24hrs Interview: Family Cookups w/ MadeinTYO + Secret Rebrand

I'm in the hotel playing around with some of my songs. I'm doing like more melodic stuff too, like just trying to catch some waves. And I accidentally messed my voice up like on the Serato. I'm like, yo, this is crazy. I bet you I could put this song out, and no one would even know it's me. Tokyo's like, yeah, but that's like the wave. I should do this. Like, but I need a name. Like, we should come up with a name. Give me a little time. Like, give me like a day. Give me 24. It was over. Give me, baby, one more time. Super thrilled to be welcoming in today. Rapper and singer. It's Mr. Uber everywhere, made in Tokyo. himself. Bro, Jesus, Henry. I told you it was made in Tokyo's brother. It's not Tokyo? No, we got his brother. Same thing. We got his brother. We got Mr. 24 Hours. 24 hours in the building. Bro, I'm so excited for this one. Same thing. Yeah. We

we had a few scheduling mishaps, but we're here. Yes. I'm excited for this. I feel like recently I called someone and told them I was interviewing you, and they were like, is he still in Japan? And I was like, I sure hope not. He said he's coming to the studio tomorrow. Yeah. Um, so but you did recently go to Japan with your brother, right? Yeah, we we were there like last week. Okay, wow. I've been there. I've been there. I just got a residency, a DJ residency. So I've been there once a month for like the last four or five months. How long is that flight? Um, from LA is 10 hours. So you go across the Pacific like that way. Yeah. Okay. Usually I'm flying from LA. A couple times I had to go straight from Atlanta, and now one's like 14 or 15 hours. But you pass out on the plane or uh it just depends. But usually I'm sleep the whole time until we land. That's the way to do it. Yo, have you ever splurged and spent like the 20 racks on the first class? Isn't it like 20,000 or something for like your own little apart apartment on the way over? I flew first class to Africa before, but it wasn't 20 racks, but same type, you know, deal. It's your own little room.

I was mad after though, because I'm like, I did the same thing I always do. I slept. Like I could have done this shit for half the price. I missed all the extras, you know, I slept. Yeah, for sure. So I had a friend recently who actually came back from uh Tokyo as well, and he, you know, described like the culture to me. What what's your, you know, now that you've been going regularly, kind of like for those that haven't been there, like how do you describe the culture of Japan? Um, fresh, peaceful. Um, uh, I feel like they're ahead of a lot of different things that I see over there. Um, you know, it's kind of not fair for me. Like, I graduated high school in Japan, so it's like I've been going back and forth for a while now, like, and just like adapting to the culture. And, you know, with my brother being made in Tokyo, it's like we're definitely always there. We're always there.

And that's where he got his name from because he graduated high school there. But I had no idea that you actually had like I thought that was complete cap. Like, or I just didn't know that had anything to do with reality. No, he graduated high school in Japan. That's why you feel like, you know, like the years that that makes you he feels like the high school years that formative years made in Tokyo. Like I was made in Tokyo, you know, that's why that's his name. But no, we really like, hey, we were just there, and I'm shopping in the store, and they're like, yo, uh, little tech is here, ASAP Rocky's here, you and uh Tokyo's here, and we're kind of just shopping, and they're kind of like, dang, like, well, yeah, I guess the story is like we really don't just treat it like a tourist spot. So it's like we're there even when we're not doing shows or when we're not, we just go there and work with a lot of different artists and try to, you know, create something new. So what took y'all's family to Japan? My pops was in the military. Okay.

Yeah. So where else did you live? Uh because of the military thing. Cali, California. Yeah. Um Texas, DC, like the DMV area. Yeah, so you were hopping around a little bit? Yeah, and through school, like every few years, you know. What was the weirdest thing that you ate there? Because I heard some crazy I've heard stories. food stories from my friends that have been there. I'm not going. Like, I ain't going. Like, I'm not, I'm not just like I'm past, like I'm cool. Like I've seen shit. Like, I've seen shit. Like, wait, what? Had some shit like some octopus ice cream. What? Okay. Oh no, I'm not going. Yeah, just not for you. I'm cool. Yeah, no, that's I don't even, I don't even know what he was telling. I don't even want to repeat what things were. Like people that love sushi always ask me about Japan. I'm like, yo, I don't like do the Nobu. I don't do like the sushi here, and I'm not really doing sushi there. So like I can't.

So what are you eating? Like McDonald's? Their McDonald's is fire. Really? Okay. Like beyond fire. Like, like, like, like, yeah, like look, just look at a McDonald's menu, like in Japan. It's a different menu for sure. Yeah, like, yeah. Like anybody who's been there will tell you, like, yeah, their McDonald's is fire. But I eat like curry and rice. Okay. Like, just a little more like standard shit. Nothing, nothing off the. wall. Like, you know, like, Japanese-style curry is, like, a lot different than, you know, other types. You know, it's still authentic. Yeah. So your most recent project is the 24 hours in Japan with DJ Jam, right? Yeah, that that was a um collaboration project with DJ Jam. Um, he's a good friend of mine, super producer. He's actually a part of a Japanese collective called Yin Town, and they're just like young guys, like thriving, killing it in Japan. But um when I go to Tokyo, I always record at his studio, and we just had so many records, we were like, yo, we should put out some of these records and shoot visuals in Japan and things like that.

So I put it out, and man, we hit like the Apple charts like pretty fast in Japan, like top 100, yeah, top 50. So yeah, shout out to DJ Jam and Ichiro and all of the guys in Japan here. Yeah, so you know, when you're in a studio session with Japanese artists, right? Versus maybe Atlanta artists or even Cali artists, like how's the vibe different or like the creative process different, if at all? Yeah, them boys lit, like like they like, it's like I almost know what they're saying, and I don't know what they're saying. Like they're so like if they sit next to me, like you would look at them be like, yeah, he just knows what's going on. Like, and I can hear their flows, and I see like the American artists that they do listen to, and like they just know, but like I got a couple homeboys that speak fluent English, and they speak fluent Japanese. So, like when we're recording or I'm trying to say something, he's talking, and then when they're saying something, he's talking to me. So it's almost feels like they know English, but I just always have like 24 hour translator there with me.

How's your Japanese? Uh Chota Mante, just a little bit, tiny bit, yeah. Shaky. Un poquito. Can you read this right here? Nani, nani, nani. No. Yeah, it probably says Playboy. It does. Damn, he's smart. Context clues. Can't put anything past this guy. Yeah. Um, yeah, it's funny because of course, Playboy. Cause I was listening to the project on the way over, and I kind of got the same vibe where I was almost tricking my brain into thinking that they were rapping English. Yeah. Because the flows are so tight. And then when I break and I ask My Boy, like, what is he saying? He's like, he's saying, I'm like, yeah, I just knew it was on the same topic as me, the same, you know, just in their own way. Damn. So he is like the are the rappers English speakers where they know what the topic is. Like they're their level, they're like out of one through five, they're like level 2.5 in English. Okay. But understand probably like four, three, three point five, understand more than they can say. But like I was doing a song, uh, and I'm like, could barely, could barely, and my friend, my Japanese only's like, barely, barely.

Like, what? You know, he doesn't know, so I tell my boy, and then he says, ah, barely. Like he gets it, and I'm like, wow, this is crazy. Yeah. This is dope though. It's like when Japanese fans come up to me and and or they're at my shows, and like I'm doing tickets in Japan, and like it's crazy just to see them, you know, um know as much as they know. Like, because if you flip the script and you tell me who's my top five Japanese artists, and what do I know about them? And this is like, sheesh, like, I really can't give them a top five, honestly, because I have to know what you're really talking about. So I could give you top five in the creative side, or maybe the the way it looks or the way the flow, or but I can't like the materials. Yeah, I can't. I can't, I don't feel comfortable doing it, you know. But sometimes it's like it's almost like sometimes fuck what people are saying. I like think there's something beautiful about not understanding lyrics because you're forced to just listen for the vibe, and you're forced to just see how it makes you feel, and not you're not like listening to each word and trying to interpret the message so hard that yeah, you're losing the feeling of it.

Yeah, So I think that's that's like a cool part of it, you know, to me. And said if someone can make something that makes you feel something, I think that's a good artist, even if they're saying jack shit, you know what I mean. Yeah, I mean, for you as just a consumer of music, do you catch yourself, you know, clinging on to more of the like sonics and production of a song or the lyrics? It depends on the artist. Okay. Like some artists, I feel like, man, if this guy had better production, I think he'd be like, like, like, because the lyrics and bars are there. It's So hard. Or I hear some people, and I'm like, yo, they always pick great beats, everything, but like, yo, writers, where are you? Writers, come on, let's help this person out. Yeah. Yeah, nowhere to be found. And sometimes people are writing too heavy and they need to just like dumb it down sometimes, even. I've experienced that a couple times. That's more rare, but it's super fluid, and I feel like it's on a spectrum. But I do feel like Japan and just you know, maybe Asia in general, like they have a very like strong connection with American hip hop.

Yes, like they, you know, our friend, our our mutual friend Kino Beats has been to Asia a bunch. Yeah, and he said that it's like Shout out to Kino Beats. Yeah. Shout out to Kino Beats. we're working on China right now. Oh, okay. Kino, I don't know if I but hey, it's lit. Yeah, okay. I've never been to uh China, and Shanghai's reached out a couple times to me, but um Kino called me randomly, like Yeah, he's got ties there. Just called me like, yo, you want to do China? I'm like, yeah, let's do it. Say less. Yeah, no, because he, you know, he described it like they have this obsession with you know American hip hop for sure. Yeah, I mean, in Tokyo, like, you know, I was a senior. Um shout out to my first manager. Um, shout out to Capo, shout out to Steve. But he was uh he was a promoter. He's working with the Japanese promoters in Japan, and they were bringing over all the acts. They were bringing up B.o.B, Too Short, E-40, DJ Drama, all these acts were coming to Japan when I was like a senior, and I'm like, yo, he's a lot of Americans.

Like, this is lit. Like, what? A DJ drama show in Tokyo. Like, I'm going to this. So like I used to go to all of them. And um, it's like when I bumped into Juicy J, like a little bit into my career after I did like a record deal, and he was like, yo, I met this kid in Japan and da da da da. And it's just like, yeah, like they they they respect it. Like someone like I'm at a BOB show, like 4,000 people sold out, and they're screaming beautiful girls. Like, damn, like, yeah, they love it. That's gotta like touch your soul almost, right? To be an American. To be an artist. Like, I think to be an artist, well, that too. To be an artist and someone to just like no, not even just music, to just be anything with some type of um talent and someone to recognize your talent. Like, if I wrote books and someone's like, yo, I have this book, this book, and the seat. like yo, this is all right. I'm I'm all right. You know, I'm doing something, right?

Yeah, you know what I mean? Well, and halfway across the world. Now I mean that that's almost trippier part. That part's crazy, but then I had to realize, like, when I realized, like, all right, my brother sold millions of records and his name's made in Tokyo. Like, yes, people are gonna know us and stop us. But so it's it's like to me, it's different places that get me now. Like, you know, like in Africa, someone being like, yo, like, wait, what? You know, that's crazy. Yeah, yeah, it's almost expected. I still haven't been a lot of places, so it's like so where are you trying to go. What's what's next on the list? I well, I know China's the next on the list. It sounds like it's like China. Um, but I want to go everywhere, like 24 hours in Russia. Yeah, I want to go. Oh, I wanna I want to go everywhere. Like, there's been talks of Dubai. Mhmm. I haven't done like a world or US tour in a little while. Um, I've been on a lot of great tours. Like, what's been your favorite tour?

It sucks because it's like so many. Like, I like they're like equally in certain spaces, but um I'll say two tours that I got to uh be like supporting act on. Um the Ty Dolla sign tour, the don't judge me tour, was like crazy, and then um the digital drug tour with me and black bear. Oh Hard. yeah, and that for black bear, and that was like just all around different experience for me, but like epic. Yeah, because that's a different type of music, even what was the like like least expected city that you just loved, right? Like you're like, oh fuck, we gotta go to St. Paul, Minnesota. But we've heard stories of random cities being like turnt for no reason. Yeah, was there one that just surprised the hell out of you? I think like McAllen, Texas. Oh, okay. Where's that? I've never even heard of that. Yeah. Yeah, that's a good one.

I love the little map. Yeah, exactly. Put it on the editors, yeah. Editors just throw it up here. It was that type of lit, like you could tell, like, yo, like, this is the only thing happening here, you know, right now at this moment, so we're lit for this. But um, yeah, that was pretty far too. It's like at the bottom of Texas. Yeah, okay. No, I've heard something similar about that as far as like some of the more like primary markets, right? Like the Atlantas, the DCs, the New Yorks, the LAs, like they've seen it all. Yeah, you're nothing special, no offense, right? It's like your show right around the corner from yeah, we just actually bumped into future for free. Exactly. Exactly. Exactly. Good luck at your show. We're not gonna be there. You know, what I mean? It costs too, oh no. Whereas McAllen, Texas is like, this is the one fucking time. I get to see 24 hours. We pre-sold tickets, they came. Like, yes, you know, there's some cities that I went on tour, and it's like there's only 85 or 65 tickets sold, and you're like, damn, this might suck. But then, like you get there and it's smashed.

It's like, wait, I thought there was only 60. Ah, it's the type of city where there's not too much going on. So, like, once people start saying they're going here, it's gonna sell out, you know? Yeah. Atlanta's definitely that city at two. Like, it's like one of those things, like, if it's the move, people will know it's the move. Like, and it'll just slowly pick up. But like, you know, afraid to say it when you're doing two, three thousand tickets. Um, yeah, there's a lot of promo that goes into that. It's not just the this is the move type of thing. For sure. 30,000 people pulling up. Yeah. What did you ever run into, you know, tough crowds opening up for like Ty, for example, right? Where they're just wanting you to get off the stage as quickly as you got on. And if so, like, how do you deal with that type of shit? No. Okay. Never. No. Okay. Only, but but I say that with Ty because it's like in his demographics a little different, but like they're not like the young kids that are like gonna boo you because they're waiting for Yeet to come out. Oh, yeah, waiting for Playboi Carti.

Waiting for Cardi, like, what the fuck, ooh, like, nah, they're not that, like, they're a little bit older. It's a lot of females like in there. And then, like, I got hits. Like, I got you did it, or records that that that that they've heard me, and like Ty does it well of like, you know, like Ty did a lot of interviews, like, shout out to Ty Dolla $ign. Shout out to Ty Dolla $ign. Definitely. Um love to have Ty on the pod. Ty's Ty's been um a friend to me. He's been a mentor in certain ways, a big brother, just a homie, uh um, a producer, an executive producer to me. Um, a lot of people don't know, you know, me and when me and Ty met, it was just like instant. We wanted to work together, we wanted to uh see like at what capacity we could work together. Like, yo, maybe I can sign you, maybe I don't know. We gotta figure out how to work. Um and we figured it out. And um what do you think he saw in you?

And vice versa, I guess, to be honest. Well, shout out to Gabe Shadow. Gabe Shadow was Ty's um video photographer, director, creative guy. And he put Ty on to my music. Like, yo, there's this kid 24 hours on SoundCloud. Like, he goes crazy. Like, you gotta hear him, and then Ty DM'd me, and then like next thing you know, we get matching 24 tattoos, and like we're doing hella music, and I travel the world with him, and like, but we figured out a way on a business side how to work first. Like, you know, like I made him my executive producer. Like, you know, like I have management, I had this and this, but I really wanted him to work. So it's like, yo, I think like your ears amazing. You're one of like, at least in my time of being in the music industry, like, you're up there in the legendary status to me on a writing tip, on a producing tip, on uh um as a musician overall. So you being a part of my career, yeah, that's genius.

I love it. Like, I think it makes sense, like, especially me transforming into dropping, releasing RB albums sometimes, you know. So um, I made him an executive producer, and we did that for like, you know, three years, like, you know, and um it was it's Sean Barron, you know. Shout out to Sean Barron, but yeah, shout out to him. He's been there with Ty since the day I came around and I watched him uh be a great AR, you know, like I think easy money is gonna do some damage in the industry, man. No, I seriously I think like, you know, um Ty was putting a label together before Easy Money, and it was the movement, and it was like uh TC4800, uh D-Log, like some of his guys, um uh me, uh Joe Moses, boom boom boom, and rebrand after, you know, just new launch, I guess new everything, the easy money pops. I love uh Leon, like Leon's amazing Leon's like he was talented since the boom. even before he got with us like or got with easy money like um when I first seen him and heard him I was like yo he's got it. this guy's crazy on production I was just like yo Leon's crazy so um you know with me and Ty it kind of grew like friendships like brothers more so than just business so it's like we talk our it's like nothing he doesn't know nothing I don't know but like you know we kind of just see each other as bosses and like we work on as much stuff as we can and I've been on tours with him he's been on like every album I dropped official album since I came out yeah he's blessed me and um put me on some of my biggest features uh I'm on the uh which I think we went I think it's platinum I'm not sure I know it's gold but uh the Beach House 3 album he's just lost track of his platinum records It's just Beach House. No, that's not even my record. Flex. Not even my record. Uh, Ty Dolla $ign, flowers, but I think Beach House 3 is platinum now, but that was the first album I was on from Ty's. Um, and it was me tying future on that, uh, project. Don't Sleep on Me, the record. Um, and just the saying in general, don't sleep on him, you know what I'm saying? Yeah. I heard him say that I was like all right I'm not sleeping man Wake up. nah that that how that record even came about was cool because you know a lot of times when you write with artists or you work with them and you're on the record and then a major artist gets on the record it could be like yo we might got to take you off of this one or oh shit this could be this way like the the label sees post malone this might sound good for him and it's just business sometimes so damn I've never even thought about sometimes you get posted bro yeah so when Ty told me I was like yo no like you're gonna stay on this record with me in future I was like damn that's big especially like for Atlanta for me It's huge yeah For sure. damn you definitely could have gotten posted and thank god you didn't yeah so you mentioned this like do you think in the music business is there a situation where you can do business with people and not have a great personal relationship or do you think that that's almost a requirement to get along personally depends on the artists.

Yeah like some some artists like nah if we don't like not even for me I think to answer the question in general I think it depends on the individual like you know but if the question's for me I think um nah it doesn't really matter like like like for it's like yo could you act in this movie with this actor and you don't really like what they stand for or who they are but we're all getting paid to do it like it's a business too so it's like you're gonna play on the NBA team and like not like somebody on the team but you're still gonna play yeah still gotta pass on the ball so it's like I get calls all day like I don't know I didn't know who RL Grime was like like like I didn't know to what level RL Grime was when we worked on music and if it was based off like yo do you like this guy do you know this guy never would have had UCLA Never would have never made UCLA that's crazy. So it was like uh yeah what do you guys want? Oh yeah da da da da da. Like he might I I don't even remember what the price was on that, but like at that time it was like, yo, like labels are calling me for features, everybody's calling me for features to write stuff, to do stuff, to do hooks.

So it was like keep working, keep working, keep getting paid, you know, and like did that song, and like now that song is like bigger than I could have ever imagined. You know what I mean? Bro, I feel like you're a feature beast. Yeah. You're one of those ones where it's like, if I see you on a feature, I know it's about to go up. I feel like. I mean, do you do you walk into like a you know recording session where you're being brought in to do a feature and like feel like you're that fucking guy as well? Like you're about to These niggas like, I ain't gonna lie, bro, these niggas like I like I've been really like, I really play this sport, like, and I really like create music, and I I really create it on a high level. Like, you know, like when you say high level, it's like some of the greatest to ever be behind the microphone sits there and tell me, like, yo, you're amazing. So it's like I play it at a high level. There's a lot of politics that is behind the music to give you your interpretation on how we look at artists, or what level, like how big are they to you, or what is this to you?

And then I meet some of the biggest people, and they're like, yo, big fan. I'm Like, damn, like, and they're like, what? Like, since you were this, and that they just give me my whole rundown, and they're like, yo, so it's like you never really know how big you are until it's all said and done. And it's like, I lost one of my good friends, PnB Rock, like, and like Yeah, right. RIP. Like, that was a friend, like, we talked at least two, three times a week on the phone, laughing, like everything. So, like, I knew how he felt about himself, and like what he felt, how he felt the people felt about him, you know. So it's like to see him go and then like to see everyone in the world. Like, I'm talking about like people that we had conversations with, like, just to see like people react the way they act. It's like, yeah, bro, we always said it. Like, you are huge. Like you are big. Like, you know, like they don't give us like while we're just here. It's not like people just don't tell me every day, like, yo, 24.

Like, you like there's fans, obviously, but like people just don't spit out your accolades all day and talk about what you've done until there's a re you know, until they give you a reason or there's something to talk about, you know, like, or you're being pushed heavily mainstream, or that, you know, it's like one of those if you know you know type things. And it's like, um, I know I'm a legend already. If we don't go any further from this podcast, like what what I've done in um what I've done in music, I feel like if you ask the 16-year-old me, like, are you comfortable with going platinum? Are you comfortable with touring the world? Are you comfortable with making records with all the artists you grew up with? Are you comfortable with just having to smoke weed, make red light? Like, I'll be like, wait, you lying. Like, man, get the hell out, like, what? You tripping. Yeah, right. So it's like, we don't, you don't think like right now, the shit that I want and where I want to be, like, I can only see that right now.

And we see that. Like, you know where you want the podcast to go. Like, we know where we can see that, but like the next time I really, or there'll be a time when I sit down and I have all of that, and I'm not even thinking about that anymore. So it's like, you know, just like slowing down and um enjoying life and like really knowing I'm a legend already. Yeah. So it's like I go that's why when you say every feature, it's like, yeah, I don't get on anyone's song, and like I'll pass on the song. Like, if if if I like this song, like, yeah, I'm gonna give you, like, come on, we're Having songs with Black Bear, and then even I didn't even know what to do when Black Bear, yo, I'm gonna get you on a song, like, yo, what do you hold up? Let me check this out. Song ended up being a smack, like what? Like this, how did I get in with Black Bear? How did you? I get in with Black Bear and we go to the studio, and this nigga's super talented. Oh, yeah.

Like guitar writing, engineering, singing is all it's like I'm like, yo, damn, I fuck with you. Like, like I don't even know you like past the music, but I fuck with how dope you are musically. So it's like, yes, I accept the tour. I want to go on tour. And I went on tour with him, and I met artists that I didn't know, and a whole nother thing, but it just opened up my eyes to just more shit, bro. I'm a musician, so it's like having songs with Black Bear is super dope to having songs with G Eazy to songs with Machine Gun Kelly, like all different things. Just all the white people that you can do songs with. You know, at that point, those are different type of white boys, though. I know. for sure. It's like to songs with Lil pump, the songs with DMX. Like, it doesn't, I'm just trying to show you like another range, it's crazy. If it's dope, I fuck with it. Like, yeah, if it's hard, I fuck with it. But you will turn down a feature. For sure.

Yeah. But if they're paying, then uh like if you believe in yourself, then I believe in you too. Okay, yeah. If the price is right, yeah. But that means you believed in yourself. Yeah, yeah. True. If you put up the bread for it, yeah, you've had to believe in it. See, for me, I I love talking to you know people in music because I think that no matter if you're at your you know level of success, right? Or if you're at a lower level or even a higher level, whatever the case is, everyone almost has that same reaction, or at least they should, right? Of like, I cannot fucking believe that I get paid to do this shit. Yeah, I still have that. It's it's a it's just it's fucking mind-blowing. Yeah, it's a blessing, like to anybody, and whatever you do, if you get to like wake up and do something that you like to do and get paid, and you're not taking any penitentiary risk, or you're not taking any, like, for real. Said, I got a homie that looked at, look at, like, he he probably make he make a lot of money, but he'd be like, yo, 24, like when was the last time like you had to make money, but like it risk is your life. How you making money?

I'm like, nah, I am my first uh I've been making legal money for a long time. Yeah, you know, now what type of legal money? It goes up and down, it's the music business. But he's like, yeah, nah, bro, every dollar I make comes from just trapping. Yeah, and like I'm ready to like, you know, and I I don't look at certain things like that, but it's like, yeah, it's a blessing. I only worked two jobs in my whole life. It's insane. Then I quit both. So it's like I didn't really like, I got a paycheck from both. Yeah, and that was it. That's that's fucking crazy. So what what's the dynamic like between you and and and bro, right? Like musically. Tokyo? Yeah, like at outside of music, right? Like, have y'all always been close? Yeah, that's my little bro. Um, yeah, we just really close. That's like my right hand, yeah. It's like, You know, we're very different, you know, like, like, but we're very alike. Like, but like, we're two different people, but like, you know, I don't know.

Like, our our pops, our family, um always had us like super family, like close. Like just me and all my brothers. I got three brothers, like all boys? Yeah, all boys. Uh damn. God bless your parents, we just all close. Like, and then days don't go by where we don't talk. And um, me and Tokyo is blessed enough to be where we're at at our age, and and successfully in the music business, and um blood brothers doing it. Yeah, that's crazy. Like, it's like it's a dream. Yeah, like yeah, it was really a dream we had, yeah. Yeah. And it and it came true. So um so do y'all push each other? Are you like critical of each other? Like, what's kind of the dynamic, you know, from like a music business perspective or music industry. I love Cuz, so it's like whatever he do, I'm with what he wants to do, right? But you know, but you're big bro. I think our opinions, our opinions matter.

And when someone shows you that their opinion matters, it's like because I know my opinion matters to him, I always keep it a buck with him. I always keep it real with him. You're not a yes, man. And I even tell him how I feel about certain things. He could be right, and I'll be like, yo, nah, you 100% right. And he could be wrong, and I'll be like, yeah, I know you mad, but shit, you 100% wrong. You feel me? It's my real brunt. Like, there ain't, it's like, no, you know, shit. I think one night I was fucked up in the studio and like falling asleep at the mic and all this, and like, bro, just is like, like, and I'm always around my guys all the time. So like they see me fall asleep at the mic before maybe or whatever. Like, but we're secure, we're in a secure spot. But bro, just like orders me food, gives me water, call the ride, like, yo, yo, nah, like wrap this shit up. Like, and I'm like, yo, what's up? And he's like, nah, bro, like, you're fucked up. We gotta go.

And it's little shit, like, that's my little brother. You feel me? Yeah, he's playing big bro in that sense. But when you see that, it's like, for sure, we got a, we got a we got a bond that can't be broke. So it's like, you know. How different are the the uh studio sessions when y'all are making music together than just another artist? Or is it pretty much just like as if he's another artist? Our sessions are different, just my session versus a session with him. Yeah, completely different. How so Tokyo um, Tokyo, recorded his biggest records, like, just like in the kitchen, like, with a computer and a little mic, and, like, he's fine with that, and he likes that, and he likes just like he could be a room like half of this room, him and the engineer, all of his toys, his keyboards and shit. Like he likes that. Like me, like I can do, I'm wherever we gotta get it done. Like, we go to Harry Fraud studio or go to like a big producer studio, who can go to a small studio or the garage. I'm anywhere that it needs to get done.

And at the same time, I like like all of my partners and like my homies and DJs and like I like an experience because when I make the music, like everyone, the people that I choose to be around me, like they give you kind of like that um 120% honesty. So it's like even arguments can happen, but it's like they give you a hundred percent, 100% honesty. So like I like having the homies and like different people on my team around when I make music. Are you like party vibes in the studio? Like you're turning up? Um, no, not every day. Like it that definitely has to be like sometimes. Yeah, like that, like like out of a out of a month, if I'm booked in the studio for a month, we probably end up doing that like four times. Yeah. Okay. Once a week, maybe like it's like, and then what I mean by that is like I'm not even recording at that point. Like, we're in the studio, we got we're playing back all the music, a bunch of people are coming. Maybe an artist is coming by doing a feature or something, but like, you know, but I'm I get work done.

Like any engineer that works with me, and like all the engineers tap in, they can tell you, but any engineer that works with me, like usually after we work, they're like, damn, like, when are we working again? Like, I actually like working with you. Like, I'm like, do you not like working with the artist you work with? They're like, nah, it's just like as an engineer, when you're coming up as an engineer, you can go from intern to engineering for a local studio, maybe in your hometown, and there's a lot of local acts that come through there that feel like they're gonna rap this month, the next month they might not rap. Like, so you're like just dealing with some of the lowest talent to some of the best talent. So if you're an engineering, you're the head engineer at a studio and you engineer everything that comes through there, you have to at least do 50%, you know. Yeah, you know, so it gets to a point where an engineer is like, I want to lock in with um an artist that's making music that I like or great music, so I feel more invested into it, and like I can really put my heart into the mix or my heart into tracking this person because I actually like this person. Instead of just working hourly, and waiting for the hours to go by.

Yeah. Press and record. Yo, did you hear that? Oh, what was that? You know, like that's a big topic we've been on though, because it's like engineers, you know, technically you are just paying them to go like this for sure. Or everything else that they do, contributing, you know, mixing, like putting their heart and stuff like that. It's kind of to me, it's considered production. But they don't get paid like producers, they don't get royalties most of the time. But like when I'm engineering, I can't help myself from being like, I think you could say that line maybe with a little more heart. Special engineers, those are the producers I call, like you said. Yes. Like there's there's engineers who I work with that have no problem, like, yo, 24. You want to get that one more time? Why do you think it's called one more time? I thought we called it one more time. And you know what I say? I'm like, not really, but if you could tell me like why, Why? I'll give it another swing. Yeah, like well, I think you could just say it better. I'm like, all right, mute that one, let me try it again.

Yeah, I do it again, I'm like, oh, it does sound better. All right, use it. But I'm not a like, that doesn't work with every artist. It doesn't. So the engineer has to know that. Like, there's open people to that, then there's people like, yo, I didn't get platinum from listening to you. Yeah, you tell me this. So I didn't get like, I've never been that guy. I I like, I'm like, I would wear a shirt that just says, like, bro, like, like engineers, like I I hate when I see someone just like treat an engineer just like a certain way, bro. Because it's like, yo, like when he takes off this fucking EQ and this auto-tune, you're gonna sound like shit, bro. Like, he's really making you like, he's a part of what's going on. Now, I feel like engineers, you know, the more you work, you learn when you tap in, when you tap out when this person wants more, when this person doesn't want more. But I guess that's a part of the working with someone you want to work with. Right. Or working with the artist that you feel is talented. Yeah, and but I think that same, you know, just self-awareness and being able to read the room goes with producers, goes with featured artists, goes with songwriters. It kind of goes with everyone involved in the creative process, right?

Because yeah, like you know, we've talked to a bunch of producers, and the way that they work with different artists is very different, right? Because some are more open to that, you know, sort of feedback, like in the moment. Some need maybe you to like bring that up at a later date, right? So it's like not killing the vibe. The room could be packed. Yeah. Just you just don't know. But yeah, I kind of give everybody I work with, like, within the first session, you're gonna know the type of person I am. Mm-hmm. And you'll see, like, oh, okay. He doesn't like, he likes to be in the headphones. Okay, cool. You know, he like I I can engineer myself, so it's like when I'm taking you through the process, I'm not aggressively taking you through this process. I'm like, hey, you mind if I show you some of the best engineers in the world, like, of course. Let me see. Ah, uh, uh, okay, yeah, cool. There's someone like you could just tell me this is my job, like, all right, bro. Look, I usually don't like just like having to start from scratch.

I don't like it no more than you like it, probably, and getting to meet someone new, but we're both here to do like what we do, and I'm kind of good at like knowing how my sound should be. And I think my sound is like really technical, so it's like I'm good at knowing it, and I'm like willing to teach you it. That's a lot of things that engineers get fucked up, is they think that there's only one way to do things. You know, mixing is subjective. There's no perfect way to mix a song. It's and if you as the artist know what kind of sound you want your music to have, you're the only one that can say what that is. And no engineer that should be like, oh, well, your vocal should be brighter and cut through the beat more. It's like, no, this is your music and you know how you want it to sound. Now there's a difference when you're an engineer and like the dudes like, yo, why does it sound like that? And it sounds like way better than his stuff normally sounds. It's like, yo, like, or put more EQ, and it's like, yo, you're actually trying to say reverb, bro. Like, so there's there's levels, like, yeah, but I think at my point, it's like, yo, I'm gonna tell you like everything, like for sure, bro.

You know your sound. For sure. It's respect. Yeah, for sure. Yeah. I think it has to do with like they're probably being taught everything super technically, so maybe they're not able to adapt if like it's not the exact like rule that they're the rule book that they were taught on, you know what I mean? Yeah, or they work with a certain artist that liked it this way, and then they come to you. Exactly. That too. It's like, well, what is that? And you're, like, I'm just gonna show you. It's like you learned how to mix a modern like pop, like Drake rap vocal, cool. But if someone's not like that, someone's got a gritty underground type of sound, and you're giving them a Drake mix, they're gonna be like, What the fuck is this? Yeah, like I recorded in a studio in San Diego one time, and I was like, yo, you could put the um the auto-tune on there. He's like, Oh, we actually don't have that. I was, like, what? Who doesn't have auto-tune? Promise you. Get the fuck out of here. I promise you. By the way, we have a t-shirt for you. Let's remember that. Okay. To give you after this. Autotune t-shirt. Offkeysupply.com. Cop your auto-tune shirts. Yes.

Um, yeah, yeah, we'll get you. Yeah, you can't wait. It basically flips the AutoZone logo into auto-tune. Okay. And it's fire. Autotune changed my life. Yeah. A lot of people. Absolutely. And changed the music industry. That's for damn sure. So I I think this is a super important part of your story, right? Like you were doing interviews with No Jumper, for example, under Royce Rizzy. Like back in the day. Yeah. That's how I first heard of you. Yeah, that's I remembered the name Royce Rizzy, like after I was doing my research, right? So I think this is important because a lot of artists might be considering doing this, right? When it comes to rebranding from Royce Rizzy to 24 hours, like what why did you do that? Man, when you when you sign a deal or you get next to any artist that might be um influential or have a name or have anything. Um I was just like tired of being attached to other artists.

Royce to five nine? No, no, no, no, no, no, no. That's where I thought you were going. Like like like uh I got Jermaine Dupri. I got social death tatted on my hand right here. That's awesome. So I go to a radio, oh yeah, Jermaine's artist. Like, know who I'm this person. Like, so I was getting that a lot, and and that wasn't like I could just keep working, but then there was a lawsuit. Um, I don't know how much you dig, but I had a lawsuit. Not not deep enough, apparently. Yeah, I had a lawsuit with Rolls Royce, the car. Oh, what? Oh, I was going by Rolls Royce Rizzy, that was like my first name, and then then I did a deal with Jermaine Dupri, and boom, they put out this lawsuit. And um shit. And it was like cease and desist, like change the name, don't use this and the logos and all this stuff. So I had that going on, and then you know, I did a deal with uh, I did a management deal with Jermaine Dupri, and then um we were going in to close on the major deal with RCA, and JD was like, yo, let's change your name to just Royce Rizzy, because you know, the lawsuit obviously. So I did that, and um that was a special time in Atlanta.

Like I just remember like what was the hottest songs at that time. I just remember everything about that time. So what time was this? This was um Young Thug's biggest song at this time was Stoner. Okay. K Camp was Money Baby. 2012, maybe 2013 kind of vibes. Yeah, I'm thinking that's what it was. Um I had the song uh Goddamn, and um the kids was dancing crazy in Atlanta, that Nae Nae dance was out, uh-huh. And I just kept going viral. Like people like Dwayne Wade was dancing to my song, like a bunch of stuff. JD reached out to me. I did that situation. Um we did a whole press run. Me and JD, like every single Vlad, anything you could think of is out there. Yo, how did that song get in the hands of like D Wade, for example? Like, because this is pre kids, the kids, the kids were doing like dances like on what platform though? before TikTok. Uh uh YouTube, like the kids will upload the video.

Like, if you just type in like that song, there's like a million YouTube videos. Really? Just like dancing. Damn, you went viral on YouTube for dances back then. I didn't even know that was like a thing. Oh bro, Soulja Boy started it all. I mean, that was forever ago. Twitter was starting to pop. Twitter, no, Twitter was like popping at that point. Okay. So people were posting stuff on Twitter, like trending hashtag. Yeah, like there was a lot going on. But I was in Atlanta though, too. So it's like I knew Thug and I knew K Camp. And I knew like JD was the one I didn't know. Like I knew like a lot of people, like, you know, already. So it was like, you know. So you're kind of forced into the name change. Yeah, but then No, but to 24 hours. Yeah, how did that be? Yeah, yeah. So I get out of this situation with Jermaine, and Tokyo is just, you know, he he's looking like, all right, this is what's about to happen. And um, then boom, it happens, and I'm with Tokyo, like traveling like his day-to-day manager type stuff, and um we're doing shows and picking up money, and it's his first time in a lot of places, and we're in New York, and Supreme had booked them to do like something with Uber Everywhere and Boiler Room, and we're up there, and like I took a ride or like I took a taxi.

I took something and they dropped me off at the wrong location, so I had to walk, and like I'm just walking back to the hotel. So I'll never forget this, like I'm already like in a crazy space in music because I don't know like to keep going, or I don't know to like just stop and like support my brother, like, cause he's gonna pop off, and like if he pops off, I can help him, you know, be successful enough, or help him skip some of those potholes that I had to hit. So I'm just like, man, oh you know, but I can't stop making music because that's what we do. So um I'm in the hotel, just like, man, playing around with some of my songs. I'm doing like more melodic stuff too, like just trying to catch some waves, and I accidentally like fuck around and like mess my voice up, like on the Serato. And like I'm like, yo, this is crazy. I bet you I could put this song out, and no one would even know it's me.

And then they then like like Tokyo's like, yeah, but that's like the wave. Like, no one needs to know, like, yeah. And then I'm like, yo, like, I should do this. Like, but I need a name. Like, we should come up with a name, you know, and everybody's saying names. I'm like, man, all that shit's wack. Just like, give me a little time. Like, give me like a day. Give me 24. It was over. I was like, yo, 24 hours could be cool. And then, like, everyone's like, yo, that could be cool. Like, no one told me no with that name. So I was like, boom, took the song, uploaded the SoundCloud, put it up there, and like made in Tokyo reblogged it on SoundCloud in like 48 hours That shit had like 200,000 plays. Sheee! You know, like people didn't know what it was though. They're just like, who is this? What is this? So, like, how was my plan anyway? Because I didn't want no one to like associate me with like the past. So it wasn't even necessarily the plan to like give up on Royce Rizzy. It was like maybe this other just thing that could exist.

In the beginning, it was like this could be like gorillas type shit. Yeah. Because I didn't put my face out on anything. No. Like it was just SoundCloud with just pictures. Yeah. Neon pictures. Yeah. Which is still the branding, it seems like today. Yeah, it's still the branding, but we just popped out. But like, it was just neon pictures. So like there was one day when I was just getting emails. Like, I just made a SoundCloud, put the songs up, put a Twitter and an Instagram in the SoundCloud bio in um in the email. And like one time I checked that email. I never was checking that email ever. One day somebody's like, bro, you got like millions of views on SoundCloud. Like this shit's going, this shit's popping off. Like, yo, you should put somebody's email. And I'm like, yo, let me check this email. And like, like downtown records, good music, RCA, Def Jam. Like, every label was in there. And I was like, oh shit, this shit's popping. Damn. But like to me, it was just like it was bittersweet to me. Because you had already done a deal.

You had been doing this. So it wasn't. It was bittersweet. Like I had so much creative control with just like uploading and like, no, you can't upload it. There was none of that. It was just like upload. Yeah. And like people were reacting to it. Like, and like I'm seeing like he has jewels and 40 ounce van and like everybody posting lyrics to the songs and like people tweeting, like, I would really love to see like party next door, Bryce, until 24 hours on tour. And I'm like, bro, they don't even know who this is. Right. Like they just love the music. Yes. Back to what we were saying about what you were saying with the other thing, like not knowing the lyrics, but like loving the production and love, like the feeling. They couldn't judge it by me. They couldn't look at me. Look at your like your social media. That's Rizzy. Yeah. that's this dude that I don't know, some fucking fat dude I saw, like fucking in the in the club. Like, he couldn't judge anything but the music. And when I saw that, when I'm on the phone with, when I'm on the phone with everybody and good music's flying me places, and yo Gotti's flying me places, and and um and and Oliver's calling me and they're premiering me on OVO sound.

No one even knows what I look like. That's crazy. And it just let me know, like, yeah, bro, you legend, bro. Like, I'm a legend, bro. Like, I know, like, then obviously once you pop out, it's like, ah, damn, you got us. Like, and like some people stay and fuck with you, and some people like, nah, you know. Yeah. So, how long from the time that you hit publish and upload on that first song with just like, you know, no pictures of you, how long until you embraced it and like I'm him. Like, like almost like eight, nine months. Oh, wow. How many songs did you post? I probably had like EP, like I probably had like maybe 12, 13, songs. Like, I was having songs, like I was putting them out, and they were doing so well that me and Tokyo just everyone was like, Tokyo was just getting so mad because everybody was tweeting him and messaging him, like, I love your alter ego, and like oh. He's, like fucking tweeting. him. Because he's supporting it.

It's not fucking me. And they're like, But where is this come from then? Because he was obviously the main one that first posted it, yeah, and and like probably consistently was uh reposting all the stuff. Yeah, the internet detectives were sure. But boy, were they fucking wrong? Oh, they did not get that one. yeah. Nah, for sure. Damn. That feels like you're almost like cheating or something. I don't know, like how did that feel? Did that feel weird what you were doing? Like, did you tell other people when you, like meet anyone, or did you really keep it close to just like your circle? I kept it close, but then like the bigger the artist I would meet, I would tell them the next thing you know, like I would meet another artist, and they're like, Yeah, what's the name told me already? And I'm like, oh damn. There was like this lore. about it. Like, The industry knew, and that's why like certain fans, like, like it was like, man, like, to be able to sell tickets, like hard tickets, like, first of all, if you're an artist selling hard tickets, pat yourself on the back. Because it's not an easy thing to do.

Yeah. It's not easy to keep people's like time and money and get everything, get people so invested into you and keep them invested into you. It's not an easy thing to do. So some artists come out and have a great year and sell out everything, and then five years later they're back at 200 cap venues. It's like, yo, what happened? No, they still have a name. They're still amazing. They're still great. Like, it's just maybe they didn't, we didn't know a lot about them, or we just knew that they had that song. We weren't invested in them as a person. Like, who is this guy? Does it even make sense? Like, like, you know, like there's a lot of questions. So it's like, if you're selling out, if you're doing tickets, like, that's dope. Um, I was able to go on my first 24-hour tour and do tickets and like sell out the Roxy and LA and like um come to Atlanta and play, and I brought Sunny Digital out at my Atlanta show and like some dope shit I was able to do, and I was able to sell tickets before I show my face. That's hard.

And that was like, I think an indicator with like the agencies and shit like that at a time. Like, yo, like, like at one time I just booked shows, they were booking shows, and I put together like a 40 minute um like projection, like a screen, like, how my songs would play, but it would be like graphics and 3D shit happening, and like I wouldn't even be there. Like, like, so it was like somebody's doing a hard ticket show, and we got our name to be on the bill, and then when it comes up, like I paid for this screen to be on stage, and like we're playing the music, and like everyone has camera phones up, but like there's no me. Like, you see these visuals, the same visuals that I was putting on Instagram. But I'd be in the crowd, like watching this shit. Like, what the fuck, bro? This is insane. you put on a show with no one on stage for real? Yeah, like his part of the lineup was literally just a slideshow. The lights all go out, yeah, and then like you just start hearing this 24, and then you start seeing all the sick ass visuals. So, how did the crowd react to that?

Camera phones. What the fuck? This is crazy. It's like a movie. I'm watching a movie. You're not going to say boo. Like, because. Why would you? Because we were booing. Like one, and then two, the guy who just got off stage was just holding the mic yelling at you guys, rapping and shit, and like now it's like it's a whole vibe. Yelling at you guys. Like, I got I got I got a whole vibe playing on the screen. Like, it was sick. Like, yeah. So one one time we did that, and we did it at two spots in one day. God, double the money, bro. Yeah, it was sick. Wow. That's that's like the this is like so ahead of its time, bro. This is, like the age of virtual concerts before that was even the fucking possibility, bro. Do you think that that's still kind of possible to do in this day and age, or you think it's like harder than maybe now? It's like you I had the niche for it, and it was like a lot of my fans, like that really fucked with me. Like, I find out today, like we fucked with you in that era. Soundcloud era.

Like, we fucked with you when you were like going against the grain, like when you didn't give a fuck, when you only post visual. I had shot a music video and I wasn't in the music video. Yeah, and that was the first video we ever dropped, and like fans are drawing the kid that's in the video. Yeah, like I love 24. I'm like, bro, that's not even. You know what I mean. So it just showed you how attached they were to the music. But then like me obviously being Royce Rizzy at a time when I finally got to a level at 24 where like wait I can have all the artists I want on songs and everything. I think I jumped into collaborating as 24 a little fast. Like I think I I I jumped into it as fast. Like if you're a core fan of 24 and you feel special about me and you feel like I'm the only one that knows about them, And then next thing you know there's a song with Ty and Yo Gotti and you're like how the fuck does he get all these major artists and like what is this like wait and then like it just kept going from there like people I had certain people around me like yo maybe we shouldn't do this or maybe we shouldn't but I'm like bro how do you turn down this type of record at this yeah you know so I did it. But I think when I did that it some people tuned out after that.

But I gained more mainstream fans but some of the core that crowd some of them tuned out like I don't know. Yeah and I mean this is a debate that artists probably are having all the time of like what kind of fan do you want you probably gain more casual fans right like casual listeners because you have all the look at what you say yo you kill features and it's like yo you you you you you put Ty and Yo Gotti on records now you're collaborating with Wiz Khalifa, Ty. All these names now you're getting as 24 hours not the underground kids but now Tyga wants you on his album, G-Eazy wants you on his album, PnB Rock has you on his album, like you have all these names, like, but at one time, like the production was just like from underground kids and like just this scene. So, like, I got that, you know, and um I started to work with producers, like me and Hit Boy have a whole album out. Right.

You know, right before this whole Hit Boy craze just happened of everybody getting collaborating albums. Like I was working in the studio with Hit Boy for day after day after day, working on a collaboration album, Houses on the Hill album. Yeah. And um Hit Boy and Ty Dolla $ign executive produced that album. Oh, yeah. And um, a lot of my core fans was like, we love this. Like, and I could tell, and it was like, I think Hit Boy just had a way of like keeping me in a certain pocket, you know. Yeah. And I think producers can do that with artists. Like, I think like I could put out an album where I pick every all the production, everything is solely based on me, or I could go in with Hit Boy and G-Rye or Hit Boy and somebody, and be like, yo, we're picking all the production, because you would sound amazing on these, and it just takes you to another level, you know, or it pushes you a little harder, or just does something special that it makes the artist like, you know, sound amazing. Yeah, the the biggest thing that I think you've talked about that even off camera, we were talking about kind of how you've had multiple roles, you know, whether you said like borderline tour managing for your brother, you've done AR type of work, you've managed, you're an artist, you you know, you can engineer yourself, whatever, right?

Like, understanding the business, though, I don't care if you got the most fire fucking lawyer in the world, yeah, right, who can just spoon feed you, and even if you have like an industry accredited manager who can tell you what deal you should get, this that and the third, bro. Like, learn the fucking business, at least a little bit. Yes, like the amount of artists and producers that you know we've met that are honestly producing or performing at a high level, you know, to be honest, like they don't even know what publishing is. They don't know how to register a song appropriately, like just these basics, right? Like they don't know what points on the master even means. Like that's like foreign fucking language to them, right? And like I'm not claiming to be any fucking expert at this at all, but I know at least enough to like have a conversation about it, just like an artist or a producer should. You should know enough to be dangerous so that you can at least like talk to your lawyer and talk to your team about like what's happening and understand it. Yes, with confidence.

It's like knowing a little bit of engineering so you can tell your engineer what you want. If you don't know any of the fucking terms or what's going on, it's hard to mix and even speak the language. Yeah, you gotta know some of that shit. Mixing royalties with masters. Yeah, oh my god. I've had I've had frustrating conversations with people who just blatantly don't know what the fuck they're talking about. Yeah, and I'm literally like, you know, even you saying 50%, you probably are referring to publishing. Yeah, yeah. Some people literally would be taking that of like, oh, 50% of the song, like it's mine. And like once again, you can structure a deal however you want. I'm not gonna tell you how to do your deals, especially when you're starting out, like that is maybe common. Like you just split the record, literally, distribution and everything, right? Yeah, well, I mean, I just I feel like if you could know standards, it is like yeah, that's like and then you adjust from there. If if we if the three of us sit in this room right now and you produce the beat, I write the lyrics, and I rap naturally. And guess what?

You help. No, no, but you help me with some lyrics and you engineer it, right? Why can't I be the rapper? 24? Like, this is bullshit. Yeah, well, I just said my song And you're helping with lyrics, so it's still. part of it. And I'm rapping them. No. All right. All right. All right. Well, let's just say he's a rapper. Stop hijacking his microphone. No, no, no, no, no. no. I just want to be the hypothetical rapper. That's the only chance I have, guys. Fuck that. he's a rapper. So Thank you, Jesus. I'm on the hook. He's rapping a verse. That's right. You made the beat. My percentage is bigger. It's automatically because you had to hop on the song. So he's on the song now. So now we have to take less. But listen, off top, for me, I'm not a lawyer, but I'm like, okay, in my head, from what I've learned, okay, this producer, if he made this beat and he didn't use any samples and he didn't have eight kids help him make the beat, he can get 50%. It's 50% of this the the like say we're independent. How am I gonna get paid for making this beat that I just made? And it's an independent artist, and he's uploading it to a what is one of these things, distro kid.

Yep. And you haven't got paid, and it has a lot of views on it already. Like I sit and think, like, bro, like you didn't even have to jump through loopholes. Like you can register for this company and use your email, and then he could put you in as 50% shareholder. Just Type in the percent. And boom, and now you're getting paid every however long it takes, and you're getting direct money. Like obviously, with the Interscope or Geffen or something like that, now there's all this other stuff you're gonna do. Getting paid like two years later. Yeah, yeah, whoa. Yeah, I don't know what the thing is, but like something like that. Fucking sucks. Like net 360s and shit. Right. Um, but but I always try to work with producers and and and I've worked with if I was a bad person to work with, like my credit and my catalog wouldn't be where it is in the producers that I fucking love, and like I just respect everybody. I respect the game. I'm not perfect, but I I respect the game and I respect the game enough to like do some research and learn shit.

Like, yeah, I it's just like people are popping out, going viral, like yo, going on interviews and like wait, Ja Rule raps. Like, wait, wait, you don't know who this rapper is, or you don't know who I was playing something the other day, Jadakiss. I was playing a Jadakiss song, and I'm like, yo, when this dropping, somebody's like, yo, where he from? When he come out, I'm like, where is he from? I just looked at this kid Texas. and I'm like, how old are you? And he's like, 17, and I'm like, Yeah, they don't know kiss. Yeah, wow. They don't know kiss. Like, well, even if you do the math, like if you're 17 years old, you didn't start listening to rap until 13. So you just take off what 17, yeah, boom, 13. So you were four. So so four years ago. Yeah. So four years ago, you start listening to hip hop, and the last four years ago, when were you gonna just get a big kiss promo? Like, yeah. Never. Someone had to tell you this. Yes, for sure.

Our generation is that now. He hasn't gone viral on TikTok lately. You feel me? Like, like our generation, like when they tell me, like Lately. this kid told me uh the podcast, not the interview thing. Um, this is funny. I'm actually talking to future son, um, baby Pluto, his oldest son. We we're we're working on music right now. Um, and we're working, and I'm like, yo, you ever uh been on this YouTube site or whatever? And I'm like, oh, DJ Smalls, he has a YouTube thing, like DJ Smalls, and he's like, nah, I don't know what that is. And then I'm like, no, you've been. Like, he's like, oh, small eyes, and I'm like, Yeah, yeah, small eyes. Smalls eyes. He's like, Smallz eyes. Yeah, but this is what he's calling his name. Like, yeah, he doesn't know it's DJ Smalls. Yeah, but he's like, oh, he's a DJ. Oh, this was the, and I'm just like, yeah. What? DJ Small, like Southern Smoke? Like. And then I'm just like, yo, chill out, you old. And like, like you and your, like, bro, you're from a

Like, when was he gonna know about mixed it? Like. It's true. Yeah. It's different time. Damn. It's a different time. Different time. Well, we've entered a different time here in the podcast. Henry. Oh shit. Where the fuck are we at? Oh shit. We are at the rapid fire rampage with 24 hours. I don't know if you've seen the interview all the way through, but it's gonna be a three-part rampage. I'm gonna start with just some short answer questions. We move on from there. I just answered them fast. Rapidly. Rapid fire rampage. Indeed. Yes, sir. We started off real easy. What is the coolest podcast on the planet? Here's a hint. One more time. That was a quite. I'm thinking that's a part of it. You answered it. You answered it. I was like, thank faster 24. Yeah, I thought that was like a part of the intro. One more time, man. Okay, bet. One more time. Yeah. Thank God. We'll edit out the hint. For sure.

And we'll edit out the long pause. Yeah, yeah, yeah. There was no pause for sure. He was like, no jumper. Shout out to Adam. Yeah, shout out to Adam. He's like, Vlad TV, Smalls Eyes. Jesus. Moving on, moving on. 24. You could feature on any three artists' records. Who are they? Shit, any three artists. I'm going. Jay-Z, the Weeknd. Jay-Z the Weeknd. and I'm trying to think that third. This is the only three right now. Maybe The Weeknd. Maybe like Calvin Harris, the last one. Ooh, yeah. Like, I like that. You can only wear one outfit for the rest of your life. What is it? I'ma just go like all black. Like all black.

Probably like all Rick Owens fit or something. Okay. Just simple, all black. I like it. Describe your life when you are retired. Shit. When I'm retired, I see myself. Honestly, I gotta fuck the whole question up, bro. Like, cause like I just tried to see myself, and I don't even see myself retiring. Still, Always making music. That's a great answer. Like, I just see myself like... I see myself like doing this until they're like, yep. They're like, get the fuck out of the studio 24. We can't have you here anymore. I just see him until like they're like, yo, that was a legend, bro. He's till I'm gone, like Yes. I'ma do music. Wow, he's gonna be like 94. Yeah, cutting records. I love it. All right. The zombie apocalypse is happening. Pick any three weapons to defend yourself. Man, zombies. We need some big shit.

We do. We need some big shit. Mm-hmm. Man, I might need help. 22's not cutting it. What do I need, Mark? Bazooka. grenade. Bazooka. A bazooka, grenade. A grenade. You know what? A switch. And the switch. Hard. Hard. Bazooka, grenades, and a switch. I love that. Damn. It's quite the trio. Switches for you, huh? The switch kind of is a cheat code to get four weapons. I like that. Yeah. For sure. That's good. Bazooka, grenade launcher, and a switch. Yeah, yeah, yeah. We litty. Wow. Last one of the short answer, 24. What is your favorite curse word? It's probably bitch. Part one. Why'd you have to ask it like that? Like you had some like weird cadence. I'd be fucked up with the bitch. Like I fuck up with the bitch so much that it's like it's versatile. It's like like even like I just be like, man, having a normal conversation. And I'd be like, nah, because the bitch was just loud, and then my girl's like, yo.

And I'm like, no, she's not a bitch. Everyone's a bitch. But not like guys can be bitches. I'm trying. Yeah, like, yeah, no disrespect. It wasn't even like that. Like, it was two bitches arguing in the mall. Like, it wasn't like it's just two bitch. Like, damn, like, bitch is the one. I gotta switch to it. I love it. Have you caught yourself dropping bitch in front of your mom too much? Yeah, but my mom a gangster, so she like, man, them bitches should have been. You feel me? Like, my mom. My mom. Oh, yeah. Yeah, my mom. Hard. Yeah, I learned that. from her. She's the one that puts you on. Yeah, for sure. Okay, wow. Okay. Shout out, moms. Shout out part one. We are moving on to part two. This is the this or that. For sure. Writing or freestyling? Freestyling for sure. All day recording session or all night. Depends on my schedule. 24 hours one, Henry. You can only put one. Uh uh, then I'm gonna go, I'm gonna go all night, then. Okay.

Drop three songs per year or 100 songs per year. 100. Learn every instrument or speak every language. Speaking every language. Mm-hmm. Indica or sativa? Sativa. Give up smartphones or give up your passport. Nah, they gotta take that passport motherfucker. Oh no. Staying in the US. Yeah, I need give up a phone. Oh no. You could have cut, you could have given like iPad tablet. An Android? No, that's a smartphone. Oh, see. Tablet. Carry iPad everywhere. You already you already answered. Yeah, see here's the thing. Yeah, I answered that. But like my passport, if I had to set my passport and the phone down, the phone makes me more money than the passport at this point in my career. Okay. That's fair. Yeah, the way he just threw casual shade at Android was fucking amazing, by the way. It's not even a smartphone.

It's not even a smartphone. It's a dumb phone. Literally. He was like, well, I mean, I guess I could get an Android if I give away my smartphone. That's crazy. That was awesome. Last one of the this or that. 24. Are you going to leave the music industry or smoke a small amount of meth every day? I ain't gonna lie. Music could be done, cause like I'm black, bro. Like, like there's certain drugs, like that's just like, wait, meth. What the fuck? Yeah, yeah, yeah. We probably should have given him a more like black drug. That was way too white of a drug. Like meth is crazy. That's a white drug. Small amount, though. Like a healthy amount. Just like a little bit. Like, is that like just like a hit? Like, that's like the amount that would be in a pill or something. We don't know. Yeah, just because we're white, I'm not the expert. We smoke meth, but for sure. Do we look like we do? Y'all Have you watched Breaking Bad? Of course. That blue shit. Strong.

Part two. Y'all don't do Bluetooth commercials on here. No, we wish. They sponsor everyone. Yo, Bluetooth. What's up? Bluetooth, Hit us up, man. They're probably throwing them out. Contact us for sure. Part three of the Rapid Fire Rampage is the word association. I'm gonna give you one word, and then you just give me one word, maybe two words, just right back at me. I got it off the top. I got this should fit nicely with your freestyle. Starting as always with hip hop. 20. Balloon. Blue? Balloon. Birthday. Only fans. Bitches. Judge. Judy. Microphone. Check. Chemistry. Science. TikTok. Dang, that's bad, bitches. 18 plus. Dinner. For two. Fox. Five. Lil.

Baby. Bitcoin. Tyler. Podcast. I feel like the correct. The correct answer. Podcast, yeah. Yeah. One more time. Okay. Well, he didn't get any help and he said that. Yeah, I mean. And finally, Shibuya. Tokyo. What a rampage. What a rampage. What an interview, man. Legendary story. You got a great story, man. I love your perspective, man. If y'all fuck with the interview as always, please like, comment, and subscribe. Tell a friend. Until next week, Henry, what are we doing? Get out of here. Get the fuck out of here. Appreciate you, 24hrs. Thank you guys for having me. I went from a um a fan, just watching on Instagram. Yes. Knewing I would see both of you. I knew I would see you here. And I, you know, just being a fan to actually coming on here and kicking some flavor with y'all. And I'ma keep being a fan. I'm pretty sure after this, a few of the homies will be like, yo, how do I get on there? Yeah.

You know, that's how it starts. Yeah, nah, for sure, man. I appreciate y'all. I appreciate you. Appreciate you. Yes, sir. Party she light one more time.