hollywood billionaire

Chapter 417: New Growth Point with Unlimited Potential

Kara-Lewis' client list includes only hip-hop musicians.

Thirty years have passed without a single day.

It sounds monotonous and lacks diversity, putting all the eggs in one basket... But as Han Yi said, the reason why Kara continued to delve into one field and did not expand outward throughout her career is precisely because she has become the leader in the hip-hop agency market.

Ordinary business risks no longer exist for her for a simple reason - she has achieved an absolute monopoly on high-quality resources in her own niche field.

As long as people still listen to hip-hop, her source of income will not be cut off.

If anyone still has doubts about this judgment, let's review her lengthy list of artists:
Public Enemy, 2Pac, Mary J. Blige, Jay-Z, Eminem, Kanye West, T.I., Dr.Dre, Run-DMC, Ne-Yo, The Roots, Iggy Azalea, Lupe Fiasco, Ludacris, Chance the Rapper, Pitbull, Travis Scott.

Half of the rap music industry has, at some point in their careers, contributed to the glory of Kara Lewis's entertainment management empire.

Among them, Public Enemy and Run-DMC represent the 2s when Carla Lewis' career began, Pac and Dr. Dre represent the s when she first emerged and climbed to the top. Jay-Z, Eminem and Kanye West represent the s when Carla's career reached its peak and she truly earned a place in the music industry's Hall of Fame.

She paved the way for live performances for three superstars at the top of the industry, especially in 2011, when she helped Jay-Z and Kanye West plan an unprecedented stadium tour for their joint album "Watch the Throne", which topped Pollstar magazine's hip-hop tour box office history with 57 shows and a total revenue of $7540 million. Since then, no one has been able to shake her position as the number one agent in rap music.

But status is status, and business is business. In the rapidly changing European and American music scene, even the most powerful superstars cannot resist the tide of the times and the erosion of time.

In 2013, Jay-Z could only perform in stadiums with 67 people, and half of the shows were not sold out. In Fresno, California, the attendance rate was a dismal 21000%. Kanye West's Saint Pablo Tour this year also fell into the dilemma of poor sales in a few cities. The Dallas Space Center Arena with a capacity of 16000 people only had 80 people, and the Value City Arena in Columbus, Ohio had an attendance rate of only about %. The declining album sales and single performances year by year have also effectively affected Kanye West's appeal in the ticket market.

More importantly, both Jay-Z and Kanye have terminated their performing contracts with Carla-Lewis and have switched to other companies. She now has only one trump card in her hand that can be called a first-line hip-hop star, Eminem. And even with Eminem, it is difficult for her to earn a lot of money like before - although her popularity remains and there is no worry about ticket sales, this high popularity is based on the capital that can be used for many years, continuous streaming media exposure, and Carla-Lewis's steady and accurate business control.

Kara set the minimum fee for Eminem's performances extremely high, starting at $4 million, and also had to share additional ticket sales with the organizers. Such a high fee can only be recovered by the stadium, which naturally discouraged the two giants Live Nation and AEG Live, which rely on volume. Therefore, in the past two years, only the Australian performance organizer TEG Dainty dared to bite the bullet and offer such a high price, and held a Commonwealth tour of only eight shows in four countries: New Zealand, Australia, South Africa and the United Kingdom.

The box office was indeed good. The two-day performance at London's Wembley Stadium sold out a total of 90 tickets in almost no time. Auckland, Melbourne, Sydney and Brisbane also have super stadiums with more than people, and they were all full. But in South Africa, only % of the tickets were sold for the two performances in Cape Town and Johannesburg, which also showed the weakness behind Eminem's seemingly strong ability to make money - without the continuous transfusion of hot new works, he has lost the ability to truly carry out a world-class stadium tour. A few more shows, or a relatively unpopular market, may lead to a Jennifer Lopez-style Waterloo.

Carla Lewis is very clear about this. This is the real reason why she gave Eminem a window of opportunity in 2015, and did not start contacting him for performances until 2016, and only accepted offers from well-known music festivals with guaranteed box office sales. She needs to protect Eminem, who is gradually becoming a "veteran artist" and a "nostalgic celebrity", to store his commercial value and ensure that his brand will not be quickly consumed by excessive touring.

Therefore, Kara Lewis urgently needs the next ace who can carry on the torch.

After long and careful analysis and judgment, her team placed its heavy bets on three people.

Chance the Rapper, Bryson Tiller, and Travis Scott.

The first candidate was born in 1993 in Chicago. She debuted in 2011 and became well-known in 2012 when she appeared on Childish Gambino's sixth mixtape. Only one year later, she performed at Lollapalooza, one of the world's largest comprehensive music festivals, with the critically acclaimed and commercially successful "Acid Rap". In 2014, she was selected as one of XXL magazine's annual freshman classes and began to collaborate with big names such as Kendrick Lamar, Metro Boomin and even Madonna. Finally, she received the attention of the original creator Kanye West with the tribute single "Family Matters" released with Metro Boomin and DRAM. She was taken under Kanye's wing and, through the latter's recommendation, she entered the client list of Carla Lewis.

With the support of Kara's superb performing resources and negotiation skills, Chance the Rapper launched the Magnificent Coloring World Tour with a total of 2016 stops in 37. In September, clothing retail giant H&M invited him to become the global spokesperson for the new season of Kenzo joint series, and his popularity and momentum were unparalleled in the hip-hop circle. In another quarter, Chance the Rapper will perform on the stage of the Grammy Awards for the first time and will be nominated in seven award categories.

Although the official list of Grammy nominees will not be announced until December 12 this year, it is not difficult for people in the industry to know the inside information in advance. After all, the annual Grammy selection is a game and compromise between the Recording Academy, record companies, distribution companies, performing arts agencies, artist management companies and public relations and marketing companies.

The second candidate, Bryson Tiller, was born in the same year as Chance the Rapper, but he is from Louisville, Kentucky, south of the Mason-Dixon Line. He also debuted with his first mixtape in 2011, but Bryson's stardom was obviously not as smooth as Chance the Rapper's. In 2013, Tiller had a daughter named Halle. In order to support his family, he had to suspend his music career and work two jobs at Papa John's and UPS to supplement his family income. It was not until 2014 that he released his first original single, "Don't", on his SoundCloud homepage.

Within half a year, this new song, which combines R&B and Trap styles, has been played 400 million times on SoundCloud. For a commercial single in the mainstream market, this data is not worth mentioning, but on SoundCloud, which is mainly aimed at independent musicians, it can be regarded as a hot work that has gone viral - not in the circle of independent rap, but in the small circle of Bryson Tiller himself. Many A&R managers of record companies who were looking for money on SoundCloud extended olive branches to him, including RCA, which eventually signed him to a record contract.

With the support of Sony's publicity matrix, "Don't", made by Bryson Tiller in his bedroom, finally climbed to the 400th place on the Billboard Singles Chart. The total number of plays on SoundCloud also increased from 3500 million to 2016 million, and the entire platform has already won hundreds of millions of listens. As a result, Bryson's career entered a rocket-like take-off stage. His first original album "Trapsoul" started at No. on the Billboard Album Chart and peaked at No. . The second single "Exchange" ranked No. on the Singles Chart and won him a Grammy nomination for Best R&B Single. Almost every authoritative music magazine included his debut work in the list of annual albums in the year-end review.

In January 2016, Kara Lewis launched a tour with the same name as the album he planned for him. In January, he performed at a live house with 1 to 1 people. In April, he performed at the 1000-person capacity Radio City Music Hall in New York. In May, like Madison Beer, he made his television debut on Seth Myers' late-night talk show. In June, he directly stood on the podium of the BET Black Entertainment Television Awards and won two heavyweight awards, Best Newcomer and Best Male R&B/Pop Singer.

In just one year, Bryson Tiller went from being a Papa John's delivery man to a highly anticipated rising star in the black entertainment industry.

Also highly anticipated is the third candidate, Travis Scott, who was personally selected by Kara Lewis and Kanye West.

Born in Houston, Texas, Travis is two years older than Chance the Rapper and Bryson Tiller, and debuted a year later. Although he began releasing mixtapes on MySpace as a group in 2008, Travis Scott did not enter the record industry until 2012.

At the time, Travis, who was already a sophomore, had just dropped out of the University of Texas at San Antonio to start a full-time musician career and pursue his dream of becoming a rapper and hip-hop music producer. He used the money his parents transferred to him to buy textbooks and computers to buy a plane ticket to New York. Travis stayed there for four months, and then moved to Los Angeles to seek development opportunities. It was not until his parents drove to the university campus to visit Travis that his private dropout was exposed.

Although Travis' grandfather has a master's degree in composition and his father is a well-known jazz musician, the Webster family can be regarded as a long-standing musical family, but his parents are still angry about his absurd decision - only those who have experienced a snowstorm know how terrible the cold is. Travis's father, Jacques Webster Sr., knows how difficult it is to make music his main career. He hopes that Travis can avoid the hardships he encountered when he was young, but his son resolutely ran into the thorns.

"Dude, get out of my house, you're not going to amount to anything but a bum."

Travis, who had run out of money and food in Los Angeles, returned to Houston, but was kicked out of the house by his father's assertion. He had to return to Los Angeles again, staying on the sofa of a friend's house, and frantically sending demos to countless record companies every day, hoping that a talent scout would recognize his innate musical talent. Because of financial difficulties, Travis sold his computer, and he made and released songs on his mobile phone. As his songs received more and more attention on Youtube and SoundCloud, his popularity also rose. However, the copyright income generated by the mixtapes made of samples was extremely meager, and it was completely unable to support Travis' living expenses in Los Angeles, an international metropolis.

Travis Scott's life is only one step away from ending up as a homeless person as described by his father.

But like all the celebrity stories that people talk about, a turning point always emerges in desperate situations. Fortunately, the famous rapper TI heard the single "Lights (Love Sick)" produced by Travis, and TI, who was very impressed with the latter, sent Travis 14 messages in a row, inviting him to the recording studio to work together. From then on, this young man who just turned 21 began to emerge in the hip-hop circle as a cutting-edge producer.

A few months later, he attracted the attention of Kanye West with his avant-garde accompaniment, who bought him a plane ticket and took him to New York again, the place where his dream began. There, Travis signed his first mainstream label contract with Legendary Records under Sony Music Group, and signed a music copyright distribution agreement with Kanye's GOOD Music as an internal producer. In April 2013, Legendary Records reached an agreement with TI, who was the first to introduce Travis to the mainstream hip-hop circle, to establish an exclusive joint venture.

With Sony Music, TI and Kanye West backing him, it's easy to imagine how smooth Travis's career path would be after 2013. He was included in XXL magazine's annual freshman class before his first mixtape, Owl Pharoah, was released. Famous rappers such as 2 Chainz, TI and A$AP Ferg took turns to appear on the mixtape to back him up. His second mixtape, Days Before Rodeo, released in 2014, featured an even more luxurious lineup, including not only musicians such as TI, Young Thug, The 1975, Big Sean and Migos, but also top producers such as Mike Dean, Metro Boomin, Charlie Handsome and Anthony Kilhoffer, who were behind the scenes. His incredible resources are evident.

In 2015, Travis released his first original studio album "Rodeo". This album combines southern rap, psychedelic electronics, avant-garde pop and other styles, and fully demonstrates the "dark futurism" color created by Travis. The birth of "Rodeo" symbolizes a qualitative leap in Travis' career.

With the support of TI and Kanye West, this album debuted at No. 200 on the Billboard 100 chart in its first week of release, becoming a blockbuster that cannot be ignored in the hip-hop world. The lead single "Antidote" became the first hit single in Travis' career to enter the top ten of the Billboard Hot . With the rolling sales figures and streaming volume, this young man from Texas has already stood in the center of the music industry spotlight.

The success of "Rodeo" not only made Travis's fan base grow rapidly, but also attracted the collective attention of the global media. Many music magazines strongly recommended "Rodeo" on the annual best album list. Critics generally believe that this album successfully broke the limitations of southern rap and opened up a unique musical vision for Travis Scott. Some music critics even called him "McCarthy of hip-hop". His works have a deep, dark and smart charm, which makes him stand out among similar artists.

In 2016, Travis' second album "Birds in the Trap Sing McKnight" was released as scheduled. This time, he expanded his vision from personal experience to broader social issues. The songs are full of helplessness and reflection on the times, revealing an increasingly mature artistic pattern. In the first week of the album's release, it topped the Billboard 200 chart, becoming the first No. 1 album in Travis' career.

Then, the single "Pick Up the Phone" set off a new wave of popularity. With Quavo's full support, this song not only became popular in nightclubs, but also triggered a wave of imitations around the world, becoming an indispensable party song of the year. The third promotional single, "Goosebumps", which followed, can be called another breakthrough work of his. The calm and passionate soundtrack, the infectious rhythm, and the participation of Kendrick Lamar made "Goosebumps" quickly become an iconic hip-hop work.

By the end of 2016, any average person who had lived in the West for more than a week could hum the hook of "Goosebumps," such was the rapid rise in cultural influence of Travis Scott.

With such high popularity, Cara Lewis struck while the iron was hot and arranged 70 tours for Travis Scott within a year. Tickets were hard to get for every show, especially the performance at Madison Square Garden in New York, which was sold out within ten minutes of the ticket opening.

This shows that Kara-Lewis has a unique resource acquisition ability and business operation ability that ordinary people can hardly match. Although the previous generation of superstars have passed their prime, Kara has been able to bring out three rising stars in a year, making them the mainstay of CLG to welcome the next wave of the times.

In the trident formed by three new generation clients, Chance the Rapper and Bryson Tiller, who are still in the rising stage of their careers, are on both sides, while Travis Scott, who has already started stadium tours with two albums, is guarded in the center, the sharpest and brightest spear.

And he is one of the main reasons why Han Yi is determined to recruit Kara Lewis under his command.

Eminem, who is willing to spend 1000 million US dollars to be the headliner of the music festival, is certainly prominent. Kanye West, who has a weird and capricious temper, still has at least three or four years of golden career before he completely angers the Jewish forces. Chance the Rapper and Bryson Tiller can bring stable cash flow to UTA every year. Han Yi also values ​​Kara Lewis's ability to package the newcomers he signed - he has made up his mind to package 21 Savage, Migos and Khalid and other hip-hop musicians to Kara, and let her be responsible for their live performances. At the same time, Han Yi is looking forward to Kara bringing him more surprises in the future, such as the sudden rise of Ice Spice after the Black Swan incident.

But after 2016, until Han Yi's rebirth, the above names combined could not match the money-making ability of Travis Scott's golden signboard.

After "Goosebumps", Travis did not gradually sink like those short-lived popular singers, but quickly found a very personal musical style, and used it as an anchor to gradually spread his influence from the hip-hop circle to all corners of popular culture, covering fashion, trends and even virtual entertainment. In terms of music, Travis' third album, "Astroworld", which is great on the commercial level, was released in the summer of 2018, bringing a shocking mainstream market response. As soon as the album was released, it swept the Billboard 200 chart and remained at the top with sales of 50 copies in the first week, becoming a rare phenomenon in the hip-hop circle. The lead single "Sicko Mode" co-produced with Drake became the hottest of the year. With its unique rhythm changes and fiery lyrics, it continued to dominate the charts for several months and finally entered the top position of the Billboard Hot 100, becoming his first single to win the championship. "Sicko Mode" has not only received hundreds of millions of streams worldwide, but also won numerous media praises. It is widely believed that Travis used this single to "redefine the complexity and innovation of modern hip-hop works."

With the craze of "Astroworld", Travis planned his powerful tour of the same name "Astroworld: Wish You Were Here Tour". This tour showed an artistic atmosphere beyond the musical level. From the carousel to the Ferris wheel theme stage, it brought the audience into a dreamy carnival scene, giving fans an immersive performance experience. The tour started in North America and sold out every show. The box office in Los Angeles, New York and Chicago was sold out in a short time. The total box office revenue of the North American tour alone exceeded 2018 million US dollars, becoming one of the highest-grossing hip-hop tours in , which showed Travis' unparalleled box office appeal.

You should know that in the original timeline, UTA's operating income in 2018 was only US$3.25 million, and its EBITDA after deducting all operating costs was only US$5000 million.

How much of a boost can a $100 million tour bring to the annual report of such an agency? And how much can it increase the valuation of the third largest Hollywood talent agency?
Not only that, as long as Travis continues to develop step by step according to the historical trajectory, his commercial value in other fields will also rise rapidly. In 2019, Travis Scott cooperated with McDonald's to launch a joint package inspired by him, becoming one of the few joint endorsement stars in McDonald's history. This cross-border cooperation not only caused a sensation in the trend culture circle, but also caused McDonald's sales to soar. Travis' influence has been further recognized by the capital market. Later, he also launched a number of highly sought-after Cactus Jack joint shoes with Nike. Not only did each model sell well, but it also caused online servers to crash on the day of release many times.

In 2020, Travis reached a new peak with a unique virtual performance during the lockdown. He collaborated with Fortnite to hold an online concert, which attracted more than 1200 million viewers online worldwide, making Travis a pioneer in leading the trend of virtual concerts. The entire performance was carried out in his signature "cosmic science fiction" visual style. The giant virtual image of Travis performed in the game world, coupled with visual effects, making the audience feel as if they were in a bizarre but interesting immersive world. This performance successfully broke the boundaries of virtual entertainment, created a new performance model, and further consolidated his influence among young people around the world.

With the continuous expansion of his business territory and the accumulation of his musical achievements, Travis's appeal in the performance market has also increased year by year. The Circus Maximus Tour launched after the Black Swan incident is undoubtedly one of the most eye-catching peaks in his career, and it also made him officially ascend to the throne of the world's number one hip-hop star. This tour revolves around his latest album "Utopia", which not only broke the box office records in many cities around the world, but also pushed his music career to an unprecedented height with a series of breathtaking visual feasts.

The Circus Maximus Tour is inspired by the grand arena atmosphere of the Roman Colosseum "Circus Maximus". Travis and his design team carefully created a futuristic and wild stage, full of high-tech LED screens, projections and lights, which cleverly combines the oppressive feeling of the ancient Roman arena with science fiction elements. In the center of the stage is a towering steel pyramid, which symbolizes his ambition and unremitting efforts to reach the pinnacle of his career. This pyramid not only serves as his main performance stage, but also has a 360-degree rotation function, allowing Travis to interact with the audience and create a visual effect of "controlling the whole scene".

At the beginning of each performance, the scene simulates the visual effect of a sandstorm, with heavy drum beats and flashing red lights, creating a realistic apocalyptic scene. With his explosive opening song "HYAENA", the scene seemed to boil instantly, and the audience seemed to be in a "music battlefield" surrounded by sound waves and visual stimulation.

The global Circus Maximus Tour started in North America, and its box office performance was unrivaled, setting new attendance records at almost every stop. At Madison Square Garden in New York, Travis performed for three consecutive nights, all sold out, attracting a total of more than 50,000 spectators, making it one of the highest-grossing rap tours in New York's history in the shortest time. At the So-Fi Stadium in Los Angeles, the two performances attracted a total of more than 100,000 spectators, and the tour ticket price was even marked up to five times the original price in the secondary market, with a single box office exceeding US$7 million, becoming one of the highest-grossing hip-hop performances after the epidemic. On the other side of the ocean, London's Wembley Stadium was crowned as one of the most popular concerts in Europe after the epidemic with a full house record, attracting more than 90,000 spectators per show, and the box office revenue broke the highest record for hip-hop concerts at London's Wembley Stadium.

In many cities around the world, Travis's performance tickets were sold out within hours of the ticket opening, and scalpers in each city almost started at three times and capped at six times. The total box office revenue of the entire tour is estimated to exceed 2023 million US dollars, making it the highest-grossing hip-hop tour in . These impressive results not only made Billboard magazine call him "the first box office miracle after the epidemic", but also marked Travis' absolute dominance in the hip-hop world.

He is the undisputed first superstar in the rap music scene after the Black Swan incident.

Therefore, in order to achieve the goal of UTA overtaking WME and CAA and becoming the world's number one agency, Travis Scott is a client resource that Han Yi must win over, and is also the easiest talent to recruit under the current circumstances. UTA will have not only a super artist, but also a complete and replicable cross-border marketing model and a global box office pillar.

On the other hand, as long as UTA ​​can successfully obtain Travis' exclusive performance agency rights through Carla Lewis and authorize Han Yi's Han Live to lead its touring operations, this will also be a huge development opportunity for this new live performance company.

If Han Live can manage its performances and control this superstar-level touring project, it will not only be able to quickly accumulate global box office resources and connections, but also use this as a foundation to accumulate more abundant practical experience and further consolidate the advanced resources purchased at a high price in performance technology, scene construction and marketing. In this way, whether in terms of box office performance, market appeal, or global brand resources, Han Live will be able to compete with Live Nation and form a unique brand segment market appeal.

In addition, Han Yi was already planning to acquire AEG Live...

After the black swan incident, breaking Live Nation's monopoly on the global concert market will no longer be an empty slogan.

Even if it is not completely defeated, at least it can get a big piece of the pie. It will not be like AEG Live now, which relies on a few top artists to survive.

Just like making early moves with Billie Eilish, winning over Dua Lipa, and acquiring Lana Del Rey's parent company, integrating Kara Lewis and her future biggest money-making behemoth into the ecosystem of Han Music Group is a move that cannot be missed.

"I knew Kanye had ended his relationship with you before...but I didn't know that was the case with Travis."

Han Yi used sips to cover up his inner surprise. Perhaps it was because the various information before and after the rebirth was too complicated, or perhaps he himself was not that interested in hip-hop music. Han Yi only knew that Travis Scott was still a member of the CLG client list in 2023, but he didn't know much about the conflicts and disputes that had occurred in the middle.

"He's not leaving...at least not yet."

Kara Lewis, who was always decisive, seemed a little lacking in confidence when she mentioned this topic. There was a hint of contempt in her tone, but Han Yi knew that this was just a trick for her to show her confidence in front of CLG's acquirer and current boss.

"You and I both know that an artist of this level is bound to cause a lot of competition. Many people want what I have, and even more people want to see me suffer."

“CAA or WME?”

“It’s both,” Lewis said after a pause. “But WME is ahead.”

"Even in front of you?"

"I……"

Under Han Yi's questioning, Kara Lewis fell into silence, which was rare, and there was no disdainful look.

"I try to provide everyone with a career infrastructure and a safe haven from risk. With a lot of support resources, so that everyone's career can fully develop. For some people, this is a sign of a good negotiator and a reliable broker. But for others... they call it what they call 'bullying'."

"Because they want the same power over Travis' career that you do."

Even if the person he was talking to didn't make it clear, Han Yi knew that among CLG's various partners, there were definitely many people who were dissatisfied with or even hated Kara-Lewis. The division of labor within the music industry is very clear, and the same is true for the live performance sector - the organizer is responsible for the overall control of the performance, the venue is responsible for providing the performance venue and necessary auxiliary support, the production company is responsible for the stage design and equipment, the performing arts agency is responsible for collecting offers from organizers around the world and submitting them to the management company for review, and the management company is responsible for communicating with the artist to reach an agreement and form the final opinion.

For example, UTA's agent Matt Meyer brought Madison Beal 10 offers in Indonesia, Singapore, Thailand, the Philippines, Japan and Hong Kong. He sent all the details of the offer, including the price offered by the organizer to the artist, the capacity of the performance venue, the radius clause and other relevant information to Zhao Youzhen, who then personally contacted Madison to confirm which shows could be accepted, which shows were not attractive enough, and which shows needed more information before moving to the next stage.

This is the normal working procedure of performing arts agency affairs. The management company cannot directly contact the organizer, and the agency cannot directly contact the artist. In most cases, the two parties do not interfere with each other and work in parallel and in an orderly manner.

But Carla Lewis is not someone who plays by the rules. If Travis Scott had proceeded step by step like other agents in the industry, it would have been impossible for him to complete 70 tours in a year. Among them, there must be a lot of say that was firmly controlled by Carla.

She skips managers and goes straight to artists to confirm performances, and sometimes doesn't even ask for the artists' opinions and makes the final decision. This is basically how Kara Lewis got the reputation of "bullying, threatening, making false statements and other inappropriate behaviors" towards others, and doing everything "out of greed and a clear lack of gratitude."

When you make other people’s presence at work seem dispensable, they will naturally want to unite and deprive you of your presence.

"The management is making it difficult for you on the contract renewal issue, right?"

"Mark Gillespie of Three Six Zero is also Calvin Harris' manager. He likes big corporate scum who sucks up to him. He doesn't like people like me who are better than him in every aspect and make artists obedient and submissive... He has been spreading rumors about me in Travis' ears for almost a year."

“It worked?”

"You know how these artists behave. One day they called you a saint for hosting their first tour, and the next day they went out and told everyone that I drained their box office revenue and I didn't communicate clearly with the organizers about their hospitality needs... I don't want to go into too much detail, it's a shit show."

"The purpose of doing this is to hand Travis over to WME in exchange for more power and profit."

"Yes."

"So what solution did Andre propose to you?"

"Dre said..."

"Some people create trouble, and some people are trouble."

"If they continue to choose to be a problem, then we should focus on getting rid of them."

(End of this chapter)