About This Episode
Episode #5 is with Gabe Bautista. He is a musician, actor, comedian and all around entertainer from UCR. Listen to his latest release “Slide Through.”
Topics discussed in this podcast include:
1. The biggest challenges facing the music industry
2. How to create a musician brand
3. How to make money with music
4. G. Bautista’s new music
Listen To The Episode On Spotify
Transcript
[00:00:00] Welcome to the podcast today I’m joined by Gabe Bautista. Today we will be talking about a lot of stuff about the music industry primary, the biggest problems in the music industry. But we’re also going to tie it into a lot of the content that just released from you, some music videos and new content. So we’ll talk about that as well. But just to get this started right away. What do you think are some of the biggest problems, the music industry right now?
[00:00:47] Number one is mainly like it’s difficult for a lot of content creators to make I mean, to get their names known. But at the same time, it’s not. Yeah, I mean, it’s difficult because, like, everything is highly oversaturated. Right. And I like I’ve talked to, like, a couple of people who go to music school and they’re like teachers and all that stuff. They say it’s kind of hard for them to make money. Now, back in the day, like if you were a drummer, you get paid like, you know, six hundred a session or a thousand dollars a session, you know. Yeah. But now it’s like everything is very electronic and you could just make it on the go. And a lot of people just just create a bunch of shit and just put it out, you know. And on the other hand, it’s pretty good right now because it’s more fluid than ever. Yeah. Because like now you have people just blowing up off of viral videos. You got tick tock, you know, you got Twitter, you got TikTok videos, you got Instagram, you know, your hashtags, you got Memes.
[00:01:47] So it’s like it’s just a matter of knowing how to maneuver yourself in this very diverse, chaotic space, kind of chaotic space, you know, and whoever catches the gold, you catch even me.
[00:01:59] Yeah. Because right now you have the biggest problem that was listed out. If the music industry is just that, there’s no there’s a lot of money in it. But the people that are actually getting the money, it’s a small portion. It’s only 14 percent of artists who currently are making like legit money off their music. The rest of it, 86 percent aren’t. And that’s because right now, like Spotify, they completely change the dynamic of music. I mean, right now you get zero point zero zero six cents. Yeah. Per street. Yeah. But even for thousands of streams, you’re barely making a couple of bucks. So you have to actually be making like a song that gets an average of 100000 streams consistently if you want to be making money off your music. So it’s shifted the dynamic that your music now is not necessarily where the cash is coming from. It’s coming from other venues, even like Dr. Dre in November, he stated, because he’s been pretty quiet recently about the music industry. But he came out on an interview and he stated that he thinks that there’s way too much quantity coming out, not necessarily quality. He’s talking about the rap industry primarily because there are a lot of rappers, that kind of stuff. But I think that’s the case for the entire music industry. Yeah, there’s just too much quantity and not quality. So what do you think artists should kind of perceive what these famous people like Dr. Dre, Snoop Dogg, all these artists have been saying about the music industry for the last couple years?
[00:03:11] I mean, they’re right. And I also think the other side is right, too, because on the other hand, like, people are just trying to blow up, you know, and that’s why people were like ever since Ross came out with that technique of like, again, like a song a week, you know, it was just it just opens like a new perspective of how to blow up. And I really think that neither side is wrong. It just comes to the down to the artists of how the artist wants to be perceived by the public and how they feel comfortable, you know, doing their work. If they want to just do a song, I think I should do it if they want to. Like, you know, I personally like the song a month or, you know, drop an EP every two years. You know, as long as you’re consistent in what you do and like it represents your brand, I think you should remain true because like in the end, like you just trying to make bread and we can make bread the way that you’re doing and is working for you, I think you should continue to do. But if it’s not working and you’ve been doing the same technique, I think you should reevaluate what you do and just try to, you know, create something new that’s like that’s kind of the way that I’m on go wherever it goes, because the music market or any song can blow up. Now, I don’t matter how good it is, it don’t matter how bad it is, anything.
[00:04:19] I agree with that. And I think that kind of goes back. It’s like you’re not necessarily making money off the music nowadays, but you are making money off your brand. Yes, I think every artist should consider themselves not they should consider themselves as a business, not necessarily just as an artist, because at the end of the day, your brand is what’s going to carry you, your brands, what’s going to get you those performances, those merchandizing that money gigs, licensing gigs, all that kind of stuff, acting gigs, everything you can venture out of it. So I think artists should focus primarily on the brand development and actually getting a business team around them to propel them if they don’t have that knowledge themselves.
[00:04:52] Yeah, no, I completely agree, just like a lot of them just don’t know. You know, they just I completely understand because, you know, I’m I’m one of them. You know, we’re all struggling and said, like, I have been blessed to just have a lot of people I’ve been blessed to just be open to a lot of perspective. You know, the first person that helped me until I was like, Adam, you know, Adam is like he’s like my best friend, you know, produces some of some of my songs. You know, he helped me through the. Was there from the beginning, you know, and he always helped me with, like a lot of creative advice on how to present myself on my Instagram and how to, you know, how to, like, be perceived by your audience and that, like, opened more doors for me to have more perspective towards other people, you know. I you you know, you open like my own, you know, are the market kind of works. I mean, Ethan, you know, even like I kind of sound engineer some of my music or most of it. And he you know, he shows me another side of the world, you know, it’s just like I was long as you open to perspective and I just, you know, in your own world and you’re open to community, that’s like a lot a lot of artists like that, you know, they’re just like they’re just so caught up in their own world. And it’s so hard for, like an artist to understand the value of what it means to be an entertainer or like a performer, you know, like an entertainer or someone who like I feel like somebody who’s, like, always surrounded by people and like you are an artist. I mean, you are an artist, but you don’t get to the position that you are because you worked hard for that position is like more like the people put you there, you know? I mean, everything is like in the end is like the equation all comes down to what the people want. I mean, is this how you put yourself out there, like how open you are to willing to try new things out? You know, it’s just I mean, that’s my opinion.
[00:06:45] Yeah. No, I think that’s a that’s a good point. And I think that kind of goes back to artists right now that I mean, there’s a bunch of content, obviously, non-stock coming out. There’s music left and right, every single genre of music. There’s nonstop content, which is hard to differentiate in it. But I think as a as an artist, as you start progressing, maturing, you have to build a team around you when you kind of brought up to give you those different perspectives, because if you’re kind of stuck on your own, like I’m only doing what I want to do kind of thing, that then today your content is what you want to do. But the progression as an artist shouldn’t just you shouldn’t be involved with every aspect because you’re going to spread yourself way too thin and you’re not going to be able to do what you’re there to do, which is being creative. So a lot of artists, I think, should be kind of formulating a team around them based off the skills or the gaps that they might not have.
[00:07:28] I think you’re right. But I also think that the artist before doing that, they should focus.
[00:07:35] I mean, for me, when I started off, I didn’t have any support for me. And I started out by myself, you know, in the garage with, you know, just laptop and, you know, just just me, myself and I had to work on myself. Do you feel like if the artist is comfortable with who they are as a person and like comfortable with their craft and what they do, then I feel like they can branch out to other people. I mean, that’s like how I started off, because once I was comfortable with who I was and I knew exactly where my strengths and what exactly were my weaknesses, I was able to look towards people who were better than me at certain areas and or who could fill out the gaps that I needed. You know, and I really think that, you know, if you’re comfortable with who you are and then I think you should branch out, but if you don’t have those skill sets that you need to fulfill your obligation or your part within your music, then I think you should focus on that first before you go on reaching out to anybody else. Because I’ve encountered people over the course of my life that like that don’t necessarily have the like they have the idea and it’s beautiful. You know, it’s like great. But it’s like they haven’t solidified their craft music in the area that they’re trying to do for them to depend on others. And so therefore, they don’t have that credibility for me to help that person out, if you know what I mean. So I think that’s like an important thing. I feel like the artist or whoever is trying to make an idea or something like that, they should first fine tune whatever they’re trying to bring out to life to the point that it could be tangible to other people to listen to it, to believe in. You know, an idea is just an idea, you know, but like, how can I you know, it’s like, you know, like when it comes to like like putting money into a product and was like, I don’t know what I’m investing in. If you don’t, like, show me like a clear idea of what exactly you want me to do. But yeah, that’s my opinion.
[00:09:29] Yeah. No, I think, I think that’s a really well well put because I mean you have to know what you want to do before you tell it to the world kind of thing. So I think that’s good. A good approach for young artists especially is kind of finding what you want to do and then kind of push forward from there. But I think the other part to bring up is as you’re producing more content and you want to make yourself more credible, it’s investing into your own craft. I think that’s another point when it comes to like music videos and the constant you push out and photographers and all that kind of stuff, because I just see a lot of artists that they want to progress and they want to become more credible and they want to get gigs left and right and get booked. But they struggle with that because they don’t really have that that piece of credibility for themselves to even get booked. So what would your what would your advice be for artists that kind of want to solidify the credibility for themselves?
[00:10:18] I mean, just go out there, man. You got to you got to earn your. You got to earn it. You.
[00:10:22] You got to do it like this, I came up out here in L.A. for like one year and I was like homeless, you know, and then I was just doing a bunch of, like, open mic shows or like whatever show had me. And then I started people started recognizing me. Start developing your name as you go out there, talk to as many people as I could. And then over time, I just started getting gigs offered to me. You know, currently I’m not doing like any shows right now because I just been focused on creating my content. Yeah, but it’s like you just go over the videos, just be open to living like they really want to become an artist and a performer. And then you just got to go and perform. Start off by open mikes, start your networking down, talk to the head of the guys, talk to people around you because anybody within your circle can become anybody like I was. I performed that like Santa Monica, like two years ago. And it was this one guy named Ray. And he was like a great crazy like performer. He like performed by himself, all of his instruments. And like two years later, he’s like he performed on like a TV show. He has like over 40000 followers. Now he’s like, you never know. I just got to start getting, you know, working and just by talking to people. Yeah, that’s what you got to do. Just like network build on your craft and develop relationships, you know, and then people fuck with your energy, you know what I mean? That’s how people believe in you. You got to prove to them and prove to yourself that you believe in your idea. You know, you can’t be, like, cocky when you have nothing.
[00:11:58] Yeah. Here. I mean, like like I. I’m borderline cocky, confident I’m not gonna lie. I’m I have my flaws. But, like, I’m confident because I’ve I’ve worked hard, bro.
[00:12:08] Like, I have worked really hard to like to do everything that I do right now. Yeah. And like, I’m grateful. That’s one thing I’m grateful for all the support that I’ve gotten within, like, the things that I’m able to do, you know, despite like like everybody giving me like a discount for what I do because they believe in me, you know, I mean, going back like you’re saying, like, yeah, you’re borderline confidence.
[00:12:29] I was cocky, but I think you can actually, like you put in the work for it, like your actions match what you’re speaking of because, well, you’re currently still working multiple jobs. You’re still trying to hustle and getting that money behind the scenes, right? Yeah. And then that money you’re getting behind the scenes, a lot of people don’t realize that you’re investing right back into your own craft. So, I mean, you just came out with your music video slide through. And in that I mean, how much did you invest into that production because you had a dance team like you actually put the time in the money into creating that piece of art? Yeah.
[00:12:57] So, um, I had to pay the camera guy and then I had to book the barbershop. I’m just because I can’t believe I bought the barbershop and I had to get a dance team, I to forget it was like my birthday week and I was like, I have to get a fucking dance team. And then I had to rent a car out.
[00:13:18] So I bought the fuck out. And then like when it came to throwing the party at my house, I had to, like, get all the jungle juice. And that costs money to have to pay for my homies gas. And it was like I was running the whole thing. Yeah. You know, and like, I paid for the baby. Even though I produce most of my content, this was so hard I had to pay for it. I got my own way to get on the first.
[00:13:39] I paid for the Reid to get makes an engineered by a guy named Johnny Garza. Like he he’s like an engineer out in the Bay Area. He’s like with like Russ and Iraj, people who I admire. Yeah. But yeah, he was dope. So like everything came together naturally. But like I don’t know man. Sometimes with Karzai over six hundred, sometimes it cost like a gram to gram but like yeah I don’t know, we just came together great.
[00:14:05] Yeah. But I think the important thing to realize here is that yes. You’re investing both your time and your money to make this happen. But that concern itself because of the production value solidifies that credibility that we’re talking about.
[00:14:18] Oh it’s hello. When you want to work with like people who just selling your work and they’re like, I’m sold, like, is this hard for like somebody to pitch your music to somebody when they don’t know what you’re about?
[00:14:28] Yeah. Yeah.
[00:14:29] Like let’s say like one big thing the artists do, the people who I talked to, they they show me they’re great and whatever is on there is like I judge them based off of that. Yeah. Mainly most of the time. But sometimes I could catch a vibe with somebody and I’m like fuck with them. And like we make content off of that. But mainly like I look at your Iggy because energy to me is like a portfolio now. Yeah.
[00:14:54] If you don’t look esthetically pleasing to me and if I listen to the music and I don’t like it, I won’t work with you or I won’t follow you back either. Yeah, but if you’re a cool person like that to me goes a long way to a vibe is important in music.
[00:15:06] Yeah. No, but I think that’s a kind of good point when it comes to your own portfolio, you’re kind of social media, your social media nowadays is your brand of people. So like how your YouTube account with your music videos happens, how your Instagram page looks with photography and your brand. And all that kind of stuff, having a website, having all these things, an artist, that’s what’s going to get you to that kind of that next stage and next stage, because then if you send that to a place and get booked, they can understand who you are and they’re going to trust you compared to the other 100 artists that are sending the same stuff to them. Yeah, even if you guys are all in the same talent level, they’re going to book you just because the fact that you’re appealing to them.
[00:15:41] Yeah, you know, it’s just because, you know, I’m fucking serious.
[00:15:45] Know, I don’t fucking play. You fail me. I’m putting in my own money as is. And most motherfuckers, they’d be like maybe looking for a handout. Like, I try to look for handouts fucking I’m like, I need a handout once in a while. But like, I put all my money, like, well, I’ve invested over ten grand into my music and I know I’ve done it wrong for the past four years because I didn’t know what would that take me like. But you learn and you live and you learn like you just got to go out and risk it.
[00:16:13] Your family, like a lot of people come and talk to, just like they want to create all these beautiful ideas and all creative. Right. But it’s just the fact that you just got to do it.
[00:16:23] You know, it’s just fucking do it right. Who gives a fuck what people think insecure about what other people say about your own craft, your whole fucking craft. And if you make money off of it, you catch a bag and fucking buy yourself a new house like you’re overthinking it. People are going to hey, that means people are paying attention to what you’re saying and they’re hating because they are also doing it so they know what to say. Yeah, all they do is create hey, which is good luck. I don’t give a fuck about what people think about me. I’m fucking happy with who I am because I know I got people in my life that care about me, genuinely care about me outside of that, like I can pay my bills, you fill me. And like anything else, bro, once that cash is back from this song, it’s like I’m sad.
[00:17:02] I mean, right now it’s definitely it’s a good perspective. Look at stuff. I think the the other actually major problem that’s kind of now circulating in the music industry is that there’s a lot less long term record deals or record label deals in the market and that causes it. That’s a good thing. A bad thing, like a lot of artists like to be independent now. But the issue is that by it not having these long term right record label contracts, it doesn’t have that longevity in somebody’s music. Yeah. So it’s it’s a lot harder for a younger artist to kind of penetrate into this old school traditional market because of the way that the record deals currently are working. Yeah. So what do you think as an artist? Like, what do you think an artist should be kind of ready to jump in and pursue a record deal?
[00:17:44] I say go over the vibe, guys. I think if you think you’re ready for it, I think you should always have a backup plan. But like like not like not say like fuck you like I’m to be a professor after this is not just say like like I’m going to do this record deal. Right. And I want to try to cash this bag that they’re giving me. And but while I’m doing that, I’m a figure out like another scheme so that once I get out of this, I already have something ready for me. Yeah, you know what I mean?
[00:18:10] I feel like that’s a lot of things that a lot of people in general are like. They don’t think about what’s next. You know, like college students, they graduate college.
[00:18:18] They don’t know what the fuck is next after college. All they know is I to pay off this fucking debt and shit like that. That’s like a universal thing. You always got a plan after what the shit is done, because like in the end, like, are you always trying to become a sign artist?
[00:18:30] And if you know your ultimate result that you ultimately might, you know, might be independent, then you should focus on what’s going to get you towards that, you know, independent and just focus on establishing solid relationships within wherever the fuck you’re working with, you know, you know, develop that credibility so that when you get out and finally become independent, you have all these resources that you can reach out yourself and just put in your own money.
[00:18:56] But like, be good with managing your money. I mean, I’m not good right now, but I’m kind of I mean, I’m single. So it’s like you’re using a you can manage your money, but yeah. Just be good with managing your money and make sure that you have a solid idea of what you’re trying to aim for.
[00:19:12] And then fuck it, if the record deal comes, I say fucking jump on it, read the contract, obviously read contract that one is going to bring you up is a couple of things I think artists should think about is don’t jump on every record deal. One is choose the record labels that you would actually want to be on. I think that’s number one, because a lot of times people just jump on whatever and then to make sure that record deals is in your best interest. Yeah, because a lot of the times these there’s a lot of horror stories about these really big record labels.
[00:19:41] And what they do is they shelf people’s music so that they never get to ever put that music out and then they own it. And then if they ever try to get off the label, now they pay for all the fees and everything else, the lawyer stuff, and like it becomes a nightmare. I’ve heard a nightmare stories. So I guess my my advice to when it comes to an artist would be treat this as a business. I mean, if you’re signing a contract for something that’s your own content, make sure that you still have ownership of what you’re making because you’re the one who’s producing this. They’re just the one that is distributing and marketing it for you.
[00:20:09] Yeah. And also another thing is, before you sign the deal, make sure you I mean, for me personally, I feel like I want to be sold because I’ve already put out a lot of music that, you know, it’s impossible to. Tell me, you know, like I wouldn’t I wouldn’t want Rechelle fuck that. Fuck that. Have you going have the feeling that they’re going to salvias. That’s what you got to catch. Bob, you fill me like you got to be in the meeting, bring your wife tone out, you know, speak white, speak that business on. Hi. Yes. I’m sure the six percent of my album could probably do you some good, you know, but but, you know, like, you just talked the shit out. And if it works for you, great. If it doesn’t fucking work for you, just go wherever the energy goes. Rhoda’s I’m oh, I’m I’m writing this wave right now, you know, create the wave, you know, like write whatever is inside of you, you know, does do what you think is in your best interest.
[00:21:00] Always. But then I guess the last problem, major problem in the music industry is going to be getting those live performances, getting light bookings, because that’s where the majority of money actually comes from. Yeah. And I mean, that’s a that’s a big problem. We talked earlier about the credibility and how that helps you get into these performances. But I think the biggest problem is a lot of times artists that they’re just going to automatically booked into a big venue. And you’ve got to kind of go through the small itty bitty route first and kind of build that credibility, make sure that you’re a performer, because a lot of times someone might be really good at making music, but they’re terrible at performing that music. Oh, and that’s the difference that makes a like in my opinion, like a solidified credible artist, is if they can actually perform their music as well and get the audience engaged with what they’re doing. Because if you can’t get the audience moving, no bar, no club will ever book you, because that’s the whole point of it.
[00:21:48] I wouldn’t say that’s true. I mean, you could do this. People who make money perform. And there’s performers, I would say, like as long as you making a bag, you doing what you got to do and like it depends what your girls are. I mean, as an artist, like, if you’re really trying to become like the best out there, you got to have, like, some performing stage presence.
[00:22:09] You feel me about like any, um, like if your goal is to get a back and just say, fuck it, if I mean, like, you know, there’s like a lot of famous comedians based off of like take talking, like I’m in here, like a lot of conversations about how some of them, you know, that are famous, you know, go up on stage because, like, they bring people to bars.
[00:22:26] Yeah, well, that’s different. That’s all he’s gauging them. Like, if you can bring people in, of course, a bar or a club is going to book you. But I’m saying as somebody who’s kind of up and coming as an artist, you probably don’t have that kind of reach. So to be able to get a bar or a club to book you, you’ve got to get people in that bar and club active with what you’re doing, because otherwise they’re definitely not going to book you again.
[00:22:45] Oh, no. Yeah, there’s definitely got to be good. You got to go with your songs. They got to like yourself. If you could layer you film, you could play, they can give. Everybody just wants a good vibe. And as long as you bring a good vibe you think you said, yeah, fuck yeah.
[00:22:59] But I think the other thing that artists should consider when you are going to gigs or if you go to a house party or whatever, get literally pay a videographer, a photographer or somebody and get consent from that stuff because you need to prove that you’ve done it. Oh yes. By performing there, it doesn’t mean anything.
[00:23:13] Yeah, no big thing I learned in history class is that if it was never documented and never happened, you know what I mean.
[00:23:21] Like is this I always do my best to like record. Everything that I do is like anything that has to do with like public. If I’m performing, I try to get like, you know, take a picture of me or something like that. If I’m like, you know, if I’m anywhere that has to do with, like, artistry wise, take a picture, some shit like that post on my G story. That’s why it says I’m doing shit. I’m not like, you know, I’m always doing something up. I want people to know that, you know, and you girls like to make sure that people know that you’re doing a lot of people like they like to like be ghost, you know, fuck. That’s the way I like to be open with everything. Yeah, why not.
[00:24:01] Yeah, I like that. I think transparency and documentation of everything is good, but it really depends on your perception because I mean, there’s artist once you’re big enough time, like you can go ghost everything, come back and. Yes, right now but yeah.
[00:24:14] But like, you know, it just depends on how you want to ride your wave. Like everybody is an artist. Like I feel like everybody’s an artist, even though some people can’t, you know, do it the way they do. But people just want to like this, go with whatever your vibe is telling you that you never know because your intuition could lead you to things you would never think of, but also be able to perspective to perspective and vibe, perspective a perspective, be open to perspective plus vibe equals.
[00:24:44] I don’t know I don’t know where it leads you, but Djibouti’s. Oh no, I don’t know what has brought me here.
[00:24:50] You, me here. You feel me so trying to get the back. But I’m happy.
[00:24:55] I’m grateful. I’m, I’m blessed to have people in my life and yeah I did. But shout out to Kenny Kenny Wayne. Right. Get on the song. And Adam produced to be kind of shit on the music videos and then it’s fucking crazy. We did this in fucking Riverside actually to talk about that.
[00:25:18] So I mean. This song obviously is a banger. So what was your kind of thought process? Why did you want to make this kind of a song? I know. I know the like, right. When you heard the beat, you’re like, I got to get on this beat. So right when you’re out and you’re like, I got to get that right now. Yeah. Then what was your inspiration between kind of making this more kind of upbeat, fun vibe song?
[00:25:37] Oh, I don’t know. I just thought it was hard. And it’s just like the West Coast.
[00:25:43] I’m from the West Coast and there hasn’t been like a dog sound in a while. Yeah. And I really got from the song and I just like, you know, I wanted to bring that back.
[00:25:53] And having Kenny, the rapper dude on it just brought like a whole change. The whole thing is easy from the Inland Empire. He’s from the Bay Area. Oh yeah. Our producer from the Bay Area, young boy from the Bay Area. Can you remember his second album like his. This is just like young cats and just want to make it out of the industry. But yeah, Adam sent me that because he said he he had a mind getting like a bigger celebrity lady chick on the song, but she took too long. And I was like, I already have a hook in mind. Send it to me. I’ll I’ll pay for it. I paid. That’s like one of the few bits where I’ve actually paid for the B and I paid for it, layered it the same day I got it, and then recorded the shit and then I already had a second verse, but then they told me to add them.
[00:26:45] I got it mixed and then Adam heard it, finally heard the song was fucking weird.
[00:26:49] He’s like, Yeah, but you got to take off your second verse even though I pay for the engineer. So I had to like, take my second verse off and got Kanye on it and he had that he had and I would have needed and then it was fucking hard. The song is fucking great. I love this song. It’s like the little guy when he was editing is like, did he like the song? That’s rare because like when you make videos or when you’re shooting with people, it’s like you get tired of songs. Yeah. Because it becomes a job and you just hear the same thing over and over again. Yeah. That’s the one song that people like the dance team. So everybody like the dance team. I got them, they all fuck with it and it’s just fucking the barbershop. They all fuck with it and just like people fuck with it which is fucking great.
[00:27:30] Oh yeah. I mean it’s one of those songs I like. It’s just the upbeat song like you you bumped out first thing Saturday morning. Good to go. You bump that at a party, you good to go. Like any time you know slide.
[00:27:42] I don’t. Oh man. Yeah. Oh that song. So no I like it. I love Adam for the week. Even I have to pay for it. Fucking everybody got to eat. Everybody got to eat.
[00:27:53] Everybody got to eat and. Yeah. Yeah everyone can you can use from the mayor.
[00:27:57] He’s been doing music for like so long. I met him at that the college. Yeah. And Adam where he’s been my best friend since like high school and then yeah. I’ve been doing music. He got me into producing so it wasn’t for him. I wouldn’t be doing what you’re doing.
[00:28:12] Yeah. I’ll probably be a lawyer. Still more stable, you know, living a living the Christian life stuff, what they call it. I would have that, you know, that come to the left and I’m like, hi sir. How’s it going? Can I help you with your case, please?
[00:28:32] I’m trying to get this now, but now I’m just, you know, making music and more loose and more nonchalant about a lot of things. Yeah. And just take life as it goes, you know.
[00:28:43] Yeah. So is there any new music or any new content that we should anticipate?
[00:28:48] I mean, yeah, I have another music video coming out and maybe the upcoming months. Yeah. And it features a dear friend of mine and this video is also cool. We shot it at a weird place was but I have a music video coming out and then I have like a bunch of songs in the vault.
[00:29:13] I dropped my first Spanish song and the next couple of months to I’m just focusing on singles right now. I’m not working on no EP or nothing ppy.
[00:29:22] I mean, if I do this, I go by the vibe. I don’t feel like it’s the right vibe to go for me right now because I don’t know, I just don’t feel like it’s the time. And when I do is like I have a bunch of material but I feel like I’m just going to create something off from scratch. I just go wherever my vibe tells me. That’s how I made all my music. Yeah, yeah. But fuck it. And whatever comes, comes and just fucking get it, you know what I mean.
[00:29:47] All right. So I mean everybody should go listen to slide through. It’s not through watch the music videos will feature in anyway.
[00:29:54] Ambre produced by Adam MaryJane though I like think everybody pulled up to the party. Everybody, everybody was cool. I had ice cream cake on me and then I think the dance team you feel me.
[00:30:08] They pull, they, they pull through. I like to think, you know, man with the barber guy and Adrien and everybody at the barber shop allow me to like, look their barber shop.
[00:30:17] I can’t leave off the barbershop for the video. Like, I’m just going to say, man, you can do it, all right? You don’t need you don’t need no fucking record label to book a place where you need some bread, bro, which is why people get a record label, like because they need money and money.
[00:30:32] But like, you know, there’s so much concern out there and so many videographer’s and so many people doesn’t want work. They just want to get their work out there. She just can’t talk to you about like, hey, bro, like I’m trying to shoot a video. I Kozloduy. You saw me for me. I’m like, you just you just developed relationships over time.
[00:30:47] And next thing you know, you’re working with the next Walt Disney except take away the the the negative parts of Walt Disney.
[00:30:56] Let’s focus on Uprose. There’s a lot of negative things here. I mean, you could be working with the next Dave Chappelle, you know, and you never know.
[00:31:02] You never know who you talk to. You never know who’s coming up. And that’s what you got to respect everybody on their own path. Yeah. You can’t judge people, man. Like I everybody like everybody got to start somewhere. So you really don’t know where the talent’s going to lead.
[00:31:15] No, I just I just don’t work with people who who are weird give you a lot.
[00:31:20] I would go crazy people before and I just don’t work with them ever again. I just like just don’t say anything bad to them. I just go about your life and wish them the hallelujah. And maybe next time, you know, maybe once you meet Jesus or something and get your shit together, maybe we talk about like, you know, I think it’s cool just working with as many people as you can be open to people and you never know, even like people who just like I think is important to be involved in almost every event and don’t matter if it’s a party, if it’s a church or whatever, talk to everybody because everybody is connected to everybody.
[00:31:57] Yeah, I don’t give a fuck that doesn’t work, but everybody is connected to everybody. It’s fucking crazy. Yeah.
[00:32:04] Close this out. You got any final piece of advice for any kind of musicians, students? Anybody is pursuing the craft of being an artist.
[00:32:13] I just only have one advice. I think a lot of people need to talk more than other people is just like off tangent on music. Also, I think is socializing. A lot of people are afraid to talk to other people. And I feel like everybody I mean, I’m I guess everybody should. But like a lot of the people who complain about not being able to socialize, I think is like a first step is just saying, hi. Did you know that? You never know. Like, would you that door may open. You know, I think it’s important to be open to a lot of things as long as it doesn’t compromise your fundamental principles. And if you want to create something created, we’re living in a time where, like, you just put anything out and that she could become a hit or whatever the idea is, you know, YouTube channel, tech, talk radio, whatever the fuck it is, I think people should just create it. We’re in a time within this country, especially because, I mean, there’s a lot of opportunities and all the other countries, but like within the United States, known for like it’s entertainment industry, there’s so many opportunities. You could you could make a name for yourself.
[00:33:18] I was just doing whatever the fuck you do as a kid who makes multi million, there’s millions of dollars of just toy videos and kids watch it.
[00:33:27] So I just think, wow, just what I do. You got to put that shit out there. You never know. Just let it fall, whatever it falls.
[00:33:34] And I don’t know what you should do. You could become the next Bill Gates. There you go. Yeah, I love it. I love it. So pretty much learn not to care and just continue with the hustle. Yeah. Continue with your has the respect of the people and just live life better than I could have said it myself. So it’s a good way to close it out. Appreciate you being on the show Jay Bautista. Thank you. But I can’t wait to hear more music from you.
[00:34:02] Thank you for tuning in to the group, I hope you enjoyed this episode and tell us what you thought about our conversation in the comments below. If you guys like our content, make sure to follow us on the various social media platforms and we will see you all next time.
