Jason Reddick (ASCAP) Interview: What is a PRO? Is Radio Dead?

Ladies and gentlemen, the hundredth week in a row. We have not missed a fucking week. God damn, don't play with us. A huncho. This is the one more time podcast. Henry, who do we have in the hot seat today for the hundredth week in a row? Welcoming in on the one hundredth week of the One More Time podcast. Man, let me just soak that in for a second. That's dope. Famous stand-up comedian, producer, author, actor, it's Tracy Morgan. T Mo. T Mo in the house. Looking a lot better since the injury, my man. That's hilarious. No, man. We this is special. So we may or may not have, you know, made sure that we got someone legendary for the hundredth week in a row of the One More Time podcast. This is one of the most impactful, one of the most well respected music executives here in Atlanta, and honestly across the industry. We got the director of creatives at ASCAP, your favorite PRO. Yes.

We got Jason Reddick in the motherfucking building. Jason. Yes, sir. Thanks for having me. Thanks for coming. Yes. So I just want to set the baseline here because sadly, even if you're an artist or a producer or a songwriter, you might not even know what a fucking PRO is. So, like I just wanted I want to set the stage for this episode, and I want to get a quick breakdown. So it stands for performance rights organizations, but if you have to sum up for those that aren't familiar, like what is ASCAP doing for their clients or their members? So the the nuts and bolts of ASCAP is collecting royalties on behalf of the artists on their publishing side. So there's two sides of publishing. There's the mechanical side, which is what you hear uh well when you go to iTunes or when you go anywhere and you pay a dollar ninety-nine to download to own it. That's the mechanical side. Yo, people are still doing that. Uh yeah, it's surprising. You will see it's very surprising.

People still do that. And then there's the performance side, which is the part you hear on radio when you go into restaurants and you hear music, when you see syncs on film and TV, when they actually perform in venues, that's the actual performing side of it. So if somebody goes and performs, like you know, Drake and 21 is at State Farm, that's a licensed venue. Did you cop your tickets yet? Nah, yeah. Actually, never mind. He's Jason Reddick, he gets them for free. The rest of us gotta take a mortgage out, a loan against our houses. Trust me, I got text, and I will tell you this for myself personally. I might not be in Atlanta to see the show. So just because it's you know, it's it's a lot. It's a lot. It's a lot that goes with that. So um for my background, I everybody asked me for tickets, so I try not to do the big shows in Atlanta because it's like if I go now, 20 people want to go. So that was really the only reason we got you on. So this is like we could wrap this up. I'm definitely the wrong person then because, fuck, fuck, you know all right.

Well, it goes. I mean, you could come with me at Nashville. I I saw that on the map, New Orleans. Oh, okay. We do we just get the invite to a Drake and 21 show out of state? Okay. Just pull it with me. God, damn. And out of state is always fun for me. Um, I like to see the shows in different cities and get the energy. Yeah. Because Atlanta, to be honest with you, they're not really pressed any impressed anymore. Cause we've seen everybody. So a lot of times the artists that you go, Drake and Twin and literally go to the strip club here. Like that's normal. So it's not like they're gonna bring out anybody's surprise that you haven't seen before for the most part. Now, if that happens in Nashville. That's so sad, crazy. No, and it's still, it's still an amazing time. Like my kids love going to shows and things like that, so it's still an amazing time. But industry people, we're just like, oh, okay, like for us, it's like uh when we go see it other places and it happens and to feel the energy for those people that rarely get to see artists, that feels the show is like 10 times magnified sometimes. No, that's so true. It's like someone from Middle Tennessee made the drive to Nashville just to see Drizzy. Exactly.

And he pulls out whoever the fuck on stage and they're just magnified. Yeah. That happens so very rarely where in Atlanta that's normal. Like it's almost where if you have a show and you don't bring anybody out, everybody's like, oh, it was a terrible show. Yo, The bar. We expect it now. Yeah, it's expected. If you don't bring out somebody, it's like, oh, that was terrible. That's not anybody out. Like that's crazy. Yeah, this artist just played his songs. What the hell was that? Shit. I was dumb. I didn't come to see this. I came to see friends. It's like so and so and friends. Like that's the normal for Atlanta. So yeah. Damn, you're right. So as director of creatives, like, holy shit, that's a nebulous title. Like, let's let's like, I don't know, you sound like you're part of the Illuminati with that shit, the director of creatives. at ASCAP. So, like, from a day-to-day, just high level, what do you have your hands in with that role? So, our our job really is like the early stages. Like, I'm in the development side for artists. So, I catch them early.

Like, say you have a mom and their child uh just got a beat machine at 15 and they have this talent out the blue and they need to know where to go. So, I connect the dots for a lot of times for people. Like I know entertainment lawyers and I know publishers and also know how to uh get music out and sessions and things like that. So sometimes I'm talking to people that are I'm talking to kids to help their parents navigate the business. I'm talking to established people who are looking to re-invigorate their careers. I'm talking to people that are on the rise, people that are literally at the top, some that are on their way down, but trying to figure it out. Like it's just a multitude of people that I talk to daily. Um, so no one day. It's hard to say outside of just waking up and checking my email. There's no like set thing that I do every day outside of checking my email and talking to either a publisher or creative or manager or somebody in the business. Or podcast hosts, you know. So what what's the youngest person that you've I guess brought onto the ASCAP platform or I guess registered with ASCAP.

What's the youngest person? Uh I mean, Nick, it it just depends because they have to, as long as they have um they're signed off by their guardian. It could be, I mean, you 10, 9, just damn. It just depends on what they do. I mean, you have like somebody like Alele. She's like, at the time when she first came out, she was on like nine or 10. Wow. So shit. What records does she work on? Alele is she has a show on Nickelodeon. Oh, okay, okay, okay. She has a show on Nickelodeon, but like kids like that, like those kids are artists as well. So a lot of them are signed to a PRO because we collect those royalties. When you see Disney shows, we're collecting those royalties off of Disney and things like that. So a Nickelodeon. So they have a PRO as well because they're generating income. Damn. Makes sense. Yeah. Yeah. I'm just, you know, I'm like, shit, we got some like baby Mozarts out there or some shit. Yeah, it's amazing. it's amazing with technology and how the speed of light of people being able to create. Like I'm older, so you know, you had to have a label at the time to put music out. Today it's like anybody can put music out.

So it's very interesting to see. Yeah, DistroKid membership's pretty cheap. Yeah, it's it's funny because I think you referred to yourself and you even quoted Cole and I'm blanking on the fucking lyric, but basically, I'm big bro and little bro at the same time. Yeah, middle child. Yeah, which is such an amazing record. Do you feel more like today? Do you feel more like an OG in the game? Are you still when I talk to people sometimes? It just depends. Like I saw this amazing thing, uh Joey Badass said recently where it's like a 33% uh circle that you need to have. Like it needs to be 33% of people that are smarter than you so you can learn, and then 33% of people that are your peers, so you can motivate each other, and then 33% of the people who are uh mentees, so you can teach. So it just depends on what circle I'm talking to. It really just depends. It is interesting to hear OG because I still like feel like I'm chasing to get to the next level that I'm trying to get to. So I don't even think about like how long I've been doing it, the things I know until I have to sit down and talk to people and I'm like, okay, wow, like but you're always gonna be learning, right?

You're always gonna be learning. Always learning. Yeah, that's so I never look at myself as OG because I'm always learning, I'm always trying to figure it out. Because even when I'm talking to people that don't know as much as I might think I know, they're still teaching me something as well. Because the business is ever evolving every day. Yeah, I I think that you know, we've had older people on the pod, like you know, Rico Brooks, who's, I love Rico. he's the best. And yeah, and I think you guys have that in common where that appetite to learn, Oh, man. admitting that you're never gonna fucking know everything, and it's your duty almost as someone who has the title of OG, it's almost your responsibility to make sure you keep learning so that you can teach, right? If people are coming to you for advice and game, as you said, this music shit is changing all the time rapidly. Yeah, so whatever was working when you first got in the game, not the same, odds are it is not fucking working right now, you know what I mean? So that advice has an expiration date on it.

Absolutely. Very true. And for me, I work on the business side, so I'm about helping people collect money. So I gotta know what's going on. Because if I don't know that you should register your song this way, or make sure you're assigned to this uh system the right way, or however you're collecting, then I'm not doing my job. Like you're not getting paid. My job is to help you get paid. Yeah, facts. And you have a very important job. That's a good guy to know. Everyone should follow the money trail. Who helps you get paid? Yes. seek them out to, yes, and build a relationship with them for sure. I'm a longstanding member of ASCAP. Oh, dope. That's a sub. Yeah, I mean I yeah, I tried to get him to switch to BMI, and he was just like, I fucking love ASCAP. He's fucking loyal. loyal. I said, No, Ben. So, so you know, ASCAP obviously represents songwriters that can come in the form of an artist who you know contributes to their song from a songwriting perspective, obviously, producers and then traditional songwriters who write songs for other artists. So, in my mind, you clearly are probably just constantly listening to music or at least coming across songs, and in your experience, what makes a song timeless?

Oh man, um it's normally the rhythm and then the hook. A lot of times there has to be a hook that it's a hook, it hooks you, it brings you in. I think that's where today a lot of the um artists and songwriters are lost because they don't have a defining hook in a song. They don't have a bridge that literally it's a bridge, it's one idea of a song that bridges the next idea to the song, and it keeps the flow going and it breaks up the monotony. So when you have these elements that are kind of tried or true tested for a song, it's very rare that they don't hit the mark when you're checking off certain boxes. And there are certain boxes for certain songs on the songwriting side. It's very interesting to see. They'll tell you it's not what it is. Yeah, I I think I saw something. I don't know if it was a tweet, a TikTok, a fucking audio book. I don't know.

It all blends together. I don't know where I saw this shit. Information's everywhere. Yeah, but it was about that, you know, the formula to writing a hit. And I think that as much as artists and producers and songwriters love to be unique, and I don't want to take that from you. Yeah, to your point, there's some fucking boxes, bro, that are getting checked on just decade after decade after decade of hit records and timeless songs that to me, those are not the same thing though. You can have a hit that might not be timeless, though. I don't box those in together. No, that's fair. You know what I mean? That's a creative's idea, especially in today's day and age, a song can become a hit, and that artist can be gone next year. Yeah, right. Six months. So I I do, I do agree. So so let's call it more the timeless records, right? Yeah. I think that, you know, those have certain elements. And I think as much as some artists love to pride themselves on, like, yo, this song got no hook, bro.

No hook, straight bars. Well, there's a reason why it's not a hit. Exactly. That's very true. Because we're dumb as listeners, and we can't comprehend something without a hook that well. Very true. I'm just gonna call it what it is. I think you can have a record with no hook, you know, but you kind of need to be That's a hit? it can't be like your lead single. It's probably not gonna be a hit. It's not gonna be a hit, bro. It's probably an album cut. But yeah, exactly. A dope album cut. It's a deep cut that the true super fans will love. Don't get me wrong. Make those songs, but have realistic expectations of like, why isn't this going? Very true. Probably because it doesn't have some of those Some of those elements. Consistent elements, right? How are people what what TikToks are people gonna make about it now? Isn't that sad? That's a thing now. So, you know, Henry and I talk about this all the time, and it it is a brutal reality. So, like, buckle up for this sad, sad truth. Yeah, god as someone who even tangentially works in music, given that we have a music based podcast for the most part. I mean, bro, it it's hard to be a fan like I was in the past.

Yeah, do you see yourself as someone who's an executive at arguably, you know, the highest of of levels, or you know, someone that's been in the game and impacted the Atlanta music culture to such a high degree. Do you find yourself struggling with your fandom? I I wish, but no, because there's so much new music out there that I'm fortunate that I sit in the center where it comes to me as well as I seek it out. So there are artists that are still um trying to break through, but once they break through, yeah. You're still like doing your laundry and dancing and turning it up and waking up and I'm the I'm the guy that when I came up, I would run to get the liner notes and read who put out what and who produced what and what label is it on, and things like that. That's like your boy Tyler used to talk about that. Yeah. Even he just announced a new album. Like, I'm excited. I get that gets me excited. Like, I'm like, oh man, a new album.

Like, I'm dying to hear it. And even some of the people that I've been fortunate enough now that I used to look up to that I work with, DJ Drama's new. I like I'm excited to hear what that is, like his new album. Like he's an ASCAP member, but just what he's done for the culture. I used to actually, when there was CDs, I would put together the CDs during those times and help pass them out. So to see that where I was working at that level where nobody knew who I was, to now actually knowing him on a first name basis and he knows who I am and get to hear the music early and sit in rooms with them, that excites me. So my my friends are excited to me as well. Yeah, let me actually rephrase this. I think it's almost that I live in a one-more time podcast bubble where I genuinely only listen to the people that I know, bro. Now that is true. So the fact that you're friends with drama, like okay, Jason, it makes it a little easier. Yeah, like okay, you're probably friends with Tyler too. So you're excited about his album.

Jesus. I'm not there yet, but I'm working on it. Yeah, yeah. So for me, it's like I'm excited about, you know, we were talking about surf. Yes. I'm excited about Ben Riley. I'm excited about East Rich, Gabriel Avery, like people that we've had on the pod, Suave. I mean, like those people excite me, and they're who you go to my Spotify recently played. That's who's in it. It's not fucking Lil Baby, it's not DaBaby, it's not even Drizzy, it's not anyone that is honestly, you know, probably in everyone else has recently played. So I do think I live in this like bubble. And it's also, I think, like you mentioned, it's a lot of the artists that you're already kind of comfortable with, and that you haven't established you know what they sound like. You're not gonna be let down. It's like season three of Breaking Bads would be fire because season one and two were fire, you know. You know what I mean? True. So are there do you is it any different for new artists? Do you have trouble? Like for me? Becoming obsessed with like a new artist. Because I think for me, that my job kind of requires. Like I need to know who's new. If he wants to continue getting checked, he better find that fucking excitement. Henry. I need to know who's coming next.

But not only that, I work with a songwriter who I think I'm not even gonna lie, I think in the next five years is gonna be one of the top ones. And shout it out real quick. Yeah, her name is A-Chic. Like, I'm looking to find new artists for her to get with because I don't think from a woman's perspective and a woman writer, I don't think anybody can touch her. She's a rapper, so she comes from a battle rapper era. So I don't think anybody can see her bar for bar as well as hooks. So I'm always looking for that because I know if I put her in a room, that new artist is going to eventually be somebody that is going their way. So I'm excited for that. Between that and then another artist I work with, Nutso Thuggin, Like these people I'm excited about because a lot of the world doesn't know, but I know. So I get to be with them every day and hear the music that they're working on and the things that they're working on and things that are to come. So that excites me. Yeah, yeah. So what about Nutso thuggin? Were you drawn to and how did y'all link? I guess. Um, shout out to Key.

Key Henderson, yes. She's always opening doors in everything. Legit open, like that's her thing. Key is opening doors. on the regular. I think People have their branding thing, and that's her branding thing. Like, it's perfect. She does it. It's the perfect. It's annoyingly perfect. That's like family. Like, me and her came up in the game together. We've always looked out for each other. So she just called me one day and was like, Yo, you still like managing things? I was like, Yeah, you know, if it's right. And um just sat down with him, and we started talking and we just clicked. And what drew me to him was he does everything himself. Like, I have to try to insert myself in it. Cause before I know it, he's like, Yo, I got this idea for an album, and then 48 hours later, I might have like six songs and rough drafts, and then a cover art and a music video that was somehow shot. No lie. That's exactly how it works. And it's like that's amazing. I'm like, whoa, but when I talk to other artists on a regular, I know how their work ethic is non-existent. So for somebody like that, it's just really the opportunity and putting them in the right rooms with the right people to craft the right story.

Because once that happens, then I know he's out there because he literally just constantly, he's always on my line, like, yo, I got this. Like between him, between myself and his A&R, we're getting, we're on a group text, and I can't even keep up sometimes with the notes that I have of what ideas, like we're always coming back, like, wait, which album is this? Okay, cool, let's go with this one. And putting different ideas together, but somebody like him is just he's like, yo, that's all I got. So that's all he does all day long is work. It's it's probably so opposite to what you're used to having to do. Yeah, you're used to probably having to, you know, maybe ignite a fire in some people that you work with. You're having to probably, you know, like we talked about, you're having to maybe slow it down, let's slow it down, let's take a little bit of a step back and look at this from you know, a different lens, but without stifling that that just work ethic, like him being a workhorse, you know. Yeah, you just for people like that, you gotta make it make sense. Because if you say wait, but then you don't really show them why, or you don't come through on your end for why they should be waiting, then they're not gonna believe, and they're just gonna keep putting it out, and then they're gonna keep bumping their heads, but they're gonna be like, well, at least it's out.

Because for them, it's one of those things where they have so much creativity and and they just want to keep putting it out that they don't want to feel like it's being stopped. Because as soon as it stops, then they feel like they're being stagnant. And so if you don't put it something in place where they can see why there are steps to releases and why you should put it out this way and why you should tease it and put down um pre-save links and things like that to really roll out a project, then for them it's just like, nah, because every time he puts out something, he gains more fans. So he's like, what are we doing? Now I'm like, this is the commerce side of it, this is how we make money off of it. Has he seen that process work? Yeah. Okay. They're still working together. So No, yeah. I'm not sure, sure. but I just mean, yeah, so so you came in and suggested, hey, let's attack a rollout slightly differently because you have years of experience seeing what works. Yeah, you've been on multiple sides of the business, and we'll kind of do well, you know, we'll dive into some of the things that you've done. Yeah.

But yeah, I was just wondering, making sure that it's like, okay, let's try this out. And it it then I guess appeased him because it he saw it. He saw it, it worked and it made sense. Because for him, he had been putting it out so long, and it was just like, okay, let's get to the next level. And so between myself and Key explaining certain things, it was like, oh, okay, this feels like the next level. And then as we start releasing stuff, it's like, okay, yeah. And then you can start seeing, you know, the money. When the money starts coming, it's like, okay, yeah, this is legit. It's a good indicator. Yeah. Between that and then for him, it's important to be in the right rooms to be able to work with the right producers to be able to go on tour. Like, we're like steps away from that happening where it's like he had a a wish list of things and we're slowly checking off those boxes. So now it's like, even if something doesn't work, something doesn't work, it's like, okay, well, at least we have that circle of trust between each other that, okay, we're gonna try this. If it didn't work, let's pivot and go here.

And we keep trying to figure out the next level. And that's the box. It's funny we were talking about Anwar uh off off camera who was a previous one more time podcast guest. And he described the path to success as the spiral of success. Yeah. So you kind of have to do all the different types of opportunities on this spiral. Yeah. And then you actually do level up and then you're like shit I'm doing kind of the same similar type of shit for a minute and then you're like boom and I'm up in another level type of deal right it sounds like that is where Nutso is kind of at as far as he's he's doing all the stuff that he needs to be doing at this type of level. Yeah. And then he's seen himself kind of leapfrog to the next little you know I guess rung on the ladder if you will so that's that's dope. Yeah it's anything but a straight line for sure. Oh yeah interesting yeah for sure. So this is the time for you to pop your shit a little bit okay. Ray Daniels who if you don't know who Ray Daniels is go fucking look him up. I don't have time for that he has a podcast shout out to his podcast called the God Show.

Yes and he basically set up a looked like a mafia style dinner of just essentially what uh I think Juju McClain, who we just had on the pod said it was the cool kids lunch table. And I thought that was fucking hilarious and I was like damn I didn't get the invite um but it was essentially gathering all of the most impactful music executives here in the city. Yeah the mayor of Atlanta I think popped out for a little bit yeah and the concept was let's sit down and let's have some friendly or maybe he's so friendly he heated debates around who is the goat of Atlanta, who are the underdogs here in the city. Yeah. And, you know, it was supposed to be the people that have had the most impact on the Atlanta music culture. So I want you to tell us and our audience, yeah, why did you get the invite? Pop pop your shit for a second. What what impact do you think you you've had on the culture, right?

Like why this is not the time to be humble. No, no. Well, that's the thing. I'm I'm by nature, I don't pop a lot of shit. I just do. So I was I was trying to bait him a little bit, bro. For me, I got the invite because I do. Like I'm around a lot of people, and then I've gotten to see people's, like I say, start from the beginning and see where they've come. Like when I was at Hot 1079 and I was producing birthday bash, you know, I was giving people their first shot at the stage that hot didn't even recognize who they were. So whether I was putting them on the stage outside in Centennial Park in our starter stage, or I was putting them indoors at actual state farm. I was that was that connector. Just like ASCAP when I was at South By recently, I was the person that booked people for their first time ever being an official South By artist. So instead of them trying to sneak in and try to get shows and hope that they could get in, because they did my stage, they became an official artist the first time. So I've been around a lot of people and helped to facilitate their first in a sense.

Yeah. I'm popping cherries around here. Yeah. He's swiping your V cards around here, ladies and gentlemen. Um, so who's an example of someone you booked maybe in your you know, hot 1079 birthday bash days that has gone to the next level, right? Like, like I guess who's the best example or one example. I don't want to put you in the best. Well, for me, no, no, for me, because I I try not to because it's so early on sometimes for people that they might not remember or whatever, but their teams know. So like I remember having to fight for um 21 Savage to be our headliner for our outdoor stage. And he kid this is if if you see the video, it's where he's and at the front, and then the gate collapsed because all of the fans were just trying to attack him like it went nuts. And I just remember being in the room debating with them, like, no, he's the one, and they're looking at me like you sure. I'm like, no, he's the one, you have to. And they weren't trying to put him on.

And I was fighting, and at the time, you know, I knew man, I know management, those are the homies as family. So I'm like, Y'all I'm gonna get it. And they're like, no, we got to. I'm like, yes. Like, I was like, if I do it, y'all coming, like, yeah. And so, you know, that to see that, and now he's the headliner this year for birthday bash when I remember arguing and fighting for that. Oh, that to me was a big deal. Like somebody like that. Um, whether he remembers or not, it's like mind blowing to me. Yo, Meezy remembers. Yeah, that's right. Meezy definitely remembers. And hey, we've asked Redd Push and TP to make the fucking Meezy, Stone Mound Meezy interview happen. He doesn't have to come very far. You know, we in the mound ourselves, Meezy. The thing with Meezy is he just he's so chill and behind the scenes. No, he did big, he did big act, bro. No, he did big acts podcasts. One, he'll do like, yeah, you could probably count on your hands how many he's done. And he was he he like got forced into talking that shit basically basically academics was like, nah, Meezy, grab a fucking mic, bro. We need to hear from you, Meezy.

Like you're doing right now with Jason, kind of. Well, see, if if you with Meezy, you can count on your hand how many he does. He just And that's why we want it, bro. No, I'm telling you, he's he's uh and people like him who just are such at a high level now that they're really protective of themselves because it's not about them, it's about the client, and they don't want to do anything to he doesn't want to say anything stupid here on the one more time podcast to fucking. He just doesn't want to give away because he's working, he's I'm telling you, it's such a high level. The amazing stuff that they have come in this at such a high level that he doesn't he doesn't want to spoil it, and he's building a company like Slaughter Gang is. I mean, the people that they have, 21 Hero, I think is fucking phenomenal. Was it Big Brad and uh Kid Hazel and Hayes, like these are they're primed to be our next huge indie label, which you know, we have that culture here. And so I see the work. Like I've been to the studio and see what they're doing, and it's just such a high level that's like, you know, I wish I could, but it's not about me, it's about everybody else who I'm pushing forward right now. Dude, how politically correct of a response to my request for a movie interview. can't even be mad, man.

No, I was like, okay, I totally understand, Jason. Don't worry about it, bro. We just we know we we see it. We we are fortunate to be in the circle, so we see it, and I'm just I know for sure, man. Yeah, they're crushing it. Like you said, Slaughter Gang is definitely poised to be competing, if not already, with the likes of the other household names we got here. We got LVRN, who apparently signing me up for unplugged events that I didn't think I registered for, but we'll talk about that later, Amber. It's a fire marketing team, and people, yeah. Oh no, they've always had the fire market LVRN. We got since the 80s, we got obviously uh QC, yeah, QC Generation Now Generation Now, fucking uh Slaughter Gang is is crushing. So yeah, Atlanta is I love where we're at with the rise of the music business. Even ASCAP having a presence here, yeah, other distribution companies having a presence here is is super dope. And I think that that's only going to continue. So for sure. So you mentioned you were down in South by and you were on a panel or you moderated the panel on artistpreneurship? Yep.

So that's my guy Drew. He has a company called Digilog. Oh, yeah. It's One of my favorite things ever. And I met him when he was at Def Jam doing digital. And then he left there, went to Alamo, and then him and JR connected with uh MPR music, and they did uh Money Long's for a song, and now they're on uh they did the French Montana record that just came out and a bunch of other stuff. And so he has this company called Digilog where they really are just setting up communities across the country of people that are executives and people that want to be in the music business, and it's almost just a community of education. Oh, I've been to several Digilog events. Really? I actually had a call with Drew DeLeon when I first started getting into music. He was one of the first people that I hit up, cold DM. He took my call, invited me to be a part of you know the Digilog community. That's him.

He put me on game of kind of how to move, you know, in the industry and stuff. So shout out to Drew for sure. That's my guy, yeah. Because it's it's pretty cool to you know see his growth and him transitioning. Is he still at Alamo or did he go full send into MPR? MPR and Digilog. Yeah, he's growing Digilog like crazy. Oh, it's insane. What they did, their activation of South By was with Dolby, and um they took over the Dolby House and they they just moderated different panels and things. So that one came about because he did Digilog Day, like it was festival in New York. And so, like I said, that's my guy. So I'm wherever he needs me, I'm there. So I literally logged on to the Digilog Day. Um, this is like two years ago. Yeah, I was in my still in my late 20s at this point. So I was like at the end of my party phase, and I was poolside drunk. But I dialed into the Zoom because it was a virtual one for the Digilog day. Yeah. And I think I told you about this. It was basically just I don't know if I know this one.

Yeah, yeah, yeah. But he just all about educating people that do want to. It was it was perfect for me trying to figure out how do I enter this music industry. You know, what are even the different roles in the music industry? I didn't know what the fuck AR really meant or no one knows. Yeah. And we still don't think they do anything, but you know, shout out to our ARs that have been on the podcast. That's crazy because so it because they don't where I my time and and where I come from, there was a clear distinction. And AR really was the first person that got me excited about the music business. Like, oh man, this is cool. Like I just remember um, and I'm dating myself now, but when I started throwing parties at 17, and um I happened to be working a uh club event with my partners at the Royal that Coach K used to own down by uh State Farm. And Jay-Z had the hangar tour. And I don't know if anybody remembers this.

This is when he went to he came from New York to Atlanta, LA, and it ended in Vegas in one day to promote the album on the private jet. Yes. Wow. And so he came to Atlanta first, and it was like at 6 a.m. or something. So I remember leaving the club at three and going there at six. It was center stage. Yes. So it was up in line, it was cold. This is another thing about branding. I don't think people realize Jay's Jay-Z normally drops albums in December around his birthday. Just same thing with Drake dropping in October, most times around his birthday, things like that. Yeah, the fact that I know Jay-Z's birthday and not my own like best friend. Fucking December 4th. It's the branding, the branding, bro. It's the branding. Why do I know Jay Z's birthday? I don't understand how far that takes you, subliminally and it's in the back of people's minds. God, that's incredible. I'm sorry. I just wanted to say, like, I just thought about that. And I was like, fuck, I really don't know my best friend's. birthday. We all know it. We all know it. We all know it's December 4th. Jay. We get it. We all know Drake is October because he literally branded it.

that way. Yes. Like we know this. So I just remember coming around the line and finally seeing security people that I knew or whatever, and talking to them, and then just seeing this like car just this Porsche drop top in the wintertime, Red pulls up, and this guy hops out with a fur and bumping this music we've never heard before, and he just throws his keys to security and walks in. Everybody's like, fuck is that. And then Jay-Z goes through a set, he performs, he gets on stage, performs, goes through the set, and then at the end, this is when it was uh LA Reed and Jay-Z taking over Def Jam. And so he's like, Yeah, I just want to shout out my man Shakir Stewart. And this guy walked, the guy that jumped out the car walks up with his fur. He's like, Yeah, this is my guy. Just know he's gonna be big. Come to find out, the music he was bumping was the Jeezy album before it came out. So this guy signed Jeezy, he signed Rick Ross, he signed um, he worked with Neo, Rihanna, everybody was in that Def Jam era, he signed work with 112. And the next time I saw him was at Jeezy's release. He's literally standing next to Jeezy, and you couldn't tell who was the artist and who was the star.

Like he was that big. And so that's when I was like, oh, yeah, that is somebody I would love to aspire to. Like he was the A and R, and then that's when I figured out what it was. He signed acts, he put them in the right rooms, he did songs like he said you should do this and this, and it was like, oh, okay. And he drove Porsches and wore furs. Yeah, it was. I was like, I think it was just the drop top portion of the fur that you wanted. No, he was bigger than like He's like, I don't care what the fuck he does. There's not many that are that type of personality ARs, but we have some now still, and they come from his tree. But yeah, the whole LVRN, like Justice AR. Oh, Justice is different. Justice is probably the close. He looks like an artist. bro. Justice is probably the close. If you're talking personality-wise, he might be the closest justice, um, Dash. Yeah, those guys might be the closest to what I saw when I saw Shakir. It's Like I can only imagine the kids that see them now, they see Shakir. That was Shakir for me.

Yeah. Like those two are probably the closest. So did you ever have a stint as an AR in your career? I wish. Okay. I wasn't that cool yet. Yeah. It took me a while to get it. Hey man. Yeah, you still got a lot of gas in your tank. So, you know, it could definitely happen. We'll see what happens. But there now that I've been in the business, I've seen all the sides that it to me, the ultimate is on the label. Yeah. A label that has impact. That's when because when you're developing careers, and a label just gives you you got the artist and you got other executives you can develop and ecosystems, and it's just so many things you can build off of that label that affects the business and affects the culture. So that's really for me where it's at, really. Yeah, and and so the um the panel was artistpreneurship, which essentially was I assume just from the term, was talking about artists are in fact businesses, yes. So treating yourself as such is so key, and I think it's it's a big miss on most aspiring artists' uh part.

I I think that they don't quite treat themselves like the business that they claim they want to build, right? Everyone wants to, you know, make tons of money, and with that requires certain thought processes and certain things, right? Um, so what were some of the biggest takeaways from that panel? Some of the takeaways is just team. I think people want to be independent but operate at a high level like a major, but they don't realize how many people are involved. Like you'll have a lot of people complain, like, oh no, but the the the going um thing is, oh, everybody's a label, nobody's doing nothing. When in reality, like, no, everybody has a real job that can be accounted for. Sometimes you'll hear managers, they have a problem with one person and they just say the label when it's just really just that one person they feel like isn't executing. But when you look at the product managers, the art directors, the pitch guys for playlisting, the commerce guys, like the radio guys, like those people are really working on your behalf, especially if you see certain artists that are at if you name the top five major acts, I promise you there's at least 30 to 40 people that have had a hand in the reason why you can know them for sure. Like you can get yourself out there as an indie artist right now, but to get to that level, it requires a real team and people doing their job and knowing what that job is.

So that's what the artistpreneurship is teaching people different jobs and what it does to really be an artist and build a business. So if I'm an independent artist, who are the first few people that I need to have on my team to succeed? Um, a manager that believes in you because that's the person that while you're creating, they're trying to get those business and um revenue ideas for you. Things that generate the money or whatever the case is, whether it's creative funding or whatever, that person is doing that. Um, a real lawyer, whether it's somebody that's charging by the hour or charging per whatever agreement, somebody that understands that part of the business because I've seen people um pretty much have a false start in a sense where they think they're going and then their paperwork's not right. And then, or you talk to them and they're assigned to six people and you don't even know. Like you're walking them into a building and there's six other people that they're assigned to that you have to get approval for.

Yeah and it doesn't even matter, it doesn't even feel like it's worth it at that point. So a real lawyer, real manager, and a lawyer for sure, for real, they have to have a degree, they have to specialize in that person, a manager is somebody you can just build with. If if somebody believes you and they're eager and they're willing to take a chance on you, I would go with them. Like it's not always about a seasoned manager if somebody is willing to figure it out because the job of managing is figuring it out. And if somebody has that energy, I would run with them for sure. Um that's key. It's a big one. We've heard that time and time again. You have to have somebody who believes. They don't believe it doesn't matter. I've seen big time artists go run to big time managers and they be like, yeah, I'll take the check, but they don't believe. And then you have somebody who's making pennies, worked a whole different industry, but they believed and just they got things done. So that's key. Um, from an artist's perspective, an engineer you trust, because especially if you're putting out a lot of music, you got to get that turnaround. Some graphics people, because the cover art matters.

There's nothing worse than you have the song, but the cover art you're waiting on. You're waiting on graphics, motion video, things that will set you apart because major labels are doing that. When you go to Apple Music and you see the cover art, the motion art, that's what they're doing. A lot of indie artists are just flat 2D pixels when Apple is pushing Dolby sound and immersion sound. And if you're trying to compete with the majors who are doing that, and you don't have an engineer that's doing that things, it's gonna be hard for you to cut through these sounds. Yeah, and then some some uh digital marketing, because what was that? A guy tweeted that it was 38 million songs that came out last year and had zero streams, zero, yeah. Cause nobody knew about them. Holy shit, I didn't see that. Wow. You got to see that? zero. You didn't even listen to stream your own song. No, no, I'm saying 38 million people put out a song. I know, and they didn't even stream it themselves.

No, they didn't stream themselves. It was zero streams. Holy shit, but that's the crazy thing is that everybody thinks I will say music has done a great job of marketing itself as something sexy, so everybody wants to be a part of it, but not even thinking that I should be the one and get my mom to stream and then my sister, my family, somebody, even if you had don't have a family have friends, somebody they got zero streams, meaning they didn't tell anybody about it, they did no promotion. Yeah, if we got zero views on our podcast, I would fucking quit That. but that's what I'm telling you. Like, you know, for sure you know 20 people that you can at least get 20 views. Definitely at least God, yeah. So that was the most depressing news. Okay, I don't know I don't know where to go from here. 38 million. Yeah, okay. It was it was staggering, and then but that's pathetic. And then from this end of seeing it, I know it's true. Wow. Yeah. Maybe they're cool with that though. Maybe that's they just wanted to do it. They're not. And it's like a mental thing. They're clearly not trying. There are more people that think they could just put the music out and walk away, and then they come back and it has millions of streams all of a sudden and they're overnight successes.

There's more people that believe that than what it really takes to be that. I think Spotify is like TikTok. Yes. That's it only takes one. Just put it up there. That's that's crazy. So you talked about this before, but I want to make sure that you know your opinion is still in line with what you've said previously. So you were the type that I think was basically foregoing meals at times to fucking buy your tickets to conferences and stuff, right? In today's day and age, these conferences like South by and A3C, they get a lot of grief of, you know, is it worth it? Should I spend the money? This, that, and the third. If you're an independent artist, are you or are you telling independent artists to cop the ticket? That's crazy. I was just thinking about this. And yes. And I say yes. And why is that is investing in yourself. I'm not saying buy, I'm not saying buy the the badge. I love South by I fuck with South by, but I'm not saying buy the badge.

I'm saying wherever you're from, rent the truck, whatever, put the gas up. If it's 10 of y'all, y'all gotta get uh two hotel rooms and just crash out, like be on the floor, whatever, share meals, whatever that is, whatever it is to get to. So I'm a person that believes in what they call music moments. For me, I always saw what was going on, whether it was Grammy Week, BET Week, A3C, South by anything that had a music moment where I knew there was gonna be all the music people potentially, I needed to be there. So whatever that looked like. So in January, February is Grammy Week, I had to figure out how to get to LA. There will be times I would be, I would be in Chinatown because I didn't know the area at the time, and had to figure out how to get to the parties and whatever, because I didn't think I didn't know everybody was in Hollywood the first time I went. So but because of the damn rookie mistake. James. This dude's in Chinatown like, what the, where the fucking parties at, bro?

Right. But that's the thing though. Because I did that, now I know. Yeah. There are certain things people just can't tell you. You gotta go experience it yourself. So for me, yes, I say sometimes if this is your passion, because that was another tweet. I forgot who said it, but a lot of the problem with the music business today is people aren't passionate about it. They're just in it because again, it looks sexy, it looks like it's cool. Anybody can do it, it looks like. So they don't have a true passion for it. When you have a passion about something, you won't eat. You're missing a meal is okay. You'll figure it out. Damn. When you're passionate about it. Yeah. Makes sense. Yeah. I mean, a hundred weeks in a row. That's passion. Yeah, That's pretty passionate. That is man. you, I don't even have to ask if that's passion. You know that it's to be committed to something a hundred weeks in a row is passion. Oh, absolutely. I'm just like There's no way that's not passion. Thank God I didn't have to actually miss a meal, though. I mean, but I probably would have missed one.

Yeah. But there are things. Henry's like, have a missed a meal. But you have to do something that regardless, getting up and getting yourself in this to do it, that's passion. And when you're passionate enough, it doesn't require a lot of motivation. It does require like maybe a little check every now and then be like, oh man, okay, I gotta do this. But for the most part, it didn't take a lot for you guys. Yeah. No, there's definitely, I think there's been moments of fatigue. Yeah. Right? You do something a hundred weeks in a row. It's like, holy shit, we've been going to your point. Should we be doing it this way? Should we really be doing it that way? Like, where's our time best spent? So on and so forth. Yeah. Get like 20 views on a video that we worked really hard on. You know, it's like, damn. But you need that. You need that in order to know how to build it right. Because there's so many people that talk about it and maybe like false start and won't even start. But because you guys have done it, you have a hundred episodes of evidence to pull from and say, no, we need to do it this way. We should do it this way.

Versus the person that never did it. They just bought a bunch of stuff and they just sat there and looked at it. Yeah. Y'all actually put yourselves out there and did it. Yeah. And that's what's missing on all sides, the business, the artist side, every side is that people are actually passionate about it, but then doing the things to see it and failing. Yeah. You gotta fail. Yeah, absolutely. So for someone who did a stint in radio, right? I know you were on the promotion side, you know, doing the events, so on and so forth. But is radio dead? No. I don't know why everybody asks me that because I have so many radio friends, so it's hard for me to answer that. But no. We need the truth. No, it's not. FM radio, even no, it's not dead. Because I can tell you this. What's the role of radio today? So you have stars and you have superstars. You cannot be a superstar. You might, and everybody might be like, well, so-and-so is a superstar. Okay, you can probably count on your hand, but you cannot be a superstar doing arena tours and things like that without radio, even on the Latin side, pop side, these guys aren't and well, bad bunny, they're on radio. Like you get to do stadiums when you're on radio.

Because Middle America doesn't do all that streaming and they don't care. They listen to radio. There are more stars that still get broken on radio. Like the first time I ever heard Olivia Rodrigo, Rodrigo. I'm not even on that side. No, that's right. One of them. It was radio. I didn't I didn't know who she was. I just heard the song on the radio, and I was like, why they keep playing this song? Me being in radio, I knew why they were playing it, but I was like, man, I keep hearing it. And then eventually I saw the rest of the stuff catch up. But yeah, the radio, if you want to be a, and I promise you this, without divulging numbers, a radio check from hitting radio and going crazy on radio versus a streaming check. Yes. Different. I don't care how many streams you get. A radio record that took off and went crazy, the amount of money you see from that versus a streaming check is two different things. Always. Yo, is that not publicly available? Like, like you can't share with a but like, man, because people's publishing, they own that.

Like, no. No, man. I saw I saw J.R. McKee try and get it out of you, bro. If he couldn't get it out of you, I'm not even gonna try. No, you can't I think you did try. because he's heavy on the streaming side and he sees numbers on the streaming side. But he was still just asking you to divulge a nice songwriting ASCAP check. It's hard to say. I know, but he tried. No, no, no. And you're like, nah, bro. No, I've seen numbers that are no, I've seen numbers that would blow your mind. And it's because it was on radio. And you can guess the songs because you hear them all the time. If you listen to radio and it's like a song that comes on every 10 minutes, you're like, Jesus, why is this song? Because it's in what they call power rotation. And power rotation means it's gonna play at least every hour. But then when it gets like superpower rotation, it's like every 20 minutes or 30 minutes. There are times where you go and you try to change the four different and the same song is on, it's because it's in rotation. It's in power rotation. Bro. The amount of money that is made from that.

This is why when you see the artist go perform at iHeart Festival, yeah, they're going for sure. Because they want that record. they're doing that for free Listen to me. If Doc Winters calls, you better show up. Damn. Yes. I always joke with my wife. I'm like, yo, we literally will go like just grab a quick fast food bite or something. We'll hear we'll hear a song because her fucking Toyota Camry 08 doesn't have a blue doesn't have Bluetooth, and it's fucking miserable. Like I'm in my car, of course, only listening to Spotify. But I if I have to drive her car, then we're listening to the radio straight up. And it's actually kind of humbling, to be honest, to have to listen to it. I think that's where uh people in the business just they think what they do is everybody, when in reality, the regular consumer they listen to FM Radio. Oh, and it's hilarious. My wife makes six figures and she's listening to radio and her fucking 08 to the Camry, bro. She could care less.

No, she loves the radio. That's what I'm saying. She loves the talk shows in the morning, talk shows in the morning. Oh my god, she loves all the pop songs and stuff What talk shows? The ads, though. sometimes you don't you don't she just deals with this. Used to it. Or sometimes you do catch a lucky one where like they don't go on at the same time, right? So you go from one of your favorite stations to the next. But sometimes they're both on ads, and like that's a bummer. It is sure. I'm gonna be honest. I can promise you, if if you're an artist and you get the opportunity to have a record that tests well on radio and you have the money to do it, I would because the the return on is bananas. How do you gauge that? How do they know which records are doing well? So I don't know if they still do this, but it normally starts in Atlanta at least. It normally starts in the clubs. So if there's a record that's starting to bubble what they call underground in the clubs, you have a lot of the programmers or the assistant programmers, they go out. A lot of the DJs that work on radio actually DJ in the club.

So they'll play a record there first. If it if they get the reaction of it, then what they do is they call it the uh the mix, the afternoon mix or the night mix when they do it when you have the DJs do the mix. Also very important when you have those holidays. So you have uh Memorial Day mix, Fourth of July mix, things like that. Normally they block off talking and they just put all the DJs on. So those DJs have to play something. So normally they'll take the records, they test it in the club and they play it around that time. If it starts getting feedback on the I don't, like I said, I haven't been in radio in a while, but it's uh the PPM meter, this the tester thing where it says it's ratings and it started uh bubbling between that Shazam. You can check Shazam if people shazammed it as well. Oh wow, they can cross-reference because I do catch myself Shazamming radio songs because I don't listen to the radio unless I'm in my wife's car that I mentioned. It doesn't have fucking Bluetooth.

But that's the same thing. And I'll catch myself being like, Who the fuck is this? Oh, yeah, yeah, yeah. The lady, is that Nikki? Like, I don't even know. If you have a good label or manager, they're definitely checking Shazam for sure. And they're able to cross-reference it of when it was starting to get played or whatever. Yeah, yeah. They'll say this group of people shazammed it from the radio. This people Shazammed it from Spotify or whatever. Yeah. And are they able to tell like it how many people switched change stations or switch it off? During the song Well, that's the thing with PPM meters. That's the whole thing with that. But typically Shazam, you didn't, even if you changed it, you still searched it. So there has to be some correlation of interest there for some reason. So you're checking those numbers. This song sucks. I want to know who the fuck this is. I've never listened to this. I never hear that again. That never happens. Yeah. So then you're checking that. And then if it makes it, then you're starting to hit those different slots. You got the afternoon drive, you have the night show, you have the midday show, you have the morning show. And then it starts getting programmed into those things. They start testing those records on those levels.

What's the most premium spot on a radio show? Or you know what I mean? Like what time of day and what day or whatever Rush hour? Morning. So normally it's the morning radio. That's why it's syndicated. Morning is normally syndicated. So imagine hearing a song at Breakfast Club. You know, there's millions of people listening to that versus the local morning show. So morning normally is a sweet spot. And then nighttime, typically, because that's a the demos. Morning is people that's working people, the nine to five people. The night show is the kids, the teenagers. They're listening to the night because they're out of school. So they listen to the night show. That's why a lot of times, if you look at the demos, it's older people in the morning and younger people at night on the radio side. Because it's the demos. And then midday normally is like the relatable um person that moms stay at home moms listen to. That was the old theory. I don't know. Like I said, I don't know if it's still relevant, but kind of if you think in terms of that, it's probably still gotta be at least it's relatively. I'm divulging secrets, but it's still like that for sure that's what we need here on the one more time podcast so the exclusive secrets, yeah yeah so prior to your current role you were director of urban music right at ASCAP. so I'm now okay you're saying before ASCAP no like before your director of creatives role so it's the it's so creative I w I work pretty much all the genres at point yeah but so I still highlight urban because it's Atlanta okay but I work with I have counterparts in pop I have counterparts in country I have counterparts that I work with um because our it's amazing to see our music cross over so I get a lot of calls from the pop department when they're looking for certain songwriters and and trying to reach out to certain producers and things like that because our music just crosses over.

I'm starting to go net Asheville more because that scene is starting to bubble so I start to touch all of those things um because their pockets of music starting to pop up even more now Memphis is going crazy so yeah different spots like that so I touch I touch most of the genres but my focus is still urban. Yeah and so for me it's been called urban it's called black music at some labels and organizations are you a fan of the term urban do you prefer black music do you prefer neither like I I know everyone kind of has their own like opinion on how we define this music that is hip hop rap RB sometimes whatever. Personally, I uh urban for me because again, from when I was coming up, I always wanted to be the head of urban at a at a label. Yeah, so I wanted to be like Mark Pitts, who's the head of urban at he was the head of urban for RCA. Like I wanted to be the head of urban.

So for me, I that title was a big deal because I get to be a head of a department that's defined in a sense of a genre. Um, I think people gave it a knee-jerk reaction. I even at work we still have this conversation now about our department and what it's called. It's called rhythm and soul RS. But like so it's not urban anymore. They trash urban? It's still, you know, it internally it's rhythm and soul. Oh, but we say urban because that's what people know because most people don't know. That's the industry more accepted terms. Most people don't know it's RNS, but internally, like it says because rhythm and soul that's what I'm saying. I'm not even thinking of like it's just a progressive or anything. It's just a woke thing. Right, which is which is why we say urban, but internally it says rhythm. And so what we've been talking about the branding to change, and I think we've settled almost on a if you know you know, you know, if you don't. are other labels still calling it black music as the genre? It just depends on the label. so if that still exists out there there's still internal for some reason.

I don't know if it's the whiteness of me or like why that seems but I've heard black people say that that's weird too. It is, it's all of it. It's weird too. Yeah, it's weird to have to figure it out when pop gets to be popping. Yeah, let's be honest, rap is popping. Rap is popping. That's the thing. Rap is pop. So we're just like, it's the same. That's funny, man. So, you know, what are you most excited for coming up? It sounds like you have you know aspirations of potentially running a label at some point, but you know, just in the more shorter term, you know, anything that you're most excited about, you want to get to talk about? Uh, near future, like I say, it's chic. Um, yeah, yeah. I think not everybody sees what she's been working on and that stuff that comes out. But hopefully, by the time this comes out, everything will just start flooding the block. Uh that's so as well. We were actually going, um, we're taking a trip soon to work with some dope producers that he's excited about that I can't wait. Um, I think, yeah, this year is gonna be big for him.

Uh working with Lou Will and Winners United. I think that's so cool. Shout out to Lou Williams. Yeah, Lou Will is so dope. Like, he's a basketball player for sure, but the guy is just the coolest. And I feel like once everybody uh gets to see what's happening with you and it's united, they're gonna be excited. And then there's new uh distribution company, Track. I really like Track. Track is dope. Ray is actually head of uh AR, actually, head of music at Track. Um, this guy named Carden, real smart, got to meet with him recently, and just gonna start helping them do some cool things. Um, very excited about that. And what I think once people see um, because the distribution game is really wide open, everybody's kind of doing it. Um, you just gotta have the right funding for it. If you have funding, you're good to go. Um, so track, I think, is the one of those next big ones you're gonna hear about. So I'm excited about that. Awesome, man. Well, Jason, we have entered a final segment of the One More Time podcast. Oh shit. Henry, this is your favorite segment.

I'm not sure it's mine, but that's fine. Depends on how you do it. The fuck is that supposed to mean? I just like when I get to do the talking, that's all. You just did an hour of talking. You didn't let Jason get a word in. No, come on, I did good. I did good that time. Jason, this is the rapid fire rampage. It's gonna be a three-part rampage. I'll explain them as I go. We're just gonna start off with some short answer questions. Okay. Rampage. Jason, you quit your job at ASCAP to pursue a rap career. What is your rap name? And what is the name of your debut project? Oh man, that's tough. Um, what would it be? It would be the college graduate. I would call her college graduate, and my rap name would be um, it would probably be down south baller. Ooh. Yeah, I was thinking something like ridiculous. You know, Reddit.

Everybody goes, I don't know. Everybody thinks I will play. No. He's like, that's corny, bro. Three things you think artists trying to make it are slacking on the most. Three things patience, uh, funding and direction. Damn, those were quick. That was rapid. I'm gonna skip down one. Um, when you said funding, you're a struggling artist named Down South Baller, who saved up $10,000 to spend on advancing your music career. Give us a breakdown on how you spend that $10,000. The 10 grand. Um, I would take five to make sure that I had the bare necessities, whether it was an apartment that costs a thousand dollars if you can find that, and at least have five months worth of rent paid off. So at least I know where I'm staying. I'll figure out lights and all that later. And then the other five, I would get into a decent mix, some artwork, and create what they call um the videos, uh uh the short form videos. Um, and then the content.

So I would spend five grand on content really, and then from there, myself learn how to run ads at 50 cents a click or 25 cents a click and run the ads myself until I can start generating money because now if I have somewhere to live at least I have roof on my head whether I have lights or not I have somewhere to stay and then I have the content I can start putting out what's a good platform for ads right now uh Facebook ads are still top I've heard that um they're cheap there they're very cheap but they're very very um you get high results on those still and Facebook reels Facebook Reels. something I wanted to talk to you about. Yo, we're sleeping on Facebook I know there's still a ton of people on Facebook. I hear so much about Facebook still you can make Facebook and YouTube yeah especially for you guys YouTube would just running the right ads on YouTube like I don't have y'all decided to talk to Rachy Baby yet uh we've tried getting Rachel Jackson on the pod she agreed to it yeah and then she went off and gallivanted across the country doing dope YouTube shit but yes Rachy baby Rachy baby is necessary. we need you on the pod we'd love to have you because the money that you make from those two platforms especially YouTube I I'd actually say hit the right algorithm the right views that YouTube check is oh man that's the one we need yeah that YouTube check is crazy crazy Henry Did you hear that? moving on while I'm just dollar signs in my eyes. He's drooling money yeah YouTube check is crazy Jason you're gifted a giraffe you can't sell it or give it away what do you do with it I would rent it out so I A little giraffe rental business I was fortunate the rumor everybody was there? I was actually fortunate to go to uh a very prominent figure of Atlanta scene's birthday party, and he had a giraffe and it's gotta be Rick Ross and he has buffaloes he has buffalo, so we know that's that we talked about for sure, yes. But it was an earlier prominent um Atlanta figure, and he had this outlandish birthday that to this day still is amazing to me.

TI and he had a giraffe there. Okay, if we guess it would you say yes, or would you just keep saying I'll tell you. Okay, fine. Ludacris. No. I said prominent figure, he wasn't a rapper. Oh shit, he was around rappers, he influenced a lot of rappers. Oh shit, but he wasn't rapper. Yeah, there's a TV show about the family now. Oh shit. We're supposed to know this, bro. We should know that, for sure. Some ignorant white motherfuckers around here. Big Meech, BM. Meech, yes, his compound birthday, the legendary at the compound. Yes, there's a giraffe or two. At the compound? How big was it? It was fucking. It was a giraffe, man. Like 20 feet tall. Like ridiculous. Yeah. Could you could you climb on it or something? No, they had it blocked off. They had a lines. They had they had just it was I don't know how Hannah pulled it off, but Hannah was a legend, and she just, yeah. Wow. Just made this zoo. I'd rent it out. Fucking themed party.

Wow. I'd rent it out. It's amazing. Damn. And that's a great answer. Also, fire. Jason, you must delete three states. Which states do you delete? Wow. Three states? Gone. Oh wow. Um, yeah, I don't know, because they're so important. The people can relocate. We're not just murdering all these people. Oh, okay. Unless you want to do that. No, no, no. I don't want to. Okay. I mean, I'm just I don't know. State? Oh, that's tough. I don't know. Three states gotta go. Um from the country. I don't know. Let's see. Um, can they be they got to be fake states? Like they gotta be real states. Real states. It's Jason. Fake States. This guy's so nice. He won't even No, because I just- He won't even hypothetically delete. what you say. Like, ASCAP's going to lose listeners in Idaho. Because I feel like some of the states are very important and they're coming along like it's crazy. All right, Let's just say Yo, Delaware has promised, bro. I was gonna say, yo. But I know people from Delaware, and it's crazy. There's some amazing music people from Delaware, Adam Blackstone. Shout out to him.

Okay. All right. Uh shit. You had something on the tip of your tongue right there. I was gonna, I was gonna actually go with like Idaho and uh uh Seattle, Washington, Seattle. That's the whole state of Washington. Yeah, not DC, but Washington. And then um Washington, uh Idaho, and Iowa, I guess. Okay, gone. The Pacific Northwest is like a little bit of a hit there. He doesn't like the I states. No, get them out of here. Indiana survived. Yes. Once and for all, Jason, who has the best fast food chicken sandwich? Wow. Wow. Because I clearly I know I'm a foodie. Wow. Uh fast food chicken sandwich. Wow, the Popeyes one was crazy. That shit was crazy. Is that your answer? Yeah, that shit was crazy. That was the correct answer. Yeah, that was crazy.

Yeah. Uh last one of the short answer. What is your favorite curse word? Fuck. Part one. Fuck. Solid. And great answers. Very good. Very good part one. This next part is a this or that. I'm gonna give you two choices. Okay. You just pick one. All right. ASCAP or BMI. ASCAP. Just a test there. Just to see if I can't. That's the only one. Catch him off guard. What if he had a Freudian slip that was BMI? Oh fuck. No. ASCAP. Oh, wait. ASCAP actually, is the only one. I don't know about it. I think the other ones aren't around anymore. Yeah, I love that. I love that. Yeah, true competitor. YouTube video or podcast. Ooh. YouTube video. They make a lot of money. Go completely broke or lose all of your industry connections. Broke. Yes. I thought you meant to say that. I need it back. Yeah. Give up Mexican food, give up Jamaican food. Jamaican food. Give up central heating or give up salt.

Salt. Give up. Sorry. Become a bass player in a successful rock band or leave the music industry. Oh, bass player. Yeah. And finally, legless or dickless. Legless. Part two. Legless. Yo. I don't need these legs. Fuck these legs. He needs. He needs one advantage. Baller ass wheelchair. You're doing tricks. Yeah, it's actually some very prominent figures in the music business that are very powerful in wheelchairs. Really? Interesting. Oh yeah. Nice. I feel like we're supposed to know those wheelchair people. We're just off today. Dude, It's been a long day, man. We can get big Meech. Alright, anyway. Part three is the word association. I'm gonna say one word, and you just say the first word, maybe two words off the top of your head, right back at me. No thought. Okay. Here we go. Starting with hip hop. Life. Cereal. Eat it.

Drill. Music. Lil. Baby. Orange. Soda. Helicopter. Pad. Beer. Pong. iPhone. Necessary. Garden. Variety. Grandpa. Goat. Fentanyl. Never had it. It's good. Good. Canada. What if he was like, love it. Love it. Fucking love the stuff. Fucking love it. Jam on that F. On the F. Is that what they call it? I don't know. Canada. Canada. Beautiful women. Dreadlock. Necessary. 6ix9ine. Pass. Yo, I caught myself putting the uh 6ix9ine documentary on on Hulu the other night. Pass.

Yeah. American society. Ass cap. He's like, don't make me do this. Could have could think of a good one. I was about to go through the whole thing. Yeah, I was hoping you everybody would have. Yeah. Yeah. Clicked off. Right. This has been Jason Reddick. A legendary Atlanta music executive. A friend of the One More Time family now. For sure. Yes. I love that. As always, please like, comment, and subscribe. It helps us a lot. And it means the world to us that you guys tune in week after week. We have been doing this shit for a hundred weeks. A hundred. Oh. And we do not plan on stopping anytime soon. Henry, until next week. What are we doing? Getting the fuck out of here. Getting the fuck out. Peace. Peace.