Jazz Got Some Phone Calls, Huh?

Damn it, Tommy.

Pick up the phone.

101.7, the truth is your girl, Jazz Tyler Digi Meach.

We are live and direct at the American Family Insurance Studio in the beautiful heart of downtown Milwaukee, Milwaukee.

We got a special guest in the building.

Yeah.

This big shell white.

You understand?

Big shell?

Big shell.

Right here.

Man,

listen.

Is it done?

This is such an incredible black woman.

in this industry, man, full of knowledge, full of information that she is willing to share consistently.

And I get, I'm gonna be honest, I get so tired of people overlooking what she has to contribute.

So I want her to come on the show, you know, so we can talk about it.

Michelle, how are you doing, sis?

I am doing well.

I am coming off of a successful music business seminar last night.

Yes, that's cool.

Let's go.

Is they taking

heat?

Next question.

Lead the horse to the well, but you can't make it through the border.

We

still, we still,

it's been, how long it's been?

Decades.

Yeah.

That's crazy to say decades though.

Yeah, but that's, that's the problem.

The problem is everybody want to be an artist or an industry, but they don't want to learn the business

side.

And then wonder why they're not successful.

What she was saying, in order for y'all to hit the top like cuckoo with the billboards, that's business.

That ain't talent and grind, that's business.

But you can't tell them that because they're the most talented artists out of Milwaukee.

They're going to put Milwaukee on their back.

Yeah.

Woo-wee, wait till they realize.

I told you,

you

know, they feel like they done it without, whatever they done it without it already, so they don't think they need

it.

Let's talk about it.

So, Ashile.

I want, we know you're with the Recorded Academy.

That is just a minute amount of the things that you have going on and what you're capable of.

Let's tap into your background though.

Who is a show?

Where do you come from?

How did you get here?

Well, I grew up in a musically inclined family.

So everybody around me was doing music.

My uncle.

That was in Milwaukee?

Yeah, yeah,

yeah.

My

uncle is the late, great Dr. James G. White.

He's also known as Ghetto Priest.

That's an auto woman cos godfather.

Yeah, yeah,

yeah.

He was a county supervisor here for a minute.

He traveled the world as Ghetto Priest, a conscious hip hop artist, and he came back and was like, hey, I think you would be successful at the business of music.

And you know, I'm young.

I don't care nothing about the business of music.

Yeah.

And then he was like, uh, he mentioned Wendy Day and he was like, look at what she's doing for hip hop artists.

And then I started like watching everything I could, understanding, reading everything I could.

And then I got triggered by all of the, uh, African American artists, um, being really successful.

as we see it.

But when it came to the money, they didn't have it.

And

I was intrigued, like, where is the money going?

And then I started understanding where the money went.

And I was like, oh, I got to change it.

So I've been on a mission since my uncle was like, hey, you should do this to try to change it.

Yes.

That's that's amazing.

You know, as a woman in this industry, that is a field that not many of us are in, especially black women.

How important is it for black women to be a part of the industry when it comes to finances and the business side of things?

It's extremely important because oftentimes, like, most creatives just want to be a creative.

They don't really care about the business until it comes to, I don't have any money.

Other than that, they don't care.

Long as I can be anywhere.

But I just, I've been doing research because it is black.

Music month.

I've been doing research at all of the major black women that came before me like even Milwaukee for me.

It was Canida Hickman

She kicked the door open so I could even

exist.

She's doing something

else.

She's like

doing it from food or something.

Yeah, it's called Artist

Eats.

Yeah, Artist Eats,

yeah.

She kicked the door open so I could be up in here.

I learned as much from her as I could.

Like for me, it's just like a lot of people don't know, but a lot of successful black men as a result of a black woman.

That's right.

When they talk about MC Hammer, they don't talk about the black lady that walked them in there

and

got them, or they don't talk about the black lady that gave Barry Gordy the money so that he could start Motown.

We there, we been in here the whole time, but we don't really get the recognition.

No, that's why I say I'm the greatest music administrator this side of heaven.

So people can remember that.

That's right.

So walk us through the process of what that looks like as a business music administrator.

So I make sure I got to do my thing.

I make sure that music artists understand the business of music, how to properly protect themselves and their music.

And I show them how they actually make money when it comes to the music business because most music artists think

I just drop an album, put it up, put it up on streaming and go on tour and I'm gonna make money.

They forgot all the in-betweens, they forgot budgeting, marketing, they forget.

One day they're not gonna be here anymore So they need to have their states and their affairs in order and for me It's just making sure that they understand something as simple as trademarking your name split sheets cataloging all of your music paying for Instead of just going to YouTube.

It's a whole myriad of things that music creatives overlook because

Social media they see oh Drake dropped an app three three albums now.

I'm gonna do a trilogy album and it's just like wait wait

wait

Just wait and it's like no I can I could I could do it I could do it not just be like, okay I

really appreciate it.

Yeah,

it's

for a long time I feel like I was you know the only person saying do say do this do this do to get you me to get your paperwork together and you know

both in her and it's been like, okay, she been like saving me.

Like, cause I'm like, okay, here, go to her,

go to

her, go to her, cause I'm doing a lot and that, but she's strictly on

that.

And that's like, we need that.

I want to put people from every angle to push how important that is for them to become more receptive.

Yeah, and I just feel like it's gonna take that one, that one thing, that's why I'm applying for Streaming University, it's gonna take that one thing that people be like,

oh, that's our show.

Hold on, don't skip past that.

Do not skip past

that.

She

be on Twitch.

Yeah, I know it.

I'm everywhere every artist should be.

Yeah, I think it'll be amazing.

Big Frank, shout out to Big Frank, who's just up here the day before yesterday and he was talking about...

They auditioned for the streaming university, but even if they didn't, he wants someone from Milwaukee.

As long as they're from

Milwaukee.

That's the same way I feel.

I want every artist from Milwaukee ain't doing it.

Everybody that's in entertainment or streaming ain't doing it.

I don't know.

But I know I saw that they were looking for professors and I thought to myself, all these young people out here getting this money, but nobody's showing them how to maintain it.

Nobody's showing them how to keep it.

And I'm like,

I'm gonna do it.

Yeah, so I applied I'm gotta do my you know campaign and so I'm I'm I'm gonna be

there

You

know

who getting the money for real?

Yeah, no for

real.

You

know, because I know who getting paid because I'm in it.

Yeah.

But she know who getting money for real.

Yeah.

And she ain't attached to him.

So y'all better.

She she went off on some people one

time on Facebook.

You know, they got their

money just sitting out

here.

Hey, you know what I

mean?

And you know, I try, but I don't work for them.

That's how I'm like, look, let the money sit up in there.

Let me let the money sit up

in there.

I mean,

you're going to learn.

You're gonna go through a whole another generation and that money still sitting in there.

Yeah.

So for the new artists, we've been working with a lot of youth who are turning 18, you know, doing music.

For those artists or any artist who is not in the industry, but they're underground, what is the first thing that like we know, but what is the first thing that they need to do?

Uh, discover why you want to do music.

Yes.

Yeah.

You shouldn't go any further than that.

If

it's to buy your mama a house, find something else to do.

Yeah.

Because it's going to be a minute before your mama get a house.

And that's the 100% truth.

That's

right.

And then once you figure out your why, determine or define success for you.

Because it's going to be a long, hard journey.

And if you not willing, if you think you're going to go viral overnight, I mean, hey.

But you got to be

in it for a

long time.

Got to have it happen in a long

time.

In a long time.

I'm trying to tell you.

In a long time.

Man, listen.

Viral?

They thinking that viral means over 96 seconds.

No,

so I teach on TikTok every Tuesday, Thursday, and Saturday.

And so I post these videos up and everybody just, hey, can you help me go viral?

Hey, can you help me go viral?

And I'm like, well, what will going viral do for you?

And they're like, well,

I'll be rich and a lot of people will know me and I'm like, okay, so when people know you, what would that do for you?

Man, you ask a lot of questions.

Somebody should be asking these questions.

And say

gratification.

Somebody should be asking.

When I ask music creators what their why is, a lot of them tell me, oh, I do it for therapy, but then you go listen to their songs and you'd be like, I see why you're still in the same place you were, because nothing changed.

They're not asking themselves these questions.

They're not, they just...

The trilogy I'm telling you the trilogy albums the I just dropped the album in January now I'm about to drop another album and then I'm gonna drop like six albums and I'm like

they have all of that

And

you won't

even know what none of them

albums gonna be going.

No marketing, nothing.

Wait, they don't even know who they five-core fans are.

They never even checked the analytics of the previous music they got.

They not even signed it

up.

You know they have to sign up with Shell.

Come

on, they don't even know.

They don't know it.

They

don't know where to

get analytics from.

And I be saying, I say, listen, we live in Wisconsin.

It only costs $15 a trademark, your name.

That was a whole big ol' thing that I kicked off on Facebook.

Not on purpose, but it's like,

Come on, I see y'all.

And that

price been the same since like 2000 and forever.

Since we was rapping.

But the crazy thing is...

Even though we didn't know everything, we still took time to research on our own.

So we at least knew, split sheets, ASCAP,

BMI.

We knew how to

copyright.

Look, trademark.

We had budgets.

We had budgets.

We knew how much things.

We wasn't going into the studio unless we knew we had our music down pack.

But you couldn't go into the studio

back then.

You couldn't.

You couldn't.

You couldn't unless you knew it.

You wasn't in there, OK, just play the music.

Let me go ahead.

And then you got your phone up there.

They'd be like, what you doing?

Yeah.

You

don't know your

words.

But now the studio is on your phone.

Facts.

Facts.

It's the microwave culture.

Everybody wants instant gratification.

No one wants to work hard or understand anything.

Yeah, I know.

They want the success to come to them immediately.

We got a shell white in the building.

We are talking artist development, marketing and branding.

All things music.

What is it that you need in order to...

Truly make it in the music industry.

We got to go to break to pay some bills.

Do not touch that dial one on one point seven the truth One on one point seven the truth is your girl jazz Tyler did you meet?

We are live and direct in the studio with special guests miss a shell white.

Thank you so much

for pulling up on us today.

Oh, you are very much

welcome.

All artists on show can get your money.

So can.

Yes,

I can.

This is the bag lady in real life.

I like that.

One of the questions one of the questions that comes up often in Milwaukee is why don't artists who live here or from here are put on local festivals?

Let's talk about it

the views and opinions.

I'm about to express our minds I mean Partially So There is I have a long list, but I'll give you out of top three number one professionalism for sure That's number one anytime anything don't go the way that they wanted to go

They go to social media and they blast the people that is over the different organizations or the venues or things like that.

And I'm like, you honestly believe by blasting these people, they're going to book you.

You are already you already kind of show yourself out.

Yeah.

Number two, many of them don't apply.

Many of them don't apply because they automatically feel like they're the greatest talent ever.

And you should just pick them because they had the greatest talent.

Other people get picked because they actually apply.

Hmm

number three you have no idea you have no relationships You have no you don't attend half of the things that you're trying to get on the stage for you don't know who hosts them who throw them Yes, you just expect because they say it's entitlement You just expect because you're talented that you're supposed to be there,

right?

What about all the talented people that is there that makes them feel I wish

more music creatives actually spent time appreciating the people that actually give them opportunities

and

put them in positions and like their music and share their statuses and do all of that rather than focusing on maybe the nine or ten people that didn't like them or didn't put them on a show or actually start hosting your own shows.

That's how I got to Summerfest.

I listened to music creatives say, hey, we don't have the same opportunities as other artists and I was like, okay, I'm gonna pair you with a live band.

the hot some of the hottest people in the city was like oh yeah i'ma come and i'ma i'ma do my thing and they came in there with them jump drives and i'm like no you see this band right here that's who gonna play your music yeah and then when the band started playing it's like y'all not playing my music you don't even know your music because

that's

the exact come on what the what the track did

And they're looking like, oh, well.

And then it's my fault

that they're

not successful.

It's

not my fault.

Sometimes music artists have to look at themselves in the mirror and realize that you are the reason why.

That's why I say that was the first question you asked me.

That's why I said if they understood they why.

We wouldn't have these problems.

I tell them to

be an

artist.

Actually, be an artist.

If you know what the artist is, you're trying to be an artist, be an artist.

If you was an NBA player, you know what goes into

being an NBA player, you

know

what goes working out, keeping your body ready.

You understand every aspect of that.

Yeah.

But when they come to be an artist, you think he's just, oh, I just got to have songs.

Yeah.

No.

It's more to it.

Honestly, you know, when I was performing back then, before I reached a certain level, I never wanted to perform at the festivals because nobody knew my song.

You know how painful that is to get on the stage first and foremost The only reason why I was I knew what the crowd was is because we all have been to the summer fest and stuff growing

up,

right?

But if you go to these festivals, if you don't go, how are you able to identify the demographics?

You don't know which song selection to choose to perform.

Most of the

festivals not even in your demographic.

And you don't even like you don't even have

Stage presence.

Oh, see that's I told you I got a whole list.

No stage present.

No stamina.

Be out of breath.

Don't know their words.

It's a lot of things.

We're

talking about the tracks.

Oh,

yeah.

Oh,

music behind your tracks.

Your vocals

on the tracks.

Oh, yeah.

But if you're doing a band, that's that's still hand in hand.

Like you

don't know how to

do the band.

You come with your music with the lyrics on there.

Yeah.

And for me, it's just like you're not a performer.

You just.

An artist and you're technically not an artist because you don't even understand your craft

You just doing it because you you can or because you got a garage band on your phone or band lab or you to use a sooner.

Who knows?

Just talking about that

argument.

Like they don't know the craft

of being an artist.

I want to say be an artist.

Know your craft.

Yeah, be like, no,

exactly what you need to be an artist.

Like know every aspect of being an artist.

That's how you get paid as an

artist.

Have the stuff necessary for you to.

Push yourself as an artist.

Otherwise, you're just a rapper or you're just a person that's trying to get on stage and perform and have a good time.

Just to say you didn't impose the footage.

Because that's what that's cool.

That's where we are

right now.

That's where we are.

Like, y'all ever see the people that was like, yeah, look at me.

I'm a Sony rock nation, all these different things.

I'm that person that to be like, I see them like, yeah, I'm sitting at.

And I'd be like, hey, so whatever happened with you when you was at Rock Nation, I know

I saw pictures

and stuff like that, but whatever happened.

And I followed the pages because I'm like, oh, OK, so you just went up there to take photos.

Yeah.

And you thought that we thought, well, those of us who understand the business of music, we already know what you did.

You did it.

So those people that's on your page would be like, oh, bro, I have to get signed.

Yes, quick bait.

Yeah, because I done been in all these places.

And

when you

got stuff going on, you don't

get a chance.

It's

so quick like you I just walk past the

whole wall that you

ain't supposed to take pictures at or I see everybody else taking pictures at and it's because They don't go past that wall.

Yeah

Thank you Zee man, but yeah like is

I didn't want to because it's uncomfortable to stand in front of a whole bunch of people who don't know you, don't know your music.

Your music does not cater to that demographic.

I don't have a relationship with the actual organization, which means I may be treated anyway when I arrive to the venue.

There's so many things that go into.

that plays a factor.

They able to book who they want to book for one.

Absolutely.

This is an

organization or a festival promoting what they want to promote.

They're able to

book who they

want to book.

They don't have to book you.

You're not doing enough to get booked.

You're not doing enough to get booked.

I wish more people do venues outside of the local venues that music artists are doing.

I wish they do different venues.

And then most music artists will see the same thing you've been doing over here.

You can't do over here.

You got to have party records.

You got to have family friendly records.

You got to you can have those kind of records,

but you got

to diversify.

That's right.

DJ Shauna.

Gives the music artists an opportunity to have their music played in a bus arena But most music artists don't know that so they won't submit to her because they

don't have the music

They don't have the clean version of it so they don't take up on they don't take her up on the offer And it's like all you have to do is get a clean version of your music.

Yeah, then you got Different festivals that cater to the youth like where's the youth the music for the youth?

Where's the you can be whatever you want to be like?

Where is that?

But

most people just want to do

What they see other people do and then when I don't be successful then it's like oh man I don't feel good about doing music anymore.

I'm gonna give up music and it's like

Number one, nobody told anybody to be an artist.

Nobody told

you to wake up and come over here.

Hey, you should be here.

Nope.

Nobody ever said that.

You just wake up and like, yeah, I'm gonna grab a beat off of YouTube, go to the studio, put it up on DistroKid.

Y'all go stream it.

It's available now on all platforms.

And to be clear, if this is what you love to do or like to do, that's fine.

But don't do it in a way where you're presenting yourself as someone who is a part of the music.

And you are just someone who loves music and you are interested in doing

able to do it at this time in the world.

Like

it's

2026 technology and got it being been in consumerized.

So it's

like you could buy or purchase descriptions to.

any app and figuring out the information on YouTube.

So you could pretty much do it.

Yeah.

You know, that's what anything

to put it out.

Is that

don't mean you're going to be down there with James

Beard

awarding.

I mean, hey, right.

So we were talking before you came, we were talking about the music industry in Milwaukee back in the day and how places like quarter stone fly texture, they'll buy blues, they help shape.

Our performances and help taught us.

Why do you think we there is no or do you think we should bring the open mics back?

Oh, I literally every artist I talk to I tell them to go to a open mic.

I tell them go to a open mic.

I tell them to do karaoke.

I tell them to do whatever they can do.

I be telling music artists.

I'm gonna give you all this play.

Right.

There is Snapchat, Twitch, kick, YouTube, TikTok, Facebook, Instagram.

Right.

Why we never seen a music artist do a social media tour?

Yo, that blew my way back.

It's no for

real.

That I did.

I

mean, it's it's there though.

But why not do it?

And it's in all platforms is monetized.

So it's it's a it's a you don't you don't even have to leave the comfort of your home to do it.

All platforms are monetized and you can sell tickets.

You could do all of that.

You could literally do it off your phone for one app.

And wait, wait, wait, wait, wait.

That ain't even a thing.

Then you could go to your performance rights organization and register it as a live streaming concert.

Give me the game.

Give me the game, Michelle.

That's what I'm saying.

Like

I told you I'm here to do over a hundred.

Listen, I'm here to tell you how to make money.

That's how you get to your money.

You, you thinking, oh man, I got to be outside doing.

I wish my hope is that music creators will stop performing as much as they perform and be strategic with their performance because they be anybody that give them, man, I got to be out here.

I got to be in front of the people.

It's so simple as putting up your, your camera and say, Hey y'all, I'm Ishael.

I'm the greatest music administrator this time of year and I'm here to

help

you be successful.

Yeah.

And not to mention when you're streaming, you are gaining global fans.

Not just local.

You got fans all over the world, and it is actually inexpensive because you don't have to fly there.

It's free.

I mean, everybody can't hit global.

It might not be monetized, but at least you can hit another region.

Yeah, I mean, absolutely.

You know what I mean?

At least try.

At least try.

100

miles from here.

Try.

You don't have to worry about an agency taking a percentage.

You don't have to worry about a promoter, a flight, hotel, all these extra expenses.

And then you're going to get the data and then you can utilize the data and be like, okay, people was hanging around for this amount of time.

I got these number of followers.

People messaged me.

It was like, oh man, this is dope.

Where can I check it out?

Then you can do content and say, I said, um, music creators put their music up on streaming platforms, right?

They tell you 150 plus different stories.

They put your music in.

Why we don't see music artists always be like, I can't create content.

That's 150 pieces of content that you can create to tell people where your music is.

I'm only getting pennies and nickels anyways.

That's because your music is 150 plus stories and you're not telling people how to get it, where to go get it, how much to get it for.

You're not doing the work.

Yeah.

Out of 150, you pretty much just only speaking of three.

Yeah.

Three.

Yeah.

And then the.

The crazy part is you get paid.

You can get paid.

It's seven, eight, nine checks in one song.

Let's say,

yeah,

I

tell them the first 30,

the first 30 seconds, your music is heard.

You automatically generate nine different royalties.

You wanna know what they are?

What

are they?

I'll tell you.

They are master royalties.

That's from the DSPs, the digital service providers that you put your music on.

There is performance royalties.

That's anytime it's played in like any coffee shops, hotels, restaurants, anything like that.

Then there's actual like public performance when you're out doing

open mics, karaoke, things like that.

There is digital royalties from sound exchange.

There

is physical mechanical royalties from the Harry Fox.

There

is a

digital mechanical royalties from the mechanical licensing collective.

They're sync.

That's anytime is put together with a video.

There's a micro sync, which is all social medias, you know, when people be like, you want to add a song, everybody be adding everybody else's songs that are adding their own.

There's a.

There's radio, there is print royalties.

And that's having your music

pop

up on anything.

Yeah.

We are we are live and direct at the American Family Insurance Studio with the shell white.

Do not touch that down.

We got to go to break one on one point seven the truth.

Wow.

That's crazy.

101.7 the truth is your girl Jazz Tyler and Digi Meach.

We are live and direct at the American Family Insurance studio in the heart of downtown Milwaukee.

What's the word?

Man,

we got a sister in the big.

Big Michelle White is in the building.

That's the real original bag, lady.

The lady that's trying to tell all of you artists, do not leave money on the table.

Or in the air.

Or in the air.

Or in somebody else's pocket.

Or in somebody else's pocket.

So before we went to break, we were talking about the industry and some of the things that artists should do when they first become an artist.

But one of the things that you mentioned that is extremely important outside of the seven to nine ways that people can.

you know, obtain royalties is that if you leave your money on the table, not only will you lose it, but it will go to another celebrity.

You couldn't believe

that.

Yeah, I can't believe it because that's like... They call

it the big black box.

That's

why they call it that.

Make it make sense.

How do

you... Or the black cloud.

How do you leave money on the table and

then

allow someone else to...

You know, you got money to buy sections, you got money to pay for the look, outfits and videos, but you can't pay somebody to make sure that your business is in order.

First, they got to understand how long it take.

But from the time you release to the time you make some money, you tell

them.

Three to six months.

But you know what?

It's really crazy that I had an artist come on my TikTok the other day.

She said she was selling her songs for $9 and she was making money on Bandcamp.

Or no, she said her own website.

On her own website, she was selling her music and making $9 and she loved to hear the sound of the ding.

She said somebody told her that she can't do that, so she took her music.

She didn't, she stopped putting it on her website.

She put it on DistroKid and she said, that was back in March.

She came to my live the other day and said, you wouldn't believe how much money I made from March until now.

She said, it's embarrassing.

I don't even want to tell you, guess what I'm doing?

I said, you're going back to your own website.

I told them last night, I said, which one sound better?

I can give you my CD and you can give me $20 or I can put my music up on this platform.

Then this other platform got to approve it and put it up on a platform and then I can come to you and say, hey, you can go get on these platforms and they only gonna pay me $0.004 or I can have the $20 in my hand.

Right.

I had to get this analogy right because I'm telling music creatives, hey.

All the streaming platforms are like, hey, it takes 1,000 streams for you to get $1, right?

So I'm saying, I'm saying this to music creators.

They was like, oh, no, I'm gonna still put it up on streaming, still put it up on streaming.

I said, I got you.

Yo, what time is it?

534.

You supposed to be at work at six o'clock.

Yo, drop call you and say, hey, at six o'clock this evening, we're gonna implement a new rule

that

you have to work 1,000 hours before we can start paying you $1.

Are you going to work?

Go.

Not at all.

You see what I'm saying?

But you

still be putting your music up on them streaming platforms just so you can get a dollar.

Make it make sense.

Make it make sense.

It don't make sense to me.

Make it make sense.

When you can

go directly to y'all.

It make dollars

to me.

I understand fully.

I really

understand.

So what is your suggestion or advice on how do we get artists and I'm more so focused on the artists here?

Right?

How do we get them to understand the importance of this and physically show them?

And I know we've done events.

I know that we, you know, we've all worked together.

We do lives, but it's like they're not catch.

They're still not catching on.

The views and opinions I'm about to express.

I don't know why

I keep doing that, but I feel like music creatives are ready, especially that's why.

I've been talking to adults for a minute, and then I just thought to myself, like, you know what?

You've been doing this for 15, 20, 30, 45 years.

You're comfortable.

You're happy with people just knowing that you got music out.

You're not trying to get to the Grammys.

You're not trying to do anything other than just do what you're doing.

If you get a record deal, cool.

If not, people know you, so you're cool.

I started focusing on the youth and like education has become like my main thing and I will rather talk to the youth and help them understand that part that hey you don't have to go the way that we went like if you have this in order you have this make sure you have this you understand that if somebody come to you it's like hey uh because a lot of people be signing to these local labels and a lot of the local labels have no

business structure set up at all.

They don't understand the business of music.

They just look cool because they got the money and they can buy sections and take their artists to Miami and

Atlanta.

They pretty much jumping on the bandwagon of the artist because

they see that the artist popping.

They're

like, well,

I'm going to

try to get...

And

the artist wants the team behind them because of the look.

And they want that team

because it feel like, like, music artists have been asking me for a minute, am I ready to manage?

And I'm so happy that Rico Love did what he did.

I've seen that.

Because I just be trying to tell music creators, like, they be like, hey, I'm just trying to get in.

I need a manager to get me in the door and

I have

to go.

Nothing to

manage.

Nothing to manage.

And then they get you in the door and then it's poof.

Or the fact that we have Jesus internet, Blue Ivy's internet.

Beyonce's internet, whoever internet you want to call it, and you can literally put your own self in these different rooms.

But people don't want to do that.

They want to wait until you or you walk them up in there so that they go, oh yeah, they brought me in here, instead of just walking in the room.

I mean, they won't say you brought them in there, but

they'll blame

you.

They'll blame

you.

Or you ain't

doing nothing for me,

but you ain't

going to tell them that I'm the one

who brought you in.

Yeah, yeah, yeah.

Absolutely.

You get in that door and be a complete failure.

Now, I'm the reason, because I opened the door for you.

I'm the reason.

you felt.

No, I told you, you wasn't ready to go in there.

But you didn't want to listen to me because in your mind, God gave you this gift.

God Buddha, Allah, whatever you serve gave you this gift.

And that's where you supposed to be.

So let me ask you this, the recording academy.

There are a lot of artists who have no idea.

Now, this is the funny part.

You say you're in the music industry, but you don't even know what the recording Academy is.

Can you break down what the recording Academy is and what your role is with the recording Academy?

Yes, I can.

The recording Academy is the people who provides the Grammys, who gives out the Grammys, who host the Grammy Awards.

Hold

on.

that you can vote.

Actually, we are going to be in the period, okay, so I'm gonna say it like this.

I'm on a professional member of the recording academy.

I sit on the education committee, so I work with music in schools, all of that different things to educate people on what the recording academy, who we are, what we do, and how we help the next generation.

I've been saying, I went to the Grammys this year, and I was like, wait a minute.

I haven't heard an artist say they wanna win a Grammy in a long time or even wanna go to the Grammys.

I went to the Grammys just because I was like, oh, I have to be in

a room.

And so, and I went there, I was like, wait a minute.

So there's a whole process before you even get nominated for a Grammy.

You have to be considered for a Grammy.

You have to submit your music.

Wait, that's the first thing.

You have to

submit

your music.

The funny thing is I'm actually gonna do a video after this about this, but you have to submit your music.

to be considered for a Grammy.

And so I was thinking like, wait a minute, music artists would drop a single or an album and spend all their money on that,

but they won't even submit it to be considered for that.

So when you submit it for free, should it be clean, radio or... None of that matters.

None of that matters.

It's just

submitting it and having the...

the finances and the ability to push it where you can get it in front of a lot of people where it says for your consideration, take out the advertisements, all of that thing so that you can get the people that's in the recording academy to vote for it and like push it through further.

But most music creatives don't even submit it.

They don't even know that they can submit it.

They

don't know who to send

it to.

They don't know how to do it.

And so I've been like, okay, I can help music creatives in this like so.

If you are music creative and you listen to this August 2025 until August 2026, you have to have music out and can submit it up until August the end of August to be considered for the Grammys for 2027.

So you submit the music and what happens after that?

You have to do run a campaign for your consideration because you

need the voters, the people to

vote to

really

see

it.

You know

what I mean?

That's why you think killer might

Relationships.

That's why he won.

Got you.

Relationships.

His music went out here that well, but at the end of the day, the

people

who...

He

submitted

it.

He

submitted it, but the people

that voted, listened to, not because he submitted it, he did enough for them to see

it.

To see it.

Got you.

They know who Killer Mike is.

So submit, create that campaign, and run that campaign.

Yep.

and then you'll, once you, the tally, then you'll get, you'll move into the nominations category.

So like I was there and I was hanging out with people that was nominated, they get like a certificate and a Tiffany medal.

It was super, it was super dope.

I feel like every music creative should go to the Grammys just so you could be in a room like you understand the process of it.

Cause I was sitting there, I'm gonna tell you, I cried the entire time.

for

both of them.

I didn't

even know it was two Grammys, like two award shows.

The first one is where they have, like there is 90 plus different categories for people to win a Grammy in.

90 plus.

I was blown away.

They

had the stuff for like the movies and stuff

like that.

They had the movies, the eight-year-old girl won for Children's, and I'm sitting up here looking like, wait, there's 90 plus categories.

Why do we only settle for one?

The televised version.

Come on.

And so then I'm sitting there like, okay.

And then there was 90 over here.

Then we go over there.

Um, I actually went to all the event.

This is why I think people should go, right?

Cause it's all about relationships.

Once they, they don't, they don't tell you that when you get in the music business.

Cause they do, you just think that it's music.

It's all about relationships.

So

I

was there.

I was going to.

I was meeting all kinds of people.

And I

was

just sitting here looking like, dang, I can't believe I used to watch the Grammys and not be here.

Because I watched her

journey through the whole thing.

And I'm like, look at this

shit.

She ain't stuff she ain't really going to be at.

The really crazy thing is, I literally had to say, I'm going to bed.

Them people was out there from sun up to sun down to the next day came in.

I was like, I didn't have to worry about what I was going to eat

or

nothing.

It was just like.

Celebrities everywhere and a really amazing thing is they were so cool.

I kept introducing myself as the greatest music administrator this out of heaven I got so many numbers so many people like actually reached out and tapped in with me and I was just like and then

It was so beautiful because I do the thing on TikTok, right?

And I walk through the, I'm walking through the hotel and the lady said, Admin, my name is Admin for Creatives on TikTok.

And I'm like, okay, now who knows me here?

And it was one of the ladies that, she's the older lady that comes in, her name is Miss Peppa, Peppa Michelle.

And she has sung background for Tina Turner, like everybody.

And so when I met her in person, I'm thinking, you know, she's just the older lady that be in my,

No, she like that late,

like I'm the lady,

she is her.

She was introducing me to everybody and I was just, I couldn't stop crying.

I

could not stop crying.

That's so amazing.

We gotta go to break the pay some bills, do not touch that dial.

We got Miss Achelle White, the real bag lady in the building.

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We got a special guest in the building.

Bixxs, a shell white.

We are talking marketing, branding, artist development.

Artists not leaving money on the tables.

Before we went to break, we was breaking down the Grammys and how artists don't submit their music to the Grammys.

And just the process overall.

One of the things as well is they don't understand that once you obtain something like that,

you can charge your price change, right?

So how beneficial is it?

You know, obviously we're talking about the Grammys and there's other awards and other things, but how beneficial is it to have something like that attached to your brand that can enhance how much money you make?

You know, I'm gonna say this, right?

You don't even have to, the views and opinions again.

You don't even have to necessarily win a Grammy.

because when you're Grammy nominated, what do they say?

This is Grammy nominated.

Grammy nominated.

Yeah, producer Meach.

You know what I mean?

Grammy nominated, producer Meach.

Yeah.

That's gonna be recognition

alone.

That's all I need right now.

Grammy nominated.

Grammy

nominated.

I'mma see y'all tomorrow.

Y'all tomorrow.

Let me just say yesterday's prize is not today's prize.

That's all you really need.

And then the Grammy is like really, it's super cool, but it's like, man, just to be Grammy nominated.

Every time they introduce you, wherever you go, you're gonna be Grammy nominated.

Think about it.

It's

almost better to be

Grammy nominated

than to

actually win the Grammy.

So it becomes a part of your identity, your title.

That's who you are.

Yeah, Grammy nominated.

Producer or

artist.

Or set, yeah, whatever.

Yeah.

And that's what I want to say.

She'll be a Grammy award winning.

Yeah, you'll be a Grammy award.

But it's not like, it doesn't have that Grammy nominated.

That's that that's that heavy one.

I wanted to say they do have the recording Academy has Grammy you and that is for musicians who are music creatives who are 18 to 29 I believe and they can join Grammy you and as a member of Grammy you you can submit your music for consideration for a Grammy

Come on now.

So you're like She literally just gave how much is this worth?

Everything, all the information that you just provided.

How much is

that

worth?

It's up there.

It's up there.

I do offer discounts.

Not too much, though.

Yeah,

one flat rate would be like five.

It's like

five

to ten thousand dollars worth of information.

Like for a consultation,

it's

probably a one sit down hour, two hour consultation, probably a thousand, two thousand

dollars.

The state that we are in at Milwaukee, you've been there from pretty much like the beginning, you've been able to see it increase, right?

Elevate.

Where do you see us going five to 10 years from now as far as the business?

Like where are the artists who are blowing up and popping from Milwaukee?

Where are they on your radar as it pertains to business?

Keep it real come on

Right now they are at zero

zero dollars

like the money is there but They're doing it like it's the vanity of all of it.

Yeah, and then

I can tell you the number of teams, managers, people that I've reached out to, even some of the people who are no longer with us, I reached out to the people that are around them and was like, hey, you can set up their ASCAP legacy or they be in my estate so that their children or their wives or their husbands or whoever can actually get that money.

It is ASCAP Legacy, BMI Estate, Sound Exchange, Estate Registration.

Where the money that your music is going to make because it's gonna be out there forever, your family can get that.

I've been reaching out, trying to get to people, but it's like, ah, nah, we good.

What you wanna know, I don't wanna know anything.

I just wanna show you

how you can get

that money.

And it's there, especially if you've been doing, it's music artists that's been doing music since the 90s, right?

And I reached out,

Oh, yeah, my manager is handling that.

And I guess they fell out with a manager and then I sit down and talk to him.

And then it's like, let's look at your ASCAP BMI.