Episode 19: Beats and Breakthroughs: 1040's Journey from Rapper to Producer and the Rhythms of Palm Beach

© 2023 Raw Material Entertainment
Hosted by: The Global Zoe, Eric Biddines & Drego Mill

Miami's heat has nothing on the fire we stoked in our latest audio adventure, where The Global Zoe, Eric Biddines, Drego Mill sit down with West Palm Beach's own 1040. We're not just spinning tales under the sun; we're digging deep into the craft of beat-making and the transformation of an artist. 1040 serves up a hot plate of personal history, recalling the moment he shifted gears from rapper to producer and sharing his first music video experience with Raylo. Our discussion is a tribute to those who hustle behind the scenes, making music that moves the streets and beyond.

When 1040 starts to speak on his beat-making philosophy, it's clear he's cooking up something special. His approach to sharing his best beats, regardless of an artist's fame, is as refreshing as an ocean breeze, and with influences spanning from the SOS Band to Jimmy Jam and Terry Lewis, it's no wonder his style has that certain je ne sais quoi. We celebrate 1040's ground-breaking placement with NBA Youngboy and explore the connections and community efforts that are as essential to success in the music industry as a catchy hook is to a hit track.

As our session wraps, we shine a spotlight on the socioeconomic contrasts of Palm Beach and the challenges facing its music scene, from the need for more venues to fostering a collective spirit among artists. 1040's roots are firmly planted in this fertile ground and he’s not shy about sharing how to keep up with him and his latest projects. From Instagram to the occasional TikTok scroll, 1040's is tuned in and turned up, ready to elevate Palm Beach's music scene to its rightful place on the world stage.

⏰ Chapter Markers ⏰
0:00 - Conversations About Music Production and Artists
11:23 - Discovering a Signature Beat-Making Style
25:11 - Artists, Placements and Building Relationships
38:28 - Palm Beach Music Scene Challenges
47:33 - Palm Beach
1:00:06 - Music Industry Producer Challenges
1:16:11 - Contact Information and Social Media Handles

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Transcript

Speaker 1: 0:00

What's going on? Y'all tuned into another episode of Exposure. I be your boy, the Global Zo, and I'm with the gang. Eric Biddens, Break a male, and today's show is brought to you by Sovereign Brands. So shout out to that Bella, Lux, Vio, Deacon and that McQueen Exposure's official drink of choice. Talk about exposure. You need the exposure.

Speaker 3: 0:25

You gotta touch the streets. You need that street credibility, you need that promotion, and that's what exposure provides for the peace.

Speaker 1: 0:32

Welcome to the main anime team. Sign out here at MIA. I'm going to, like I always do, watch the exposure.

Speaker 4: 0:38

Get in the head with that exposure. You know what it is. Them down dollars.

Speaker 2: 0:41

Ray Lowe number one DJs number one promoters for Shofan Palm Beach. It's exposed.

Speaker 4: 0:45

That's why it opened up.

Speaker 2: 0:46

Y'all check it out. You know what I'm saying. Keep it locked with all over the floor and you are watching Exposure.

Speaker 4: 0:51

This is it.

Speaker 1: 0:58

And today we got a special invited guest the one and only 1040. Hey, hey, hey, salute brother, hey, so salute, salute, salute what's good, my G.

Speaker 4: 1:12

Man, one at a time, bro. Still, you know what I'm saying. Behind these projects, behind FL Studio, get into it, bro, you already know it, yes sir 1040, 1040.

Speaker 1: 1:23

Hey, listen, man, we've been on a mission and before we even started this show, I've been hearing your name throughout the city from a lot of cats who got a lot of qualifications. And it's just kind of ironic how, after you, me and you shared this story, but after the Oscar interview drop and the clips drop you know what I mean you left a positive, good message and you were not being in contact sense and I'm like dang, you talk about everything aligning and perfect. So now we got you and we can get your story documented and you can put us on the game from the producer side.

Speaker 4: 1:58

But Sean with that brother show.

Speaker 1: 2:00

Yes, sir, so a 1040, man like what part of Florida are you rapping?

Speaker 4: 2:05

Man, I'm from West Palm Beach, I'm from downtown Tamron Ave. Man, you already know I got a lot of everybody. You hear me All right, that's what's up. I'm downtown baby man you already know from Tamron. If you know about Tamron, you already know it for sure.

Speaker 1: 2:21

OK, so you was there with the whole Gainesons and Thugs was when Gainesons and Thugs was popping.

Speaker 4: 2:25

Man, listen, I got my own. I had to the damn song to that shit before. Hey yo, ok Yo bro, I tried to do a song for the soundtrack. Have my music in the background, and then you know what I'm saying. So I did that and I had Linda with Ray Lowe like probably like a year or two after, and then he shot my first music video actually, ray Lowe, no.

Speaker 2: 2:49

I'm not talking about your music video. Ray Lowe you all the way, tamron man. If Ray Lowe shot the music video.

Speaker 4: 2:56

Yeah, yeah, yeah, I'm talking about my first music video, and if you know Ray Lowe music videos, well, yeah, I tell you, well, I'm going to be with you.

Speaker 1: 3:04

No, that's what's up. That's what's up. So how you got the name 1040?

Speaker 4: 3:08

Man, listen man, it's a long story. I be here all day. I can't tell nobody right now. It's still a mystery to everybody. When time come, everybody. Well, it's so crazy. Jt really. Not my producer name, though. No, it's really JT. Like, if everybody really know me from back, then it's really JT.

Speaker 1: 3:27

Just the initials JT. So 1040 JT Was, I said again the initials, just the initials JT, or is it spelled differently?

Speaker 4: 3:36

No JT, just JNT JT.

Speaker 1: 3:38

Like when I shot the video with Ray Lowe.

Speaker 4: 3:40

It was JT for sure.

Speaker 2: 3:43

I remember the name Trillian, but I didn't connect it to 1040 at all.

Speaker 4: 3:49

See, jt was kind of Moe when I was rapping, whatever. Trillian, really. It's kind of like Trillian Moe not tapped into the producer side. You know what I'm saying. So it's really Escobar Trillian, really, because it was called Trap House Produc I'm thugging right so it's called Trap House Produc Back. Then you feel me so because it was like the rap game, just like the dope game. So you feel me Like, if I'm going to be the best, if I'm going to be the best, you know what I'm saying Never do this shit. Escobar Pablo, you know what I'm saying. So you feel me so, escobar. And then I want to be a Trina, but I'm real at the same time. So I put the R-E-A-L, so Trillian.

Speaker 4: 4:31

You ain't got to be a Trina I remember the Escobar before.

Speaker 1: 4:33

Like I remember seeing that around.

Speaker 4: 4:36

Yeah, yeah.

Speaker 1: 4:38

So that's what's up. So what got you into music? I mean, what made you get into production and producing?

Speaker 4: 4:45

Shit, bro, really just vibing listening to music. Music was just. You know how I just grown up in the black house, bro, music every day, just going through my mama CDs, my grandparents music vinyls and tapes and all that shit, and I ain't go a lot. I remember I used to have a little Walkman CD play and now I take the auxiliary cord from the headphone. Shit now I kind of like halfway stick it out and then that shit of fucking like just play the instrumental a little bit and I'm like, oh shit, they should really just play it in no vocals. So I was just being a little badass, just playing with electrical shit, and then I kind of got intrigued by the sounds and I was like, man, let me mimic this shit and start sampling playing with the turntables at the crib a long time ago and fucking up vinyl CDs, fucking that bitch up. Ain't trying to scratch it, but I'm just scratching that motherfucker.

Speaker 4: 5:40

Yeah, fast forward, I had got FL Studio, probably like 2007, 2008 FL Studio. He was on there early. Hell yo, no VST. Yeah, nigga, my shit. Sound like some soldier boy shit. You feel that?

Speaker 2: 6:02

But that's what that 808, that later ended up becoming very, very popular and the early FL Studios. That was the first place I ever heard that 808, that knock the way it was knocking, because everything else was more boom bap-ish. The kicks was clean, it was beautiful, they sound good. But FL Studio had this 808 that was just in there. You could just turn up the game. They just had something.

Speaker 2: 6:30

You can do stuff that you really need it like engineers. That was in the pro tool area to do some of the stuff, and FL Studio had the cheat code the way it just do we get you and you know better than me what 808 I'm talking about. Man, that thing was something I remember it didn't finish 808. That didn't finish me, listen. They later took that out. They later made it where you had to purchase it. And then once they started getting into the plugins and stuff like that because I remember I upgrade I did an upgrade when it was through the loops and went to FL. But I remember I was trying to find that one, that 808 that was knocking. I could not find it for nothing. They didn't even have the whatever the nozzle was to tweak it and make it hit as hard as you want to. They didn't even have that, no more. I was like, oh, they're doing it.

Speaker 4: 7:23

Bruh like FL. That was a lot of the few producers. They liked the older FL Studio, not kind of like the new ones. They like the older FL Studio. It just hit different, Like pretty much the old ones.

Speaker 3: 7:32

They'll have it on the side. Yeah, I see that They'll have the new one and the old one on the older computer.

Speaker 1: 7:37

So now, that you jumped on Fruity Loops and you talked about 2007,. I remember everybody jumping on the motif and the triton, like back around that time, like everyone was using standard keyboards. So, you got one of them, or you just started with Fruity Loops.

Speaker 4: 7:54

Man, I was FL Studio all the way, but you know what I'm saying. The thing about me is I was young without making music, so it's kind of like everybody else where I was around they were using keyboards. Ok, ok, great shy club. You know what I'm saying. Everybody using hardwood type shit. I'm using softwood. So that's pretty much it, bro, really all the way. But I ain't going to lie, I want to go hardwood. You feel me you sound, so you feel me it's just like the connection of you and that keyboard. So the music go hit different for sure. But I tried a few beats with hardwood. That bitch came out clean Like the mix in the back, like that bitch Duff for sure.

Speaker 1: 8:41

What got me every time was that when you had to drop the beat track by track, or you had to bring your little ox core submittees in the session and bounce each instrument.

Speaker 2: 8:53

It was bad at the time. Yeah, I remember that.

Speaker 4: 8:58

Bro, you had to record each. That's what I'm saying. My first studio I used to go to was Goldfingers, the GOB studio.

Speaker 1: 9:06

Oh, ok, I remember that.

Speaker 4: 9:08

GOB studios and when I was with I was thugging, I was with One Stop Entertainment at the time T Reed and Juan and everything, and every Friday was our sessions and Chris the Great was one of the producers that used to come produce for some of the artists for One Stop and he'll play beats Him and T Harley oh.

Speaker 2: 9:31

T Harley no.

Speaker 4: 9:32

T Harley, t Harley. I remember, yeah, yeah, t Harley, him and them boys playing beats for like cool cake and all them boys and shit TDots coming to the studio and them boys done playing beats and them boys, folk with the beats, goldfingers used to record each individual sound. And then I'm like, damn, that's what y'all used to do back there. It's crazy. Yeah, that's crazy. Live, it's just a style of a fangirl bitch On FF studio.

Speaker 1: 10:01

Yeah, because back then people were picking on you. If you pull up, oh I make beats on Fooly Loops. It wasn't a thing. Everyone was like you don't got a motif, you don't got a triton. I remember people didn't understand Fooly Loops the time you were messing with it. Now it's like I didn't see the biggest producers. That's what they're opening up to rock out.

Speaker 2: 10:21

Real shit. It's embarrassing to represent that they was making beats in that fail, because you almost I don't know, you just stereotyped. You were stereotyping them Like, oh, you ain't real producer, you ain't, you just click it in and it was people. I started off just clicking things and I'm like, ooh, the hi hat going in, you throw a snitch.

Speaker 2: 10:43

And you're like, oh, this kind of sounding good, but I didn't deserve at that point I didn't deserve to be a producer because of I wasn't really going in with the interfacing, learning the interfacing and all these other things that you can tweak to get into the craft of it To where you're like, oh, this is a different science. You're like inside of the music. You're not just physically pressing the keys or the buttons, you're inside. You're seeing the components of the science that make the synthesizers and all of that type of stuff. Like you within it.

Speaker 1: 11:20

So I know everybody got that struggle phase in the beginning. When you first making beats you know you're like man, this ain't it. At what point did you know you had something like yo, I actually could make beats. Now. At what point did you know you had something before you could submit it or let another artist jump on or rap on one of them?

Speaker 4: 11:39

Shit. I rapped on my own beats first.

Speaker 3: 11:42

I was just about to ask you. I was just about to ask you.

Speaker 4: 11:45

That's what I'm saying. So the song that I did. I made my first song when I was 16. I made my own beat. I did that bitch on one take and then was I seen the reaction people fucking with it. And I ain't go lie, I had put my phone number on the end of the song. I was like bitch. I thought I was Mike Jones.

Speaker 1: 12:10

I was like yo.

Speaker 4: 12:11

I was like yo, it's your boy, JT, call me. So I put out the phone number. People call me late night brah, fuck with the sun, bro, send me some wooty, woots, blah, some beats, blah, blah, blah, blah. Like Now and I'm 16 at the time tight shit. And that's when I knew, when I had it. You know what I'm saying and it just went from that to just you know. Then, I'm sorry. I met studios and you know they're like damn, gee, you made beats too. I'm like, yeah, so that's how I kind of got my name too, like I was rapping. But I was like, oh, damn, you made beats too. I'm like, yeah, so just kind of just word of mouth, bro, really. And I'm like then it could go somewhere. You know what I'm saying, hell yeah.

Speaker 3: 12:52

You ever had that one beat you created and you felt like it was that one that you didn't want to give up. Oh, hell, yeah, it's actually probably maybe a couple of them. You feel like you still got them, still to this day, like a couple of them, that you don't Go ahead. No, no, no, no, keep going, keep going, like you feel. Like you know, because, as a producer, like I know, like you create that one, you're like damn, should I get this away or should I keep it, or should this go to this certain rapper or this singer, whoever? Like I know it's in the pocket, I know you got that in the folder, but you still got something like that to this day.

Speaker 4: 13:29

No, to be honest, bro, I don't hide beats. I don't cover beats. Like bro, you could be an unknown artist. I'm going to play my hardest beat. I'm dead ass. I never cover beats before. I never cover beats. You know what I'm saying. I never cover beats. Respect you for that.

Speaker 3: 13:45

Yeah, that's important, that's tough.

Speaker 4: 13:47

I never cover beats for my life, ever so yeah, for sure. So how would?

Speaker 1: 13:52

you describe your style? If there is a style, how would you describe it?

Speaker 4: 13:57

Man, I ain't going to lie. It's kind of like it's like all I mean, because I come like the music that I kind of came from like musically background came from all over, so it's kind of like it's like sophisticated hood and nigga beats. That was that shit.

Speaker 1: 14:26

I like that.

Speaker 2: 14:29

I can see there's this one particular style that I heard from you that it's a distinctive style. It reminds me of like Texas, but the classic Texas that have is this Southern Twain, but it's also bluesy, but it have this groove that just make you want to like. You make this certain face when you hear it. It's not hard, it's heavy, it's full, but it's Southern Like when you think of a Southern beat that you might hear, an old Swisher House or a hip scene, the way you just talking, that slick talk, the way you have.

Speaker 2: 15:19

And I heard a few beats that you had that had those elements. And it's a very rare element that not all producers, not anybody, can even tap into. And I remember the first time I was with you and you was going through some beats, it was something that I was like whoa, I said I don't even it'll be rare to find somebody that make these kind. Now it was a broad variation of beats but it was this one style that was just so they're like oh man, I don't even want to say nothing on that, I just want to listen to it and groove and be in the old school Chevy or Cadillac and you just smelling backwoods and going and popping a cornbread and just you know, you could see what you church shoes on too. No, yeah, it was that one style. Oh, that's dope man. Hey, let me tell you something?

Speaker 3: 16:23

You ever heard of a song like you ever heard a song outside a rapper hip hop that actually influenced you? Could you name one that you're like ooh, I probably could do something with that.

Speaker 4: 16:34

Damn man, so much old school stuff. I ain't go lie. I say SOS band. Ok, jimmy Jamin Tell Lewis, one of my favorite producers, so that's like, that's like a lot of my favorite producers, kind of like older producers like Jimmy Jam, terry Lewis, dumb Boys, like Cooper, Chiron, Jimmy Jam and Terry Lewis.

Speaker 4: 16:58

My damn self. Just going through my grandma and my mama CD collection, Like, bro. Like my mama had five different CD books and it'll go from Janet Jackson to Snoop Dogg, from Prince to the Gap Band, from the Gap Band to Exhibit, from Exhibit to Damn Bow Wow, from Bow Wow to fucking the Idley Brothers, from Idley Brothers to fucking Shirley Murdoch. Like all type of shit, bro, like so. Then I got a whole variety of music, bro, inside, like like Jimmy, so yeah.

Speaker 1: 17:33

That's a wide range right there.

Speaker 4: 17:35

Yeah, sure, and that's just probably one damn page of a book type shit. I just name it G shit. So but when I started getting into my personal taste of music like my own, it was kind of more of Three Seas Moffie Project. Pat was my favorite rapper for the show. Like that nigga beat so hard. Oh damn, three like DJ Paul and Juicy Jed all them boys.

Speaker 3: 17:58

What? Yeah, yeah, yeah.

Speaker 4: 18:00

And Three Seas Moffie was actually my first time because I would buy CDs from for entertainment back then and shit.

Speaker 2: 18:11

Like.

Speaker 4: 18:11

I bought CDs. I never bootleg none like real fans of music Don't own no bootleg CDs, so my first time for show for show, love, love. So next thing, you know I had bought me a CD. I just fuck with the cover Because you know how we just move, we move visual people. Sorry, shit, I'm just gonna put it in the heart.

Speaker 4: 18:33

I fucked around and bought a screwed in chop CD. It was a Three Seas, moffie the unbreakable. And then I'm like damn, this shit sound hard Like you feel me Like. So that's why you kind of say like subcontrary, like kind of like more of a Southern Texas thing, because I would buy a screwed in chop Like once that I started buying DJ's true CDs I bought Juventus, great CD screwed in chop. I bought a lot of nigga's big most CD screwed in chop. So yeah, bro, I fucked with Texas. Like that's a big part of my music. You know what I'm saying. Background Texas for show.

Speaker 2: 19:07

Yeah, that's why I noticed that. Yeah, that's why I knew it on the hand. When I was listening to Sony beats I was like whoo, what happened? A whole thing, just what that is because that sound is distinctive to them. It's like some warm syrup just pouring over some biscuits.

Speaker 4: 19:27

But you know what's so crazy, bro, to not that you say that, because? Another reason why is because, also, in Florida, we like shit fast up. Simple niggas on five different drills at the same time, oh man, oh man, oh man, oh man, oh man, oh man. So niggas turn, niggas turn. So if you play them screwed in, chop shit are like that, a low, slower tempo. They're like mm. You know what I'm saying and you know, if you rap on slower beats, you got to really be popping your shit. You know what I'm saying Too. You can't say anything on a slower beat. It kind of like exposed you to what your word, how you rap. So yeah, the show, yeah, yeah.

Speaker 1: 20:07

Do you got a certain approach. When you create in records, what is your approach? Do you start with a certain? Do you start with the drums? You start with the synths? Do you got to have a concept or do you got to get inspired a certain way? What's the room looking like and how do you approach a beat?

Speaker 4: 20:25

Really it's all about the melody I'm all for. I'm picky as fuck when it comes to sounds Like. I'm all for a textured person. So it's kind of like I just can't play a chord and I'm like that's it and I just like, nah, I got it, like, ok, this sound hard. Let me edit this and then, once I get the feeling of it, then I kind of like decipher it. My mind beat a thousand places at one time, so I might be making a beat like five minutes one way and I might just reverse the shit or something, but just change.

Speaker 3: 20:57

Pay attention to the song.

Speaker 4: 20:58

Detail shit you know what. I'm saying I might just change the whole beat around, just about the smallest detail of the beat. That might kind of make me choose on how I want to change it, or you know what I'm saying. Just go full in Like OK, I like this sound, let me just go stick to this and arrange it through this, ok, ok. So this is like sound selection, kind of like what gets me to sound selection.

Speaker 2: 21:27

Sound selection for the show. Please start with the sound.

Speaker 4: 21:30

Yeah, the sounds first, but show it's a few beats that I made with the drum first. But it felt weird because, you know, back then I used to be on YouTube hearing these make beats and scrap with the drum. I'm like what the fuck is this? I think, oh, oh God, what the fuck is this? But then after the nigga, you know, just like you in the kitchen, you just hear the nigga just put in the seasoning and all You're like man, this shit going to be this shit a little plain as fuck. Like nigga, you're putting salt and pepper and a little pepper rica on this shit. But then, when it's done, you be like damn, this is the fool Motherfucker, this is busting.

Speaker 3: 22:03

It's rare. It's rare for you to start just with the instruments and the percussion is just off. Rip, because I'll do it too. I'll start off that way, but I already got the melody going in my head and people don't know what's going wrong? In the room. You know, what I'm saying. So it's rare, but the melody always gets you to start going instantly, because now, when you start with the melody, you already got the percussion in your head already. People don't hear it, it's you the only one that hear it in your head.

Speaker 3: 22:33

So, it sounds funny, but you're cooking it up already in your head.

Speaker 4: 22:37

Yeah, that's why a lot of producers don't cook it up in front of people Because that's like what the fuck? It's like nigga. Sit your ass back, you're in 20 minutes. It's the same beat Like nigga. Relax.

Speaker 2: 22:51

What's the cheapest. You sold a beat for the cheapest Shit.

Speaker 4: 22:56

I ain't going to lie. I was a $25 beat man. I was a $25. No, the day's price is a whole different price. That was a young boy, ok. Now I ain't going to lie. When I was in high school I was selling beats, probably for $250. Like shit. But you know, if it's your dog in the hood, you know he already got it. Let's give him $50, bro, you feel me? Yeah, man dang.

Speaker 3: 23:24

You know what I'm saying.

Speaker 4: 23:26

I say, and a lot of niggas kind of like, shun away from that humbling experience, whatever. But it's just like nah, bro, you got to go through that type shit, you got to build your name up, word of mouth and all that. Niggas feel like they were $1,000. It's $21,000. With no motherfucking values to themselves. No credit, no, nothing. No, you know what I'm saying, Like nah. So that how I built up my name, bro, just humbling beginnings, just free, $25, $50, $75,. You know what I'm saying.

Speaker 1: 23:54

You worked your way up.

Speaker 4: 23:55

You through that? Yeah, you feel me so. Yeah, we show I hold the $50. Beat man back in the G, yeah, yeah.

Speaker 1: 24:02

There's nothing wrong. You put in that work and you was able to add value to your name and get what you deserve. That's dope. I think a lot of people got to approach it like that, especially when you just beginning. There's got to be a certain way to start to get your buzz and the name going before you ask for the prices. That is fair. I don't even know what's a fair price and I don't know what's even a fair price anymore.

Speaker 4: 24:22

You know what I'm saying. It's really just you know your dope is your dope the price you want to put on it? You know what I'm saying so shit, your dope price, your dope price for sure.

Speaker 1: 24:34

Yeah, yeah. So who was the first artist locally that you've worked with, say in Palm Beach? Do you remember who that was?

Speaker 4: 24:44

Damn, my first.

Speaker 1: 24:46

Yeah.

Speaker 4: 24:47

Ever Like the first person.

Speaker 1: 24:49

I'm just curious who the first person is, if we know him and what he at now Like, yeah, I'm just curious on the first person in Palm Beach.

Speaker 4: 24:58

The shit I had deal with was with him. So fuck you, you took me back in time.

Speaker 2: 25:09

That was my question. Was there like a local artist that you was really excited to? Yeah, if you can't that first beat where you was like oh, I'm.

Speaker 1: 25:18

You want to come to the session?

Speaker 4: 25:19

I think I was like a homeboy cousin, right, yeah, you were like a homeboy or like a homeboy or like Come on, cuz we got two and shit. So you know how that shit be so, but um damn, I really can't tell. Probably, probably like.

Speaker 1: 25:35

You never know band who can't get to that probably no-transcript.

Speaker 5: 25:40

Okay, okay.

Speaker 3: 25:42

Those two names.

Speaker 1: 25:43

We know those two names, we know man.

Speaker 4: 25:44

Shout out to the crew. Shout out to T-Dot.

Speaker 4: 25:46

Yeah, for sure I had, like now I'm saying like when I was 15, 16, when I had did my song T-Dot and Cool Kakin and the Boy with Duh, because they jumped on the song, you know what I'm saying and uh, off-route, they ain't no, nothing about me, they ain't first time ever seen me. And uh, they heard it. They're like damn shit, they hop on that bed, that's it. Yeah, go ahead, nigga, I don't go ahead. They rock out. So yeah, pretty much yeah. So I say T-Dot, Cool Kakin, really the first thing, you hop on my shit High key, Not that you're not that high, Shout out to T-Dot.

Speaker 2: 26:20

Shout out to T-Dot what he up to. That's what I was man, what's up I was? Can we even ask what he up to?

Speaker 1: 26:28

I haven't seen him in a minute. No, he was asking what he up to. I haven't seen him in a minute.

Speaker 4: 26:31

I don't even know yeah.

Speaker 2: 26:33

I really don't know, bro, shout out to T-Dot. Yeah, shout out to them. Boys, god bless them.

Speaker 1: 26:37

I know. Recently I've heard you on some trip projects. I don't know if it was the 444 album, 444 album.

Speaker 2: 26:46

You produced the whole thing right.

Speaker 4: 26:49

Not, not a 44. I did the introvert, okay.

Speaker 1: 26:57

Introvert was the whole thing, or some tracks.

Speaker 4: 27:00

The whole thing His last project I ain't go lie Like his last projects. For the past three, three, four years I did the whole thing Like me and Trill man. I'm a dog man, I'm a brother right now. Bro, you feel me yeah, it shows Even like I'm a first big placement Trill, like they got gas to me. You feel me Like Trill, but J very instrument, my instrument in my career for sure.

Speaker 1: 27:24

So how did you meet?

Speaker 4: 27:24

Trill Shit through OZ, through OZ, bro. Okay, like I started going to OZ 2011 and yeah, bro, just I met I'm going to give you a little history, so how it made me kind of brought.

Speaker 4: 27:42

The connection was I used to go to studios and give out my CDs too. I used to burn a CD, put my number on that shit, like bro, like I'm thugging man, I'm a, I'm a at this time. I'm just thugging bro. No managers, no, nothing bro, just nigga, whatever I can. So I just used to burn CDs, beat CDs, and just write my name, write my number. Niggas call me in school, niggas call me. Hey bro, you uh blah, blah, blah, blah. You trap out production beats, blah. And I think 10-4 had got a hold of my beats and me and 10-4, we had worked for a little bit.

Speaker 1: 28:17

Shout out 10-4.

Speaker 4: 28:19

10-4. And then that's, you know. You know the boys, pc, and all them boys that were on the OZ, and he was like, hey, bro, the boys need some beats, blah, blah, blah, and then that's the thing I play beats to cook them up. You know all that. And then it went from I'm at OZ spot. You know what I'm saying Everyday. Okay, at this time, you know what I'm saying.

Speaker 4: 28:38

So yeah so, uh, that pretty much it, bro. Just work on my name, work on my name, work on my name. And then after that, me and triple J, probably linked up, probably like two or three years ago. He just be seeing somebody and y'all working. Then it just you know what I'm saying, you keep seeing them seeing, y'all kind of build that relationship from no type of shit. Yes, sir, you know. Yeah, bro, and then triple J just took it like into my style, you know what I'm saying, and he a legend, he a goat. You know what I'm saying.

Speaker 3: 29:12

And I appreciate that too.

Speaker 4: 29:14

You know what I'm saying. He just always looked out for a nigga bro and always he always shouting me out of the air. But I'm like man, you know, 1040, man, fuck my dog man. Little bro, fuck with little bro. Yeah, so, yeah, yeah. So it was just like that too.

Speaker 1: 29:28

So you know, it's just always maintaining great relationships.

Speaker 4: 29:30

And you know, with a great name, with great relationships, bro, your name just go in all type of rooms, bro, you know what I'm saying. So, yeah, okay, one time for Trill.

Speaker 3: 29:41

Hey, talk about your first placement man. How'd you feel when you got the first place? How'd you feel when you got that placement man? Man this was my first placement.

Speaker 4: 29:52

It was NBA Youngboy my first placement.

Speaker 1: 29:56

Hold on, we got to clap. Oh yeah, yeah, yeah, yeah, big time big up.

Speaker 3: 30:00

Big up. Big up. Yeah, yeah, we just want to pass that.

Speaker 4: 30:03

Yeah, we still NBA, Youngboy, hell yeah. And how that came about was back from OZ Studio, Me and Double A we been knew each other. I posted a beat online. It was so crazy, bro, I made it to be at the crib. I just posted a beat, regular fuck online. I was like we out here on it. And then Double A hit me up here Like, oh, something like this, oh shit for YB. I sent it to bro and then next thing, you know, Youngboy, he right on that bitch life Four days later. So I had posted a beat online. And it's so crazy, we good, yeah, we good, OK yo. So I made the beat December 9. And I posted a day or two later on Snapchat and Instagram. And then next thing, you know, I'm talking to my ex at the time Like I'm going to tell you the whole crazy story.

Speaker 4: 31:06

So I made the beat. So I made the beat, I posted a bitch online. Next thing, you know, I'm saying OK, shall I send it? This is Nat, blah, blah, blah. I talk to my ex at the time Like man, listen man. It's in December when I made the beat. So I'm like man, listen man, about to be a new year. Man Nate's trying to be on top of this shit. Wuh-uh-uh-uh-uh-uh-uh. So she like yeah, nigga, yeah. So I'm like we talk to a female, oh, that shit is wuh-uh-uh-uh-uh-uh. She ain't trying to do that shit. That's the thing, though.

Speaker 4: 31:43

I go back in the crib, broke my phone like 50 minutes calls. I'll tell my like nigga Facebook calls, instagram call I didn't just back. Then Nigga Facebook calls, snapchat call. I think Nigga like regular calls. Nigga hit me up Like hey, bro, check your Instagram. Blah, blah, blah, nigga, young boy. Nigga put a post up, snippered up my shit, somebody watch the phone. That's crazy. So I go back to my ex, I pull up on him. I'm like bitch, look, bitch, look at this shit. Bitch, look at my phone. So that's the shit. Oh my god, oh my god. So I'm like yeah, bitch, yeah, yeah, yeah. So he ain't that shit. So next thing you know, he dropped that shit the summer 13. And everything. And bro, shit just went from there, bro, like that fast it went. No two, like no five.

Speaker 4: 32:29

Six month process Like that my past Bro, that ever came out like four days bro.

Speaker 1: 32:35

So let me just say, you posted this beat on your Instagram.

Speaker 3: 32:38

I posted your snapchat the full like a three minute worth.

Speaker 1: 32:44

What's up said again Like three minutes worth or how like, how did it go?

Speaker 4: 32:47

Nah, hell, no, no-transcript, Just a snitch. Nah, you know how you might make a song, say you in the studio and you hear a song like man, y'all fucking with this shit. You know what I'm saying. People, you try to feed back. So I didn't have no intention, it was going to Young Boy or nothing like that, because I didn't know. You know what I'm saying. So I just posted it like organically, like who y'all here on it Just asking the genuine question? And some people were like, oh, call that. And some people said, oh, young Boy, I'm not the fuck. So next thing, you know, I just then I posted it on Instagram and then the way he was like, oh yo, it's time to get for YB, you send it to me. So I sent it to him and then you know what I'm saying. So that's the real story, bro. It was that fast.

Speaker 2: 33:33

Shout out to the AA for that Nice plug.

Speaker 4: 33:36

Yo, yo, I think that love for that bitch. Tomahawk slam that bitch for a nigga for sure. And then me and Young Boy, we had another song called Drop Out, and then I did that with Drum Dummy, I did that with Drum Dummy and everything. Drum Dummy, he go crazy. Two shout out Drum Dummy for sure. Hey yo, so let me ask you something 1040.

Speaker 1: 34:02

So when an artist or a producer like yourself get a big placement with NBA Young Boy, is it like one of the? Is it life changing? Is it safe to say it's a life changing experience?

Speaker 4: 34:14

Yeah for sure, because it definitely helped your career. It like one thing is just like your credit. It's just like your credit score. You know what I'm saying, so not just like you walk in. It opened up many doors. Now you know what I'm saying Because you got a hot artist on your shit and everything. So it's life changing. When I seen that chat I was like, oh damn, what the fuck Like oh shit, god damn.

Speaker 4: 34:36

Like bro, just a matter of a few days. I don't know, maybe it's be it went out Like it went in. The old bro this wasn't the old beat that I made in a fucking big studio. This was in the room.

Speaker 3: 34:48

Let's talk about it.

Speaker 4: 34:49

Nice, so you know what I'm saying. So all the upcoming producers and shit bro, you ain't got a being no fucking big ass studio or studio at all, you being your housemaker beat. So you kind of say I was there and they were like they're a bad room producer down pretty much.

Speaker 1: 35:07

Wow.

Speaker 4: 35:08

A bad room producer when I made that.

Speaker 1: 35:14

So I'm curious, right as we're talking about that, so NBA Young Boys one of the artists who was let's do a top five? I know Colo G is one of them, right.

Speaker 4: 35:27

For sure, I'm a dog, right, I'm a brother For sure. Okay, black Youngster For sure. Hey, y'all had this shit from me, yeah.

Speaker 1: 35:35

Yeah, yeah, I'm not mistaken. Is it a Soju Slim credit on there as well?

Speaker 4: 35:43

Oh, no, no, no, no, no. I had did that song with Waving Navy Pool, All right.

Speaker 1: 35:49

Okay.

Speaker 4: 35:50

I had Waving Navy Pool and he did a song called Soju Slim. I had made that beat with Shot With Ken. I'm a dog man From Louisiana. Shot with Louisiana, For sure. Louisiana showed me love.

Speaker 1: 36:02

So all the viewers out there, we know this is a resume here. This is a body of work and we know we ain't playing. You know what I'm saying. So that's what's up. That's what's up.

Speaker 4: 36:11

No, for sure, Hell yeah bro.

Speaker 2: 36:13

Do you feel like you get your credit for what you do and contribute and how you put on for where you're from?

Speaker 4: 36:27

Do I get my credit?

Speaker 2: 36:29

You say yeah, do you feel like you get your credit for what you're doing, what you put on, for where you're from?

Speaker 4: 36:38

Yeah for sure. Hell, yeah, Hell, yeah. You know what I'm saying. When they see me, they were like yo, bro, I appreciate what you do for the city. Blah, blah, blah. You put on. You know what I'm saying. I just love giving back to the city and all that shit, bro, because it's just like I remember myself being a fan of everybody back then, growing up like nigga I ain't gonna lie, nigga I had bootlegs some of your music too, back then. So you know what I'm saying. Shout out to you. I'm listening to my PS4. What's it? Your PS4? The big ass fat one, nigga. The coffee shop, all that shit, nigga, all that shit. And then you know, nigga, I should be an OZ shit back then.

Speaker 1: 37:23

I'm gonna say it because I don't shit.

Speaker 4: 37:25

So I remember back then I used to be on this nigga laptop computer back then just going through nigga. I used to go through Shitebeak, all y'all this shit. I was listening. I was a big fan, I used to listen to all y'all shit back then. As soon as the OZ leave, listen to nigga, nigga. I need to type shit, oh god. Nobody don't know.

Speaker 2: 37:45

You know what I'm saying? That's what's up. Listen to rough versions and all I'm a fan.

Speaker 4: 37:55

I remember me being at the bus stop playing y'all boys shit for real on the smart. I didn't have a lot of no damn. What is it called?

Speaker 2: 38:03

Blue two speakers.

Speaker 1: 38:05

I three players, the iPod.

Speaker 4: 38:07

I had one iPod before I think. I think it's my stolen in about like $25. And what else? Let them little fake, little bullshit MP3 players and shit bro.

Speaker 2: 38:20

Okay, they had a lot of.

Speaker 4: 38:24

Yeah, yeah.

Speaker 2: 38:28

I asked that question because in this trickling back to some of our earlier episodes, we talked about the Palm Beach scene. We've always had people that have passed certain thresholds to where they have achieved certain things beyond just our local landscape. But for some reason, the us as a community have never had a chance to benefit off of what others went out and did beyond us in comparison to other markets. So, like in a certain markets, somebody did something, they got on, boom, it blew the door open for everybody. We've had people that have achieved things, whether it's production, writing songs, touring videos, whatever you want to want to call but we have yet been able to collectively benefit off of anything that anybody have done beyond us. So that's why I asked if you feel like you get your credit. That's why I asked when I, when we talked to trip, we feel like what he did in anybody else and everybody's humble.

Speaker 2: 39:48

We are some beautiful people, but it it still keep coming back to complaints. As a unit On one end people that's doing things they happy, they're saying, yeah, it's all working, but then we got a lot of complaints. So then it's like are we, are we popping or we not popping?

Speaker 4: 40:10

back. Okay, I see you trying to say for sure, hey, yeah, see, one thing about that man sometimes I cannot say this. It's like man with Palm Beach was really in his glory days. Man, we had our own club. Like Palm Beach had his own night scene. Like Palm Beach is Palm Beach, like Palm Beach was his own world. Like our own clubs on DJs was moving unit, I think more.

Speaker 4: 40:47

And it's ugly because, like a lot of people from Palm Beach, we usually be down south putting in work. You know I'm saying because there's not really no musical outlet in Palm Beach really high key, ain't no real music labeling Palm Beach. No real media outlets. No, yeah, no real media outlets and all that and everything, because we got the talent. But you, like most of us, we have to go down south to. You know, I'm saying where everything at.

Speaker 4: 41:15

You know I'm saying like a lot of big artists not coming to Palm Beach in the collective people do a lot of niggas stand on, because a lot of niggas do stand Palm Beach, but I didn't, because we don't have no real scenery. No more. Like back then. Yeah, no, man, we had niggas, five clubs you go to at one night you turn, do that no more palm beach. You can't one spot, maybe two, that's it. You know I'm saying back then you had club club. But you know, man, a lot of shit went on long time ago and it's kind of like one got no outlet, no, no nightlife in Palm Beach, no more. So I think that kind of got to do with the scene, because you kind of compare to Atlanta or whatever, if you compare it like that, and then has a nightlife, they have everything. You know, I'm saying they got the. You know I'm saying the media outlets, everything, production, movies. We don't got that in Palm Beach.

Speaker 1: 42:13

But 10 for that. The same time, I think you know, as we talked to a lot of promoters and the event planners in the city, a lot of them didn't feel appreciated. The ones who were in all for us they kind of felt like artists were ungrateful. And then at the same time, when that wasn't an issue, a lot of events I've been to, especially in the urban, we always in the fights to shootings, the stabbing, it always messed up the venues. If I'm a business owner, this happens. This rest up. This messes up Customers returning right. I don't see all in Palm Beach County but we can go to Tyler. Has he go to the moon? That can hold 3000 people and not one incident will pop off. You know what I'm saying. But it's like Palm Beach. I've been to sugar daddy's. Like every time I've been to sugar daddy's they are shooting happen. Three times I've been there three times. A shooting happened three times.

Speaker 2: 43:07

Sugar daddy's, they had titties.

Speaker 1: 43:10

Yeah, so strict. So who's shooting with titties when my? Once we get outside, whether the altercation different, click, see each other, it'll happen. I'm in the parking lot wrapping up with a few homies, everybody running ducking. Every single time I went, I can do that.

Speaker 4: 43:32

And it's sad to say I wanted to say that, but you know, it was kind of like if you from the city, you kind of know, but that really was really that really only thing, it boils down to the bad report card upon beach of your scenery because, like saying time, you know I'm saying we good people, we know I'm saying we want to throw something, then you know, some shit go happen. It's been like if you know, in the midst of some shit, shit going on in, like man, you know, shit go pop off, 10 out of 10, not even 10 out of 10, she go pop off, so kind of like yeah.

Speaker 4: 44:07

It's a safety, bro, and you know the mail.

Speaker 1: 44:09

I'm saying each city they ain't going for that shit, bro, right and even if I'm an investor, I ain't trying to, let's say, if I did have the money and I probably there's. I'm sure there are people out there who want to open the club, but because of the experiences and what's going on, they're like you know what, let me go open up a restaurant. You know what I'm saying? Let me go do that.

Speaker 4: 44:30

Yeah, yeah, man, you know.

Speaker 3: 44:36

No, I was. I was saying that's the reason why the curfew what we got curfew two o'clock curfew. Now we didn't have a curfew back in the day, so we still got that. Yeah, yeah, it ain't going nowhere. We still got a two o'clock curfew. Everything shuts down to everyone.

Speaker 1: 44:50

Palm Beach, palm Beach to my West Palm, palm Beach, palm Beach County. That's what I'm trying to understand.

Speaker 3: 44:54

Palm Beach County.

Speaker 1: 44:56

Everything out.

Speaker 2: 44:57

I've been out past two no clothes.

Speaker 3: 45:00

Like stores, restaurants, clubs, they shut down at two o'clock ain't nothing.

Speaker 2: 45:04

24 hours in Palm Beach we like a whole city.

Speaker 4: 45:07

Now boy back then yeah. Listen, I'm one time I was in Cocoa Florida. Yeah, when I tell you when half bitch clothes at one or two, that big club, only thing open is you in the gas station, that's it. Maybe big dog Like we in the country town bro that big clothes at one or two.

Speaker 1: 45:29

Yeah.

Speaker 4: 45:30

You might be the only like if you were in Port St Louis and it's one or two am. We're the only nigga on the road.

Speaker 2: 45:37

Oh yeah, it feel like everybody.

Speaker 3: 45:39

Everybody Only your let's hear about that T-Pain story, man, I can't go past that. I want to hear that oh yeah, no, he in the session.

Speaker 4: 45:48

He in the session.

Speaker 3: 45:51

He goes to the store.

Speaker 1: 45:54

So 1040, what you felt like. You know what. What is stopping? I want to talk about the older generation. I know there's a young generation and I'm hoping one day we can get some of them on the show and get the touch base with them. But the generation we talking about, the older generation, I want to say some of the artists who are probably over 35. What do you think is held us back? Man, like what? What Cripple does, why we not? We got producers with big placements, we got DJs making some noises out there, but what stopped an artist from Palm Beach really getting to the next level, taking over this whole thing? Damn. What would you say from yo and I'm just, it's just your perspective on you know, from what you've seen what do you think held us back? Is it the marketing? Is it money? Is it egos?

Speaker 4: 46:49

I wouldn't really say the money, because it's kind of like the outlet. The outlet always been held, bro, because you know Miami, you know how everybody look at Palm Beach, broward and everything you say you from oh, same thing, same thing. You know what I'm saying. So everybody kind of always looking at us as a collective with Palm Beach's own world, type shit. So I guess probably I don't know type shit. I probably say bro, you've been on one record.

Speaker 4: 47:17

If everybody came on one record, bro, that should be five. You know, I'm saying I ain't saying everybody got to be on the same, like one big label or nothing like that, but probably, just bro, probably egos, probably. I don't feel like you know, I'm saying they deserve that. They deserve that. Whatever the outlet really, bro, the outlet broke a, palm Beach really had a sound back then. Like Palm Beach was a scene. Back then, bro, like Palm Beach had a scene. I remember seeing that shit.

Speaker 1: 47:47

And think about it right, we just said it. We had Oscars, you had the Chucks, you had nice studios, we had cleaners. You could press up however you want. You want a hundred thousand, you feel me. And we had places like Mirage, who had local, local artist Wednesdays or whatever it was. We had Phantom, we had Vertigo, we had TKO we had local love. We had so many different platforms. We had five, six, one magazine, if we wanted to if we had a Palm Beach awards you don't want to see it.

Speaker 4: 48:21

Y'all never think the label probably ever thought man Palm Beach thugging for real, because I didn't go out that DVD when worldwide bro, yeah, I think of course it was a live Like niggas seen that DVD niggas, terrified of Palm Beach like the first. You Palm Beach, but you could be in Wisconsin somewhere. Come on, palm Beach, get us in thoughts. Oh my god, like you feel me so that didn't help.

Speaker 1: 48:46

Yeah, rick Ross put us in a few songs and you know making this seem like. Hey, you know what?

Speaker 4: 48:51

I mean the corporate world was scared of Palm Beach, that's what got everything to change, man. Because y'all think, like bruh nigga was scared to come, like you got things, they'll get a ass beat. Downtown city plays like you see white people getting beat up in front of businesses.

Speaker 2: 49:14

That's when I said, that's all that I brought up the curse.

Speaker 2: 49:19

That's when I brought up the curse because it we show too much was shown of what, what happened. So if you allow, if you allow somebody to get on and represent the entire county and that end up going viral in a sense, to whatever that would be the entire attitude, then that becomes a liability. Yeah, we don't, as, as the youth, we don't, we're not thinking that. Oh, we represent and you know, we represent a governmental system, we represent the law, we represent and corporations and these the the theme of what's going to come next in the, the governor's hand out it. So when you you do in these things, it's, it's beyond you, especially once you start getting traction because you're thinking, you're thinking like just your homeboys hearing your stuff, you really start moving, that start going into higher hands too, that that don't even really know your music, but they're saying, all right, well, who is this? That's, that's, that's pushing and causing momentum, you know, in our, our region. And then that's when it, you know, it kind of makes it a little bit more difficult and yeah, yeah, that's my take on it.

Speaker 2: 50:46

I just felt like Palm Beach was one, that something we wanted, something different than what we was actually trying to push to the forefront, because we for. For me personally, when I met everybody, people are beautiful people, rather than it was out there living that life for real, in in honest, relaxed reality. These are all amazing people. People taking care of the kids, they, they can cook. A lot of these rappers in Palm Beach can cook toe down, toe down. I had a conversation with toe down and boy, yeah, talking about how to cook rice for like an hour.

Speaker 2: 51:34

Yeah, yeah, you know, they had the bellies talking about cooking rice and, yeah, nah, toby doing his thing.

Speaker 2: 51:44

Uh, it's safe, too safe for us oh yeah, that don't play, that don't play, yeah yeah because, they tried to toe down to put use chicken broth and toe down was like nah, the, the water gonna make the broth, the water gonna make the make the flavor. He didn't want to use no shortcuts and I and I remember this today because I was like man, I respect them so much that they tried to use a shortcut with the chicken chicken broth. The toe down was like no, I'm the water gonna be the broth, you want to use the flavor from that. You're gonna throw you some complete season. He started naming off the season and everything.

Speaker 2: 52:24

I'm like, so when you so, when you get around the community, you see us really beautiful people, although we express and we paint what's what we see and that's actually entertaining and real and a perspective and, I guess, a recording of history. But then beyond that's like man, we some adult people, and that can be that could be misconstrued or it might be held over you for longer than it then it, then it need to be, and we keep referencing gangsters and thugs. This part of like yeah, fifth, six time this thing came up yeah and everybody.

Speaker 2: 53:04

Already, really we all, we all passed that fact now. Now we want to get, we want a lot of people to get the bags though. Many bags to you 1040, many bags many bags.

Speaker 4: 53:19

The y'all brothers. This is all around the show. Yeah, yeah palms bro, palm palm beats to popping bro to not be seen worldwide. Bro, like bigger than that, bro, like we good hearted people you know, yeah, from, uh, one of the richest zip codes in America, but breathe between the hood.

Speaker 4: 53:40

Yeah, you know I'm saying like a lot of niggas don't realize, like bro, where we from bro. Like bro, palm beach has 80 billionaires that stay in palm beach, over 80 billionaires in palm beach. Like Michael Jordan staying palm like niggas favorite athletes staying palm beat like Trump. Trump staying palm be honing everybody, everybody in a mama stay from Jupiter to both of. Yeah, rich is cold in Florida, you feel me, so it's just also. That too is kind of like man. It's a lot of you know I'm saying so you got me man around that's not far from this shit.

Speaker 4: 54:17

So it's kind of like you know, and a lot of history from palm be getting erased to. You see, when they did the movie code like everybody got um, you know I'm saying so. It's just man, they're just real. They palm is just getting real range, bro, and plus, a lot of people from palm beach is not from palm beach, so they don't really give a fuck about the history that we really got. Also, you know I'm saying that's another thing for sure, for sure.

Speaker 1: 54:44

So, uh, what you got cooking is artists and artists you collab with recently. That maybe that's. Uh, you know, you know, you just waiting for those records to come out that you could speak on shit man god, for I don't know if I can really say oh, I don't know, I don't know I? I said I figured those were for shot, all right give.

Speaker 2: 55:06

Give us the hint what city they from she is something from Philly something that, okay, you know.

Speaker 4: 55:18

So you're man, are you working bro? Working, bro, and and the thing about it is, it's it's just, bro, like every day is just some brand new shit, bro. You know, I'm saying like it's a blessing, bro, like everything I prayed for, like it came to pass and like stuff. I didn't expect to have you happy, like you feel me, bro. So it's still a journey, bro, and it's a career too, bro, so it's just like it's not like a, it's a career, so a nigga still be doing shit here and there, learning and learning more, like deep into music, and learning other cultures and genres and shit, and seeing what I could. You know I'm saying tap into okay, so that's good.

Speaker 1: 55:57

So you thinking about experimenting outside of hip hop?

Speaker 2: 55:59

afro, beach, afro, you know I'm Jamaican bro so you know, I'm saying so oh oh all right, I thought you was tamer, now man listen, my pops, uh, a quick live story, my pops.

Speaker 4: 56:18

He did uh 18 years actually and uh, he got a child with 18 years and I was like four months and uh, and you know, he had nine and uh, you know I visited him. Uh, jamaica nine since he's been not. You know, I'm saying me, my pops spent time with each other. Now, since he's been a free man, and uh you know, just tapping back into my roots and everything nine and all that. You know I'm from floccas, you know I'm saying yeah, it's community, martin gobay, you know I'm saying so I know I'm man, I'm in the hood, so listen.

Speaker 4: 56:52

So is there all that shit? Just everything that I was doing back then, not everything? You know how life here, bro? She just started making excuse me as you get older, so yeah, yeah yeah, bro, it's a life journey because, bro, life is music. Bro, you feel me, so yeah right, that's what.

Speaker 1: 57:08

So? No, that's yeah I'm happy to hear that. I'm happy to hear that, uh, what would be? Uh, I know you, you know what would be one advice you would give to uh, to an upcoming producer. Right now, like in the times we in any advice you want to give him, um out there that they're somebody who's young and upcoming and want to get into the journey man, um, build yourself up first.

Speaker 4: 57:32

You know I'm saying uh, uh, study music, learn music. Uh, don't be no fuck nigga for sure. Uh, bro, just maintain. You know, I'm saying character, um, everything a lesson, not no losses, that's nothing too. Like all my, I ain't gonna say phase, but like my can I say shortcomings.

Speaker 4: 57:57

You know I'm saying pretty much like that, like my shortcomings, because, bro, it's career. So you know I play sports too, so it's just like each session I look at it as a game. You know I'm saying like, okay, then I should have did this, so next time let me prep myself up with a little motive. So, just like, just study yourself, just study yourself and, um, study music, um, and bro, just have a pretty heart, pretty heart, bro, and um, you ain't gotta try to be on everything. You know I'm saying all money and good money too, that's another thing. Like niggas, you know I'm saying everything that's in your face ain't good for you. You know I'm. You know I'm saying you might see a fucking food table of food.

Speaker 4: 58:37

Don't mean you don't want to be on everything, bro, you know I'm saying you always want to be on the right side of history, for sure always.

Speaker 1: 58:49

Hey, yeah, that's uh, yes, uh, um. Do you have any aspirations outside of music, like outside of production? Is there anything else you got your eyes on? Like you say used to rap, is that something that's completely shot at this point?

Speaker 4: 59:02

uh, uh nah, hell, nah, I don't want to be no rapper, but still, yeah, I'm gonna put a bulletproof vest on to be a rapper, nah, hell no I don't know, yeah, but uh, yeah, bro, really bro, just I ain't go live.

Speaker 4: 59:23

I want to be on my Qunci Jones chip, be on my CEO chip mode. You know I'm saying because Just seeing how I can. Also, you know I'm saying like it feel good also just helping out people and helping them getting a first play, because I remember the first time I got my first play and I Double, help me get my first play. You know I'm saying so. It's just like when I help people get their first play, it's just like. It's like a forever going on give. You know I'm saying so just like, man, as long as I do good, help people, lie, help their careers out bro, that's good enough for me. Bro, whatever, god bless you with bro. You know I love that. So just really be on my CEO shit bro, soon for sure.

Speaker 1: 1:00:02

That's the loot most people won't you know. Consider you already looking out for the future. You know what I'm saying. That's, that's dope. That's dope. We need more individuals like yourself, man. I think the, the county, the culture will be a lot further if we had more people. Not only I mean. I know you got to get yourself right first, but when you do, you know you're bringing others on board. That's dope.

Speaker 4: 1:00:22

Yeah, for sure. Hey yo bro, cuz it's just like it's community bro. And then like just seeing, like even when I'm in Miami I look around sometimes, like sometimes I might look around the room like damn, this is straight palm beach niggas in the room, what the fuck yeah, like yeah but we in Miami doing big shit though.

Speaker 4: 1:00:40

You know I'm saying so just like I'd be. Look, I'm like nah bruh, like Nah, bro, palm beach, man, cuz Palm Beach got some of the top producers in the game, bro, like that producer down there, each big artist is a palm beach nigga behind it. So it's so, it's the rich, it's really that's behind palm beach. But it's just like back to what we were saying earlier, like man, how can we Fix this situation? You know, I'm saying because everything that's going on is down to palm beach.

Speaker 3: 1:01:09

So we a low key gym.

Speaker 4: 1:01:11

Man, a gym brother, show bro palm beach. It's from songwriters. When I'm down Songwriter, you might see a nigga. You don't know. You might think he probably from somewhere.

Speaker 3: 1:01:23

You know, I've always, I've always said um. I think I was a teenager in high school I said, uh, man, we were, we're palm beaches, a gym, we got everybody here, we got songwriters, we got producers, we got athletes to football, soccer, uh, basketball, um to rappers, to singers, to producers. We, it's okay, have it. And we, I don't know. I always said we have to all come together and kind of like how you said man, um, not no label thing. If it's, if it has to be that, then it has to. It could be that, but we, we got to find a way, I think it's within us to come together to get this thing to work, man, because it's, it's just too much of us here to not make.

Speaker 4: 1:02:07

Is too much like. I don't know, maybe we come to some big-ass conglomerate type. Shit bro, everything is here. Bro. Like like, you know, like how to make a cake with all the ingredients right in our face to make this big, all the ingredients right here. So it's just like.

Speaker 2: 1:02:33

I think, if we I think, Listen, I just figured. I just figured out. Um, what's gonna fix it? All you listening? Oh, we all just got to make exposure the biggest podcast that way. When anybody, when anybody drop, if this is the biggest outlet, yeah, when anybody drop, nothing ain't gonna go unheard back, back.

Speaker 4: 1:03:02

I just I think.

Speaker 3: 1:03:10

But everybody want a piece of the pie, so I don't know, man, that's, that's just one recipe.

Speaker 4: 1:03:16

Man, a lot of things. You want a hundred percent of nothing, bro, that's all need to be wanting. You know I'm saying like a pie made for a reason you feel me like. That's another. I probably say that sometimes, sometimes everybody just want they own.

Speaker 4: 1:03:29

But, bro, what's a hundred percent of nothing, bro? Mm-hmm, mm-hmm and that's and, and that's one thing, that OZ and shy talk. They're like man. Because you know it's just like bro, we come from the hood. You know I'm saying because you know it's just like. We always think that tomorrow, try to fuck us over, are we all? You know I'm saying because you know we come from. So sometimes we we're we from, we just want ownership. You know, I'm saying, but sometimes it's like, bro, you got to give a little to get something brain, you got to work your way up, you got to go through the system, got learning shit, bro. So I probably say that, bro, sometimes they be wanting a hundred percent of something and down those shit about it and you get a hundred percent of nothing. And then they probably come to that. Then be like man with the fucking flat ass cake. Man, what the fuck like bro, you would have Cool three people help you with this cake right, that's all.

Speaker 4: 1:04:25

Right, but you cook yourself and not nobody don't get to eat right, you know.

Speaker 1: 1:04:33

I do got a question too. Um, I got, I do got. One more question that's definitely on my mind is um, have you ever had a situation where you, you know you produce this record and sometimes, as producers, um, you guys have idea, for you probably got the no, this is the tone, or this is the topic it's got to be about, but then the artist goes in a totally different direction with the record. Have you ever had a situation like that? And, um, how did you approach it? Were you comfortable enough to tell that artist your input and how was that received? Damn, and you ain't got to say the person name, of course, but I just want to. We just talk about the situation.

Speaker 4: 1:05:15

Hey, yeah okay. Yeah, I'm one time I try to be like oh yeah, yo, I feel this shit. It was a female artist in there, thank you, come on, most people they listen. Okay, you know, I'm like why I'm, why I'm saying line. So I saw a slide to be playing. I would like say something, something, something, something. Yeah, my pussy, what a dudududu she like. Uh, no, I would like All right, you got that. Yeah, you got that.

Speaker 5: 1:05:49

You were so sure I had said and she was like oh, you know, I would like.

Speaker 3: 1:05:57

Hey what.

Speaker 4: 1:05:59

I was like fuck.

Speaker 1: 1:06:02

We, you know, just doing her own thing with the record.

Speaker 4: 1:06:06

I don't even think she even came up. Oh, I'll bet you did. No, you know how sometimes, see, and that's another thing too with a lot of young producers I might go say young, but a lot of upcoming producers. Man, just like man. Job, because I already rap on your shit, don't mean to go come out right. So, 10 out of 10, you might be working on this project for six months to you, you would see, from six months to you, you with this person every day. So y'all loving this music, y'all hating this music, and you might not make the cut, then what you know I'm saying. So it's just like man, you need strong faith. You know I'm saying paper as a must-see, for real, bro, like Bro, like you really need faith in this, bro, like you need faith because 10 out of 10 you get paid for that shit from. You get paid then like a year later for the song. There are no tight shit. So it's just like anything you do, you just think a next year.

Speaker 2: 1:07:04

You ain't know what happened.

Speaker 4: 1:07:06

You know, I'm saying so you feel me that's, that's.

Speaker 2: 1:07:10

Um, that's the part of it. That's a part of it I really hate. They'll be they'll and they'll. And I've seen certain contracts. They're intentionally right in when you will get paid after a certain, after a certain they letting you know you the last person gonna get any money. But we want you to do all of this work up front.

Speaker 4: 1:07:36

Yeah, ain't got a lot.

Speaker 2: 1:07:37

You know, sometimes when the money there, the money there, you in it's been situations where artists would get mad I mean producers get mad at the artist but it's outside of the artist because it's in a contract that this money got to come from, some, from somewhere else in a budget that's already approved. But then everybody running around and then you, you, you, waiting all this time and you ain't even they ain't even getting paid for the work. So it's very frustrating and I've had and I did stuff where people ain't never get paid and we worked for a while and they never get paid, and from big producers and everything like. Fortunately they some of them was already well off the way, or you know, they got money, so it ain't nothing for them to go and just studio hop, lay stuff, studio hop, so they not even thinking they are they in that cycle to where these random checks just coming.

Speaker 2: 1:08:35

So now it's like all right, I'm not these random checks coming, because I'm going around doing crazy amounts of work and all these studios but Nothing and it's finally trickling in. So it's like this delaying overlap, but that but that mess it up to that, that process mess it up for those who Are putting in legitimate work and ain't guarantee Nothing, and it just it mess up the spirit of the of the American dream.

Speaker 2: 1:09:10

I feel like I feel, like these producers that be coming in these sessions, like you need to talk to your label because I need a stipend or something. Like we ain't coming in here for nothing. Like people got kids and everything is they got. They got a dishwasher that's broke. Like no, we got to like it, bro. Yeah.

Speaker 4: 1:09:34

Yo, bro, that I ain't gonna lie that that's tough to the suck on because it's just like hey, what you saying?

Speaker 2: 1:09:44

Hey, hey, say the top 10 and it's going again.

Speaker 4: 1:09:52

Yeah. But um, it's just like bro, like man. It's a business, bro, it's it's still a job. It's like Walmart Don't give a fuck if you work at anything Walmart, cvs, the bit, the Kennel Club or something. They don't give a fuck how you get there. They don't give a fuck what you ate. They don't give a fuck bitch. If your bitch, your baby, gotta goddamn infection, they'll give a fuck about none of that. Can you come in today? Not, okay, so I'll cover your shoes. If you ain't, yeah, it's fine. So, man, that's why sometimes you just gotta get your hustle on. You gotta you know I'm saying, do what you gotta do, bro. If you got a, you know I'm saying a team, a little team. If you got your girlfriend, or if you're a female, got your boyfriend and you grinding, get into it. Man, you just gotta have people that believe in you know I'm saying believe in you. And you know I'm saying then, once you build your book catalog, you really got a word about that, vince, miss and everything. Oh, see, come on.

Speaker 5: 1:11:18

Working late. You know I should have told the story of my order and if you, I hate and crouching on a and 1040s, but yeah me and Schreiber working with with Callit right, it was late night.

Speaker 5: 1:11:28

We're leaving the studio and hit factories right around the corner from Callit's place. So we get there and T-Pain is there, there's a, there's a van with like a strip pole and you know all sorts of music was coming out of there. He I guess he had a Lamborghini or a Ferrari right there, a nice red one. And then we go to where he's standing and we see a, an orange hearse. You know her's like Funeral yeah, it was an orange hearse. Right and out of the back of the hearse it's open right and there's a coffin sticking out of it. And then over the lid of the coffin that's open, there were four LED screens playing porn. And Then when we look inside the coffin, there's a, there's a skeleton in there with T-Pain's you know huge big-ass chain on the skeleton and Me and Schreiber looking at each other like what the?

Speaker 2: 1:12:34

fuck in a dream? Yeah, this is.

Speaker 5: 1:12:36

T-Pain turns around to us and he's sitting there, he's standing next to us drinking his nouveau and, by the way, I still have the nouveau bottle that he gave us and he turns on it goes. Yeah, that's what happens when you make a lot of money, so I will send you the picture so you can.

Speaker 1: 1:12:59

Please, that'll be dope. I.

Speaker 5: 1:13:03

Will send you the pictures, because I'm not lying about this shit.

Speaker 2: 1:13:06

This is something that.

Speaker 5: 1:13:08

I cannot make up and I forgot to tell.

Speaker 1: 1:13:12

What that? Yeah, it don't sound real. To your point, it don't sound real.

Speaker 5: 1:13:17

But when you?

Speaker 4: 1:13:20

See me watch a midget porn. I seen it Interracial, mr Pong sure.

Speaker 2: 1:13:27

Interracial mr Pong yeah, don't tell nobody. But he said on the pot, that's, that's I.

Speaker 5: 1:13:59

Respect for T-Pain.

Speaker 1: 1:14:10

Oh, thank you. Oh, see what was waiting for you to come back. Hey, 1040, we appreciate this and legend. I want to say first of all, thank you for blessing us with your presence. Continue doing the great work that you're doing in the world, because I know you from Palm Beach, but you're impacting, you're touching the world out there and we just want to say from expando, from myself and I know the boys gonna speak to salute man, because I've been hearing the name for so long. It is amazing to put a name with a face and I just want to salute you, brother, for doing what you do, and we are trying to be the change, uh, in south Florida and in our community, palm Beach, of having a outlet where people like yourself Could definitely get their flowers and we can definitely push the culture forward in the entertainment business and beyond.

Speaker 4: 1:15:04

But show that brother for show love. Appreciate you, brother much blessings y'all way, bro. Appreciate me having on y'all show, bro, and then but the game plan. You know we're chopping it up bro.

Speaker 1: 1:15:15

Yeah it.

Speaker 4: 1:15:17

It go get though, bro. We show a Palm Beach of rich county bro. It's so much rich history, bro. And then, once y'all stop bringing on it, then that reach, you know, I'm saying that's growing and growing and growing like right. Yeah, I'm gonna go out story to tell bro.

Speaker 1: 1:15:34

Oh, that's, I know that's right.

Speaker 2: 1:15:36

So all right, man, hey, appreciate you. Thank you for doing your thing, for all that you do for us, um, in your travels, beyond what we actually see in your representation. So that's a beautiful thing. We don't always get to speak to the people that's Representing us outside of our knowledge.

Speaker 3: 1:16:01

No, I just appreciate you for being in a great inspiration man, um Inspiration to to just Palm Beach County. Man Appreciate you, man for show brother.

Speaker 4: 1:16:10

Love bro, yeah sure. And 1040.

Speaker 1: 1:16:12

if people want to get at you, what are your handles? Do you got a website like how can people get in contact with you?

Speaker 4: 1:16:19

Uh, if you want to get in contact with me, my instagram is um 1040, with two underscores um my twitter.

Speaker 3: 1:16:32

Is it Twitter Now?

Speaker 4: 1:16:39

I Midship on interracial, but um my twitter or my ex is um. I got my 40 um and that's pretty much it, bro you know, okay, all that be on my instagram and my twitter. That's pretty much it. Um, I just be on tiktok just looking at random shit from time to time. I just looking up new artists or some shit.

Speaker 4: 1:17:02

So right you know tiktok like that, but uh, uh, that's pretty much it, bro. That's my handle is right there. Um new shit on the way to that 24. I'm kicking the dough um Palm Beach with me, bro. Palm Beach forever.

Speaker 1: 1:17:18

I tuned into another episode of exposure and we are.

Speaker 3: 1:17:22

Ah, hey, yes um, it's more than just a podcast.