Schoolboy Q's first show. Amazing, amazing. So, you know, you have not had an internship, clearly. You basically hit the ground running from you know the Greenmont Park to then the management days, right? Like, is there any way that you look at not having a official mentor coming up and not having an internship? Do you think that benefited you in any way? Because people would look at it as like a disadvantage. Do you see any like this actually helped me because of XYZ, or do you think it was like a disadvantage only? No, I I mean I definitely believe in like it helped me. You wouldn't know me today, the same guy in the business at least, with like if I got an internship, but you know, shout out to my institution, Clark Atlanta University. Our our our slogan is find a way or make one. And I think if you meet anybody from Clark Atlanta, they we believe in that statement, like no other.

And I think this was a prime example of like my thing was if I don't have an internship, if I don't have an OG, if I don't have my relationships were all um lateral. I didn't have any, like, I know I can call a big dog and get something done. I was like, I gotta figure it out and hope like that'll show if I want an AR job, if I break some artists, they'll be like, oh, we gotta have that guy on our team. So my thing was just like, I'm gonna figure it out some kind of way. And now as I see, like now that I'm older and I see the younger guys like link with some of my peers, I'm seeing like not, I'm fucking, I'm just gonna say it. Cause me and Barry did a panel the other day. He was like, man, y'all got this shit good. Like, not saying y'all don't have to grind, but this shit is good. Cause we spoke to uh a not a class, but um, it was Kyle and Tez's uh Project Go Dark. Project Go Dark. Yeah. So they were all, you know, they're all paid interns. So like, yeah, who are basically getting teamed up with like the fucking Avengers of the Steve-Os and the Barrys of the world. Yeah, so Barry was like, are you fucking kidding me?

Like, there was this before. And I'm only saying this because it was it's public. Like he said it in the panel on video. But um, like I but I'm seeing how beneficial it is. So as much as like we're being funny and talking shit, like I see it paying off. Like you see Kyle, I think Kyle's only 25, maybe. Not even bro. maybe even younger. Like, I'm seeing, and it's salute to Kyle. Like, ever since I met him, since I met him a year ago, whatever it was, like, I'm already seeing, like, oh shit. But bro, he was episode five of our podcast. Five. So that'll tell you how long he's been doing his thing. Like exactly. But that, but also, I think even he would tell you how like priceless it's been to have Tez, you know, be there. Absolutely. which only adds to how more incredible Kyle is. So that's my point. It's like, dang, it I do like I don't have any regrets, but I do have I look at some of the young people. I look at Ma and then Barry. Like, I'm I'm watching that and I'm just like, dang, that that's dope as hell. Like, so until I just sit back and just be like, um, what if I had somebody? But I have no regrets.

I'm perfectly fine. Like I said, Clark Atlanta find a way to make one. I made some shake. I end up, I'd say I got in this business. When I started managing to say, I want to be an AR, I'm an AR now. Took me a longer road, but hey, I made some shake. So there was no disadvantage. It's just sometimes I do look and be like, no, G would have been nice. Some of those fuck-ups would have probably been avoided. It would have been cool if I didn't have a contact, I could just call my guy and be like, yo, I'm trying to get this. All right, I'll call him for you. Yeah. Would have been nice. So moving from, you know, uh Milo to then, I think there was like a very small overlap where you had Mako. Very small. Yeah. And so, like, talk to me about the growth of you as a manager from the days with Milo to then even like working with Mako, right? Like, what do you think you did better? Right? Like, how did you improve? Like, how did you elevate yourself as a manager? What would you tell young Steve-O? Nothing ever

nobody ever asked me that before. Um, what is that? That's why we're here at the One More Time podcast. One more time. Um, I think uh once again, I'm kind of cocky. So like I already thought, even though it was my first time. I didn't fuck anything up. I did it perfect. I thought I was doing a great job with Milo. I mean, I still stand by it. I thought we did great. Yeah. But the difference between Milo and Mako was I was getting introduced to a lot of the players through Milo, which I all every interview can go back, there's no Steve O without Milo. Like, that's it, point blank. Just as Green Mod is my foundation into the game, Milo is she gave me the foundation of I can do this in this game without her. And I'm saying you can't, to me, you could work your move without a talented artist, but it was because she was so talented that a lot of these doors open for me. So with her, it was always like, I gotta get my artists in front of people, and then that'll get me to like know the players. So it did.

Like I always say the same name, Jeff Vaughn. I met him through Milo. Double, one of my good friends now, like who works at RCA, Lotto, A&R, and uh Josh Gambino's AR. Like, these are people like I met Joey IE, and then you know, where about Ty with Brent, met him through Milo, even though he's a local Atlanta guy, but like through Milo is we met. So I mean all these players because I managed Milo. And with Mako, it was like, okay, I'm I'm not a big dog, but I'm I can call the phone, I can call Derek, Jeff. So when people were reaching out trying to sign Mako, there was already a fit, it was no, who is this guy, who do I talk to? It was just call Steve O. Like, so the difference was not in my functionality, because I think I'm I'm organized, I'm timely, I'm a that's like our relationships, I'm respectful. Like, I'm not gonna fuck nothing up. But with Mako, it was the difference was I could kind of shop him versus Milo, I was just getting into the game, trying to figure out the lay of the land. So it wasn't about like, but I know that made me a better manager, but it wasn't like my skills got better.

I mean, you get better with, of course, like your tools got better. Yeah, the tools got sharpened, but like the major difference was Milo, I didn't know anybody outside of Atlanta really, and we were all learning, we were both learning this together. Versus Mako, like I remember once we got, bet you guessed it, I was emailing people I knew or calling them saying, I got this guy, this record's about to go crazy. And even if the calls weren't, okay, Steve-O, send it. like this is crazy too. Some of them were like, uh, I don't know. But when they went crazy, they reached back back, Steve O, what we doing? Yeah. But it was already a familiarity there. And so that was the major difference for Mako and Milo. How crazy did that record go? My God. Yeah. It was everywhere. I wish the digital age. You know, we were with Vine was going crazy. Instagram was crazy, but there was no streams. Yeah, it was no streams. It was like it was iTunes, but no streams. That's that's the womp, womp. a few years early. You might have got more sales though. Yeah. Yeah, because people don't really buy now. They're still kind of buying music. Yeah.

I mean, they were pirating the fuck out of music at that point. For sure. Yeah, it was it was crazy. Because it was too expensive. Yeah. Because now I pay $10 a month and I have unlimited access to every fucking song at the highest quality level, no bullshit, you know, half-baked MP3s. So you already alluded to this though. Uh you met Parker through OG Mako and the OGG, um, I guess Collective. yeah, collective uh of theirs, right? So what was the mindset shift like though for you going from artists to producers? Because we've had people talk about this before, and it's a completely different ball game. You know, when you're managing an artist versus a producer, wouldn't you say? I mean, oh yeah, A hundred percent. yeah. So, like, what do you think specifically for those out there that are maybe looking to manage one or the other? Well, what was the biggest mindset shift for you? Um it goes, like I said, the way I 've told y'all everything like kind of comes back to something I said before, something I lived before. But I didn't know if I was good at managing the producer or not.

So I remember Parker asking me, did I want to manage him earlier on? And he was like, him and Dico were both. That was another one of the producers um Mako came with, but they weren't a group or nothing. But Parker reached out to me and said it was like four people, and I do not remember the name, forgive me, Parker, but um it might be some producer who were in that collective that's under his neutral collective now, but it was like five of them. And I but I just never met him. And he was like, yo, we need help, we produce. You want to manage me? And I was just like, I could do this artist shit, but I don't know about this producer shit. And there's five of y'all. Yeah, and it's five of y'all. I said, I don't want to commit to something and fail. Like, I don't do things I'm not good at. Like, I have no problem saying no, because I'm not gonna look stupid. Like, that's a steal. I don't do that. I don't look stupid. I'm I'm not afraid of failing, but looking stupid. But I had to have some kind of like confidence because then I could deal with Luke looking stupid because I'm confident. So as Mako was growing and I'm building more relationships, AR as a manager, like, you got beats? Yo, we need this feature from Mako. Do you got a record?

You got an open verse on something? And I'm just like, oh shit. Like, I just like I can't wait to get back to Atlanta. Like, so after people start asking me, I was like, Parker, I still don't know what I'm doing, but people are asking me, so I can now place like you got beats, yes, here. And I'm saying it, y'all saw the first record I ever placed, it just went platinum, even though it's 2014, eight years later, K Camp's 100 featuring Fetty Wild. Yeah, that's OG Indico. OG Indico. That was the first record where like I put they're like our first I love that song. As a manager, I I put him like I'll never forget. I was in the studio, just recording as I still do today, like we working, and it was a beat and K Camp hit me because we cool. Like, yo, what is that? And it wasn't that beat, but he's like, Yo, who is this? And I was like, Oh, producer I'm working with. Send me something. Send a pack. That first pack was 100 was in there. I'll let you get my money, baby. Yeah. So was it really just the fact that people were asking you for beats that gave you the confidence though to try this producer, man? Because you know, to your point, you were staying clear of anything that you didn't feel like super confident in, but just the fact of like placing a beat with someone and then and them fucking with it, you were like, eh, I can fucking do that.

I can do this producer manager thing. Yeah, because you got like I think I never even mentioned this kind of process. But like when I managed Milo, her the tape was out. And it's so crazy because one of the major producer who she got all the beats from was Chris Kaler, who I'm good friends with Isaiah Rashad. We have ended up being his main producer. So like everything's just full circle. But like she found those beats. So like, and when we worked on the next project, like she was leading the way on getting beats from people. I don't, I didn't really, I'm trying to think, was there any duck? I introduced her to Ducko McFly. That might have been the first one. Shout out Ducko, the toughest guy in town? Yeah, so like that may be on the second project. That may have been the only one that I reached out to, but she went and got the other beats for the next one. So when Marlo, Kels and Gift, that was produced by Brandon Thomas, like the Give Em Hell project with Kels Mac. I I didn't do that. Like that was them. So like when it came to produce, like I never put people in the room. So it so when people were calling me, I was like, the least I can do is just place part, like I need beat. That's all I could do.

So yeah, I needed that to be confident to manage someone because I never dealt, like even with my own, and I didn't, I didn't handle the um the admin work. The like producer. Yeah, because Milo was independent, so we were just like it was all relationship based. And I said there was no streaming, like nobody was really tripping on paperwork like that. Like it was all right. It was like, yo, if you can sell something, it was all our mixtape. Yeah, exactly. That's what it was. There wasn't even, I mean it was album, but we wouldn't put our music up there. Yeah, so there was no paperwork to handle. Yeah. So Parker really liked that side, and then Marlo signed the QCs when I first learned about the admin work and all stuff like that. So because they don't play. Yeah, so I really literally had zero clue about producing the producers at publishing. I understood the concept when it came to an artist, but I said I had no reason to know until like I said, people start asking for beats, and that's what gave me the confidence. So what did you see in Parker specifically, do you think? Oh, the talent. And then I'm saying, and like I we just had a conversation, because we were just all reminiscing in our group chat. Um sappy.

But we were just like, dang, look how far we came. Like, because like we all like, you know, got cribs now and caught like I I got a I've been had a family, but like, you know, yeah, I was like, you had a family in high school. Yeah, yeah. So yeah, I had that, you know, Melita got hurt what she got going on, Parker got what he got going on. So we just growing up and just looking at our success and just like, damn, like I was broke as hell when we signed the QC, like, because Melita gave me the call when I was at Ergang's house, Black was there when she was like, P wants to meet with you. Like, again, full circle. Now that's my partner. You know, everybody knows, like, you know, Black G Ergang, they're all friends of ours. And then like QC, like, it's just crazy. So Melita actually called me and was like, yo, P want a link and see about Marlo. And I was like, I'm at Ergang's house in Southwest Atlanta. But um, it's just crazy how shit just goes. Yeah, I can't. I'm losing my train of thought on what I was even answering. But yeah, bro. Oh, yeah, how we were reminiscing. Like, um, and I was just telling him, like, bro, when I first heard it's a beat, because oh, this this will happen. P just signed Marlo. And P was like, um, because he came across them when he went to the studio at Blue Room, Marlo

had a session with Johnny Cinco. Just he wasn't signed anything. P having to walk in when Marlo was recording the verse, and he was, and they was like, yo, he ain't even writing shit. He just in there going crazy. And people don't know Marlo was screaming, but he really could rap. So he was in there with a bandana like Pac. That's how P remembered. He's like, it was some nigga in there rap like Pac, man, bandana talking like Pac, whatever. So he was like, so when he wanted to sign him, he heard Bitch You Guests and all that. He came to the studio and he was like, Yo, the first time I met you, you just recorded a song, no right. He's like, do it again. And Marlo was like, shit, Park Park, you know, Parker was there. He's like, pull up something. And if you go listen to the live life two mixtape that Clay McCardo did, Parker has the only beat that's not by Cardo. I think that's the tape. Lord forgive me if I'm wrong. But Cardo, I think Parker got the only beat that's not Cardo. And it's him and Johnny Cinco. And he did and that song was like a like almost a one take thing. Like Marlo went in there, but that beat. And it was a test from P. It was a test from P.

But that beat, if you was tuning out, that's like, I was like, Parker. Like, I just told him this like two days ago. I was like, that's when I knew, like, yo, I knew you was amazing because he got the uh Love in the City, Marlo, we shot a video for just a random record. That Parker did his crap, but like that song was Cinco, I was like, yo, you're sick. And then seeing his work ethic, spending the night in the studio, being ready to jump up and get all these placements. I was like, oh yeah. So when it was time to, that's why I had no shame because that's another thing. Like, I didn't care about just being people like, yo, you got beats? Yeah, because I was like, he's amazing. Like, and I know he's working. So it was just easy to just, yeah, I got beats. Yeah. Here you go. OG Parker. That's that's dope. Yeah. So I actually coined this phrase, but it was taken from one of your thought processes. No beat left behind. Okay. I think I know where you're going. I think you know where I'm going. I think I'm just saying. But basically, you spoke on the fact that, like, if someone hits you for a certain style of beat for a certain artist or whatever, you're not afraid to fucking send the same one at a later date. Facts.

Because those motherfuckers might not have even listened to it the first time. Facts. The beat's still hard. It still fits the fucking ask. So you're sending the same shit sometimes. That is a fact. It goes back to that. We gotta put up shots. Like, if I believe in the music and you're asking me for a certain sound, I'm not finna exit out. Like, no. And then I love the stories. We all, I'm sure we all love stories when we hear about, oh, this record for us from Mary J. Blige's and it was Rihanna's. Like, so my thing, I've seen tweets where people like, this beat is crazy. And I'm like, you had it. Like your A&R had this. Like, I'm saying, like, I've seen it too many times to count. Or it's so funny. Like, I'll just be on Twitter rambling and I'll just be like, yo, Meg Thee Stallion would kill this. And I'm like, She had it. She had it. Like, I'm like, little do you know she had it? And that's not a fact, by the way. If anybody sees this, I just threw out Meg. But uh because it's the odds of like, okay, what are the odds that they actually are gonna hear it? They're actually gonna like it, they're actually gonna record and finish a song to it, and then they actually put it out. All that has to happen for that beat to actually be locked up.

Yep, exactly. And creativity is such a like that moment thing. You might have been in a shitty mood when you heard it the first time. You might have been fucking talking to a girl in the studio and you fucking missed it. Like, what you might have been in the fucking bathroom when it was put, I don't even know. Whatever. There's like infinite amounts of things. You might have played it off the phone and missed the bass line. Yep, yep, completely. How many experiences do you have placing beats like that? Um like do you vividly know, like, ha gotcha, the second time I sent it, and now you like it. No, because I don't keep like it's certain beats that I love that, and I'm saying it hasn't happened with any of them because I would know. Yeah, but it's definitely I know more that like I've sent this beat to a lot of people and it finally got placed. And like, I but the one that I'm just like I'm gonna sneak this back in, I don't think it's happened yet to my knowledge. I don't think it's happened yet. Okay, I was hoping for like some crazy. My formula sucks right now, but as much as shit I was talking about. I was like, damn, because that was such a cool like strategy.

I was hoping for him to be like, yeah, we got five platinum plaques off of those beats. We got 10 golds. One might turn diamonds, whatever. But I mean, I've definitely the songs, but like uh Dirk's um uh oh my god, I don't have it. It's streets in the in the title. Off of the latest project? No, no, no, not the latest project. It was a couple tapes ago. Okay, but um that one, like I threw in something that like I just want to hear a street rapper beat on it. Like, but it's it's real slow. It's like an RB song. Like, even if you hear come on, like you don't know it's a Dirk song, you know, what the fuck? You'd be like Dirk's on this. But um that that the whole pack was like turnt up drill shit, and that was the last beat I added because that was just on some, yo, I love this fucking beat, and I want to hear a street person, and he and it's like I didn't I sent it to his manager Dilla, and I was just like, huh. Like he just asked for some beats. But like that was just like on some selfish, I really wish a street rapper would get on this. And I sent the people and like I really like Derez Deshaun would have been perfect for it, but because you know he's in that pain slow type shit. But Dirk got on it, and I'm like, damn.

He heard what you heard. Yeah, he heard what I heard. I was like, damn, that's crazy because the whole pack was just turnt up shit in that last one. I'm like, damn, that means they had to go through it. It's funny And find that the amount of artists that like did it for the streets. I think that's the title song. Okay. The amount of artists that like you you you send them beats that you think that they would want, and those aren't the actually the beats they're looking for. They're you know you know, you like get up, like curate a pack, like, oh, that's what they want. And then the artist will be like, nah, I want like like what else you got? Yeah, you know. But is it with some artists like, and I don't know if they have this relationship with everybody, but like some people you could text their phone, like I mean, I'm not afraid of getting turned down. Like, if you say I can text your phone, but I'm only sending like one or two at a time. Like, and then I gotta hear, it's just like it ain't even like you told me something. I just be like, yo, I just hear you on this. And then they'll be they'll just be like, you know, nah. Well, like I'll see what I can do, and then you know, it's whatever. But actually, it goes back to just putting up those shots because you just never know. So more shots with less beats, more consistency. You're not sending like a 50 pack.

Oh, I don't, I don't, I don't do that. Like, I know, but I know that works for some people. I know once their producer sends them, they're like, yo, I ain't sent you nothing in a month. Here goes a hundred. Do it. I know some people who send the five, they'll just be like, Bet, A&R, they're not even listen to it. Copy paste. Here you go. I'll be like, oh yeah, I'm not doing that. I usually I personally am always attaching the song. Cause I'm like, what if you're in the car and y'all ride it? I don't you don't have time to download the the the uh the WeTransfer. I want you to have accessible, like because I had like we haven't well Romano got a song with Herb and Bia, but it's not Herb's song. But like Herb's management reached out and they were like, yo, we in a car, we try to listen to some beats now. I'm like, okay, cool, but that's my method anyway. Like attach it to the email so you can plug your phone up, yes, click, and it's ready to go. Or just text the beat. No. Yeah. I'm I'm into that. I don't I don't send links Zips. Yeah, zips, I don't do that. So out of all the accolades that you guys have achieved, right? Like specifically maybe with Parker, what are some of your like most proud manager moments, right? Because you know, you talked about reminiscing recently.

Like, was there one like yo, like can't believe we went platinum with this artist, or even if it's like not a plaque related thing, you know. what I mean, are there anything you any things you kind of point to as like, damn, we did that shit. I mean, even though it's not an end goal, but getting a pub deal was was a dope experience. Um, because I mean, this is how like most people want to sign an artist, sign a producer. Like, so signing the first producer, like doing both with Romano and Parker, you know, I know you just asked about, but like no, no, no. But so doing both of those deals. Yeah, that was that was. I'm always like I said, I'm never gonna get tired of winning. So it's like if I sign 50 more producers, it's just like I'm gonna be excited. So doing their first deals was was an achievement. Um of course those first plaques are crazy. Um I'm proud of Parker, like I don't know, the biggest one. Those are the biggest. Those are great. I'm just proud of their consistency. Oh, it's it's insane. I mean, I'm like thinking I'm gonna get a break from Steve O posting like a new Parker and Romano placement, and it's just like you're on my head. Yeah.

It's like, oh yeah, we're on Meg, you know, Meg's project, like whoever the fuck. I mean, I'm just throwing out, you know, people. I'm I'm not even sure which ones he's been on recently, but it's just like a non-stop influx of fucking Parker and Romano hits and hits and hits. And like so for two, like so. Parker Like, Chris Brown, fucking whatever. It's just, like, incredible. Yeah, Parker and his like his vision, like even before how he sees his neutral stuff, and now he has his first artist with Imani, like him being the leader he is, and like I said, and also remaining hungry is what's impressed me the most. Cause like he could have easily kicked his feet up and said, I'm good. Like he could have, but he's not. And then with Romano, we like I I call him the hardest working guy in music. Like, he does it all. He's got hits where he writes, he's got hit where he's produced, he's got hits where he's done both. And like he just whatever the record need, whatever needs to be done to the record to make it successful and make it sound the best, he can literally do. So I'm saying if it's a hook or a melody needs to change, like he'll hop off the producer and be like, let me hop in the booth and show, like, let me try this real quick. And I'm just so proud of seeing him like, he's so vocal in sessions.

He's not afraid of like attempt, like, it's just dope watching Romano work. Like, so I'm that's it with Parker. It's consistency and leadership and with Romano, it's his relentlessness to like always show up and do whatever the record needs to be done to make it successful for everybody. Oh, he sounds like, and just how how you've described him, like an insane role player of just like whatever needs to be done, we can count on this guy to fucking get it done so that it takes it to that next level. 100%. And I'm like, if he's the main guy, he'll take over. If he's the fault, like it's just whatever needs to be done. And that's the like, I always say I'm like, bro, you so blessed because you have that attitude, and like he's so humble, but also being one of the best and hottest producers out. And I'm saying these guys, we really blessed to work with him. So yeah. Yeah, man. That's amazing. I'm proud of those guys. That's amazing. So how does the United Masters gig come about? Yeah, um it goes back. You know me.

K nothing, nothing just happens for me. Um my guy Juju. Shout out Juju. Juju, my AUC brother with the Morehouse. Um, he he's over there working. And um I'm I I can't remember, excuse me, y'all know my timelines. Uh, but he told me he was over there and you know, there was some openings. 14, 15, 16. Yeah, yeah, you know how it goes. Um, but this is last year, and he told me there were some openings, and um my and I and I guess Mike, you know, the head of A&R and Dave, the head of um marketing, they came out to Atlanta, and I've I've been known Dave for years um when he was here and living in Atlanta, that's what I mean by here. And we just sat in a studio just chopping up about music, whatever, whatever. And I'm not gonna lie, I thought I was getting like, I didn't know if it was a legit interview or not, but I thought even if it was, it was for a whole different position. So then we're just chopping it up. I'm just going with the flow. And then, you know, get a call back, like, hey, we'd love to offer you opportunity. Like, so Juju, I'm I'm sure he was putting a good word for me. That's my brother.

So he put me on like there's something, you know, we got openings. They came to Atlanta, sat with them, and then they they they offered me again. Were you even and and so what is the gig? Is it AR? AR okay, yep. And so, like, what is that day-to-day look like, right? Because United Masters, everyone knows, is a distribution company, correct? Correct. So, like, what does an AR at a distribution company even look like? you know, what I mean, like, what are you doing? Yeah, that people understand, you know what I mean? Absolutely. Uh, you know, United Masters, we have different tiers to where like you can just put up your music through our distribution platform. Like if Ben wants to fucking release a song, I can upload it the next day. Exactly. So we have that platform where you know you get put in the pool of like with Madden considerations, the deals we have with certain movie um uh production stuff, like you'll be in the pool, but like there's no like it's just a distribution service. It's like you know, a distro crew would just upload your music, like you don't have any expectations, but with us, it's a little that you could luck up and get some benefits of being through United Masters platform. Yeah, you can make certain playlists, whatever, just through our just being on United Masters.

They seem to work closer with their artists, yeah, than other companies. Right. So then you have those this is where we come into play to where we're looking to actually add value to artists' careers, like so. We're finding artists that we believe in at any level, it could be extremely successful, it could be hey, you're just making music in your mom's basement, like and we can actually say, hey, we're looking forward to you know, adding to this journey while you always completely own you know your masters. So um, our job is to, you know, discover talent how we discover everybody has their own methods, and and we try to you know bring them in and and see what we can do. We we offer our service on the A&R, on marketing on digital uh promotions, whatever's necessary to to break the artist and have retain ownership and have them uh long create long careers or whatever kind of career they want. We can do single deals too. If you just look in the hey, I got this song going crazy on TikTok, I need some support to get it outside of TikTok, we can step in that way too. And so it's our job to find records from all kinds, like I said, from the lowest of the low to the hot on TikTok to in the streets. We got a guy who um works in our Latin department.

He is fucking killer. Gerardo, he so we just we just find talent from all over the world. And what are your methods? Um it's so crazy because bro, I'm I've told the story. Y'all, y'all have heard me. I literally have never discovered anyone in my life. Like I just Milo came by recommendation. Oh, I mean, shout out Noah, first of all. Noah seems like this like you know, whisperer in your ear of just like dope shit. Yeah, Mako came through because he was with Key, came through that. Kenny Mason, we discovered. The artist I mentioned now, Sakura was kind of through Noah. So like nothing's ever came from Steve-O walked outside or Stevo's scrolling in there and he just found someone and he decided to call him. Everything has been recommendation to me. And I I am blessed. It's just I trust my discernment to say because as much as everything's been recommended, we're all talking about the wins. There's been some bullshit recommended too. For sure. So I just didn't, I was just like, uh, I'm straight on that. So yeah, so it's the ear, it's being able to. It's just trusting my discernment.

Yeah, so and and it I tell people all the time. I'm old school. If you want to get my attention, go manipulate, go tell three of your friends to walk up to me before you. Like, because I'll tell I'm like, because I'm gonna be like this the third person who brought up Kalamazoo. Yeah, who the fuck is Kalamazoo? Why don't I know Kalamazoo? So it's like, but if you come up to me, I'll listen. I'm a nice guy. I'll I'll give anybody my number, etc. But like, oh, so that's how I got your number. Because anybody is fucking. I mean, I'm a nice guy. I'll do any podcast, if you're confident enough or whatever, yeah, that look, it doesn't mean I'm gonna answer for you every time. I said, y'all, Like it has to be worth it. Okay, he does text me back. Yeah, yeah. Like Miss Cool, I'm saying, and then he got the UNC thing, so he's locked in for life anyway. But uh thank you, Tar Heels. Yeah, there it is. But for me, it's just like I don't create FOMO for me. Like, because everybody's gonna believe in themselves. Like, of course you think you're the dopest artist. Of course you think you're the dopest producer. You're supposed to.

But like, so if I'm already, if I talk with people all day, every day, my email's flooded, Instagram DM's flooded, there has to be something to cut through. And to me, what's always cut through is because even if I am not convinced by the music, I could be convinced that you got people to like your music. So that's the big like what I say about producers versus artists. You're showing me that you can galvanize some troops. Like, I don't need to see thousands, but if you show me, if people in my Instagram comments, real people, not spam, are like, you need to check out Kalamazoo, Kalamazoo. Kalamazoo. I'm gonna be like, who the fuck is Kalamazoo? So that would be my thing is if it's if I'm gonna discover somebody, manipulate me and tell me, like, have other people hit me. Cause then I'm gonna I'm gonna wonder what's going on. Stream Kalamazoo's new project. Hey, Kalamazoo. Kalamazoo EP coming soon. Um straight out of Lansing, Michigan. So we so we had um we had Deshaun on. My guy Where'd you go to school, Clark Atlanta University. He's a CAU guy.

Okay, that's right, that's right. I forgot. Um so you know, we've talked about this multiple times. Define AR for us, right? Because everyone has their own definition of it, what it really means to them. Like, give us your Stevo definition of AR. Um the the job title, I think universally is, and I think this goes for publishing and and label side. Um, and if you're just working with an artist who's just independent, you and they you know give you the title of A and R. You're the manager of the music. So, and that's that's administration too. I know some people separate, excuse me, they separate AR and AR admin, which it is two separate jobs, but it if you're AR, you're expected to know all of it. So that was saying that's from knowing the sessions, book it, having the session forms, doing the writer splits, putting your artists in a room, or let's say if you work for a publisher, putting your writers and artists um and writers in a room, producers in the room, um, keep a track of all that, budgeting, um, of course, signing new acts, which is everybody's favorite part. I think that's the whole job.

Are you doing that at UM? Yep. I do I just did um, I just admin'd, uh Spice's album, who the uh Jamaican artist, the reggae artist. Her album came out last week, emancipated. Okay. So everybody go check that out. So that's through, um? Yeah, that's through, um, she's an independent artist, she's out of her label situation. So this is the first time releasing an album independently. It was number one on Apple. Hell yeah. Going crazy. Um, that was all her team. I want to, I'm always clear about credit. I just AR admin, she produced half that album, Wow. they came in with it done. I just handled, you know, get it out, everything's properly, files and stuff like that. But salute to Team Spice, and I think it's stealth worldwide. Great album. Nice. But yeah, so I do all of that. Um, and am I missing anything? Yeah, and then like, you know, get your hard drive. Because you always like with people, all the departments are gonna reach out to you for the music. So you want to make sure yo, I need stems, yo, I need a cappella, yeah. You don't need instrument, like you're supposed to have that. You're supposed to be the manager of the music. They shouldn't have to hit up the artist, the artist team, like they're hitting up you. So marketing is like, yo, I gotta go do this.

Can I get the the the clean version? I'm going to Nickelodeon, or the playlist person says, Hey, I gotta go to talk to Spotify. You got this version, like they gotta talk to me. Yeah, so for AR, like you just have you're the manager of the music, but that doesn't mean you're all because I'm like, I'm I think I'm a marketing guy too. Like I've done marketing stuff too. So if I have an idea, I'm going to pitch it as well. But that's like I said, that's not artists and repertoire. Like I said, you really can, but that's I'm just trying to keep it, you know, confirmed conformed so people get it. So AR and the manager of the music, the artist's music. I love that. I love that. So what can we be looking forward to? Any any big you know things coming up that you want to make sure you get to speak on? Um for me personally, you know, I was looking out for Sakura. We got new music coming. That's the artist I manage out of Atlanta. Um, singer, songwriter, producer. Her voice, her voice is incredible. Oh, thank you, thank you. Yeah, so that new new music will be out um definitely before the end of the year. Uh, you know, Parker, we're gonna keep making hits for sure.

But shout out to Parker, his new artist Amani. RB artist, so look out for her. Yeah, Romano, he's gonna stay pinning hits, producing hits. Um, but he's working with artists, uh, this tandem stress gods. So look out for what he's got going. He's he's produced, he's taking the lead on them. Dope uh collective. Um, y'all know my partner Melita, you know, over there, Warner, she she's going crazy. She got her own publishing entity she's going crazy with. So salute to the team and you know, me over at UM. Um hopefully I signed my first act. We're we're in negotiations, so hopefully by the time this comes out, I can maybe tweet this is who I was talking about. So I'm not gonna speak on it right now, but hopefully it goes through. I I think we're in the closing, closing times of it. Um, so hopefully I signed my first act over there. And yeah, man, look out for the UN. We got a lot of dope stuff coming. So yeah, yeah, I'm just gonna keep it because right now we're the acts we have signed, not me personally, but like as a company. Oh, we we we about to turn it up.

So hell yeah. Yeah, man. That's dope. You gotta get crazy. For sure. Henry, we have entered a final segment of the One More Time podcast. Indeed, we have. I think I remember. Got it. Stevo, this is the Rapid Fire Rampage. All right. Buckle up, Stevo. It's a three-part rampage. If I fuck up, I'm Anthony Anderson. We'll blame it on him. Gotcha, got you. If he crushes it, he's Steven Dingle. Exactly. AKA Stevo. Indeed. So I'm gonna start with some short answer questions, just some real quick back and forth. We're gonna get into a this or that. I'm gonna give you two choices and you pick one, and we're gonna end it with a word association. Throw you one word, you just throw something right back at me. All right. Starting with the short answer, episode 72, Steve-O. Stevo, why do you get up in the morning? To attack the day. Will the Falcons or the Hawks be the first to win a championship? And what year will it be?

The Hawks. 2026. Reasonable. In the next 30 seconds, invent a sport. 30 seconds. Um that sport exists. Uh tweak something, maybe. Uh I would do I'm sorry, it kind of exists, but it it's not in this way. I would do frisbee, but into a hole, not the cage thing, but like frisbee into it, gotta go in a hole kind of thing. So like a giant golf hole. Yeah, exactly. Yeah, it's frisbee size so the frisbee golf exists, but not the cage thing. I the cage is tough, but yeah, it has to fall into a hole. Oh wow. Okay, okay. You've just opened a strip club in Atlanta. What do you call it? Oh, Steve-O's. Period. Such an awesome strip club name. I'm going to Steve-O's tonight. Today. It's like Steve-O Sundays.

Yeah, right. Hey, hey. Damn. We're on to something. If you were an animal, what would you be and why? Uh, I have no idea if this is true, but a wolf, I was like Wolves growing up. But I heard that there's like an alpha wolf in the front and the back. So that y'all know, like I said, I play any role, so I don't I think I'm a leader. But if I need to play the back, I will, but you're still like an alpha wolf kind of thing. So wolf. If that is true, that's dope. If it is true, if it's not true, it's caps. Somebody's gonna watch this and be like, get the fuck out of here. Steve-O, what do you do when you find yourself on a team with people who aren't pulling their weight? Um, I got no problem speaking up. But yeah, it's just speaking up, but after if you can't raise your performance, then you got to go. It's over. Yeah. Bye-bye. Bye-bye. Steve-O, how many times has your heart been broken?

Twice. Twice. What is one of the most difficult decisions you've had to make recently? Ooh. Uh I haven't made it yet, but I'm trying to think, do I get a new car or do I work on my basement? So you're anticipating making the wrong decisions. Yeah, I'm sorry. I yeah, I'm just stuck because one of them is going to be wrong. Yeah, when I do one of them, it's like fuck, I should have did the other one. Of course. Tell us about a time you got in trouble in school. Uh, I was one of those sneaky good kids. Like, like I didn't get in trouble a lot. You didn't get caught. Yeah, I didn't get caught. Uh, what time I got in trouble? No detention, no. I got I we were throwing pencils at my teacher while out in class, but of course, as soon as I the teacher walked back in, I got access for the rest of the day in middle school. Yeah, sorry. Did you ever used to throw the the uh pencils in the ceiling? Because you know how they had the little holes in the ceiling. Yeah, no, we never never did that. Oh my god, we were that was like the thing to do.

Did you ever make staple guns out of mechanical pencils? You rig it where you could put a staple in a mechanical pencil and go. Jesus. I wish we were going crazy. What? Sounds super dangerous. It kind of hurt when you got hit. But um, anyway. Steve O, you must get rid of three states. Who's gotta go? New York, one got to go. Oh man. Gotta go. Beef. I'm sorry. The big apple ceases to exist. New York gone. Um shit. Confident. Alabama can go. Yeah, that's fine. We're okay with that. Um, and then I'm just gonna throw uh Idaho. Because I don't even know what's there. That's fine. Potatoes. Yeah. Why do tennis balls have fuzz? I have no clue, but I'm assuming so they don't hurt if they hit you. Sounds logical.

Yeah. We're pretty brilliant. Actually, I'm gonna look that up after don't have the answer to these. We have no answers to any of these. No, we have no answers to any of these. That's correct. Well yeah. Uh Steve O. Where is Steve-O in 10 years? Um in 10 on somebody's film set. I don't know what I'm doing. I don't know if I'm producing. Acting. No, not acting. Okay. Unless like. I don't know. I've seen you in your modeling bag recently. Hey, yeah, but I'm I'll be like courtside, you know how like they in the movies, and like there'll be a nickname and it'll be spike. Like, I'll really be me in the movie. Like, oh, you didn't go to a hall. Excuse me, excuse me. Steve-O, What's up, man? Yeah. I'll be that. But yeah. That's my journey. Uh, music, sports, film. So 10 years, I think I'll be on a film set. Bye. man. Last one of the short answer, Steve-O, what is your favorite curse word? Fuck. Part one of the rampage. Part one. Great. That was good. The wolf answer.

I'm basically. It may not be true. I'm Mike Harley. Yeah. Fuck. Yeah. Yeah, kept the speed up, too. No, that was impressive. Moving on to the this or that. Okay. This or the M.I. All right. It's one answer. One word. Two choices. One answer. All right. I gotta close my eyes for this. Your next pet is either a hamster-sized dog or a dog-sized hamster. Dog-sized hamster. Big ass hamster. Mm-hmm. Become a full-time rapper or leave the music industry. Leave the music industry. Rappers don't have no hoes. Contrary to popular belief. Contrary to popular belief. Are we going to wear pants one size too small or shoes two sizes too big? Pants too small. I'm from Atlanta. I know we're squeezing some pants, right? Melodies or drums? Melodies. Biggie or Pac? Biggie. Timbaland or Pharrell? Timbaland.

Eggs or pancakes. Pancakes. Tattoos or piercings. Tattoos. Fight club or book club? Book club. Get a face tat of a donkey or eat one small bowl of ranch dressing every day. Tattoo of a donkey. Blue cheese over here, guy. Me too. Gang. Heavy traffic or slow Wi-Fi. Whoo. Oh. That just hurt my soul a little bit. Heavy traffic. That was tough. Tough. Need the Wi-Fi. Yeah. Yeah, yeah. We need gig speeds around this bitch. Indeed. All of your socks are slightly moist forever. Ever. Or lose two weeks off of your life. Oh, two weeks gone. Gone. Bro, people have no problem. No regard for their life. I'm here for a good time, not a long time. Okay. People give up crazy shit for life. All right. A wife that's 10 years younger or 10 years older? 10 years older.

Get verified on Instagram or free McDonald's for life. Free McDonald's. Last one of the this or that. 75 chance. 75% chance of OG Parker's next record going platinum. Or a 25% chance of OG Parker's next record going diamond. 25% going diamond. Going for it. Part two. Risk it. Hell yeah. Very fast. That was good. Traffic Wi-Fi really. That was the only one. That was terrible. That's tough. Or the moist socks. Just slightly. Just enough to be annoying. God, that's like the worst. thing ever. Life can go. I'm with Steve-O. Fuck those two weeks, bro. If you could keep this speed up in the word association here, you could be considered for the rapid fire rampage hall of fame. Okay. We know how you love to win. So this is just, I gotta say one word. I'm gonna say one word to you, and you just say the first thing that comes to mind. Do I have to say one word back?

Or I can say multiple things. One, maybe two words, Okay. Keep it short. Maybe a short phrase, but just rapid. Short and quick. Okay. Here we go. But the more embarrassing, the better for our content. Okay. Thanks. Hip hop. Rap. Goat. Michael Jordan. Rainbow. Gay. Fire. Hot. Cigarette. Stupid. Horoscope. Miguel. What? This is his album name, isn't it? Oh, okay. Okay. I'm not Kaleidoscope. Whoa. That was dumb. So there we go. This guy, this guy considers himself an AR. Doesn't even know fucking Miguel's album name. Come on, man. United Masters. Wrong scope. You're right, wrong scope. Reconsider his employment. Lawyer. Sneaky. April.

May. TikTok. Uh Generation Z. I mean, yeah. Gen Z years. I don't know. You've been crushing it, bro. I'm playing catch up. Yeah. Chess. Boring. Piano. Classical. Hot tub. Comfortable. Hot dog. Delicious. Backwoods. Blah. Sloth. Slow. Panties. Yes. Jerk. Chicken. Lil. Wayne. Album. Uh uh uh uh uh Urban Legend. My favorite album of all time. T.I. Indeed. Podcast. One more time. One more time. Let's go. Rocket. Ship. Cryptocurrency. Misunderstood.

Greed. Unnecessary. Yo, Henry, your alley-oops are terrible. I was trying to alley oop you into the greed mind. It's okay. Oh, you said it first. What a fucking rampage, though. It was great. Strong consideration for Hall of Fame. Strong. Amazing interview. If you guys don't know Steve O, be sure to tap in. This dude is on to some shit, man. Indeed. I mean, the stuff you're doing with Romano and Parker and the whole gang over at United Masters, you guys as a company are doing some crazy shit. Really love what y'all are up to. Thank you again, man, for coming on. We appreciate it. I haven't seen you at the hoops in a while, though. I don't know like what's knee. Okay. It's not happening. You're retired. I gotta give it till next year. I'm sorry. I gotta see this year. Wow. Rehabilitation. There you go. I'll see you in 2023. There it is. I appreciate you guys. Until next week, Henry. What are we doing? Getting out of here. Getting the fuck out of here. Peace. Yeah.