Meet Jelie

In this episode of Let's Get Bizzy, host Bizzy sits down with the multi-talented producer, engineer, and artist Jelie to dive deep into her journey, creative process, and relentless grind. From her work at Youth on Record to balancing a 9-to-5 while chasing her musical dreams, Jelie shares what it takes to make it in the music industry while staying true to her sound.

The conversation explores her early inspirations, the influence of family, the challenges of being a young Black female in hip-hop, and the hurdles of navigating the Denver music scene. Jelie also talks about her self-sufficiency in music production, her YouTube tutorials teaching Reason and Ableton, and why she refuses to conform to mainstream "type beats."

🔥 Plus, we break down her hard-hitting track “Hush” and get insight into the meaning behind her latest projects. If you’re an artist, producer, or just a fan of raw talent and hustle, you won’t want to miss this one!

🎧 Listen now!

Transcript

It's your fucking boy. What's up everybody? Welcome to another episode of Let's Get Busy. Put the boy dudes busy. Today, we are joined by the one and only, July, who is actually, an employee here at Youth On Record.

I didn't know about that, but it's a great segue into our, our gratitude segment saying thank you to Youth On Record for letting us use the space. Please be sure to come down for their open labs, and those are Monday and Wednesday, three to six. Right? Wednesday, Friday. Wednesday, Friday, it got changed.

Wednesday, Friday, three to six. Eleven to three. And Saturday, eleven to three. And July is here to help you with all your production and engineering needs during those times. So come check her out.

Your pronoun is she? Yeah? Yes. Okay. Cool.

Well, thank you to Jesus Rodriguez too. Thank you, Jesus. We love you. Yes. We do.

I need to get him on an episode just by himself. Yeah. Yeah. For sure. Okay.

July, what's up? What are you doing? I'm here at youth on record for the Let's Get Busy podcast. Hell, yeah. That's great.

We're excited to have you. Thank you. I'm excited to be here. Yeah. Ever since I met you at the block party, and you're very laid back, but there's just something that was telling me, like, there's a lot of talent in this person.

And so I looked you up, and the hunches were correct. I have not I have not felt any sort of way about a local producer. Like, I felt about the way you produce, you know. It's just, like, top notch. Yeah.

So it's very exciting to have somebody so talented in the studio today. What'd you do yesterday? Yesterday, I well, if we start at midnight, I was at the studio, until probably about 4AM. And then I went home, and I had to set up I got a new Gliff external hard drive because my laptop is kinda running out of space. Mhmm.

So I needed to transfer a lot over, and most of what's taking up space on my laptop is my files, like my sound library. So I transferred that over to the Glyph. After that, I went to sleep. The reason I had to do that before bed is because I have client mixes I need to finish. Uh-huh.

And I can't have can't be trying to do that later on when I need to send the mixes out because I have to mix. So then I went to sleep, and then, I had to come here to Utah on record for open lab. So that was from ten until three. But I got here a bit late because I forgot to set my alarm. Going to sleep at 4AM, you have to remember to set your alarm.

Always. Yes. Yeah. So after that, I had, to go mix those sessions I prepped the Gliff for. Mhmm.

So there was about three songs there. And then I had to, watch my brother and sister, so I was hanging out with them. I was supposed to be in the studio, but I had to cancel. So Okay. Yeah.

Yeah. So what time did you wake up this morning then? If you you didn't go to bed so far? This morning well, last night, I went to bed at approximately two. So this morning, I woke up at, like, nine.

Word. Yeah. Okay. Yeah. Because you don't I mean, I've been watching you on Instagram and shit, and you're usually up pretty late working.

Yeah. Up pretty late. Is that, is that just something because of the passion, or do you are you just up late generally? Passion. Just because if I wanna do it, I have to make time.

Exactly. So I like I I have a regular nine to five. Okay. Where do you do nine to five? I work at the airport at City Walk.

I'm a cashier at an Asian restaurant in the airport, like, literally. I just started that. I wasn't doing that forever. But because I do that, I work, seven to three. Yeah.

So that means that I have sixteen hours left in my day. Mhmm. So I have to make something happen in between my being here at Youth On Record and then, like, other contracting stuff I do for Hotbox or running Final Friday in the summer. I have to find time to do music. Yeah.

So that's why I'm up late. I get you. Yeah. Yeah. I, I have to do the same thing usually just because, I work nine to five.

I have a daughter. I go to school on Mondays Mhmm. For, like, my electrical stuff. And I do, like, financial work for Free Music for Free People. I help set up vibes night.

And, and then lately with the Youth on Record Fellowship, we're, like, setting up a show. Definitely. Yeah. So it's just like I have to make I have to stay up late if I want any time to do anything music wise. Exactly.

And then it's so frustrating when you gotta wake up in the morning for work. Oh, yeah. Yeah. I always say it's temporary. I started Yeah.

Like, three weeks ago. I definitely don't plan on staying there forever. I just wanna stack up some money for my next project release. Mhmm. Probably, like, duck off for a little bit as far as, like, social media goes Mhmm.

And just get everything together, come back stronger. Good. Do you live on your own? No. I live with my grandma.

I've been with my grandma since I was five. That's tight. Yeah. That's good. Yeah.

I was living with my grandma up until a few months ago when she moved out. Okay. Yeah. Now I got like, my best friend is my roommate, but it's not bad. She moved out on you?

Well, that was kind of the plan. They usually kick you out. Well, the plan was, because me and my daughter's mom split up. And so I, like, needed some help just to get on my feet or whatever. So she's like, alright.

Well, I'll move out there to Springs with you. Like, I'll move into a place with you Mhmm. For a year and, and just give you some time to, like, get on your feet and stuff. And so that's what she did. That's love.

Yeah. It's real love. And, like, she takes care of my daughter when I go to work, when her mom doesn't have her. Mhmm. And so she's just been, like, super helpful.

Yeah. Gotta love grandmas. For that. Yeah. Definitely.

Always. Yeah. Yeah. She, I didn't live with her as a kid, but she liked definitely helped raise me for sure. And I think the shows too were very similar.

Her and I got a lot of the same tendencies. Oh, yeah. I'm sure you can relate. A little bit. Yeah.

I have a weird family dynamic. Mhmm. I think me and my grandma probably never had a conversation longer than ten minutes. And how old are you? I'm 22.

So in the seventeen years that you've lived out there? Yeah. We I'm I'm very quiet. So it was like and she had to work. So she was like the single parent.

Neither one of my parents were, like, around around. They were, you know, in a state, but they weren't, you know, there. I didn't live with them. So my grandma, she had to work twelve hour shifts. So, she's a CNA.

So her shifts would be, like, seven to seven. Mhmm. 7AM to seven at night. So that means she'd be out the door by 6AM. I have to be at school at eight, so she'd just get my breakfast ready, put it in the microwave for me.

So I'd warm up my breakfast once I got up, get myself ready to go to school, go to school, come home at 03:30 when I get home or whatever. She had my lunch ready too. So I would eat my lunch and wait for her to get home. She'd get home in about 07:30, eight. And it was like that every day?

Every day. Monday through Sunday? Yeah. Yeah. And then if she had a day off, I'm sure she was sleeping, If she had a day off, she was watching TV.

We didn't eat dinner together. We ate dinner in our separate rooms. My grandma is not American. So all the, like, American stuff that I grew up seeing on TV, families eating dinner together, and, like, hearing stories about childhood, like, none of that happened with my grandma. So she's from Trinidad And Tobago.

Uh-huh. So all those American rituals did not, you know, make it to my childhood. Yeah. How do you feel about that now? Are you, like, salty about it at all?

No. I don't care because I didn't know what I was missing then. So it's like, what am I This is what you were given. Yeah. Make it aware.

So I mean, I love my grandma very much. I understand the I understand the dynamic of our relationship. I didn't ask for anything else. I didn't know what to expect. But, I mean, how can you expect someone who's not American to do American things?

Right. So Yeah. I I didn't, I guess I didn't even ever consider that some of those were American traditions. Yeah. They are.

Are you I can't remember if you said you were watching your nieces and nephews or you said brothers and sisters? Brother and sister. Okay. So you're not an only child. I was until I was 18.

Word. That's crazy. Yeah. Yeah. That's nuts.

I was an only child till 12 and I thought that was old. Yeah. Yeah. Oh, man. But then I do have a sister who was born when I was 20.

Okay. Yeah. So it's like she's almost the same age as my daughter, which is nice for them because they get to hang out with me. Yeah. Definitely.

Mhmm. Do they live with, your parents? My brother and sister live with my mom. They're my mom's kids. Okay.

Yeah. They're four. But they live, like, fifteen minutes away. So So you see them often? Yeah.

That's good. Why don't why did you live with your grandmother from such a young age? My mom was she was 22 when she had me. She was still going through, like, party phase. Mhmm.

Both of my parents were, like, in and out of prison, drug deals. My dad was in a gang. So it was definitely more stable for me to stay with my grandma Mhmm. Than when the time came and I could live with my mom. My mom moved to Las Vegas, Nevada.

And, I didn't wanna be out there with her. I'd rather be with my grandma, so I was comfortable. And, like, when I was with my mom in Las Vegas, it was like I never really seen the outside of the apartment complex that we were in because my my mom had to work, and I didn't really like her friends, kids. That's who I had to hang out with. Didn't really have a choice.

So I wanted to go back with my grandma. Yeah. So that was there for just a little bit. Yeah. Like a summer or so.

And yeah. Like a summer. And my mom moved to Atlanta after that with my auntie, her sister. And I stayed out there for a summer and went back with my grandma. I just didn't I didn't feel comfortable anywhere else.

I didn't not that I had, like, support at my grandma's because there definitely could have been more support. I wasn't bothered. I think that's what I liked. I didn't have to deal with anyone telling me what to do all day because my grandma was gone. Yeah.

Does does any of that have, influence on you getting involved with music? No. My grandma didn't influence me to get involved with music at all. It was actually my dad, the early years. Mhmm.

When my dad was around before five. So, like, zero to five, my dad was a rapper. Mhmm. So he had all this music equipment, and I would go with him to his friend's house to use it. Actually, when he got out of prison, he would stay with me and my grandma in the halfway house.

So all his studio equipment was at his friend's house. He lived, like, ten minutes away. We would go over there sometimes, and, he had this drum machine, and he had, like, I think two mics. I think they were, like, SM 50 sevens. I don't think it was anything super fancy.

He had That's crazy memory. Yeah. He had all kinds of stuff, but it's so, like, old and archaic. I I don't know what none of it is. Yeah.

Because I didn't know what it was then. I just knew it did something. Damn. So that was that'd be around or probably even before, like, February, maybe around February. It was just was shit making 02/2003?

Transition to digital by then? Were things getting pretty digital? My dad wasn't making that transition what the world was. Yeah. They couldn't figure out how to use the music software to make a beat.

Yeah. They wanted me to figure it out. Yeah. Yeah. Definitely.

Well, you definitely figured it out. I did. So They did not happen. No. Still to this day?

No. Them digital audio workstations were trash. I don't know how you could figure it out. We was using Magic's Music Maker. Uh-huh.

There was so many glitches and buzzes. Not. And he's Yeah. He used that. He's like, it was trash.

Yeah. It was terrible. Like, if I was, what, eight and couldn't figure it out, there's no way grown 40, 30 five, whatever year old man could figure that out. It was terrible. Yeah.

Well, you don't think they could figure it out with the station or with the dolls who got now? This shit's pretty clean. If my if I gave my dad, a computer with Ableton Live, it would be broken in twenty four hours. Because he gets so pissed. Yes.

Like, he's he hasn't even had a cell phone for longer than a couple weeks. Like Damn. He will throw the phone against the wall. Mhmm. My dad is not good with technology.

Yeah. At all. Just gotta go to space and back. It takes a while. Yeah.

Basically. Sometimes. That's crazy though that you can remember all that from such a young age, like, even just the the shitty equipment that they were using. Yeah. Well My memory don't work that good.

I don't know if it was it was necessarily considered shitty, but it was analog and it was, like, the the affordable stuff for them because, you know, analog is expensive. But, hey, I don't remember if it's shitty or not. I just remember. You just remember what it was? Stuff everywhere.

Yeah. Yeah. That's cool. So did you because I know I've heard you say a couple times that you, like, wanted to rap from a young age for sure. Like Yeah.

You always say, I wanted to be a rapper. Like, Yeah. Basically. But was it the same way with producing? Did you know that you wanted to produce at a young age too?

I didn't. One of my friends in high school, Richie, he introduced me to Reason five. That's what his father used to use. He goes by the name of mister Droopy Loke. He used Reason five, and he showed me how he made his beats.

They were, like, super orchestral because Reason five comes with a whole bunch of orchestra sounds. Mhmm. So I thought they were dope, so I went and, you know, what, I was 14. So 14 year olds, everybody knows how to download illegal software. Yeah.

So I went and download the crack version of reason five, started making beats. My first beats weren't terrible, but they weren't great either. But that was the start of it. Freshman year of high school, I started making beats because I couldn't find the sound that I wanted. Mhmm.

Not that I just couldn't afford beats. I definitely could not. I didn't have a job. I was 14 in high school. But I just didn't hear the sound of beats that I wanted, so I wanted to learn how to do it.

Plus, around that time, there was, a lot of rappers were producing. Like, I was big into Hopsin' at the time. Yeah. He was making his own beats. Mhmm.

So I had a lot of, funk volume sounding productions at the time. Yeah. So, yeah. That's how that happened. Yeah.

Funk volume was big in, my little my little group in high school too. Yeah. I was always kinda like I was I, like, always kinda teetered on how I felt about Hobson, though. Mhmm. And then I remember I just got super salty with them because I forget what year it was.

Probably like 02/2013. Something like that. Like, whatever year all I I can only remember, it was the day that the Broncos lost the Super Bowl to the Seahawks Mhmm. Because we had a bunch of family over for that. And my dad was like, you need you should get out of the house.

After everybody left, it was just him and my stepmom and me. And he was like, you should take a little break. You should, like, get out of there. So he's like, go find something to do. I'll pay for it.

I was like, alright. And so Hopson and Dilated Peoples were performing that night. Mhmm. And I never seen Dilated Peoples. I didn't even know who they were.

But I was like, oh, I'll go check out the Hopson show. And Dilated Peoples was the opener Mhmm. And they fucking killed it. And, like, I just fell in love, like, just watching them. I was like, this is this is amazing.

Like, this is great. And then Hopson came out, and he was doing good and stuff. And then he, called people up for his lunch table cipher segment that he does sometimes. Yeah. And I just wanted to be on that stage so bad.

So I, like, climbed I think it was at Cervantes. I climbed on the speaker so that he would see me. Mhmm. And I don't even know what he said. All I know is that he said something to me and the crowd laughed.

And I got super embarrassed. And so I was like, from that day on, I was like, oh, oh, fuck Hopson. Like yeah. Like, it's so I would have said it too. Yeah.

By that time, I fell out of love with Hopson. Yeah. I was more a Dizzy Wright fan. Dizzy Wright was the shit. And I, like, I didn't even notice until I actually got older.

Smokeout Conversations is one of my favorite albums of all time. Just because, like, that album, he was still in his adolescence yet so mature Mhmm. When he put that out. But with Hopsin', I was definitely a fan before Dizzy Wright came along. Mhmm.

I think I just fell out of love because I didn't, like, I didn't relate to anything he was saying. Yeah. Yeah. I I mean, he seems to, like, have, some some, anger issues in, like, his old music for sure. And, like, it was hard that was hard for me to relate to as well.

He did just release a song recently, and it was, like, just talking about kinda like the same thing that he always talks about, just not feeling appreciated in the music industry and, like, gonna quit. I stopped paying attention. Yeah. I'm like I can't respect artists who make songs that that have that kind of stature, make songs like that about not being appreciated when you constantly sell out shows. Yeah.

And, like, everybody isn't Jay z, everybody isn't Kendrick Lamar. And if you wanted to be that, you could. Yeah. That's on you to go find those resources to do that. Now, like, Wale.

Mhmm. He made the same complaints. You know how many people stopped respecting him and stopped listening to him because all he could do was complain? Mhmm. It seems like they just obviously, they want attention.

Yeah. They want more than what they got. Right? Right. Yeah.

No. I can't respect that. But it's relatable. I mean, I It's relatable. But also me being who I am, even if I want attention, I know that I haven't done what I'm supposed to do to deserve that.

Mhmm. Yeah. That's a good point. I think that might just be, like, that just might be something that comes along with, like, the MC ego sometimes. You know?

Definitely. There's, like, you gotta you wanna be recognized as the greatest all the time. Mhmm. Just, like, constantly. And so when you're not getting that fucking, Eminem stature or that Snoop Dogg stature that you're looking for, like There's a lot of politics that Yeah.

That play into it as well. So, I mean, I wouldn't necessarily put it all bad on the artist part, but Yeah. There's a way. I mean, I've even had to come to that realization with my own music where it's like, maybe I'll never fucking get paid full time to make music. Like, maybe I'm always gonna have to to work something on the side.

And part of me has to be willing to accept that and understand that, like, as long as I'm able to create, even if I'm not always getting paid for it, like, that's gonna have to be enough for, just for that that side of me, you know, that criticism. I could never have that mindset. No? No. I hate the word maybe when it comes to things like that.

Yeah. I always say whatever I wanna do, even if I have to do something on the side for the time being, I'm gonna get there full time. Yeah. I mean, there might be bumps in the road and times where I have to pick up something on the side. Like Yeah.

You know, right now just because I make enough off of music to survive, but I don't make enough off of music to grow and do something bigger. For For sure. So I have to do something on the side. But if I didn't want to, I don't have to. It seems like you're getting you're starting to do something bigger.

I've seen you, like, you're building out a studio or something. Right? We finished that Bright Future Media. It's not my studio. Uh-huh.

It's, Bugs. Bugs' studio. I'm gonna be an engineer there in a couple months. I can't really explain what I'm doing. It's like an internship slash apprenticeship right now.

Yeah. He we're gonna figure it out. But, yeah. But that's just one of those steps to something bigger. Yeah.

I helped him build the studio. I just wanted to help. So here we are. It's done now though. You should come check it out.

Bright Future Media. Definitely. Where is it located? It's on Parker Parker Road next to Hooters. Okay.

600 Parker Road. Alright. What days do you work there? I'm there every night. Alright.

I'll come every night? Every night. Sunday's included? Yeah. Okay.

Sunday's from six to twelve right now because Lay No's finishing up his album. Alright. You'll hear about Layne O soon. Definitely. Stay on the that's the artist that you're helping engineer?

Layne O is a part owner of Bright Future Media. Okay. He invested a lot into it as well. That's awesome. Yeah.

Sorry. I gotta get my stretch on. Yeah. That's cool. I'd so I have to, like, prepare myself for anything.

Right? Because I've really had this, experience with life where I've realized that things do not always go the way that I want them to or the way that I expect them to. Right. So I definitely agree that, like, you just gotta put in the work with the mind state, like, this is gonna take me where I want to at all times. Like, and never question that because that's really been shown to me too is that as long as you keep putting one foot in front of the other, even when shit doesn't go right the first time or the second time or the hundredth time.

Like, you just keep trying. Right. And eventually it will. But, for those times where it seems like it's taken a little too long for me Mhmm. Rather than give up, it's important for me to have that mind state of, like, well, at least I have the ability to do this still.

And at the same time, you do have to you know, you have a daughter. Yeah. So it's not as easy Yeah. For you as it would be for me. Like, I have a brother and sister, but that's not those aren't my kids.

Right. Like, I take care of them as much as, you know, maybe, a parent would Mhmm. In some instances, but I don't have to do that all the time because it's not necessarily my parental responsibility. Mhmm. You do have a daughter and that does make it a lot more.

A lot different. Yeah. Yes. But she's a big influence on why I do the music as well because I I don't want her to ever have a dream or a passion and feel like she has to sacrifice that for anything, you know. And I don't want her to feel like, oh, I'm the reason why he had to stop chasing his passion either.

Because she doesn't have to be, you know? Yeah. Definite. Definitely. Yeah.

So I want her to see that, like, even after she was born, I still chased and put the work into what I really wanted to do. But you definitely do want her to to know that you did sacrifice things for her. That just makes the relationship stronger, especially it being your daughter. Yeah. And I think, She'll see it though.

She I mean, she might see it, but even if she never does see that I mean, my goal is that she doesn't ever have to see that. Right? Like, my goal is that by the time she's old enough to recognize what she has and, like, what's around her, that I have succeeded. I'm sure she'll be able to see all the things you've done for her, if not at a young age when she gets older, and she'll be grateful. Yeah.

Like I said, no expectations at home. Because Well, hopefully, she's not an ungrateful child. Hopefully not. But I know that I was at least until But you learned eventually. Yeah.

Eventually. But not until I, like, had a or was about to have a kid of my own. And I was like, oh, there's actual work that goes into being a parent. Yes. But as a parent Yeah.

You have to teach her gratitude early so that she has it. Yeah. And that's she's two right now, so that's kinda tough because she thinks everything is hers and that she's entitled to all of it. It takes time. It takes time, but I'll be, I'll be trying.

I just want to be my my only goal my only, like, real goal with her at the moment is to teach her self love and self acceptance. For sure. And that, like Definitely. There's nothing there's nothing that, can hold her back except for, like, her wanting to be accepted by other people Mhmm. And the world around her.

So if she see if she sees that, then I'll feel like I did a good job. You know? If she feels lovable no matter what, like she deserves to love and be loved, then Unshakable self confidence. Yes. Yes.

For sure. Then I feel like I did a good job. And if she has stingy tendencies, then she could blame that on me for never teaching her to not. Share. Yeah.

Yeah. No. For sure. But we'll see how it goes because I'm even thinking of homeschooling her just with, like, all the danger in schools nowadays. That's a sacrifice right there.

Yeah. Yeah. So we'll figure that out. We've got a couple more years, for then. But what about you?

You ever want kids at your home? No. No. My mom had my kids for me when I was 18. Yeah.

Yeah. And, she decided she was gonna have twins. Okay. Or, you know, whatever decided that she was gonna have twins. Yeah.

Those might as well be mine because when I take them places, people say, oh my god. Those are your kids. And I'm like, no. They're not my kids. But they think my mom's a grandma and I'm the mom.

And I'm like, no. Don't I not look 12 to you? Come on now. But, no. I don't want want kids maybe later in life.

I might, like, adopt. Yeah. But I don't know. My brother and sister are just enough, and I love them as if they were my own. So no.

That's good. That's cool. I got three little sisters. I got a weird family dynamic with the youngest two because they're from my dad's side. Mhmm.

So I don't see them too often. But my 12 year old sister, her and I have a lot in common. I don't know. There's just like, she was she just kinda felt like my first child as well. Like, my mom and Were you both around your grandma?

No. That the grandma that I live with is from my dad's side. Okay. And this is my mom and my stepdad's daughter. Gotcha.

And, like, they're great parents. Mhmm. And they always have been since day one. But, like, there was just something about when she was born, I just felt like like, called to help take care of her as much as possible. For sure.

So, ever since I was 12, I really, like, wanted to help raise her and just be there be around for her. Then as I got older, obviously, I started, like, doing my own thing and being out of the house more. And now it's it's definitely more of like a a brother sister relationship, like, where the brother's twelve years older than where the brother's twelve years older than her. But, I think she understands that. I just feel bad because, like, now I was, like, an only child up until her age.

Yeah. And now that she is her age, she's like an only child Yeah. Because she's the only one in the house. And she says she's always saying how she gets super bored. I'm like, damn, I wish I could be around more, but they live down here.

Get her a hobby, man. Yeah. She, she dances. She plays softball all the time, constantly. But that's the that's the thing is, like, when she's not playing softball and she's just at the house, she's like Yeah.

Fucking You gotta get her, like, a rote hobby. Like, I don't know. Hobby Lobby is good for figuring out what she should be doing or what she might wanna be interested in, like painting or something that passes the time. Yeah. I should take her.

Yeah. Figure it out. That she could get good at. I know she likes painting on walls for sure. And, like, like, designing on walls.

Canvases. Yeah. I don't know. Maybe, like, a graphic design software. I don't know.

Yeah. Damn. That would be tight. Sometimes she'd be good at a young age. Yeah.

Like, just building like, cultivate staff. Super early. Yeah. Exactly. Hell yeah.

That's good. That's some good advice. I'm gonna have to take her to do something like that. For sure. Figure it out.

You do stuff like that with your little sisters? Or your little sister and your little brother? Not yet. They are four and they were born premature. Okay.

So they were born two and a half months early. Mhmm. So they have they're behind development wise. Okay. So my brother, what he does in his spare time is watch, videos.

There's, like, these movies we have. I can't remember the names. But, they're teaching him sign language because he doesn't talk yet. Okay. So that's what he does.

He's learning sign language. My sister does that too. She talks not audibly. We don't understand what she's saying, but she's definitely gonna be talking soon. Okay.

But, yeah, as of right now, no, they don't necessarily have, passions that we're cultivating for them. We're just trying to, you know, get them up to speed. Yeah. Get them up to speed. My sister, she loves music though.

Whenever she comes over to, where I stay with my grandma, she always wants to play the piano. She's like, Pierre. Pierre. And she's pressing all the keys and all the buttons, and she wants to get a different preset on the synthesizer Mhmm. So she can make more noise.

So definitely gonna, get her in piano lessons when when I can so that the the sound she's making isn't always, annoying to my mother. Yeah. Except she's making it musical so my mom doesn't take the piano away. Yeah. It's beautiful.

Yeah. Yeah. My daughter I don't know how she feels about the piano because sometimes she likes it. But then if if somebody else is the one playing it, she's pissed off about it. She's like, stop.

She's like, no more song. That's what she says. No more song. No more song. No more song.

And she pissed off. But then, like, she likes to play it for just a couple seconds, but well, she has this little toy drum set Mhmm. And she loves banging on that thing. Like, so I'm hoping that she'll be interested in drums, just because it calls to the rhythm in me. And so Definitely.

Yeah. So I'm, like, hoping that, she feels the same way. She, we were bumping the new Missy Elliot Mhmm. On the way to drop her off to her mom, and she loved that first song, uh-uh, Throw It Back. Yeah.

Yeah. She was she was digging that. The video for that was dope too. I haven't watched it yet. Man, Missy's a goat.

I know, dude. I was upset though there was only five tracks. I was like Yeah. And the acapella, I'm like, I gotta remix it. Yeah.

Yeah. At least, at first, I was like because I didn't know it was the five tracks. And so when the acapella came on, I was like, this is usually like a bonus track. Right. And then I realized that was the end of the album.

I was like, yeah. She did us dirty. No. She wants you to remix it. She's trying to make it go viral.

That's genius. Honestly, nobody nobody puts out acapellas with stuff anymore. Like, they used to put out the single CDs back in the day with the instrumental acapella and then the original song and then the radio version. Nobody does that anymore. That's true.

That's true. They don't actually, my homie left lung, he had a similar idea with his albums. He wants to not put in an acapella version of his songs, but put a version, just the instrumentals, like, take it back to that so that other people but just do one song Yeah. Yeah. So that, like, people can write remixes to it.

Yeah. That's how we got, like, cipher beats and stuff Yeah. Exactly. From rappers Nobody's pulling out instrument. I always wonder how, like, you go and you search the instrumental on YouTube and it's there.

But I never can find anywhere where the artist is selling it. You know? Well, no. Nowadays, I think the producer probably goes and uploads it like hipstramentals.com. Mhmm.

I don't know if they go through there directly or I have no idea how instrumentals leak, to be honest with you. I mean, there's probably a whole underground monetary thing going on, but Mhmm. I don't know. It's definitely interesting to think about. I know a lot of remakes happen, like, the Cardi b.

Was it Bodak Yellow? Yeah. I think the only instrumental that was out there was a remake. Like, we probably never actually heard the real instrument. I I never searched that one up, but she also kinda remade Kodak's beat for that one.

Right? So, like I don't know. What's that song? No Flockin'. Okay.

She kinda like they kinda remade it's it's not I wouldn't say it's, like, very extremely similar, just the tempo. Oh, it makes sense. Yeah. It's pretty similar. Yeah.

And so that would make sense if, like, they couldn't even put that out because they, like, maybe got rights through Kodak or something originally from that. Yeah. But I have no idea. I haven't even looked into that one. Yeah.

I don't really know the backstory. I just know a lot of people were doing freestyles to it. It's like the photo I get a little challenge or something. Yeah. And all they have is that remake.

Yeah. Do you sell your Beats? Yeah. I do. Where at?

Most no particular storefront. Just people gotta hit you up? Yeah. I sell them in studio sometimes or through email. People hit me on Instagram asking for beats.

I usually make them exclusive. I have, like, a catalog of beats, but, usually, if I have a catalog, I'm rapping over it or I've already sent it out to someone Mhmm. And just haven't got the song back yet. So make everything on the spot when asked. Really?

Yeah. That's pretty cool. What's up? Okay. Okay.

We're good. Alright. I'm freaking, Ableton. Take that off. Out on us.

Where were we? Oh, yeah. You you make everything on the spot when somebody hits you up. Do you have so if somebody hits you on email, do you have them, like, come in and, like, get a feel for what you need to make? Or do you just, In the future, I would like to do that.

But as of now, I just try to get a reference as to what they want. But nowadays, I'm steering away from them because when I do that, they basically wanna make me a beat like this. Like, I'm not gonna make you a beat that already exists. Mhmm. Like, I had a client no disrespect, of course.

It's just something that I I guess is a pet peeve as a producer. Mhmm. Make me a beat like me go stir fry with these chord changes. So they want, like, the same beat with different chords? The same chords, just a different sound.

But Okay. Like, why do you want me to remake something that already exists and then, like, you want me to basically I don't wanna remake somebody else's beat. Like, if you like my sound, then you're gonna get my sound. Right. Right.

And then I get some people they wanna collab, and I'm like, cool. Let's let's collab. I don't mind. Yeah. I charge, producers to collab with me just because my time is Valuable.

Yeah. And I don't have time to just collab with everybody. Yeah. And they send me, like basically, they want me to do remixes for them. Like, they don't actually produce anything.

They just get together a whole bunch of samples and files and say, here, make this. It's not necessarily a collaboration. Yeah. That's just giving me a task. Remix this for me.

So, I mean, yeah, I I definitely have strayed away from selling beats because I'm not gonna make you a tight beat. Yeah. You're gonna get July. You're gonna get July type beat. And it'll be, you know, something that you'll rap on.

I'm gonna, you know, check your music out, make sure it's your style. But I'm not just gonna remake Migos beat for you. You heard it here. Stop hitting her up for them tight beats. Stop asking her to remix your samples.

Right. Yeah. You need a and I would agree with what I've heard. I would never ask you to to try to fit some sort of box. Right.

Because what I've heard is outside of outside of the box and it's beautiful. It's amazing shit. So Thank you. If you guys are sleeping on that, stop sleeping on that. Do you produce most of your own stuff?

Yeah. For the I produce everything. I do have a producer in Germany though. He he produces, things here and there. We're supposed to be doing more.

He's in college, though, so I can't It's hard. Yeah. I'm not sure how he how he pronounces it out there in Germany. Gara or Gera. I'm not sure.

I always say Gara, but, g a r a. Okay. Yeah. I have to ask him. I tell him, when when I'm famous, I'm a fly him out.

Mhmm. And, he'll go on tour together and all that. Yeah. But, yeah, he's in college right now. So knowing the struggle that I had in college trying to stay up on music, I'm not bugging him too much about music.

That's interesting that you say that because you were in college for music. Uh-huh. So how how is it a struggle to, stay on top of it? Well, when you're in college for music, it doesn't mean necessarily that you're creating your own music. Mhmm.

You're tasked with learning how to create other types of music and generally upkeeping something that doesn't relate to your own musical project goal. Mhmm. So for example, if if I'm an ensemble, I'm going to be tasked with creating new music with this group of people that I'll probably never make music with again, or replaying a song that already exists, learning the keys to this song, and then we'll perform that song. I'm not working on my own project or, you know, writing my my own verses necessarily. Depends on the ensemble you end up with.

Or if I end up in the songwriting class that is geared for singers, me being a rapper, I have to write my songs with this filter because for one, the music teacher doesn't know shit about hip hop or rap. And it probably doesn't want me cussing to begin with. Oh. So, I mean, I took mastering classes. So we'd get example tracks.

We'd get tracks to master and they'd be like rock or bluegrass. Mhmm. Something that has nothing to do with my own music. Yeah. Did that help with the process of learning to mass mix and master your own music though?

Definitely. It helped. It's a lot simpler than, you know, they make it seem. Once you know the terminology, then you understand it. It's like a a learning curve, but once you get over that curve, it's like, oh, okay.

Yeah. It's just all flying up from there. Yeah. So would you say that school, in terms of mixing, mastering, producing is a good investment, a good idea? No.

Stick with Not CU Denver. No. Not CU Denver. That's not what it's geared towards. Okay.

The program is for audio production. Mhmm. And that's not making beats Right. At all. Audio production by definition is not about making beats.

It's about miking instruments Mhmm. Singers, performers, getting them through a mixer into Pro Tools using a patch bay, outboard gear if necessary or available, and getting the best recording possible. Okay. We rarely had classes about mixing. Mhmm.

Like, we'd get assignments to mix tracks, but we didn't get feedback on those. It was either pass or fail. You did it or you didn't. Yeah. Same with mastering.

Okay. Interesting. Yeah. So does the role of a, producer in that sense also, like, decide, how the song should go? Like like, you have writers who obviously write lyrics and, like, write the chords and stuff.

But if a producer says, oh, I think this would sound better if we carried it out this way. Do you get to decide that as well? Or is it, is that is their sole job just to make sure shit sounds good when it comes through the microphones? CU Denver was just making sure stuff sounds good. You wanna get the cleanest recording possible so that you can do the least mixing as possible.

So there's, like, no creative process, with, like, making the music itself. It depends on how you view it. Because it can be creative in how you're miking it or what mics you're using, what tones you wanna use, what kinda outboard gear you wanna use to, you know, make that tone better. Mhmm. That can be a creative process.

But I think the program was built based on just that recording. Okay. Get the cleanest sound possible so that you can do as little mixing, mastering as possible, and that was it. That's basically the only thing that was if if I think about it, that's what the main lesson was in all those classes. Yeah.

That's interesting. And so how long ago did you graduate? I graduated in May. And you feel that way? So super recently, like the most recently graduating class Mhmm.

And you feel that way still? Because that's interesting because I I went to CU Denver, but I for, I was in I was in the music, business track, but I think I think I did a performance track. Mhmm. So I was, like, learning music theory. Audition?

Yeah. Yeah. I had to do that too, but I was non auditioning. Yeah. I didn't audition either.

I just I dropped out for my own reasons. Like, I was going through my own shit and, didn't have my head on right. Yeah. Was, like, more focused on on getting fucked up than, like, actually putting myself, into the work at school. Mhmm.

And so it just didn't make sense for me to, like, go back and continue to take out loans and It's not fair, but Yeah. And so that's why I dropped out. But I had a good friend who was going through the same program, and they dropped out or she dropped out because she felt like she wasn't getting much out of it, after a couple years. Understood. So maybe I don't know.

CU Denver. We're not talking shit. We're just saying, Well, I mean, CU Denver is a great school if you wanna go to learn how to mic instruments. And, I mean, of course, there's a lot of things that derail you, like learning music theory, and you have to learn an instrument, and you have to do this, and you have to do ensemble. You have to go to general recital.

It's not just about recording, which is what it is. It's a recording school. It's not for audio production. It's not gonna teach you how to mix necessarily. It's not gonna teach you how to master.

But I hate as an influential person because I influence a lot of people just by the things I do. I hate when people say, I wanna go to CU Denver because I went. Mhmm. Like, I can't credit everything that I am to CU Denver because they taught me how to record. You know, how to mic things.

Which is important. Which is important, but that has nothing to do with my music production, me making beats. Does that help with, your live sets? I mean, as a performer, I don't have to do anything with my live sets. Right.

Like, I know it's possible because of that. And if someone tells me it's not, I can debunk that real quick. Okay. It helped with a lot of myths out there, like audio myths, like what mastering is. Mhmm.

And what what is a mix? What what happens in the mixing process? What happens when you send your song off to a mastering engineer? Mhmm. Are they putting it in lander, or are they actually doing it?

Like, it it helped debunk a lot of myths in audio that people are on YouTube looking up videos about. So, I mean That's funny. Because I have this I have, I have Golds or right now, he he doesn't go by Goldsane anymore. He just goes by Saint. Mhmm.

And I think he said he sent he sends his stuff to Lander to master and that it's, like, it's super good, but, the mastering wasn't very that wasn't that great. It's not hard to do it yourself, if you have the plugins, I guess. Yeah. Right now, I'm, like, learning on my own, like, just teaching myself how to mix. Mhmm.

And then mastering will be the next step after that. But Kickback Couture is something you created, and is that to help teach people to production, or, like, just like your process in production? Or do you go over mixing and mastering? I go over everything. So Kickback Couture was created with Reason in mind.

Mhmm. There were no, there was no outlet for people to go to to learn how to use Reason. Yeah. Everything is like Pro Tools, maybe a little bit of Ableton out there. Able FL Studio.

FL Studio. FL Studio. In our genre, everything is FL Studio. So I started it based on Reason and there being a lack of resources out there for us to learn from. Mhmm.

So I'm like, well, I know reason from trial and error for all these years. I don't know everything. You know, there's always gonna be something I don't know. But I started it and I did reason tutorials for the most part. I've now also started doing Ableton tutorials Mhmm.

Just because although there are no Reason, based YouTube channels, the community that Reason has doesn't support me necessarily or hip hop. So, I mean, I can't keep, you know, throwing darts with no target. Yeah. So I'm definitely gonna incorporate more of Ableton. I'm still gonna use Reason because, I mean, that's what I used to do.

Yeah. Yeah. But, yeah, I started it off to just teach music production in reason and context. Why do you feel, that reason's audience or reason's, I don't know what the what the best word for it is. Why they're not receptive?

Like, why they're not receptive to what you're doing. Well, for one, a young black female from America Mhmm. Reason was developed in Sweden. The majority of the users are about 35 and up. Mhmm.

They're not my age. I'm an outlier. I'm an anomaly. Mhmm. Why would they listen to a little black girl from America?

You know? I don't know if that's how they view it, but that's the best way I can summarize what what might be going on. Right. If I look at my YouTube stats, my viewers are, as I said, 30 and up. Mhmm.

And I can't always have that audience because they're getting older and, you know, when you get old, you get stubborn. Yeah. And you're stuck in your ways. So I can't necessarily see them watching my videos for years to come and growing with me. They're growing on their own.

Mhmm. I'm still growing, but once you get up there, you kinda hit a block, and you don't wanna do anything. And so I think my audience might be in a different doll. I'm not gonna change who I am or my production style in order to reach them, but I'm definitely going to start reaching out to that audience more Yeah. Because they'll actually support me.

Yeah. I can see that. We'll get back onto, like, the lack of acceptance and but I was just thinking, like, I don't know. I think you're the only person I know that produces in Reason. And and everybody else I know uses Ableton.

And so if you were to bring your skills to Ableton and and, like, start giving that to people. Yeah. You you would definitely, like, experience some more, It's crazy. I get a lot of negativity when I do videos on Ableton. Like, we could check my comments for it.

Like, yeah. They're like, Ableton, reason gang. Yeah. Like, f Ableton, blah blah blah. And I'm like, okay.

But if I published a Reason video, would you be commenting? Would you have watched the video? Mhmm. But you see some sort of change and now you're upset. Yeah.

I'm like, okay. Have you thought about, like, kick back a tour, Reason channel, kick back a tour, Amazon channel? I'm not sure. No. You're just keeping it one channel?

I'm keeping one channel. Yeah. Because you got your four k. I got my four k. I'm already monetizing.

You're right. I'm not gonna make it hard on myself to make it more convenient first for somebody to find tutorials. Like, you know where the channel is. Mhmm. It's not hard to Google something.

It's not hard to YouTube something. I definitely understand accessibility on, like, like, a user's part, but, no. There's so many channels that do tutorials on different dolls, and there's not people in their comments saying, use this doll instead. Use this doll instead. Like, I don't know what what it is about what I do that makes people wanna give me suggestions on what doll to use.

Like, you can use whatever you wanna use, you know? Yeah. Like, okay. Yeah. And then, I mean, if they wanted that's funny because if they want a reason video, they could just scroll down to the next suggested video on your channel.

Exactly. Yeah. And stop asking me for, yo, can you show us how to do this? Why don't you search on YouTube and find the video I already did that shows you how to do exactly what you're asking me how to do? Yeah.

It's kind of annoying, but I just, at this point Yeah. Find the link, copy, paste, reply. Yeah. I can see that. Because that's like so that's like if somebody was to come up to me or find a video on my channel and be like, oh, you should do a fucking song that sounds like this.

Like, you should write to something like this. Like, number one, I might not want to. And number two, maybe I already did. You know? Like, go just go search a little bit.

Go find my shit. Yeah. Okay. So to the acceptance portion of that, do you find it hard to be accepted, in the hip hop community in general out here as a young female young black female? No.

I mean, there's always gonna be shade. Like, people will be like, you know, you're, like, doper than most of these guys out here. Mhmm. I'm like, oh, most? Nah.

I'm doper than all of them. Like, why do I have to be compared to men when I'm considered being good or great at something? I never understood that either when people are like, oh, the best female. And she's like, well, she's just the one of the best MCs. Right.

Like, why not just say that? I don't know. I guess it I can credit some of it, I think, to women themselves because they had to be separate. Like, I'm a femme c, blah blah blah. Mhmm.

Like, I don't really care about all the terminology. Like, I'm I'm a rapper. I'm an MC. Yes. I'm a MC.

But I don't I don't put myself in a different category by being a rapper. I just by being a female rapper, I don't naturally categorize myself in a different box than, Jay Z, Kendrick Lamar, or Chance the Rapper. Yeah. I don't put myself in the same box as Nicki Minaj, Megan Thee Stallion, or Jreezy, or Tink. Like, yes, I'm a female.

I'm in that category, but what's stopping me from being in a conversation with Jay z? I just the way people see things, which is fucked up. Because I agree. It's like, why would you have to stay in this box that, like, like, what do they expect a female emcee what do they expect from a female emcee to keep them in the female emcee category? Right?

Like Right. And what do they want to hear that would get them out of that category? I don't understand that. I don't think anybody themselves who who judges it that way would even understand, like, that metaphor. A pop album, we're not worried about whether it's a male or Yeah.

You know? So I don't know. When I listen to Rap City or if Missy Elliott came on, I'm not like, oh, a female rapper. No. I mean Or just listen to music.

Dude, I think Rap City's, like, top five MCs ever. She is. Period. Definitely. She's amazing.

No debate. Yeah. I mean, I had Talib Kweli retweet me on that one time. Oh, she's better than him. Yeah.

Dude. Yeah. He she is fucking incredible. Like, I can't honestly, I I just love I love her for the music that she makes. Yeah.

I'm jealous. Yeah. I'm jealous of Rhapsody because she got to work with Ninth Wonder and I have it. You get that. You get that.

Yeah. You get it. For sure. Yeah. Just keep doing what you're doing.

Oh, yeah. I think oh, no. It's thinking something different. Never mind that. Yeah.

So that's good, at least, that you feel, for the most part, like you're accepted out here. I think that's important, but I mean we just wanna challenge. We just wanna Oh, whatever. Are you saying no? I haven't really done much to be accepted by.

So You don't think so? No. I mean, I definitely put in some work. I do wanna say that, people probably overlook me a lot for what I have actually done. Yeah.

I would agree with that. But I think everybody gets overlooked Yeah. For the amount of work I've done. There's so much more that can be done. I can't say I've done everything I can do.

And when I can say I've done everything I can do, then maybe I'll be upset about being quote unquote overlooked. Right. I saw you post a picture with AP Yeah. A couple days ago. Mhmm.

Are you cool with AP? You know him? Yeah. I did a song with AP. My first EP Mhmm.

T Virus. I made beats for APS, Sentencing Beats. I don't like Super Know him personally. Right. Some are just like fellow artistry type of thing.

Yeah. Because that's a big name out here in Colorado hip hop for sure. Definitely. And, obviously, he's supporting you, you know. So what do you feel like because I would say you're definitely working just as hard as anybody with that kind of stature.

Mhmm. That's sad. What do you what do you I know, but what do you think it is, like, if you're working that hard, what do you think it is that's like like, that doesn't have you at that same sort of stature, like, in the people's in the public size? For one, I'm 22, not 32. Yeah.

They've had they got ten years on me. Easy. They've been doing it ten years longer. I think I don't wanna say this is a fact, but it seems like a lot of, like, rapper popularity is is it comes from high school popularity. Sometimes, yeah.

So I think it's still a lot to do with, like, the group of people, the the popularity they had in high school transferred on. You know, they still have some of that ten years later. A lot of those people still hang out together. Mhmm. People that went to high school together then around that time in in hip hop itself.

But Damn. Yeah. Because I didn't have no high school popularity. I didn't either. That's what I'm saying.

So that's why I'm kinda where I'm at. Yeah. I mean, ten years younger. Mhmm. So definitely, the age gap, they have been doing it longer.

They have more relationships. I don't know. That's the only thing I could accredit to, the age gap as to why I'm not, you know, they have they have ten more years of whatever work. Yeah. Ten more years of, like, extremely hard work.

Right? I don't know how hard the work was because, I mean, we're all still in Denver. Yeah. Well, the only reason I say that is because I know people who've been doing this thirty Mhmm. Thirty years.

And, like, if you ask anybody if they know him, they'd be like, nah. You know? But then somebody who's been doing it fifteen, twenty years, even if they're just locally known pretty well. You know? So For sure.

I think that's that's something. That's accomplishment. There's different groups. There's different, like, genres of hip hop in Colorado. Mhmm.

Very Somebody might not know for Trevis. Yeah. You know, and they're, like, hardcore hip hop in a different Denver scene. Yeah. There's, like, different scenes out here.

Yeah. There's a trap scene, the boom bap scene, the Yeah. The street scene. Yeah. It's, it's very diverse.

And for the most part, I feel like it's also kinda clicky, which is one reason why I started this podcast because I wanted I wanted to bring as many parts of or, like, as many diverse areas of Denver's hip hop into this podcast as possible and, like, understand, where they all come from, and hopefully build, like, a sense of community. Because I was talking to like you said, we're still in Denver. Right? And it seems like for whatever reason, the goal is to get out of Denver or at least get your name out of Denver. But I was talking to Akunya Black, aka Ilse or f k a Ilsevin, on the last episode.

And he was just very, like, adamant about the fact that we can start a business like a hip hop business out here in Denver, like how they did in Houston and how they did in Atlanta and how they did in LA. Like, all it takes is somebody understanding that the goal shouldn't be to get out of Denver. The goal should be to build from Denver so that people come here. Right. Which the EDM scene is doing out here.

EDM. Yes. Yeah. And, like, people are starting to notice, like, oh, there's actually, like, a huge group of these people in Colorado. Yes.

And so if we I think if we all put our minds together, if we all work together I think that's it would Yes. Definitely. It would help us all out. Right? Because that's the biggest thing in Atlanta that I know is they all help each other out like nobody fucking Well, I think the thing about, like, yes, of course, a lot of us want to make it in Denver.

Mhmm. That's why we're still here. Yeah. But There's something about the city. There's something about leaving and coming back that makes it all the more efficient.

Like Hopson Mhmm. He probably would have never blew up if he stayed in California doing music. He had to, you know, go do shows in other places. And then they started paying attention. Yeah.

Like, I don't I can't say that we are necessarily a hub to where you can just make it in Denver Mhmm. Hip hop. Maybe if I switch to EDM, I could blow up in a year in Denver. Probably. But Yeah.

That's just not our reality in the out in this genre. Yeah. It's not. There's a lot of work that has to be done still. Definitely.

And I'm really trying to figure out what that groundwork looks like and, like, what it is. Yeah. Because even if I'm not one to, like, where my name blows up, if I could if I could be a steeple in the Denver community Mhmm. Like, I would love that, you know? That would be amazing too.

So, as much as I focus on getting done what I can get done for myself, my city is important to me. Yeah. But I had to move out. I had to move to Colorado Springs, get get separated a little bit and just come down here when I need to. Right.

Just that way I'm not so involved with, the dizziness Mhmm. And the busyness of it all. For sure. Mhmm. So what are your, what are your next goals?

What are your next projects? What do you got coming? Shows. What's what's up? What's on the lineup?

Working on my album right now. Kinda just separating myself from the scene. Mhmm. I'm doing shows here and there, but I don't really wanna be involved too heavily right now. I go to other shows and events and stuff like that, but, not I don't know the word for it.

Not trying to be too in your face. Yeah. Definitely more laid back right now. I'm not I don't want attention. I just wanna chill, make my music, and then when I'm ready.

Cool. So yeah. Because I saw you at that Cypher. Yeah. You didn't jump in though.

No. I mean, that's because you just wanna lay back. Just wanna watch. I wanna find Yeah. Dope artists.

Right. It's kinda hard to come by good good people with natural, like, talent or it's something that you could build. Yeah. In addition to, like, my own album, I wanna find an artist to produce. I wanna find a a rapper that's worth my production skill, you know?

So I'm trying to find an artist that I wanna produce that is as humble as I am. Mhmm. You got anybody that you're peeking at yet? Kinda, but it's like the humble factor isn't there. Mhmm.

Or the work ethic isn't there. Mhmm. Or, you know, something's always missing. Yeah. So until I find somebody with that or something close to that with, you know, something that will match what I can do for them, and they don't view it as if they view it as, like, symbiotic relationship, like, we both benefit.

Mhmm. They don't make it seem like, Oh, you're helping me. They're rapping over my beats Right. For me Right. Type of thing.

Yeah. You know? So when I find that person, then I definitely wanna do more production projects. But, yeah. Few shows here and there.

I'm actually my last show that I'm gonna take is September 28. September '20 eighth, a and g presents Box Vibes volume three at the Black Box, Denver. There we go. Yeah. September 28.

Yep. Alright. Perfect. Yeah. This will come out in time for, to get the information out about that.

Definitely. Okay. So your album, you didn't give a lot of information on that. You're just working on that right now. Just kinda like little bits at a time?

Big bits at a time. Big bits at a time. More so like, creating a stockpile Mhmm. So that Yeah. So you can choose.

When I'm ready to go to war, I ain't letting up. Yeah. Good. Don't. No.

Let them know. Let them know what is going on. Because we see it. We see it. I see it.

And I really want other people to see it. Thank you. Yeah. No problem. Alright.

So we're gonna get into just a little, we're gonna get into a song of yours. And you can give us a little breakdown of it afterwards. If there's a story that goes behind it, if there is some lyrics that you really wanna touch on, or if you just wanna let it speak for itself. Either one is cool. Any of those.

So, this is Hush by July, self produced. I imagine it's self engineered, mixed and mastered. Am I correct? No. I did not, mix and master this.

I had to step away from the process to get the project. Okay. Yeah. So not this one, but Nah. The other ones.

Check them out. We got we are playing this from her SoundCloud right now, which is soundcloud.com/july30three. July is spelled j e l I e. And are you on, like, Apple Music or Spotify or anything? Yes.

I'm on all those. All the streaming platforms as well. But Yeah. Do you sell it anywhere? Sell your music?

On my website, July, j e l I e '3 zero '3. There you go. So check them check them check all out oh my god. I can't talk. Check all the songs out at any of those.

But this right now is called Hush. July. I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought.

I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought. I'm gonna be a little bit more than I thought.

Don't make enough for the cost of living. Don't add a fuzzy jump start of business. Go to church to take the money from the one starving because it's what you call religion. I'm still. I work overtime for the government to take it off from me.

Got a claim itself so I can make the ends. I gotta pay the rent. They ain't taking shit, and that's hate till they see the dream blurry. That's why I would never break swerving niggas like it's blurry. No mercy.

Got a dope scheme. Know it's gonna take time. Got a dope scheme. Hoping don't take a crown. Few You must be joking, you broke, we sculpted it.

We know you bogged it. You bought your dough but don't hold it. You know you hosing no go. No need to floss, you ain't got it. You like the rest of us.

Fuck what you bought, it was obvious that your check was up. You blew that swoosh to Lacou and I ain't nothing to show. I wanna run with niggas that get the indestructible dome. Mommy and the twins cooped up in a one bedroom apartment. So a new house with the fuse loud in a huge yard is the target.

Ask them how I do it, they gonna say it's the G and the first name, Martin. Any cost, I'll take a loss or a blast. Yo, Rocky James Harden. I need everything for little bro, and then real decked out like cars. It's need a skylight for the starships.

Space when I'm not Clark Kent. Got a dope scheme, know it's gonna take time. Got a dope scheme, hope it don't take a crown. Few of dollars till my name. I ain't wanna stop trying to tell a fuck, nigga.

Hush, hustle, love, stop crying. Hush when I say hush, nigga. Why you spreading lies on another nigga? Better take a break and meditate. You think I'm better way, but I could just a nigga.

I would say stay on your toes but someone gonna catch you slipping. Put that shit on ice and quit wiling for someone to catch you drip. Hush low, baby. Don't you worry. Because I'm gonna make it in a hurry.

It's gonna dollars to my name. I ain't wanna stop trying to tell a fuck, nigga. Hush hustle up. Stop crying. That was hard.

I like that a lot. Thank you. Yeah. Anything you wanna say about it? Yeah.

It was the the first song from my second EP, H Virus. The EP is like one of a series, so I was going to do eight spelling out thug life. So I got t virus, h virus. It would be next. Gonna do a album before that.

But Hush being the first off of h virus, the hate you gave little impens fucks everybody. Mhmm. I'd so I wanted to talk about just real stuff in general, just reality, the world we live in. And that's what I did with that song. Things that I go through, things that I'm watching my people go through Mhmm.

In addition to how I'm gonna change, at least, my own fate and what it might be projected to be based off of the resources I was given or not given. Mhmm. That's what that song's about. And in general, just people being people and, you know, throwing shade or doubting me or threats and whatever the case may be. Just addressing different things like that.

Yeah. You get some of that? Some threats? Oh, yeah. There's some people hating me out here.

That's fucked up. Yeah. We riding. We riding. Yeah.

No. That's, I I I can't even imagine or understand that, but, I guess even the most humble even the most humble though. In the grand scheme of things, they don't matter. They don't. But still, I mean, it's like there's no reason for it.

So I don't understand it. I could say something really disrespectful to a lot of people. Yeah. But I know it would, you know like, okay. For example, in local beef, I guess that's the best way to put it, local beef.

So let's say I have, what, 300 plays on a SoundCloud song? Yeah. And let's say they have 800. Mhmm. Why in my right mind would I be, you know, jealous or felt looked down upon or looked up Mhmm.

To you because you have 500 more plays. We're talking about a micro amount. Denver. This isn't me having 300 and you have 500,000. Yeah.

And we're in Denver. This isn't this is not that. So why why my right mind would I feel like I'm 500 steps behind you? Like, yes, you have 500 more plays, but I could sit there and run up my plays all day. Yeah.

Not saying that's what they're doing. Yeah. But I don't view that as something to look down upon somebody, but I feel like we're still in the same position Mhmm. On a macro scale. Yeah.

That's Even micro. Yeah. That's wild. I mean, I used to like, in high school, I had beef with people Yeah. Because they had a thousand likes on Facebook and we had 300 or something like that.

And, like 300 is still doing something. Still doing something. But I just remember that beef was so serious to us, you know. Like, that was Like, the likes mattered and the plays mattered. Yeah.

And, it's really like, even couple years ago, I wasn't beefing with anybody, but I was jealous of the people who were getting plays. You know. I mean, you don't get me wrong. It it means something, but it's you don't have far to go to get there. No.

Not at all. It's just a matter of putting the work in. Because think about the person you're jealous of. How much work are they doing right now? Oh, I hear a lot.

You hear a lot. You hear a lot. Yeah. You hear a lot. But Yeah.

How much more do you think they could, you know, like, whatever they did, you could do it. You can do. Like, yeah. That's a great that's a great point. Like, nothing is far out of reach.

It's just a matter of stopping the, I don't have enough time excuses. Like me saying I'm jealous of Rhapsody. I don't, like, actually mean, like, I'm envious of her. Like, I just see that she's worked with somebody I wanna work with, so I'm gonna go get that because that's, you know, what I want as well. Definitely.

But it's not like envy. Yeah. No. Yeah. No.

That's good. And it's it's good that you have, like, somebody who it's good to have people that, like, challenge you in that sort of way. Right? Right. Because if you don't have anybody to look up to, then you're not gonna know what what your next step should be or what where to go from there.

So You gotta have a goal. Yeah. You gotta have a goal. And maybe sometimes your goals are to match the same level, as a local cat. Like, and you and you can There's nothing wrong with that.

There's nothing wrong with that, and there's no reason to throw shade. Starting point. Yeah. You know? Yes.

It's a starting point. It's a fucking, it's it's a it's an inspiration whether they got a 2,000 followers or something or if they got fucking 20,000. Like, they're an inspiration in some way or another, to somebody. I mean, that's the whole reason why I make music. I know that.

It's because I want people to be inspired and, like Definitely. And feel, okay to be themselves. I don't have a problem with, like, anybody looking up to someone who Yeah. Is a few steps ahead or whatever the case may be. I just have a problem with the people That start looking down Yeah.

On people that are a few steps behind. Yeah. That doesn't make sense to me. No. Because you were that person before too.

And, I mean, I'm sure you would, you know, take any opportunity you could get in that position. Yeah. So, I mean, I just I can't imagine looking down on somebody for not being where you are. Yeah. More than MC ego.

I because I know I was just thinking about that. Like, I know somebody who's they've been rapping for probably, like, doing it seriously, I wanna say, since I was about to graduate. So maybe, like, six, seven years. Right? Mhmm.

And they got a good following. They connect with people out of state. Mhmm. Like, they're doing good for themselves, but they act like in those six or seven years, that he's been the one to put any sort of respect on Denver's name. Or you have people who've been out here for thirty years Right.

Bringing respect to Denver's underground scene. Mhmm. And you have to, like, you have to pay your dues and you have to respect those people as well. Like Definitely. So and that was just confusing to me.

It's like, are you saying that you're the one who's fucking done it? The only one who's done anything in this city? Like, because it's definitely not true. And I'm not saying that I'm the one who's also doing stuff in the city. I'm just saying that there's people out here who are We're not blind.

Yeah. We're not blind. Like, there's other people out here. Mhmm. And so, like, it's important to keep that ego in check, stay humble, and recognize that, like, we all started at zero.

You know? Definitely. So thank you for coming in today. Thank you for having me. Yeah.

It's great to get to know you a little bit more. Getting busy. Getting busy. Yes. That's what we do out here.

For sure. And, we gotta say thank you to Jesus one more time. Thank you, Jesus. Thank you. We gotta say, we gotta say Jesus to youth on record.

No. I gotta say thank you to youth on record. Jesus loves you. Jesus loves everybody. Yeah.

And, I love everybody. I love you all. And thank you for listening. Alright. Catch you next time.

It's your fucking boy.