Juan Gonzalez: Sex Symbol, Sound Genius & Creative Powerhouse – The Road Behind the Music

Welcome to the CJ Moneyway Show podcast, the podcast show where we unlock potential one dream at a time. Today we have another guest whose journey is truly worth hearing. Sit back, relax, and enjoy the Moneyway experience.

What's up, my good people? Welcome to the CJ Moneyway Show. In association with Believe Network, the podcast that brings you stories behind the success. Today we have on the show a musician, producer, video maker, tour manager, audio engineer, and someone who refers to himself as a sex symbol. I got my man Juan Gonzalez on today. How you doing, Juan?

I'm doing fine.

Thanks for having me. Oh man, that was a good one. So Juan, man, to kick things off, man, tell us a little bit about yourself, about your and how did you get started in the music industry?

Okay, so I was born in Tampa, Florida. My family were theater people. My mom and dad had a theater company. My dad was director. My mom did a lot of the acting in the shows, and we would produce shows every year, like 4 major productions and then side concerts, etc. And sometimes we would tour with those shows. So I grew up with that. By age 12, I started— I was acting at age 3. —did a bunch of shows, musicals, and then got involved in the backstage end of it and learning of it, or the technical aspects of it. So by age 12, I was already stage managing the shows. And the only way you can rebel in a house like that is decide that you want to play rock and roll. So, you know, I was like, well, yeah, I know you guys are into this musical theater thing, but I think I'm going to play rock and roll instead. So I bought a guitar. I had a job bagging groceries and I bought a guitar and started playing it and playing in bands, the usual thing. By age 20, I had been working in clubs for a couple of years just doing backline and setting gear up. And by age 21, I was on my first, like, world tour. I just happened to do a good enough job, so he picked me up, saw me, and said, "Hey, let's take you out." And that was it. And I basically stayed on the road for 22 years. Off and on. I had a studio business where I would record not only my own music, but music for people that, you know, for others, you know, I opened it for clients. I started with a former bandmate and I produced a bunch of records over those 22 years for myself and others. Some of my clients were bands that I toured with as well and retired from the touring game at 44 when I had my first child. Hmm. Yeah, since then I still do a lot of, uh, studio work, but I'm a full-time technician in the theater. Okay, so you did go back to the theater, huh? Went back to the theater, but we're primarily a concert venue. Like, for example, like, uh, last night we had, uh, Yngwie Malmsteen. And if you don't know who that is, Yngwie Malmsteen is— well, he's the maestro. He's a legendary virtuoso guitarist and shredder, like It's heavy metal classical music is the best way to describe it. Okay.

Yeah. You know, when I think of rock and roll, you know, they got so many people going into the Rock and Roll Hall of Fame now. It's back in the day, it was a song, I love rock and roll.

I can't think of the chorus. With the good time, baby.

So, uh, that's who that is. Yeah. Okay. Yeah. That's not my lane, man. I'm more R&B and rap and things of that nature, man. So, you know, I did. So, so, why, man, you wear a lot of hats in this industry— musician, producer, tour manager, and more. Which role do you enjoy the most and why?

Oh man, everything is rewarding in its own way. I mean, I love making my own music, but obviously it doesn't make as much money as working for existing artists, established artists, and utilizing the whatever, you know, musical talents I have. To help to make their job better or their shows better or whatever. So monetarily fulfilling, working for bands. Spiritually fulfilling, making music. Okay. Okay. Making music, you know, is a game, you know. So, and I know that I'm stunningly attractive and considered by most to be a sex symbol, but I'm kidding, of course. I put that in my bio just to force people to talk about it. You know, but, uh, but, but I mean, I'm not a spring chicken and, you know, and then, uh, and I don't have a bunch of zeros behind me these days to make it in the music industry. The right person with the right amount of money has to notice you, or you have to have enough money to make people notice you. One of the two. And it's always kind of been that way. It's just that the opportunities for people to make money are greatly reduced because the entirety of the music industry is greatly reduced as far as the ability for it to make money. So, you know, with the advent of streaming and all the cool stuff that we enjoy, it actually forces a lot of artists to not be able to make music because they can't afford to anymore. This is why you see a lot of the older cats, like a lot of the older artists, they're going on the road and you're like, well, I haven't seen that guy in 20 years. Yeah, well, because he hasn't gotten a royalty check in 20 years either, you know what I mean? So, yeah, dude, Dude needs to update his bathroom, so he's on a little tour playing acoustic guitar and singing songs. You know? Yeah.

I mean, and I believe you too, because we have like a lot of— well, we have a Hard Rock Casino around here, and we got a Horseshoe Casino. And since the Hard Rock came, man, there's been a lot of acts that's been coming this way, acts that you wouldn't normally see that come this way. You know, you like, wow, they coming to the Hard Rock? You know, things of that nature. So, uh, I get it. You're like, they got to get back out there and make them checks, man.

Well, CJ, here's the thing, you know, back in the day— back in the day— now, back in the day, you know, you would tour because it was basically a commercial for this piece of plastic that you wanted people to buy, whether it be a cassette, a CD, vinyl, whatever it is. They would come see you for $10 or whatever at the arena, and they get so excited that they would run to Camelot Music or any of the other chain— Peaches, whatever the sound, the— whatever the record store chain was, and buy your record, right? So nowadays, was— since nobody's buying pieces of plastic, the bands, they go on tour and hope that you buy their record. But they're— now it costs $100 to go see them, or $120 to go see them, because their guarantees have gone up. Because back in the day, your product was your record, and your commercial was your tour. Nowadays, your record is your business card, and your tour is your money, and your VIP meet and greet is your cheese, and your merchandise is the way you feed your family, and so on and so forth. You know, it's very expensive. You know, the average cost, like a tour bus— you see like a tour bus, those things cost about $2,500 a day to keep on the ground and operating. That's fuel, rental, the cost of the driver, driver's accommodations per day. All that stuff is expensive. So if you go to a tour and you see like 4 or 5 tour buses out there, multiply that by $2,500 and that gives you a base idea of how much money that tour needs to survive per day. And that's just paying for the bus. That's not paying for the band. That's not paying for your crew. That's not paying for their hotels. You know what I mean? Like, It's expensive to get on the road these days. It's not like, you know, so, and it was expensive back then too, except that your record label would cut you checks called tour support, right? That would go against your record royalties, of course, but you were selling records, so it didn't matter, you know? So everybody kind of won. Yeah. So they win today, but they win in a different way.

That makes sense. Okay. So now on average, you said that is $2,500 for a bus. So what about them fancy buses that they gotta have all the amenities and $3,500, $4,000 a day.

Some of these buses are expensive. Wow. Yeah. And then the country guys, the country guys buy them, right? They buy them and they're talking about 3/4 of a million to a million dollars for a bus and, you know, fully decked out, ready to rock. And the country guys, they buy them. They take whatever record advances and stuff that they get from their deals and they buy them and they live in them for like a year or two while they tour around. It's like their house. That's it. They're on the road, baby, you know. Yeah. And then, and then when they're not on the road, they'll turn around and sublet their own bus to a bus company to rent out. So they turn, then they become businessmen. So now they're making a piece of the action from the rental of their tour bus because they're not on tour right now.

Mm, yeah, that's pretty smart. Just streams of income. That's how you do it. Money make money. So, uh, Juan, you know, earlier you said you've been in the game for like 22 years or no longer.

I retired after 22 years from touring. I'm still around. Okay, you can't get rid of me. I'm still around. I stopped touring because I had my first child at age 44. Okay. Yeah, that was my second one at 48, so I'll be 62 when the first one graduates high school, man.

But you still going strong at that, at that age, man.

I ain't gonna even ask you guys You know, well, I'm 52 now, right? So like I said, I got 10 more years before the first one graduates high school. But, um, yeah, I like to joke that I did my midlife crisis in my 20s and 30s. Now I'm good. Now I'm good. I'm ready to go here.

Yeah, I hear you. I think I— well, now my youngest boy, I had him, I was 36. I think I was 36. That's my youngest boy. I did all my dirt when I was in my 20s and early 30s. That's what— that's where my sexual peak came into play. So, why— let me ask you, man. So you retired after 22 years of touring, things like that. You still in the industry. And so let me ask, how has your journey evolved over the years? You know, you've been in the music industry for a long time. Okay. And so through your journey, you know, like, how did it evolve? Like, before you first started until you retired from touring and things of that nature, and even the things that you're doing now?

Yeah, well, I was lucky enough to get on my first tour, like on a bus tour, which is nice. But, you know, I stepped down, went to vans, did like the punk rock scene touring kind of stuff for a little while, and then got back, you know, doing bigger stuff as the bands that you work for get bigger, you know. And then I would skip, and I worked for very, very high-end productions. I worked for a national Broadway tour for a short period of time, which was a big, you know, it's like 6-truck production. The 6— that's 6 tractor-trailers, and then they fly the cast and crew everywhere, that kind of thing. Um, so I mean, I've been able to do all kinds of really neat stuff, a lot of professional milestones for myself, you know, making records that were reviewed in major magazines and publications and making records that sold a lot. Those are really great milestones. It's really funny, I quickly traded all of it in as soon as I found out I was having my first kid. Mm-hmm. You know, I was like, I was like, oh yeah, because in theory I could have just stayed what I was doing, but then I would never see him. So it was one of those things, mate, where I was actually touring at the time. I get a phone call from my wife and she says, you know, that the sonogram, everything's good, we're good to go here and it's a boy. And I'm like, okay. And so I remember hanging up on that phone call going, oh man, what's going to happen? You know, in a week later I get off at this job. About a 45-minute ride from my house. And I'm like, okay, that's, that's one of those signs, you know what I mean? And you go, okay, okay, so all right, all right, I'm out, you know. So I let the band know that I was done and that I wouldn't be able to do the European tour that was going to be coming up 6 weeks later. So I gave them roughly a little over 2 months to find a replacement, which I think is fair, and that I would finish this tour and then I would come home. And then after that, you know, I'm done, thank you guys, you know, you don't have to replace me or anything like that, you know, because I think that's kind of lame to quit, up and quit and just scram just because some other opportunity came up. I think that's kind of lame. So I think it's always good to finish your obligations if you can, unless whoever it is you're working for is just so god-awful you can't be around them, you know. You know, but, and then luckily for me, that's never really happened. At least I don't, and I've never been fired. At least I don't think so, you know. It's one of those things, yeah, I've never been fired, you know what I mean. But I don't, at least I don't think so, you know. I know that like I've been replaced, but that would be, well, no I mean, I was busy doing something else. Yeah, they found somebody else to replace me, and then that guy worked out. I mean, it's not like I was fired, it was just like life just kind of— and it happened on more than one occasion where I would come back to a previous employer because I still tour now and again, but in short periods of time. Uh, the, the theater that I work for gets slow in the summers, so it's not as booked. So it gives me a little more opportunity, a little more leeway to go either go on vacation My wife's from Italy, so we like to go back so she can visit family now and again, you know. So I either go on vacation or to go on a tour, make some money, extra money. And so I did. I just came back from South America in August. I went down there for a couple of weeks with a band that— that band that I was working with that I left to go work at the theater. But then, you know, they fired somebody else to replace me, right? And then— but they needed a guy for South America. And I said, sure, man, absolutely, I'll go down there. So I like to say that I've never been fired and I like to say that I've never left anybody high and dry. At least I don't think so. Right? Yeah. I never consciously did that. How about that?

Yeah, I get it. Now I have been fired and I have left a company up and dry. I have, like you say, I didn't want to be there anyway and I know that you didn't want me there. So like you said, you put in a 2 and a half months notice. Sometimes you don't even put in a 2 weeks notice. Like, I ain't even putting in no notice. I'm just not coming in tomorrow. You'll find out Yo, CB here. So, uh, so, so, so, Juan, man, let me ask you, man. So what are some of the pros and cons you have experienced throughout your career in the music industry?

Well, one of the pros is I basically ate for free for 20 years. You know, at least half the year I would eat for free because, you know, I would, I, you know, be on tour and you get catering. And so if I was touring 6 to 8 months a year on the average, And it was kind of like, yeah, basically I never bought groceries, so that's a pro. I got awesome frequent flyer miles, that's a pro. I made good money, that's a pro. Cons, I mean, it's a lot of work. You know, there's a lot of 18 and 20-hour days and days that run into each other and you just got to keep going because the show must go on. So that's just reality. And even in my current job, I'll have a 14-hour day followed by another 14-hour day followed by another 15-hour, 16-hour day. It is what it is, mate, you know what I mean? Like, you're either doing the job or you're not doing the job. And so yeah, it's one of those things where it's a lot of work. Everything is work. This music business, not the music friendship. So, you know, like, business is business. I had a good friend of mine used to say, business is business and Moses is Moses. You don't confuse the two.

Yeah, yeah, it sounds pretty interesting, man, especially the free eating part for over 2 decades. And like you say, the money, that's always a pro. So let me ask you a question, Juan. So you've been on, you know, at least 5 different continents. Yep. So what are those continents that you've been on, and how has working in such diverse locations influenced your work?

It's all about market. So I mean, there's just— there are no venues in Antarctica, so that one leaves that out. You know, South Pole Station, I think Metallica played there once. Metallica, but they're massive, you know what I mean? Like, yeah, I'm sure they didn't bring their whole show. I'm sure it was a stripped-down version. I still search that. I heard that rumor. I don't think that's true, but I mean, yeah, so there's no rock and roll down in Antarctica. And Africa, unfortunately, yeah, it just doesn't— there's just not a market. It's too expensive to get around and fly around, so giant place. And I mean, I'm sure there are some bands that do well down there. I mean, obviously the larger bands are going to be playing places like Cairo, you know, but that's Africa as it's going to get for them, you know, because the other places are not— you know, they're difficult to get to if they have venues at all that can accommodate a larger band, you know. So Middle East is a difficult territory as well, but it does get done. There are bands that actually, you know, they'll— you know, look, J.Lo and stuff like that's going to play these massive places. Of course they're going to play the very exotic places, but most of Europe, Asia, your larger cities in Asia, Australia, Oceania I guess would be the continent, North America and South America, all those markets are much easier to travel to and work in. So, and so yeah, and you can, you can be a relatively small band and play the same markets that very large bands play. Oh, okay. Because they have highly populated areas. You know that, and highly populated areas that give a crap about seeing you. That's really, you know what I mean? Like, because they might not speak your language, but at least they care and they want to come see it, right?

So yeah, you know, uh, just gotta ask you about the crowds, man, because I remember seeing one time when Michael Jackson done— he did a tour overseas or something, man, and just how wild, and they out there crying and, you know, like so excited to see him. So is it actually like that, you know what I'm saying? Like People really get that into it. Yep, people go crazy.

I've seen people go crazy, like crazy crazy, overseeing people. I've seen lots of nudity.

I've seen like a lot of nudity up on the stage. I've seen that.

I've seen, I've seen some pretty amazing stuff. All the cool stuff that you hear about that happens, you know, like at rock and roll concerts and all this. It does, just not as frequently as people would think. You know, it's not like— okay, in all fairness, I wasn't touring with Mötley Crüe in the early '80s, so I don't know if that's— I mean, I understand there's some pretty wild stuff that used to happen on that tour, you know, or some of these other bands. I can only imagine what it was like, like touring with Prince and like Purple Rain era, you know what I mean? Yeah, yeah, yeah. If I was your girlfriend, even the spotlight operators getting lucky that night, you know what I mean?

Everybody. All you gotta do is just be— are you on the security team?

You're good to go, you know. Especially in the early '80s when like, you know, sex was safe, quote unquote, you know. Yeah. And quite well, not that— or I guess not. I guess the early '80s, that's when we had AIDS. I wasn't so safe back then, but you know what I mean.

Yeah, I know what you mean.

Society was a little more permissive. We were coming up a little more open, you know, as far as, uh, drugs and everything else.

I, I know the life. I know what you're talking about. So, um So, Juan, man, let me ask you, man, why do you feel that education and skills are the key to success in the music industry?

Because like I said earlier, this is the music business, not the music friendship. So at the end of the day, these guys need skilled people to work for them. That's why they're looking, you know. They don't need some dope that's going to learn on the job. So one of the main reasons why I write my own music and make my own music is because it keeps me sharp. On all the latest software. So when clients come to me and they want to get something done, like whether it be drum editing or whatever, man, I'm ready to go because I know how to do it. I just did it on my record, you know, that kind of thing. Yeah. I get to test new plugins and new software and, and I also do video work as well and CG work. So it's like I have to stay sharp on this stuff. It's constantly changing. So just like it's just like any other business. So education is crazily important. And it's not knocking people that go to like, you know, universities and stuff like that to learn their business, but just because you have a degree doesn't mean you stop learning. You got to keep going. You know, like when you get like an accounting degree, you still got to take another course to become a CPA, and then every few years you got to refresh your license. So you're constantly learning something new, right? Yeah. How's that any different? Anybody that wants to work from the top of their head down has to keep learning because If you want to work from the neck down, then your skill set is frontal lobe stuff, and, and I guess have a job but not a career. Mm-hmm.

Yeah, that's a good point that you made right there. From the neck down, a job, not a career. That's— never heard that one. But so let me ask you, Juan, what advice would you give to individuals today who are trying to break into the music industry?

From one end of it, as an artist or as a technician or someone that works with artists?

Either or all three of them.

Okay, to artists, I like to say this: it's show business, okay? If you make it to the point where you are so disfigured and you still don't make it, then you're gonna have to go work for somebody at some point. And if you're so unhireable because of your appearance, because you're a quote-unquote artist, That stuff flies when you're 20 up to about 32. After that, people are like, all right, now get a job, you know, because your chances, your chances of superstardom after the age of 30 are very slim, right? So always have a backup plan. And as you're going up the ladder of success, remember everybody that you passed, because those are the same people that you passed on the way back down. That's a good point. And for the technical guys, people who want to get technical Maintain your appearance. Who wants to hire a slob? Nobody. Who's gonna hire a guy that doesn't shower? Nobody. Or gal that doesn't shower? Nobody. No one's gonna trust you with their money if you constantly smell like pot. Mm, no one's gonna trust you.

I get it, I get it.

They're gonna trust a guy that doesn't, you know what I mean? Like, that's the reality. Anybody with money never trusts a guy that is a drinker or on drugs constantly because That's where the money's gonna go.

Yeah, it's an integrity and moral thing.

I get it. Okay, so, and then, and it applies— everything that applies in the standard business world applies in the music business world. Because at the end of the day, yeah, there's some artists with like stretched lobes, neck tattoos, and all this. Yeah, they exist, okay? But those are the anomalies. Those are the weird things. Those are the weird people. Right? Most of the people making money in the business don't, because at some point they cut their hair and they become a dad, you know, and that's it. And then they got to blend in the normal world, you know, with people that are getting as old as they are, right? And your average 60-year-old doesn't give a crap that in your 20s in 1980 you were in a punk band and you decided to cut your ears off and shave and, you know, and tattoo a devil horns on your head or whatever, you know what I mean? And that doesn't fly when you're past the age of 30, you know. People look at you funny, you know, and they're like, all right, all right, dude, grow up, you know.

Yeah. Hey, let me ask you, let me ask you, what about those, you know, how you get— they had them big old holes in their ears, you know, called the gauges.

They call them gauges.

Yeah. So can they ever be reversed? You know, like you said, you get to the age of 30 or whatnot, can that be reversed? Could they ever close?

They don't ever close fully. From what I understand, they have to literally cut off that part of the ear and then they sew it back together. So yeah, that's kind of a— it's kind of a permanent thing. Mm-hmm.

Yeah, Collins, I ain't gonna say nothing, but like you said earlier, some things are just weird, man, you know?

And, and, and it's cool. I mean, whatever. Look, whatever anybody's into, I'm fine with it. I'm fine with whatever anybody's into as long as you can pay for it. Okay, don't turn yourself into a pincushion, and don't turn yourself into a work of art and then demand that I pay for you to live because you'd made bad choices. I didn't, you know, I didn't. So hey, you know, express yourself, but I hope you got money to back it up.

Yeah, uh, yeah, that was a good one. So let me ask you a little something about you, man, on a personal level. Tell us about your passion for science fiction and how does that influence your creativity and your work?

Well, I always loved sci-fi growing up. It's, yeah, Star Trek, Star Wars, all that stuff. Those afternoon cartoons, every anime, everything that I write about in my music because I'm just a big kid at heart, you know, and I still collect toys, man. Look at this ridiculous. I'm so excited. I found this guy on Temu for like $10. I was like, man, Transformer. Well, this is actually from the show Macross from Japan, and it was translated into a show called Robotech here in the United States. But I found this on Temu for $10, and it is a cheap plastic piece of crap. And I've transformed it once, and now it's going to fall apart if I transform it again. But it looks cool, and, and, uh, for $10, it was worth it. The actual Japanese toy that this is modeled from is about $210. So I think I got a bargain. That's using girl math because I can't really do anything with it, you know what I mean? Definitely. I transformed it once and it's holding, so I'm just gonna put it off to the side here. It just integrates in my hand. Oh man, you know, Temu, it's cheap, but did you really want it to begin with? You know, like, I guess like the slogan or something.

I know all about Temu. I got some hoodies from that. I actually like their hoodies, man. Be good quality, you know.

And if you leave them behind, you're not that mad, you know what I mean? Like, oh man, I left it behind on the bus, or oh shoot, I left it on the airplane.

Yeah, it's 5 bucks. Fade out, you know, just fade out after a while. It's like, it was only 7 bucks, I'm just gonna get me another one, you know. So yeah, Temu, you shop like a millionaire on there. So, uh, So, so, I just got one more question for you, man, and this is another personal question about yourself. Your album Cosmic Punch has been making a lot of waves out here, man. So tell us a little bit about the inspiration behind it and what can listeners expect from it.

Well, this new record, like the record previous to it, is basically just each song is a different nerdy thing. On this record, I sing about Star Trek and anime and cartoons and famous TV writers and pop culture and just fun. I believe in having fun with music. A lot of my records, it's one of those things. I mean, I don't make a lot of money on my records, you know. I always like to joke that like all my royalties pay my power for a few months. But I mean, like, I'm not touring. That's where the money is, like I said, you know. And but primarily the records, because I am an older guy and I hope I'll be able to meet my grandchildren at some point, you know. I hope it, you know, I definitely know I'll never be great-grandchildren. I'm not that cool unless I'm able to start downloading people into the servers or whatever. Yeah. So making my records is kind of like a testament, you know, survey, you know, it's published, so it's all over the world. So, so it's a testament that I was here, you know, so that like my grandkids, my great-grandkids, they can listen to this music and they can all say like, wow, this is, this is just terrible. I can't believe this is awful. How awful great-granddad is this? You know what I mean? And, and that's my hope. I hope to be deprecated by my great-grandchildren long after I'm gone, and I want their parents to force them to listen to this and say, listen to this, this is where you come from, okay? So that's the foundation that your great-great-great-granddaddy said, uh, it's a long-distance troll. It's like a, like a really, like a, like I'm really planning this troll like really far in advance. Oh man, that was funny. And the music videos too, which is why I act like a complete ass on them, you know what I mean? Like, I'm such a nerd, I'm such a jerk, I'm dancing around like some sexy guy. It's fun because down the road they're going to be really embarrassed and it's going to be great. Like, right now my 8, my 4-year-old think that I'm a rock star, which is awesome. I highly recommend having your children think that you're a rock star, but as they get older they're going to realize what a total dork I am. It's gonna ruin everything when my sons are dating and their girlfriends come over for the first time, you know, to be like, hey, check out my new record.

Oh man, just embarrass the heck out of them, huh? Boy, you crazy.

Check out, you want to be in my video? Oh man.

So hey man, I appreciate you coming on, man, giving us some laughs and some humor and some insights on this business music industry for these funny videos, man. What can we find about— what can we find your music at? Because I gotta go online and go look at one of these funny videos.

Okay, so my YouTube channel is Punchiest, P-U-N-C-H-I-E-S-T. So @Punchiest, right? You have to— if you can do a search and you can just search filter for channel and you'll find it. And my latest video is I Love Anime. And then I've got a bunch of lyric videos from the record, and you can— that's where all the videos that I've ever done for either for myself or for other people are there. And it's just kind of fun. And cosmicpunch.com to find links to the music and all the records and my other projects as well. So, and for all your listeners that don't do— go to either of these links, just remember, this is why everybody hates you, because you're this kind of person that doesn't visit my links. Yeah, so this is why everybody hates you and thinks you're a terrible person. So, oh, but it's wondering nothing like that. It's a new type of ad campaign where you threaten and insult people to listen to your stuff.

Only you, man. Only you. Only you. Hey, so, uh, why, man, you got any advice or anything, man, you'd like to share with us before we get out of here, man?

Uh, the best advice I could ever give anybody is Yeah, it sucks, but that's why they call it work.

Hey, you heard it right here on the CJ Moneyway Show by Juan Gonzalez. He said it sucks, that's why everybody works. And go check out his nerdy videos on YouTube. Check my man Juan out, the man that said that he wanted his great-great-grandkid to not like his music, that's why he putting it out. You have been listening to the CJ Moneyway Show with your boy CJ Moneyway. We out of here. Peace.

Thank you for listening to the CJ Moneyway Show. Don't forget to share this episode with your friends, leave a comment, and drop a review. Be sure to tune in every Tuesday and Friday for more inspiring journeys. Who knows, your story might be next.