BONUS* Is Good Music Still Enough In Hip Hop?

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealers Podcast with your host. Now fuck that with your
low glasses, Malone. I just got an update for the
UH or The Black Effect the festival this year in Atlanta.
It's on the twenty fifth, twenty of April cool twenty six.

Speaker 2 (00:29):
Let me see so is the Black Effect is live?

Speaker 1 (00:32):
It's The Black Effect Podcast Network in Conglomery with iHeart
at the Poor Mill Yards in Atlanta, April twenty sixth,
twenty fifth. Ticket's gonna sell today at noon or tomorrow
at noon. They don't got us host on the stage.
But I think we should do something really dope down there.

Speaker 3 (00:53):
I agree.

Speaker 1 (00:59):
I don't have no idea, yeah, but I want to
do something dope, you know what I'm saying, Like, I
want to do something dope this time, Like, even if
it's not particularly inside.

Speaker 2 (01:07):
Of the.

Speaker 1 (01:11):
I don't know, like what does it look like to
do a podcast kind of event? What does that look like?

Speaker 3 (01:16):
Like the water and you were there?

Speaker 2 (01:19):
Huh?

Speaker 3 (01:19):
That only been to one and you were there?

Speaker 4 (01:22):
Yeah?

Speaker 2 (01:22):
I know, But but do we do? We do we
do like a live podcast or something? Yeah?

Speaker 3 (01:29):
If you only idea I could have because of proximity,
like sometimes you'll see podcasters go and do like live interactive,
like intellect intellectually challenging, like I mean basically it started off.
I think that a crowd or whatever, like the change
my Mind thing where he would go to a college
campus with a very controversial statement blah blah blahlah blah blah,

(01:50):
change my mind, as students would come up and debate
the topic live or have a conversation about it live,
And it would be interesting to do that maybe like
the Friday before, you know, when everybody's like in school
because you're adjacent to like the HBCU hub of the
United States.

Speaker 1 (02:08):
Well, I was thinking about it, right, if the event
is Saturday, I gotta do a show Thursday, So Friday
morning I have to lead or fly to Atlanta, and
then we could either do it that Friday or you
know which is gonna put me put me right there,
or we.

Speaker 2 (02:24):
Had to night that Sunday.

Speaker 1 (02:27):
Also possible, or maybe the Saturday night people be you know,
they don't because it was kind of early.

Speaker 2 (02:33):
It was over early.

Speaker 1 (02:35):
Yeah, yeah, but I think we got to do something
to really launch the fifth season of the podcast, something cool,
and I just don't have no idea.

Speaker 3 (02:45):
And Friday night there was that dinner thing Friday night too,
so that might conflict.

Speaker 1 (02:50):
Also, yeah, so maybe we do Saturday night like I'm
sure they have a after party, but we do something
on that hip hop topic to where we can have
different people come through.

Speaker 2 (02:58):
And yeah, that's around.

Speaker 3 (03:01):
Dude, I don't want to put the guy out, so
I want to mention his name. But there was always
there was a number of guys. Remember that studio he
went to, not the time, but the previous time.

Speaker 2 (03:13):
Previous time, Yeah, Whereto was at.

Speaker 3 (03:19):
Yes, I said, I don't want to put him on
the spot, like maybe doing something because he had a
lot of space there, you know, have a couple of
artists or something like that and talk to him, talk
to an artist to do something about you know, about
the genre like film there. Possibly I say, again, he
might be like, we're not doing that.

Speaker 5 (03:39):
I don't know.

Speaker 3 (03:39):
I'm just on two seconds of notice coming up with
ideas of throwing pasta against the walls. They say.

Speaker 1 (03:48):
The one thing I love about this battle, you know
that's over a year old now it's almost a year old,
is it's exactly where hip hop needs to be. Like
people some people are upsetting and I'm tired of talking
about it. It's like, no, you're not.

Speaker 3 (04:04):
You know what we need to do. Yeah, we just
set up a mic in the camera. There was another
gentleman who I won't name, who was awesome, who came
by the Airbnb house for minutes to talk.

Speaker 2 (04:16):
Oh yeah, Mike, shout out to killer Mike.

Speaker 3 (04:19):
You could say the name I won't really really interesting,
Like I mean, it's different talking to a person in
real life and like just seeing different stuff you know online.
You never know a person's life based off just seeing
videos a million times online. But maybe something with him.
I don't know that there's a million people down there

(04:42):
that they're interesting there. There's a lot we have time
to figure out.

Speaker 1 (04:45):
Yeah, I think he I think he's I think he
starts his tour with Wu Tang. They have a tour
going with Wu Tang, a national tour.

Speaker 4 (04:53):
It's the last Woo Tang tour too.

Speaker 2 (04:57):
I don't know why as not the last war tank.

Speaker 6 (05:00):
To her, that's crazy even say that it's a good
marketing Employee're gonna make everybody.

Speaker 3 (05:05):
Barbara Streisand did like fifteen going away to.

Speaker 1 (05:08):
Its, so did Anita Baker, Nita Baker did a grip
of this is the last one, like, this is not the.

Speaker 3 (05:15):
Last last one.

Speaker 2 (05:20):
It's a good market employee for sure.

Speaker 1 (05:22):
But I was thinking we need to do some kind
of event for April twenty six for that, for that
Black Effect, for the Black Effect live thing.

Speaker 2 (05:31):
I don't have anything.

Speaker 3 (05:32):
Created, like like a local Atlanta like og, Like one
of the Atlanta crips talk about what what does cript
mean in Atlanta to you versus in La or something,
I don't know, something like that.

Speaker 2 (05:45):
What's crazy is they have a Cali Day. I wish
this was all around the same time.

Speaker 4 (05:52):
Atlanta got an everything day.

Speaker 6 (05:54):
You know, they got a Bronze Day, a Queen's Day,
a Cali Day, they got everything except for Atlanta Day.

Speaker 4 (05:59):
That shit is crazy.

Speaker 1 (06:00):
Well, Atlanta is like Wakanda, bro, like all the blackness
goes there, so you everybody still try to hold on
to wherever they're from in the country, but you eventually
just in the Atlanta nigga like it'd been people in
years still talking about they from somewhere. Bro, you're from Atlanta, Bro,
you're thirty two?

Speaker 6 (06:19):
Yeah, yeah, I don't know what's wrong with people.

Speaker 1 (06:24):
Atlanta is bad like the way the rest of the
country looks at Atlanta.

Speaker 2 (06:27):
Atlanta is like.

Speaker 1 (06:28):
A great place to be as a black person to
be from. Like Atlanta is the ship. But for some reason,
people you know, they here, Atlanta.

Speaker 4 (06:36):
Got good food. They got good food, good food.

Speaker 1 (06:40):
It definitely don't have you know what, they don't have
good soul food. That was the thing that blew my mind.

Speaker 2 (06:47):
There was a.

Speaker 3 (06:47):
Generation of that, I think with like white people in
California because nobody was from there, so everybody knew you
weren't from there. So it's just kind of like where
you were before that, you know kind of thing.

Speaker 2 (06:59):
Atl got good foosion.

Speaker 1 (07:00):
They do a lot of fusions and regular food place
you feel me, but you don't have good soul food
like versus when I first start going in two thousand
and like six, Like when I first started going, they
still had soul food that was fired.

Speaker 3 (07:14):
But I guess just now the population's fusion. It's a
fusion population.

Speaker 2 (07:18):
Yeah, Like they had like a salmon, a Philly cheese salmon.

Speaker 6 (07:23):
They probably started off them them damn kin of green
egg rolls and ship like that.

Speaker 3 (07:29):
Damn And I made that choke on the phone last
time when.

Speaker 2 (07:32):
We were there.

Speaker 4 (07:33):
Yeah, I'm telling you that's they probably started down there.

Speaker 2 (07:38):
But I don't I don't get it.

Speaker 1 (07:39):
Like Atlanta is one of those places I would love
to be from, and maybe hip hop set that presidence
for me.

Speaker 2 (07:44):
But Atlanta is a dope place.

Speaker 1 (07:46):
But it seemed like people move down there and still
try to hold on to some other town. It's like, bro,
it's okay to be from Atlanta, nigga, this is the
eighty yigga, Like, what the fuck is the problem?

Speaker 3 (07:55):
That might be because when you move to Atlanta as
a real like from Atlanta people you're not from here,
You're you're a New Yorkers.

Speaker 2 (08:03):
Because Atlanta people don't be like that.

Speaker 1 (08:05):
They they bring you in. They Atlanta is one of
the most inviting places I've been to. If you move
to Atlanta, everybody gonna they gonna, they're gonna, they're gonna.

Speaker 2 (08:15):
Show you love like you a native.

Speaker 1 (08:16):
It's not like La where if you from, or New
York where if you somewhere else, everybody want to tell
you you from somewhere else. In Atlanta, you feel me,
it's like people really are inviting.

Speaker 6 (08:28):
Yeah, I know people went to Atlanta and got rich
being from New York. You know what I'm saying, people
in the town messed with them. You know what I'm
saying was inviting was like yo, you know what I'm saying,
Like I know people that are for years.

Speaker 1 (08:40):
Really show love, bro, It's show love. Like it's underrated
about how much love that they show. You know what
I'm saying, Like Atlanta got fire wings and fire lamb chops.
I don't know why they have fire wings and fire
lamb chops.

Speaker 6 (08:55):
That's like I'm saying, And that's all.

Speaker 4 (09:01):
That's like I'm saying.

Speaker 6 (09:01):
New York got fire hot dogs and pizza.

Speaker 3 (09:07):
You know, we got tacos and honestly, l A is
kind of a burger town. It's kind of.

Speaker 2 (09:15):
Like everybody got good burgers.

Speaker 4 (09:19):
We're the land of the burgers.

Speaker 1 (09:21):
This town that I'm in, everybody got good burgers. Everybody
got some kind of burgers. But we just have In California,
we have great tacos, especially southern California great and.

Speaker 3 (09:34):
Really I think Asian food thrives in California.

Speaker 2 (09:36):
Obviously, everybody got to not like that.

Speaker 4 (09:42):
Everybody don't have Asian food.

Speaker 1 (09:43):
All the major metropolis metropolitan city has got made.

Speaker 3 (09:47):
The Chinese food everywhere the curersain's have like Thai food
and like Korean that like that kind of ship.

Speaker 6 (09:56):
Yeah, my kids went to my kids today, they went
there right now. Yeah, they went to a cat's Cafe.
So now you go in the cafe. There's nothing but
cats all around the cafe and you get to feed
them like cat and it. But so I told him,
I go, yeah, I ain't gonna say that, sound like
you'd have never seen that back in the day.

Speaker 4 (10:15):
Just what it like that cats.

Speaker 3 (10:18):
Like the shirm of the animal kingdom.

Speaker 6 (10:20):
Because just the just the stigma they if you used
to say it, you know what I'm saying like that,
I don't know, at least in New York. He used to
say like that. I'm like, that's crazy. So they didn't.
Right now at a Cat's Cafe, No.

Speaker 1 (10:33):
Sits live the lunch hour every Monday, Wednesday and Friday
right here at noon Pacific Standard time. Digital Soul Boys.
Click that thumbs up button, that like button, let everybody
know you in the house. You're on Twitter, Retweet the link.
If you're on Facebook, share the post, Tell a friend
to tell a friend, because.

Speaker 2 (10:50):
We're up in here.

Speaker 1 (10:52):
We just dropped a great episode the reason we do
this stream is to support the No Senters podcast. We
did a great episode Look below Conversations where everybody at
texts Glasses, which is the story of my life.

Speaker 2 (11:08):
It's a great podcast.

Speaker 1 (11:09):
You can listen to them on Apple Podcasts, Ieheart Podcasts,
anywhere you get your podcast. From No Sending Podcast executive
produced by Charlomagne to God, the Black Effect Network, and iHeart.

Speaker 2 (11:21):
We had a.

Speaker 3 (11:22):
Sneaky appearance from Norman Steele, who I thought was crime
and I thought that changed his name and moved him
into some rural town because he saw something. But apparently
he's still out.

Speaker 2 (11:37):
Yeah, still is definitely on it.

Speaker 1 (11:38):
Shout out to my brother Michael Love kicked us off
with the five dollars for lunch.

Speaker 2 (11:42):
I don't know about that, Glasses.

Speaker 1 (11:44):
How long will you have to livet somewhere before you're
not a Cali brother anymore. If I moved anywhere, I'm
from there. We stopped that right now. If I moved
to another town. If I move to New York, i
am a New York brother. If I moved at Texas,
it's Texas. I mean, like, the only thing that staying
the same is the set. But this Texas I was
the move to the age.

Speaker 2 (12:05):
I'm from the age they like glass.

Speaker 1 (12:07):
How long you've been down age ship. I'm an age town,
nigga bro town. I mean, I'm I'm I'm I'm with
brothers wherever we at. I mean, if I moved to
the age eight, I don't give a funk.

Speaker 4 (12:19):
I can go to Mars. I'm from New York.

Speaker 3 (12:21):
Yeah, I definitely claimed Florida on April fifteenth, I'll tell
you that much.

Speaker 1 (12:28):
Atlanta, Atlanta shout out to the a we down there
on the twenty six.

Speaker 6 (12:32):
On some watch, if he went after he ain't man.
I mean, I'm from Seventh Street. I'm from Seventh Street.

Speaker 2 (12:37):
But but I'm not.

Speaker 1 (12:39):
I'm finna assimilate into the said coaching. I'm finish trade
all my Dodger hats. Give me all Atlanta Brave hats.

Speaker 2 (12:50):
Eighty four.

Speaker 1 (12:50):
Only thing I might keep it my low Rider, but
I finel give me an Atlantic car. What's that car
they drive down there? Whatever that is, that's gonna be
clean in me. I'm gonna just start living my life
like Atlanta. I'm not trying to hold on or something
that I don't got.

Speaker 2 (13:04):
To hold on to.

Speaker 6 (13:06):
I don't do that when I go, I don't lived
out of town for a year or two like that.
I'm not been out of town for a long time
like that, whereb I go whatever like that, I don't.
I'm not the one to go out there. You'll from this.
I don't do all that ship. I hate niggas will
do that ship though, too.

Speaker 3 (13:20):
I like principle.

Speaker 4 (13:22):
Yeah, you're the one that moved I mean exactly, yep, from.

Speaker 1 (13:26):
Getting a shut out to juice. He right, I'm gona
getting a hellcat with some forg's on that thing. And yeah,
I'm all the way.

Speaker 2 (13:34):
I really believe in that. Though, I really believe in that.

Speaker 1 (13:39):
I feel like, like I said, whenever I go to
the A is just you know what I mean, Like
I feel like it's a dope coating you feel me.
So it's like, you know, you assimilar, you get down,
you get down with the locals. Now, I don't mean
I finlah start rapping and acting like I'm the king
of the Atlanta scene, cup, But I'm just saying I'm
just gonna be from Atlanta people.

Speaker 2 (13:58):
A Oh yeah, you really.

Speaker 1 (13:59):
I started off I was in comfedy watching my whole life,
but I moved to Atlanta.

Speaker 3 (14:06):
Which is not the South because its Eastern Standard time.

Speaker 1 (14:15):
So now I was looking at something right and I
was looking at We was talking about this song yesterday.
Shout out to Chuck the Game. The Game just dropped
a snippet to a single that Kanye produced. It sounded
like Jim Jones is on the song too, And it's
a really fly flip. You know how they flipped a

(14:35):
Tina Turner song and Game chose to use UH to
take that moment to to flirt with or make sexual
advances towards Beyonce's mom, Tina Knows and.

Speaker 2 (14:55):
The record itself. When I first heard the record, the
record was fired.

Speaker 4 (14:58):
Bro.

Speaker 1 (14:59):
I really liked the record, like I thought. I was like, yeah,
you just added again doing something but I can't I didn't. Yes, Yeah,
I thought that was fire. You feel me like, I
was like, damn, this is dope. Like I like how
you flipped it. I like how he had Chuck sounding
and YA always got a real different position when he

(15:20):
goes about producing hip hop today.

Speaker 2 (15:22):
And I thought that was cool.

Speaker 1 (15:24):
I'm sure if he had the Tina Turner beat, they
was like, we need to find the most popping Tina
that's going to be controversial to mac too. And Chuck
is forty five, forty five, he grown enough, you feel
me to wear it well, you know what I mean,
Like it's okay if he tries to flirt with Tina
those whatever, you know what I mean. But obviously when
you make it a song, you know what I mean,
it's definitely you taking advantage. And we were talking about

(15:47):
it with Trapp yesterday on the stream and I felt like,
I'm like, damn, like I wouldn't flirt with that lady,
you know what I mean? That lady is like I
would help that lady cross the street with the groceries.

Speaker 3 (15:58):
That's a little bit of that lawrence and Western.

Speaker 6 (16:01):
You know, I'm taking that panther. I told that ship already. Man,
I'm not in the Come on, bro.

Speaker 1 (16:06):
Lady is a savor too. She is way past panther.
That lady is a savor too.

Speaker 2 (16:12):
That lady is.

Speaker 1 (16:13):
Way past the point of cougars and panthers. That lady's
a savor.

Speaker 6 (16:17):
Tooth old pictures at old pictures of her like, oh,
lady lady.

Speaker 2 (16:24):
In theory, for sure, it's old enough to be our mother.

Speaker 1 (16:27):
But for some of us, she don't enough to be
our grandmother, but not him.

Speaker 2 (16:32):
She definitely.

Speaker 3 (16:35):
Yeah, I mean not grandma, Mom, not grandma.

Speaker 1 (16:40):
We're old enough to be you know what I mean. No,
I'm not sleeping with that lady. Man, that lady.

Speaker 2 (16:46):
That lady.

Speaker 1 (16:46):
I'm gonna help that lady with her groceries out the
store right now.

Speaker 2 (16:54):
In the crosswalk.

Speaker 1 (16:55):
I'm not finna be trying to sleep with this adult lady.
You feel me that you is a lot.

Speaker 2 (17:00):
This is a grown up.

Speaker 1 (17:01):
But at the end of the day, if you like
oh the women, that's cool. And I told Problem in
the group chat. Problem hated it, and I was talking
to Trap. I'm like, damn, I thought Kanye went a
little too far. They started kind of posting content about
fantasizing about her where she was coming down the Jennifer
Hudson They have a little scene where they introducing the
next guest to promote the show of the next guest,

(17:24):
and they have him come down the soul tray line
in the hallway, and he had this video of her
and she was coming down to dancing, and you know,
the lady looks at me, knowe me wrong. The lady
is a very attractive woman for a seventy one year
old if I was eighty five. If I was eighty five,
you feel me like I for sure would be like,

(17:46):
what's happening? You feel me if I was eighty five,
but like, if you were right, it would be very much.

Speaker 6 (17:53):
So hold on you saying if you were seventy one,
you want to shoot at it though I'm too old
for you, No, but I'm not too you try.

Speaker 4 (17:59):
To get signed younger or some.

Speaker 1 (18:04):
Sixty three or some you feel me. I mean, look,
it ain't about that. My thing was. I thought about
it after we finished the streaming myself. I've been telling
Problem for a while, like okay, so shout out to
everybody at.

Speaker 2 (18:18):
The lunch table.

Speaker 1 (18:19):
You know what I'm saying, here's some game about hip
hop that I realized cause it's like me and Problem
was arguing about it, and I keep telling Problem. Problem
making this really great music. If you ain't tapped into
Jason Martin's stream, you feel me, like, go tap into
Jason Martin. As far as his new music, the Nigga
is putting out some fire ass music right and dope.

(18:41):
But I'm telling him, I'm like, hey, bro, like you
putting out this dope ass music.

Speaker 2 (18:45):
But there's no reason to tap in. He's like, well
the music is dope.

Speaker 1 (18:48):
I'm like, that don't matter, And I just start thinking
more and more about it, right, Like why doesn't that
matter outside of it's outside of it being an influx
of music. When problem got all the way cracking, right,
there was an era of children right that that Hiphee
movement raised, right, the Highee movement shout out to the

(19:10):
to the all the legends from up top, from the
Bay Area, nordn California, anywhere up there. But they created
this movement that had the black that had black LA
in a frenzy.

Speaker 2 (19:19):
As far as the party, which is the hype movement.

Speaker 1 (19:23):
It raised a lot of the kids from southern California
because they were starting to party in high school. Out
of that movement birth this Southern California movement called.

Speaker 2 (19:32):
The Jerk Era. The Jerk Era was this really.

Speaker 1 (19:35):
Fun time for high school kids to dance and they
had this new thing going on. They had this great
energy that was a lot freer than Los Angeles had
before that. Fast forward, those kids grow up, right, those
kids become what you call the ratchet move Now, now
they're starting to influence LA in a completely different way now.

(19:58):
Birth out of that jerk or ratchet movement right on
a mainstream level, people you guys would know about, right
is YG, DJ Mustard, right Tiger. It's a bunch of
underground kids. But to say the least, those are big
names you would know. Now as they start to make
records and make music, right, you can hear the influence

(20:21):
from what they grew up listening to right, the songs
that they were partying to, and then they interjected their
natural culture outside their front door into the songs.

Speaker 2 (20:29):
And you have the birth of the ratchet movement.

Speaker 1 (20:31):
And now this group of people start to move records,
they start to be the taste makers of Los Angeles music.
That's how music was moving through Los Angeles through that
group of people.

Speaker 2 (20:41):
It was being discovered in mind.

Speaker 1 (20:44):
It was being discovered in mind out of the Los
Angeles party scene. That was an infrastructure that none of
us now mind you problem j Rock, Kendrick Lamar, even
though Dot is younger. They're like the first wave of
guys that was coming when game was coming. The next
wave is YG, Tied, Dollar Sign Mustard, Right, that.

Speaker 2 (21:04):
Became their wave. Problem came in our wave.

Speaker 1 (21:11):
But problem also was a much more developed record maker, producer,
and a talent as far as and he was more
of a festive god versus us. We were like Hella
Street and over the top. Problem was much more festive.
So that scene that was created, right, created the infrastructure
and the taste makers that moved records all through southern California.

(21:33):
So as Problems starts to make music, shout out to
Punisher on.

Speaker 2 (21:38):
From the community.

Speaker 1 (21:40):
Rights, he's become this an R He's starting to understand
the music and a lot different capacity. They're making records
and they're putting records into the scene, and these records
are blowing up. These records are blowing up, right, But
the infrastructure, Pete, is there, right, It's already there, the
ratchet movement. Right out of that, you get the birth

(22:02):
of Todd Dallas sign right, you get Mustard, right, you
get yg you get Tiger, you get kidding you know
what I mean? You get about six or seven smash
acts that become national acts. Right, then you have a
plethora of guys that kind of are They may not

(22:22):
be national acts, but they're like superstars here, right, RJ.
You know you got a group of guys that are superstars, right,
on the West because this music is like it's.

Speaker 2 (22:35):
The theme of how we live.

Speaker 4 (22:38):
Right.

Speaker 1 (22:40):
And I say all that to say that Problem, I
don't think he understood Jason Martin than understand that that
is the structure that was able to move his records,
the taste making group of people that was able to
move his record. That structure was created. We didn't have
to create it. Them kids created it, and it was
moving all his records because his records were just like

(23:01):
theirs better, you know what I mean. This nigga was
a fully developed monster when it came to making records.

Speaker 3 (23:06):
I remember the first time I ever heard Problem. I
remember the first time I ever heard one of the
songs I was. It was like we had just gone
a party bus that boarded in Carson. It was are
you a freek? You got a song?

Speaker 2 (23:21):
Shit? Are you a freak? We used the.

Speaker 3 (23:27):
Man are you a free It was like girls on
that bus and those girls are going nuts.

Speaker 1 (23:33):
Right, because the structure was created through that stuff, right,
and so he was able to put music through that
and it would do the work. It didn't take as
much work. Fast forward, here we are twenty twenty five.
It's different. There is no new movement of children coming up,
creating a structure that adults start to use to distribute

(23:56):
music and to pass to taste makers. Everybody is online.
Everybody is online. Records are being broken online right and
online right with social media. The main thing that's driving
everything is the conversation behind it.

Speaker 3 (24:17):
Product placement, break sorry, it's white cups like confirmer, deny,
this might be a soda.

Speaker 1 (24:31):
So that's what's moving right, the music online. And so
I was telling him, I'm like, bro, your records is fire, bro,
but there's no reason to talk about it. He's like, gee,
the music is good. I'm like that ain't enough no more.
I'm like, it's so many records coming out every day, bro.
Unless we're talking about something about the records, or the

(24:53):
artists or the brand itself, the record won't spread like.

Speaker 2 (24:57):
It'll just be with those group of people that think
is good. Right.

Speaker 1 (25:01):
What's moving a lot of records is not just streaming
shout out to THEMI revenge at the lunch table, shout
out to about the lunch table, I see you is DMV?
Then sell what's happening, nig, what's the deal. So I'm
telling him, I'm like, bro, we have to talk about
either the artist or the brand or the product. The

(25:21):
brand of the product, like, are we talking about the artists?
Are we talking about the song? Is there something worth
having a conversation for me to put it on my
Instagram and engage the people that follows me.

Speaker 2 (25:32):
No longer is it the record is good? Hey? This
record is just jamming that is long gone.

Speaker 1 (25:38):
It's going to remain a very communal or regional idea
at that point.

Speaker 4 (25:43):
Sure, what would you say that was? You said? Again?

Speaker 6 (25:45):
Though? What the timeline you put on? That was the
around of time like where social media started up, like
when Instagram and shit started popping and stuff like that,
we started getting more about what the artists are.

Speaker 3 (25:54):
Blog.

Speaker 2 (25:56):
Yeah, it's the blog. That's the beginning of it.

Speaker 4 (25:58):
Blog blog blog.

Speaker 1 (26:00):
Area is the beginning of where people who are sitting
in front of phones and computers started.

Speaker 2 (26:05):
To move started to move music.

Speaker 6 (26:10):
You think artists lost stigmastique during the blog? Is that
what it was though? Like, because before you ain't really
know what artist was though, how days it feel like
you got to know what the artist is like their music.

Speaker 4 (26:19):
That's what you're basically saying right now.

Speaker 3 (26:21):
Well, one of two things we're going. Yeah, you have
to like breach a certain floor to get inserted into
the algorithmic program to get dispersed. So you either a
have to be known where you have a built in floor,
or you have to inspire a conversation that it's own

(26:45):
among itself breaches you in that floor and then disperses you.

Speaker 2 (26:50):
Is that fair?

Speaker 1 (26:51):
I mean yeah, but but to even add on to that,
Let's be honest, bro, it's it's so much shit.

Speaker 4 (26:59):
Bro.

Speaker 2 (26:59):
We have so much content to be to entertain us.

Speaker 3 (27:03):
Bro, we have so much, But there's like a teeter
totter between like what it like. There's a difference between
the from a user experience like me going and looking
for something and the medium that I'm on effectively taking

(27:23):
something and having it look for me, you know, And
that's kind of you got to tilt just enough to
where I don't know what the hell this is, but
they told me what it was because they determined that
they figured that I should be told what it is.

Speaker 1 (27:38):
I mean, but even sometimes it's not even you don't
have to be that pushed.

Speaker 4 (27:44):
Right.

Speaker 1 (27:44):
It could be a simple dance, right, like a dance
that people on social media want to do, exposes me
to new records and the more I see, Right, they
used to call radio programming, right when you a program
of playlist programming the audience, right, Well, that's the same
thing happening on social media, Like right now, I'm seeing this.

Speaker 2 (28:07):
They call it.

Speaker 1 (28:10):
It's a specific dance that they do. I think it
was made in New Orleans. But they're doing it to Frankly.
What that Okay, Yeah, they got to dance to that.
That's right in there. And they're doing this dance where
I've been seeing it. It's based out of New Orleans
and it's programming me with Frankie Beverly.

Speaker 2 (28:30):
We are one and the other day I.

Speaker 1 (28:32):
Went to Frankie Beverley, and which is jamming Frankie Beverley
Because at that point it's over exposing me to songs
and voices that I'm familiar with, and then I go
digest the music.

Speaker 2 (28:42):
Shout out to you, okay from the bay. That's what
they call it. Tripping out. That's what it's called tripping out.

Speaker 4 (28:49):
Sitting there to me.

Speaker 1 (28:51):
That they do, and that's how I'm learning music, And
that's how I've been learning all of my songs for
the most part. Right is on Instagram, on TikTok. I'm
seeing these dances and the more I see people do
the dance. They have another one that they're doing to
tap out future stunner tune called TapouT and they haven't.

Speaker 3 (29:10):
Called it the challenge era. Yes right now, Yeah, the
last couple of years, do dance, put a video up whatever,
dance challenge whatever, everybody else to post themselves doing the dance.

Speaker 6 (29:23):
But see my only thing within that right there, I
think that's a great way of bringing bringing songs back
into light.

Speaker 4 (29:28):
Though.

Speaker 6 (29:28):
That's a great way for them to do it like that.
But these songs that that launch off the challenges. A
lot of times those songs, them songs, ain't it ain't
like that, you know what I'm saying. They just that
one part of the song that that hit. Most of
the time, the dances like that, the dance could be that.

Speaker 3 (29:48):
We gotta pull up this Jody Jebs coming after we
give Juice a shout out, but thank you for the
five dollars.

Speaker 1 (29:54):
I agree with seventy five percent of G's narratives, but
I agree with with the sincerity passion of black cultural
talking points. My nigga, man, it's nice. Jody jabs. Wait,
what the hell is all this? What kind of channels
is they have those feelings live stream the lunch out

(30:15):
or we have intelligent conversations everything street urban cultural, or
we look at anything from a street urban cultural perspective.

Speaker 2 (30:25):
We do this to support the No Centers podcast.

Speaker 1 (30:27):
If you look below inside of the caption, it's right there.

Speaker 2 (30:31):
You can listen to it and catch up.

Speaker 1 (30:33):
But right now, Jody, you are sitting at the lunch
table where all the intellects shit during their lunch break
at work and they discuss intelligent things. We're not out
here making a fool of a lot of our and
relaxed shout out to juice. Uh sounds like how you
end up with a lot of gimmicks and all things

(30:54):
that don't last too long. I mean, yeah, you definitely
are not getting the best traditional records, you know what
I mean in traditional sense, like right, like a Sulk
City song. It's not the greatest record in the traditional
sense of making records. But again, because art, you know,

(31:14):
music is art, and it's subjective. You know, long as
it's actually doing it's quantifiable things happening, you have to
respect the power of it.

Speaker 2 (31:24):
Again, how we program the.

Speaker 1 (31:26):
Digest records is based off how records were made in
the forties and fifties. So now we're getting something different.
And I've been telling Trap this for a while, right, bro, Yeah,
Like I've been telling t Wow that there are these
new style of records that don't fit the traditional format.
You know what I'm saying. So it's it's tough, but

(31:47):
I was saying that we're doing all this, And the
point of this conversation is that's why I understand why
when they took that Tenor Turner sample. I understand Chuck's approach.
When I say Chuck, I mean Chuck Taylor aka The Gain.
I understood his approach is because he's trying to make
something worthy of the conversation.

Speaker 2 (32:06):
Now, I didn't know the whole Taylor.

Speaker 3 (32:08):
I don't know his name.

Speaker 1 (32:10):
No, No, Chuck Taylor like the Shoot like I know
Los Angeles Street Urban cultural shoe that that we began
to make his name. No, his name is jac Taylor. Okay, yeah,
so named himself. He nicknamed himself after the Shoot, So
touck get what his angle was when he made the song.

(32:33):
And when I heard the record, right, I was like, damn,
this record is jamming because it was just on his
page and I followed him. I liked it, fire mosic,
it's dope for everyone else. He realized, you know what
I mean. He realized that people wouldn't just care about
a good song produced by Kanye West You Feel Me

(32:55):
and written by the Game with Jim Jones. So he
added an element that's worthy of a conversation. Now, Gangster
rap historically has been very much like the audacity the
nerve of these niggas, right, So it's like, you know,
you got to push the envelope. And I would be

(33:16):
the least person to talk about pushing the ovelobe because
I always push the envelope.

Speaker 3 (33:22):
I feel like somebody, did somebody do something a song
referencing Kim Kardashian one time.

Speaker 4 (33:31):
You're talking about that song ky you never married that whole?

Speaker 3 (33:35):
Yeah, I heard about that.

Speaker 4 (33:36):
Yeah, I heard about that song too. So these nuts
I heard about that song.

Speaker 1 (33:42):
It's tricky, right, shout out to Juice, he said, Right,
I get that. Sad thing is that it'll ruin a
lot of really dope artists trying to chase those viral moments.

Speaker 2 (33:50):
But I do get it.

Speaker 1 (33:51):
But it's not a pursuit of a viral moment, like
that's an underrated kind of understanding of what's happening. That's
a really kind of a cheap way. It's not really
pursuing a viral moment. The belief what the average consumer is,
I just know what's good music, juice, y'all don't forgive me,

(34:13):
y'all don't y'all don't know what's good. All you know
is with what fits the brand of what you like
a good time. They don't even know that. It's so
much social currency of what's cool. You don't know what
they actually like because people are pursuing cool more than
what they personally like.

Speaker 6 (34:34):
Sure, so you're basically saying like, if the people like it,
if your neighbor like it and your neighbor put you
onto it, you untimately don't like it until you're saying
like that most of the.

Speaker 2 (34:44):
Time comes with a social currency.

Speaker 4 (34:46):
Bro.

Speaker 2 (34:47):
Everybody don't believe this. Everybody think they know.

Speaker 1 (34:49):
But this is why it goes back into that conversation
about people thinking that there's a West Coast Sam because
you don't know, Like, I was playing instrumentals for somebody
and I'm like, you would never tell where none of
this is from and people can't separate the fact that
what's built on it is so polarizing and captivating that
that's what you remember. So you associate what you hear,

(35:12):
you know what I mean, with the music, add some
kind of affinity towards this, But it's the same thing
with this. Like I was telling somebody, I was telling
Snoop Dogg this in the studio.

Speaker 2 (35:21):
I'm like, bro, hip hop don't make good music.

Speaker 1 (35:23):
They make great records, sometimes they don't make good music.
I mean like, if you listen to Let's Get It
On by Marvin Gaye, that album, and you compare to
any hip hop album, it ain't even close.

Speaker 2 (35:36):
Like people do that.

Speaker 1 (35:37):
Same people gave a lot of shame to the Snoop
and Dre album that just came out because it was
actually just good music.

Speaker 4 (35:45):
You can't do that.

Speaker 3 (35:46):
You can't put good music like.

Speaker 2 (35:47):
That, Yeah, you can't.

Speaker 1 (35:49):
Because hip hop is street urban culture built on top
of black music, built on top of it, right on
his bones, every part, extend it up on top of it.
And you get a dope producer to every now and
then that can build it on top of anything, but

(36:10):
in its inception is built on top of black music.
Pre urban culture built on top of black music. So
it's like, it's not just the pursuit of a viral moment, Brody,
it's more or less other than that. I don't care
that you put out a song. It's a million songs.

Speaker 4 (36:32):
Oh man, back to this now.

Speaker 2 (36:36):
What listen, We're not back to that.

Speaker 1 (36:40):
What I'm saying, yeah, what I'm saying to you is
that's why I understand it. It's not that you have
to build interesting perspectives in records or brands. Right, Like
j Cole's last marketing thing before he obviously went out
retarded against the Kendrick was him playing semi pro basketball.

Speaker 2 (37:04):
That became the front of his brand.

Speaker 1 (37:06):
That put him through ESPN and different outlets for his
name to be in the front of the conversation. So
as he drops music, there's a reason for people to
listen to music. Like when NH passed away. NH album
I think was at like one hundred and sixty thousand.
It had been out longer than a year. It had
been out longer than the year, right, it had been

(37:29):
out for a while, one hundred and fifty thousand. He
passed away, his songs went into the top of the charts.
His album is Dawn There double platinum. Michael Jackson Thriller
it was at three million. Thriller is the last single
of the album. It was at two to three million.

(37:51):
It was right under three million. He goes to the
label to shoot the music video for the song Thriller,
that's the seventh single off the Thriller Out. The label
was like, bro, we already milked it. Like, Bro, we
had seven singles. Bro, we are not finna keep chasing this.
We did great off of this, you know, I mean
we two to three million albums sold.

Speaker 3 (38:10):
Like, let me just drive, let me drive.

Speaker 1 (38:13):
Right, Like what are you doing? Mike is trying to
squeeze blood out of a turning. So he said, Man,
I got this dope by Dea for a video for
the seventh single trap, Who's the last single. It's the
most expensive video. H The label was like, Mike, you tripping, Bro,
we made good. He's like, no, I got this idea.

(38:34):
We're not paying fest for So he goes to the
company MTV, who didn't want to play his video one
year ago before that. It says, man, I got this
dough b ida for this video. Man and MTV bank
rolls the video, right, they bank roll thriller you I
mean after not warning Negroes on their platform twelve months

(38:55):
before that, they bank rode the video. The video comes out,
obviously it's the greatest music video in all of music history.

Speaker 2 (39:04):
Right, he doubles the sales.

Speaker 1 (39:05):
He goes from from from two to three million to
four to six million, So.

Speaker 4 (39:11):
Hold up the video drop and then the Pepsi should
happened though too.

Speaker 1 (39:16):
But this is where I'm finna get to, Okay, So
it was just music, right, he was able to get
to two to three million when it was just the
art right with the music video, he was able to
get to Yo Fire four to six million, right.

Speaker 2 (39:30):
His hair caught on fire doing a video for Pepsi.
It put him on.

Speaker 1 (39:36):
Every news station around the country. He started doing a
million albums a.

Speaker 4 (39:43):
Week, a week a week. That was crazy.

Speaker 2 (39:50):
A million albums a week after that.

Speaker 1 (39:52):
Because as much as we right, we're insuled into this
life that we are so aware we I look at
all the kindred al achievements and I'm like, damn, everybody
know that there are people right now, just here and
not like us. More people have never heard not like
us than heard not like us on the globe. And
I mean it's a substantial number of people that haven't

(40:15):
heard it versus if if we're lucky, twenty percent of
the population that's heard not like us, and I doubt
it's twenty percent, it's probably.

Speaker 4 (40:26):
It's probably less.

Speaker 1 (40:30):
Million people not like us. That's fucking incredible.

Speaker 4 (40:34):
How many people if you think consumer hip hop?

Speaker 1 (40:40):
So that's in the standard, right, that's in the standard
loop of the No less.

Speaker 2 (40:46):
Than two million?

Speaker 3 (40:47):
Yeah, I think no, globally, No, it's more than.

Speaker 1 (40:54):
So things become pop records, right, and then they escape
hip hop. Where's I'm saying, what's the number of hip
hop audience around the globe is somewhere between two to
five million people.

Speaker 3 (41:06):
But what's happening is what's.

Speaker 1 (41:08):
Happening is some of these records and some of these
things are escaping hip hop and they're going into a
level of populogy and we're getting in.

Speaker 2 (41:17):
People are getting involved.

Speaker 1 (41:21):
Right, So what I'm saying is I get why, I
get why Duck chose to use Tina Knowles. If the
idea of this song is Tina Turner that's driving it.
Now we can talk about the taste of it like,
if it's in bad taste, that's a choice.

Speaker 2 (41:38):
But I get why.

Speaker 1 (41:39):
But this is the challenge for an artist, right, Like
I was watching somebody on Twitter say that Drake is
being suppressed at radio, and it made me laugh that
people thought he was entitled to radio play, Like radio
is like, yeah, well, you know, we gotta play that
new Drake song because it's Drake bro that's a favor.

Speaker 2 (41:57):
They're doing you. They don't need to play your record.

Speaker 1 (42:00):
Nobody's gonna tune out if there's not one record, there's
not one artist in the country that if people listen
to radio, they're gonna tune out because you're not playing
that artist. They will find another song to replace your song.
They will find another artist to replace that artist. So
when you don't have the luxury of being overexposed right over,

(42:20):
exposed through different mediums, right, you have to create an
interest in your content itself.

Speaker 2 (42:27):
Sure, right, And.

Speaker 6 (42:31):
I think that's why That's why I was saying other
day though, I think that's why he's not moving past
the battle though he's using that.

Speaker 4 (42:39):
He's trying to use that as the interest to people
to go listen to the music.

Speaker 1 (42:42):
You know what I'm saying yeah, other than that, why
else would you listen to the music? Like, if you're
a Game fan and you hear a game song, that's
why you're doing it, right, But how does he even
let you know game has new music? Like, if you
think about how Instagram work, I think Chuck like like
eight digit followers. Well, Instagram is not letting you get

(43:05):
past ten percent reach right without advertising, So now to
get the people that you guys, all of y'all at
the lunch table will have Instagram. You'd be lucky if
you get free ten percent of your actual base that
your shit reached. Lord knows if it's not even viral
or if it's not contagious. Right, if it's not a

(43:25):
contagious piece of content, if it's just a picture of
you just sitting there, they're not sending that all to
the people that follow you. They're saying, hey, you need
to pay us money for this to reach those people.
Same for YouTube, same for Spotify. So if Chuck has
a new song, right, let's say he has no let
me see.

Speaker 3 (43:45):
Yes revenge it is boo boo now, and that is
such bullet Like I don't understand why they charge the creator,
Like you're depriving the follower as well. If I follow
Joe Blow, I'm interested in Joe Blow content, You're only
gonna let me see. I have to specifically go out
of my way to find every singular page of every

(44:09):
person I followed to see all the shit that I'm
potentially interested in based off of my own choice of
who I follow, because they're gonna blank out ninety percent
of the shit that I'm supposed to be seeing.

Speaker 2 (44:19):
The game has twelve point one million monthly listeners.

Speaker 3 (44:23):
Yeah, so eleven million of them or ten million of
them aren't gonna see the shit that they want to
see because they chose to follow the guy. Because they
suppress it. They're they're not only hurting their game, they're hurting.

Speaker 1 (44:36):
But that's the point. It don't matter who you are.
You could be the biggest artists in the world. You're
going to pay them even though people chose to follow
you they like, Yo, we need you know, I would
imagine to reach the other eleven million, you know, I mean,
you might start talking about you know, you gotta be
talking about eight, you gotta be talking about five or figures.

Speaker 3 (45:01):
I'm just surprised that they haven't reverse engineered it and say, look,
if you, as a follower rather just just a basic user,
want a clean stream of content of the people you
follow and not just some superfluous bombardment of crap of
people pay so that you can see what you want. Now,
what we want you to see based on who's paying

(45:23):
us to let you see it. Why don't they charge
the users a dollar a month times a billion so
you can see what the fuck you want?

Speaker 1 (45:32):
Well, that's what they do, right, They program it for
you to see what you want.

Speaker 3 (45:37):
No, they don't. You think you're seeing what you want,
but you're seeing what people pay to be seen.

Speaker 1 (45:44):
It's a little trigger than that. It's not as simple
as that. It's like, so they're moving the most engaging content.
That's why it's important when I tell y'all to like
this page or thumbs up this YouTube, it's because this
is why YouTube starts to market stream.

Speaker 2 (46:01):
It's engaging.

Speaker 1 (46:02):
So all the networks are looking for the most engaging content, right,
They're looking for the most engaging content, and that's what
they're sharing, right.

Speaker 2 (46:12):
And then it depends on they.

Speaker 1 (46:14):
Use a like a like a like an AI type
of thing to where if you're like the hashtags. If
you're tapping on the two or three things that feel
like content, that's like content, they'll just keep giving you
like content, right, content.

Speaker 2 (46:29):
That's like what you're choosing.

Speaker 3 (46:31):
I understand that.

Speaker 2 (46:32):
So I'm not disagreeing with you.

Speaker 1 (46:34):
I'm saying they do have that, it's just not on
Instagram what we're talking about. They do have a thing
where if you're an artist and you move your base
over here to people and they could pay a dollar
a month and then they get all of your stuff
where they have direct access to your.

Speaker 2 (46:49):
Feed all the time.

Speaker 1 (46:50):
But Instagram, you know, we didn't know that when we
were building these huge followings on these you know, social
media platforms. We didn't look that one day in the
future that they were going to start saying, hey, you
need to pay us to get to the people following you.

Speaker 3 (47:05):
We always thoughts switch since its inception, he said, Oh,
social media and even to that point, Google for for
for that sake, has always been a bait and switch model.
It's been a get everybody in, then redefine how things
work and charge them.

Speaker 1 (47:26):
I'm not disagreeing. I'm saying, but when you used to
use when you would use Instagram, it was definitely a
lot easier to connect with the people following you. It
wasn't as as the strainer wasn't as tight. Yeah, right,
so I agree with you. I mean, you know, I mean,
this is right up your alley that they used a

(47:47):
bait and switch model. So somebody like Chuck, if he's
not getting national coverage, you know what I mean, if they're
not covering his release nationally, right, naturally, if he has
to pay for people to cover it, he's already gonna lose.

Speaker 4 (48:02):
Mind you.

Speaker 1 (48:02):
They're only paying a fraction of a scent to hear
a song, mind you, the song is not even out,
you know what I mean. So he's trying to drum
up interest for an idea, right, and so he has
to use something that creates a story, but still not
sacrificing how good the music is.

Speaker 6 (48:23):
Hyeah No, yeah, listen from the jump though, I think
he stayed on brand within doing this song, you know
what I'm saying, And and and even like the move
with them jumping and then it kind of like stayed
on brand fum right there. Though I think it's gonna
I think it's gonna work though, you know what I'm saying,
Especially but it might draw the interest I'm making people

(48:45):
want to see what the next song gonna be.

Speaker 1 (48:50):
That's what I'm saying. Good music is not enough. It's
not anymore. It's too much music. And again there's an
audious people who are you on what's good? And you,
as a professional like that record ain't good. But because
artists subjective, music is subjective. It don't just depend on
records anymore. Records would you could tell what record was

(49:12):
good or bad by if it could call out when
people heard the song in the traditional format, right in
the traditional format of a record, the radio player, they
played one hundred and twenty times over five weeks, and
they would call out and test it, and if people
knew it, they knew the record was good, they would
try it another time.

Speaker 2 (49:27):
It would work for five more weeks.

Speaker 1 (49:29):
They could test the record to prove its viability in
the market, or how catchy or how contagious it was.

Speaker 2 (49:35):
Now that's not needed.

Speaker 1 (49:37):
You could be into somebody's brand as long as the
music fits their brand, or the record fits their brand.

Speaker 2 (49:42):
The record don't gotta be good. It just could fit
their brand.

Speaker 4 (49:46):
It's terrible.

Speaker 1 (49:48):
I mean, we just happened to be in a time
where we see everything versus here everything first, we grew up,
even all of us grew up in the area where
we saw everything. I mean we heard everything first. It
was worse the mouth. We heard about an artist. Oh
I heard about Glass. Look that's the dude that used
to sell dope and crypt But now.

Speaker 6 (50:06):
See yeah, yeah, I'm saying, listen, we have videos, we
have Rap Cities, video box and all that ship. We
didn't like everything that we being presented though. We can't
stand eat forty over here in New York dropped and
that shit came on every day and every day on
Rap City. So I think that back in the days

(50:28):
we was we wasn't we wasn't controlled by the algorithm.
And I'm saying, which I feel like people controlled by
now you know what I'm saying. They making you think
that this is what you like, This is what you
know what I'm saying, because they building the data.

Speaker 1 (50:40):
Up, but they're only pushing it because you like something like.

Speaker 4 (50:44):
This similar to it.

Speaker 1 (50:45):
Yeah, that's how it's a simple AI model, you know
what I'm saying. So is disingenuous to say that they
don't have to trick us.

Speaker 2 (50:54):
We're showing them what.

Speaker 1 (50:55):
We like, like, because I'm always showing love to Kid
his advancements, they continuously like, It'll be people that don't
follow me that's tweeting me every day. If I tweet
something great about Kendrick, they're tweeting me something negative, you know,
because they're Drake fans.

Speaker 2 (51:11):
I'm not. They don't even follow me.

Speaker 1 (51:14):
So Twitter x right is pushing it to them, like,
we know you're engaging with this type of content. You know,
maybe your page has one hundred tweets about Drake and
we know you don't.

Speaker 2 (51:26):
You know, we know they don't like Kendrick.

Speaker 1 (51:28):
These two things are going together, right, And guess what,
So every day people are tweeting me that don't follow
me because I saw another thing that Kendrick Lamar accomplished, Right,
And I'll share the people like fuck Kendrick and fuck you,
I hate you you and the midget for me like
in it like I'm just like damn. But that's the
price you pay to have an open portal of people.

(51:50):
You know, I'm a part of Twitter's marketing campaign at
this point because what I'm tweeting is engaging, right, So.

Speaker 2 (52:01):
No, it's not enough anymore. It's not you know what
I mean.

Speaker 1 (52:04):
It's not like like I think Cancel These Nuts is
one of the better albums I've ever put out. But
I also understand why the conversation couldn't happen, and I
understand how to force the conversation. That's the tricky part.
And then once you force the conversation, like right, it's
as simple as this. Right, Let's say if toy is
the song, right, tour is a dope song, dope video. Right,

(52:25):
if if I would have paid a church group, right,
if I have paid a church group to be offended,
like a like a church group, pete, that's like that
has a social presence, like a decent follow and I say, hey, man,
i'm gonna give you two thousand dollars. I need you
to make some posts and be outraged at this video
on this song.

Speaker 2 (52:46):
Right, then it's like okay, you.

Speaker 1 (52:48):
Know sure the publichers said to them, right, Okay, So
they tweet on their huge social platform, Hey you know
what this glass is alone. Guy is out of line
for this idea. He's wrong, it's blasting us. He's going
to hell. That engages there following. So then not only
do they get people commenting on what's posted there they said,
people to me to attack me, to be offended. Then

(53:09):
the next step is let me pay shave room. Oh,
let me pay shave room. We pay academics to show Hey,
this church group has an audience of people cussing glasses
as South Glasses is being protested against by this church group.

Speaker 2 (53:25):
And here's the video.

Speaker 1 (53:27):
That's how marketing has always worked, you know what I mean, Like,
except we was always blessed by the first time you
saw culture. The first time you saw g thing Doctor
Drid Snoop Dogg with low riders. That's just not something
you can see. That's not common. You couldn't see that
much street urban culture. It wasn't consistent. You didn't have

(53:50):
access to it. Now on YouTube you can see all
that shit. You don't gotta watch no rap video to
hear somebody from the street street urban culture of Los
Angeles or in the Bay Area talk. I can go
on YouTube and get somebody that's not even an artist.
It'll just be a nigga that's a game member. He
on nigga, I'm in the hood, you know what I mean,

(54:11):
sitting on a table at the park telling you about
who they beefing with and shit like that, like you
get right to the culture, you do not need the
artistic expression of it anymore. That was the only bridge,
right trap I had to New York. That was the
only bridge, like like like LLL COOLJ was the only bridge.

(54:33):
I had two people that was like grew up like
me in New York. That was no other bridge. Crush
Groove is a movie that was only in the movie.
There was no way I can access that, No fucking
way I can access that.

Speaker 2 (54:48):
LLL was the only way. That's how I knew, Nigga
said B's son and kid.

Speaker 1 (54:52):
In New York, there's no television shows that had that
in the eighties, there is no There was one or
two movies that had that. And this nigga who put
the albums every year is talking to me the way
I would talk. But in New York, that was the
only bridge.

Speaker 2 (55:06):
So we were.

Speaker 1 (55:07):
Lucky, right the artists, they weren't competing versus Glasses Malone. Today, Man,
you could go look at some nigga that's a gang
banger and he giving you the culture feel me with
just a camera. You don't got to get through no music.
You don't gotta get through no music video. You don't

(55:29):
gotta wait on nothing, and that nigga trap is uploading
every day. That nigga is uploading every day. Let's since
ain't even dropping a song every day, Like I'm getting
shit because I want to drop a song every week.
It's a nigga from wats uploading content every day. He
just walking outside the house popping it. How we talk

(55:51):
showing you this is this personhood, this is who they
beef with Da Da da and they getting the whole
culture from this nigga for nothing.

Speaker 6 (56:00):
That's I remember one time we got Isaaca the almost
like a couple months ago, and he said that he
said that this year twenty twenty five is gonna be
He said, content is gonna be worth more than music.
Now twenty twenty five. You know what I'm saying. Black
people gotta be more tuned. Yeah, and I have you
and Dop back.

Speaker 1 (56:19):
So I got to like every post and now my
timeline looks like adop page. Same for me, Like that's
the same thing for me, Like I'm more impressed and
I'm sharing how excited I am publicly that my homeboy
is succeeding at this crazy level.

Speaker 2 (56:36):
Like none of us saw this, Like I.

Speaker 1 (56:37):
Never went this crazy on Damn the pimp because I
expected that type of success from him. He was that
type of talent. Kendrey Lamar is that type of talent.
I knew he could have. Humble, Yo, damn to pimp
a Butterfly, good kid. This motherfucking shit that's happening now
is crazy. So I'm excited and I'm sharing it. And

(57:00):
Yo again, people mad. They like motherfucker they you know,
they have to deal with their favorite artists possibly losing
this battle and the success of somebody who is responsible
for it. So it creates this whole thing. And shout
out to detailer, that's true and that's what it is.
You exposing crypt mac whole business plan. Fact, you know

(57:20):
what I mean, because that's what the that's what hip
hop is competing with.

Speaker 4 (57:24):
Now.

Speaker 2 (57:24):
You're competing with the content makers and they are uploading
shit every day. Y'all.

Speaker 1 (57:32):
Don't gotta go through me to get to watch cripping.
Y'all don't gotta go to game to get come to powerule.
And it's a nigga on YouTube right now. That's a
power nigga uploading content every day. If you care about
street aurving culture, if you entertained by You can go
on YouTube and find you a nigga every day. So
the challenge of what has to happen in hip hop

(57:55):
is really hard, and good music is not enough.

Speaker 2 (57:59):
You have to have have more.

Speaker 4 (58:00):
You have to happening and the music gotta come. A
content nowadates in order.

Speaker 1 (58:10):
No, like like the idea that like that that we've
been No, but like the idea we've been developed.

Speaker 4 (58:17):
Okay, it's worth talking.

Speaker 1 (58:19):
About because the nigga doing the audacity, right, the nerve
of this nigga, right, Pete, all the ship were talking
about Pete is more things, right, the thing you caught
me about Pete the other day.

Speaker 2 (58:28):
That's something worth talking about.

Speaker 1 (58:29):
But then guess what our job after we set that up, right,
we tied into this crypto space and we do this.

Speaker 2 (58:36):
We have to get exposure on that right there.

Speaker 3 (58:40):
And it's the same principle I mean as sex cells,
you know, for a period of time sex soul and yeah,
I mean like pornography, I mean like showing something. Yeah,
it was maybe in some music videos. Then it kind
of was like you can bounce your ass cheeks up
and down on Instagram. Now it's and only whatever. So

(59:01):
it's in violence cells Also, thanks that are controversial inherently
are going to attract momentary attention. And sex, drugs, violence
are probably the three top of the list.

Speaker 2 (59:18):
But imagine, though, imagine imagine like so, so.

Speaker 1 (59:26):
It's that simple, right, but imagine somebody, you know, fucking
somebody on camera every day.

Speaker 3 (59:35):
I could have I could actually, right, you know what I'm.

Speaker 2 (59:39):
Saying, that's what you're competing with.

Speaker 1 (59:41):
Imagine you're like a professional porn bar and now you're
competing with only fans, some gird that just got guys
coming to her house every day knocking her back.

Speaker 3 (59:49):
Sure that mean there was mediocre chicks who I'm sure
if I were to go back and think about it
for longer than nano second had some sort of a
career as a singer or dance or whatever the hell,
because they just had a bang of body, were a
tiny little bit of clothes off stage, on the video
or whatever the hell else, and that was enough. It's
not quite so much enough anymore.

Speaker 2 (01:00:11):
Shout out to LKA. It has to be a balance,
so it's not too gimmicky.

Speaker 1 (01:00:16):
I think people respect gimmicky though, so I think we
don't respect gimmicky, But I think most people respect gimmicky.

Speaker 3 (01:00:25):
Most people, I think don't need to respect what they're
taking in.

Speaker 2 (01:00:31):
I mean, I don't even think most people think something
is gimmicky.

Speaker 6 (01:00:35):
I'm about to say, I think gimmicky nowadays more to
it goes more to the somebody saying that's they brand,
you know what I'm saying. So you might think because
somebody doing something over and over and they like, somebody
just mentioned the CRYP max shit, you think KYP max
shit is gimmicky, you know what I'm saying, that's his brand.

Speaker 3 (01:00:53):
Nobody else's redundant after a while.

Speaker 4 (01:00:55):
Yeah, not to us.

Speaker 1 (01:00:57):
To us, to us, we're gonna look at it like
this niggas funny over the time. To everybody else, they
think that's just being a cryp. Yeah, like crypts don't
really wear royal blue like that. That ain't really that's
hell allowed, but he understood it.

Speaker 2 (01:01:10):
Always say it's an.

Speaker 1 (01:01:12):
Immigrant, right, He's an immigrant to crypping right because he
didn't grow up in the culture. He don't quite know it.
So it's always this outside perspective. Forgive me if it
sounds like harsh, I'm not. I don't know, mac if
you see this because I'm not on you. I'm saying
somebody grew up on the outskirts of what's happening versus
everybody who live in the middle. That's this is just

(01:01:35):
how we live versus somebody who's a fan of it. Imagine, Like,
like it's even how I always see Drake with hip hop, Like,
if you're on the outside of it, it's way more
attractive on the inside.

Speaker 2 (01:01:47):
It's just how you live. It's normal.

Speaker 1 (01:01:49):
But if you're on the outside, you're gonna come in.
You're gonna get your braids at thirty four, you're gonna
wear brats, shit that niggas don't really do by that time.
It's the way you can ducts your self because this
just comes with just existing, you know what I'm saying,
it's just existing. But again, like I always say, when
you look at how Adam looks at street urban culture,

(01:02:09):
he understands the value more of it than ninety nine
point nine percent of the people that grow up with it.

Speaker 3 (01:02:18):
If you're on the inside of an airplane, do you
really like, if you have the windows closes, you don't
really know you're flying, but or you don't know how
high you are. But if you're outside of it, you
can see it saying, like with the car, if you're
on the set of the car, you don't know how
fast you're really going. You just feel like you're sitting down.

Speaker 1 (01:02:34):
You can shut out to fas grow facts shout out
to Will cash Grow. Cosplay is always over the top
compared to the real. But the thing is Will it's
this many people that know what's real. It's this many
people that know what's real.

Speaker 2 (01:02:49):
Bro.

Speaker 1 (01:02:49):
It's the number is so minute, Bro. I have to
educate people on game banging every day. You would think
after all these years, they would just get on the
phone somebody would tell them the truth. They are saw enamored,
and they make it like it is a bunch of
ship that is not. I have Pete. I used to
have Pete in the hood. Like Pete didn't been in
other peoplehood. He knows what I'm saying is true when

(01:03:12):
it comes to game. He's not oblivious to anybody else.
They really think I'm tripping, Like people think I'm glorifying
it because I'm saying it's just not like that to them.
They like that's like when you go to New York,
people think everybody's just rapping on the corner in front
of a bonfire. That ship sound crazy, but I get
why you have no idea.

Speaker 4 (01:03:35):
God's crazy, man, Scott's crazy.

Speaker 3 (01:03:40):
Like there's a fire inside of every truth.

Speaker 2 (01:03:45):
There a million times.

Speaker 6 (01:03:46):
Yeah, yeah, you've been a standing down. You've probably seen
that stand down at one time, and now you want
to bring it back in my life, park Hill, probably
one time on a movie.

Speaker 1 (01:03:56):
I never saw it in real life New York, and
it's niggas wrapping around a fire. Ever, in my entire.

Speaker 2 (01:04:04):
Lify I'm talking no Burrow, every bird hung.

Speaker 1 (01:04:07):
Out, and I'm talking about at this point weeks to
months in time. I never saw niggas freestyling around a
fire in my entire life in real life.

Speaker 2 (01:04:18):
But in the movie.

Speaker 4 (01:04:21):
In the movie.

Speaker 1 (01:04:23):
Yeah, but in the movie, this is what people think,
like when they think they come to New York. They're like, no,
if I were red, niggas gonna kill me. I'm like,
it's way stickier than that. It's not as simple and ridiculed.
They're like, no, niggas low riders and niggas bro this
is a regular place. Yes, there are some of these
things happening, but again it's that it's that deep. So again,

(01:04:45):
when we said cosplaying. That's why people cussing me out
every day, Bro, they think, can you say Drake is cosplaying?
He's black nigga. Just because your father slept with your mother,
that don't mean you understand the experience, Bro, That don't
mean you understand the culture of it all.

Speaker 2 (01:05:05):
Like it's it's hard to get it sounds crazy.

Speaker 1 (01:05:09):
It'd be like nigga, that's y'all kill each other over colors.
I'm like, bro, y'all really think that's why nigga is fighting.
You just choose a color one day and now somebody
gonna come kill you.

Speaker 4 (01:05:20):
That's what we're seeing the movies. That's what we're seen
in the movies.

Speaker 1 (01:05:23):
Exactly like we've seen people wrapping over bonfires or putting
cardboard boxes down and dancing against each other.

Speaker 4 (01:05:29):
Now they was doing that. They were doing that, and
only a few places the eighties, all over all over.

Speaker 1 (01:05:36):
It still wasn't that much. Wasn't nobody in the fucking
man doing that. Ship You got your ass putting.

Speaker 4 (01:05:41):
It time Square doing that on Time Square doing that.

Speaker 2 (01:05:44):
Police come run they plunk ass. I get y'all.

Speaker 6 (01:05:47):
Now they were doing it though. They were doing this stuff.
And this is why you never seen a nigga dance
in that transtation. The change up there they be in
a transation doing that ship.

Speaker 1 (01:06:03):
Nigga, no trains states, Dude, I done rode the train
at this point.

Speaker 2 (01:06:07):
Hi, I didn't rode the train probably eighty ninety times.

Speaker 6 (01:06:10):
If you're on forty second, it's a little it's the
same group that being forty second. They be dancing in
the trains stations. They've been doing that since the nineties.
Be on some real ship.

Speaker 1 (01:06:17):
I've never seen it. I never saw no nigga in
no Burrow, Bronx Staddon, Brooklyn Queens, wrapping around no fucking bonfire, that.

Speaker 4 (01:06:29):
Jack City ship.

Speaker 6 (01:06:30):
Man.

Speaker 2 (01:06:31):
The point of what I'm saying, I'm not.

Speaker 6 (01:06:33):
Mentioning the puncture, saying I just don't like you're talking
about like like that's that's I stayed up tight like
you like y'all think about us fucking wrapping around bonfires.

Speaker 2 (01:06:45):
Y'all be seeing y'all saying, y'all coaching, y'all.

Speaker 1 (01:06:49):
Try to act like y'all don't have the same gage
of ship going on, or like y'all got young around
now on the sidewalking in Harlem all day long.

Speaker 3 (01:06:57):
Yeah, like they're coming all the way are from the
Rucker all day long.

Speaker 2 (01:07:02):
Exactly.

Speaker 1 (01:07:03):
It's always games at the Rutgers. That's how niggas used
to really think. It's always games at the Rutgers, Nigga
night and day.

Speaker 4 (01:07:07):
The nigga.

Speaker 1 (01:07:08):
I went to the Rutgers ten times. I still ain't
seen a nigga playing or shooting.

Speaker 6 (01:07:12):
Nah, yeah, because it turned into the week. But you
know what the as you can say that right there right,
and I'll be saying that ship when I've be in Cali, right,
it's like you could get caught in the IV Cali. Though,
you know what I'm saying, The shit looks so Caldi
like the palm trees, the lines of palm trees going
down this tree.

Speaker 4 (01:07:30):
You mean, while.

Speaker 6 (01:07:31):
He being a fucking hood though, you know what I'm saying,
you want but you're being, oh like that you're walking
a little.

Speaker 3 (01:07:36):
Bit down from the trees, like if you're on Avalon
and like the seventies or eighties and it's lined with
palmers or ten miles if you look a little that
like just just like ten degrees.

Speaker 1 (01:07:44):
An be like, oh this ship is crazy, but them
palm trees are fuck you up through seeing that shit
come from.

Speaker 3 (01:07:51):
My he if I go down sixty seventh, sixty second
Avenue is still in babbe. Oh, that's trying cocona trees.
If I look down out from the coconuts, just like.

Speaker 2 (01:08:01):
This much.

Speaker 4 (01:08:03):
No secrets, little Haiti.

Speaker 1 (01:08:07):
Okay, she said, I think about your running down the
fire escape, yo.

Speaker 4 (01:08:11):
Chill out.

Speaker 1 (01:08:12):
Okay from my point, So it goes back to that
point that I'm saying, most people that's listening don't know
what's good music. People don't like you know what a
good record is, but you don't know what good music is.
You don't know about musicality, You don't most people don't
know that. So you look for things that fit the brand.

(01:08:33):
It's like going to It's like going to If McDonald's
actually serves you good food, you probably wouldn't even like it.
Imagine if they took that bun away and they use
a real Hamburger bund. Imagine if they took that meat
away in that thousand and they use real ship that.

Speaker 2 (01:08:51):
Shit, it be horrible.

Speaker 1 (01:08:52):
You wouldn't even know how to react because you go
to that brand looking for that taste.

Speaker 2 (01:08:58):
That's the truth.

Speaker 1 (01:08:59):
Brand Diary Rex brand really kind of controls what we expect,
you know what I'm saying. Brand controls our expectations, and
so like with Chuck in this particular situation on this record,
he's in a challenge because it's like, how do I
make the world care about me releasing a song without

(01:09:19):
spinning two hundred thousand to try to overexpose a song
or expose something to fuck with? How how do I
get you interested in something? Most people think they know
more about gang banging than me. I've been a gang
banger at this point thirty years. Niggas is talking to

(01:09:41):
me like I don't know gang banging. Y'all kill each
other over colors. I'm like, no, we don't, Yes, you do.

Speaker 2 (01:09:48):
I am a crip.

Speaker 1 (01:09:49):
I would know if we like me talking to you
about it's just crazy and you could tell they never study.

Speaker 2 (01:09:56):
But how can I get offended?

Speaker 1 (01:09:58):
Imagine if you went to five Guys D and they
had McDonald's buns, they gave you McDonald's patty, you would
be fucking mad.

Speaker 2 (01:10:04):
But the same thing, you go to McDonald's and you'll
be happy to get it from just side.

Speaker 3 (01:10:09):
Note quick, what's the closest for you actual blood neighborhood
that you that you're the seventh Street would actually have
a problem.

Speaker 2 (01:10:20):
With Bonnie Unners. Bonnie Unders is probably five.

Speaker 3 (01:10:24):
Minutes away, because I think if you went straight.

Speaker 1 (01:10:28):
Up, if you walk to the if you walk to
the end of the seventh right hundred seventeenth Street, you
crossed through the you know the Rose of Park station,
you had Imperial, you cross Imperial, right, you category across Imperial.

Speaker 2 (01:10:40):
On the other side is the block that's the Bonnie Unners.

Speaker 3 (01:10:43):
Yeah, that's true. It's true.

Speaker 1 (01:10:45):
And we don't beef with the Bonnie Uners. Pj's don't
beef with the body Unners ship the Carvers. I don't
even really think. Maybe they do sometimes, but you might
be with the pjs.

Speaker 2 (01:10:59):
We did. My older homies did, but my generation didn't.

Speaker 3 (01:11:02):
I'm just saying like they happened to wear the same color.

Speaker 1 (01:11:07):
Because the colors mean exactly. Colors mean nothing. Shout out
to dance sex. You're too old to be claiming you're
never too old to be for this crippting bro Either
you either in or you don't. It's not this just
what you is. Hey, that's how I feel, diamond back,
he said. As a full time cashier Walmart, I think
you're mistaken about game banking glasses.

Speaker 2 (01:11:27):
That's how I really be feeling.

Speaker 1 (01:11:29):
People be like working somewhere and they be like man
glasses and you don't know what you're talking about. Like
a dude, he was on Instagram and because I I
did that interview with the hummy cuz probably about two
three years ago, what's only from KC Court Old Court.

Speaker 4 (01:11:46):
Oh yeah, and I did that.

Speaker 2 (01:11:48):
I did that.

Speaker 1 (01:11:48):
I did that that sit there with him two or
three years ago before the battle. And some dude was like, yeah,
you only saying that because of this battle and you
got to have your homie back, and I'm like, cud,
this is two three years for the battle.

Speaker 2 (01:12:01):
And instead of him saying, you know what, my bad,
you did say this before.

Speaker 1 (01:12:04):
You may think that, the nigga comes on the next
post like, well, I don't care when you said that, nigga,
You bullshit nigga.

Speaker 2 (01:12:09):
You ignorant.

Speaker 1 (01:12:10):
And I'm like, god damn, Like you can't even admit
right then and there you are wrong?

Speaker 2 (01:12:16):
Wait, never mind.

Speaker 1 (01:12:21):
Shout out to dance sex So you can't retire? Of
course I can retire, but why am I retiring?

Speaker 2 (01:12:27):
It's the set? What does that mean? When you, what
do you think that means?

Speaker 6 (01:12:31):
Then?

Speaker 1 (01:12:31):
When I say this to set, do you think I'm
out here taking old ladies purchase or something?

Speaker 3 (01:12:35):
I would say it's corner like the Marines. They say
it's like simperfy forever, but you're not actively on the
uh on.

Speaker 2 (01:12:43):
Duty or whatever. It's forever.

Speaker 1 (01:12:51):
Set out to Laurence Freeman, and it's probably true, uh
shut out to Chicago. Do you think these things happen
because we have shared so much of our regional culture
with each other, and now we think we are experts
in each other's culture.

Speaker 2 (01:13:03):
You know what's funny? No, yes, and no. So there's
a rational person.

Speaker 1 (01:13:10):
Like me, Lawrence, like where I didn't people make fun
of me all the time because I told him I
just really started to understand hip hop in twenty nineteen.

Speaker 2 (01:13:17):
People, Oh he he just got hip hop in twenty nineteen.

Speaker 1 (01:13:21):
I don't care how many of them albums I bought.

Speaker 2 (01:13:24):
I don't care how.

Speaker 1 (01:13:25):
Many rap albums I bought from niggas in New York,
niggas on the West Coast, niggas in the.

Speaker 2 (01:13:30):
South, niggas.

Speaker 1 (01:13:30):
I've never in my life felt compelled a thought I
understood hip hop.

Speaker 2 (01:13:34):
I don't care how many songs.

Speaker 1 (01:13:36):
I seen Crush Groove when it was new, I saw
Breaking when it was new. I saw all the hip
hop movies, I saw all the documentaries. I've been to
New York at that point multiple times, and I never
felt compelled to say I could speak on the behalf
of hip hop because I knew that I had quite
no idea what it was. I don't care what song
told me. I didn't still think I knew what it was.

(01:13:58):
I heard the songs.

Speaker 2 (01:14:00):
Let me go out to that motherfucker Lawrence and talk
to niggas. I had to damn there live in New.

Speaker 1 (01:14:08):
York for a while before I felt comfortable speaking on
the behalf.

Speaker 6 (01:14:13):
So now, when you when you realize what what what
hip hop was and all that like that, did you
did you realize that you you haven't lived in a
hip hop lifestyle and stuff like that, you speak like
hip hop.

Speaker 2 (01:14:25):
I didn't know it first off.

Speaker 6 (01:14:27):
That's why I think people don't understand when you say that.
I think you don't understand the fact that you just
want to go. You want to go see what the
roots was like and what it was like that. But
then but then you realize at that time, yo, I've
been living him. It's a lifestyle, it's what it's my
way of life. I've been living now side from being
a game bank. You know what I'm saying like that though.

Speaker 1 (01:14:45):
Because being a game you don't mean nothing but being
a hip hop nigga. Why don't got nothing to do
with game banging and hip hop? That's just just being
a man. Human humans is crazy. They just retarded. But
I'm saying, when you start to culturally exist like where,
this is the thing that mattered. I don't even care
about what else is going on. This is what I'm doing.

(01:15:05):
That's what it is. I don't care about my English class.
Could I talk like this? I probably like this. I
use how that's what this shit is about. But I
never felt, Lawrence that I was that comfortable to say that.

Speaker 2 (01:15:18):
I wouldn't never.

Speaker 1 (01:15:19):
I've heard so many Chicago niggas rap I got at
least one hundred Chicago niggas albums over this time, and
I will not act like I understand what's going on
with the motherfucking people. I saw academic stream when he
first started reporting on the war in Shyraq, and I
do not feel I don't think I know what's going
on in Texas. I've been buying Texas Niggas album since

(01:15:41):
eighty nine, listening to him.

Speaker 2 (01:15:42):
I bought my first one in ninety four.

Speaker 1 (01:15:45):
I never felt compelled to think I understand Ahtown culture.
I never felt I understood. I've been buying Outcast album
since they came out. I never felt compelled tip jeez er.
But I cannot tell you shit about they culture because
I am not that mother fucking full of myself to her.
I think because I heard some rap albums and saw
some movies, I understand they coaching. I don't care how

(01:16:05):
many documentaries I saw. I never felt like that the
average person Lawrence they think or I saw this, I
know what's going on. I wouldn't even feel like that
about cripping. I grew up being a cryp. My whole life, bro,
and my whole life before I even was from committing crimes.
I was a crypt like you grow up like this,
You couzin this how you talk?

Speaker 2 (01:16:24):
You grew up this way.

Speaker 1 (01:16:25):
They don't got nothing to do with no fucking games
or put on or nothing. This is how you grow up.
And I never felt compelled to speak on cripping outside
of me just being one until I got to the
roots of it. I never in my life felt this
compelled to speak on nothing unless I.

Speaker 2 (01:16:39):
Understand the roots of something. I don't know how y'all all.

Speaker 1 (01:16:42):
Get so motherfucking compelled to speak about it if you
don't know the roots of it. I know, you know
how many cryps I know that don't know who the
first crip is. I'm talking about niggas that go hard
that don't know who the first crip is because they
make it personal.

Speaker 2 (01:16:55):
It really don't be about what's happening. It's about them.

Speaker 1 (01:17:00):
That's the trick. So I think, yes, I agree with you.
I think exactly, that's exactly what it is, Lawrence G.
You are an out liar. Everybody's that's the fact I
swear to God. And I noticed that that my spirit
has always.

Speaker 6 (01:17:16):
Again, you're an ally and everybody else the experts.

Speaker 1 (01:17:21):
You said, yes, everybody is an expert. He right, because
that's how people talk. They be like, and I'm like
you do about I remember asking Howie, well, who was
the second crypt? You know how few people know who
the second crip is? Of all crips, niggas don't even know.
Ninety nine point nine percent of human beings and crypts.

(01:17:43):
Don't know who the second crip was. I know who
the second crip is. I know where the nigga.

Speaker 2 (01:17:48):
Grew up at. That's how I'm.

Speaker 1 (01:17:53):
Compelled to speak ethically on the life that I lived. Shit,
So I good music is not enough, trapp.

Speaker 2 (01:18:05):
It ain't nothing we could do, Cauz, it's fucked up.

Speaker 6 (01:18:08):
I want you real quick, though, let's joint swing good
music and good music and a good record.

Speaker 1 (01:18:14):
So good music is art, like it's just if to me.
It's like McDonald's, saell good food if you like McDonald's,
Like you couldn't tell your kids McDonald's ain't good food.
Trapped you know you don't bought some kids in McDonald
You can't tell them that shit not good.

Speaker 2 (01:18:29):
You can't tell them. I listened to a.

Speaker 1 (01:18:31):
Girl explain to me how good a filetman y'all was.
I'm like, nobody who tastes steak can tell me if
filetman yon tastes good. You got to wrap that shit
with bacon. You gotta put all kinds of flavored butters.

Speaker 2 (01:18:42):
On that shit. That shit ain't good.

Speaker 1 (01:18:44):
You might as well bite the fucking cow. But because
of the brand of it.

Speaker 2 (01:18:51):
You feel me. People be popping. They shit.

Speaker 1 (01:18:54):
People don't realize how much brand you know what I mean,
how much brand pollutes.

Speaker 4 (01:19:01):
Taste.

Speaker 1 (01:19:02):
You take a kid to MacDonald's. You can't tell them
that's not the best food. That's good food. Now when
we say great, that's different. It's quantified by stacks or
great records has more of a scientific element too. But
you know, great music or good excuse me, good music
is all perspective. I ain't heard of uzi verse song
that I thought was good.

Speaker 6 (01:19:21):
Still he's bugging. He got some ship. He got some ship,
so you think you just got theod music. Don't got
good records, he got too bad records.

Speaker 2 (01:19:33):
All my fids are dead. And I went to route
great records. I've jammed them. I'm jamming.

Speaker 1 (01:19:38):
But the rest of that ship where to his brand
and ship? I'm not into that ship.

Speaker 4 (01:19:43):
Now he got some other ship too, who's he got
some ship?

Speaker 2 (01:19:47):
But the gig just realized.

Speaker 1 (01:19:48):
You don't realize how much of his brand pollutes your
thoughts on what's good when it comes to.

Speaker 6 (01:19:52):
Me, No, no, no, no no no no no no,
not mean. I mean you can say after somebody about
somebody else, though I don't. I don't get caught up
on the ship. And I remember when I remember no no, no,
no no, when I realized listen, this is when I
realized it. Right, So I remember when I knew it
was a couple of rappers that started coming out. I

(01:20:13):
started knowing about them before I heard their music. When
I called it, I'm like, I'm like, hold on, this
dude was a rapper, but I never heard none of
his music. Like, for example, was I remember Black Youngster?

Speaker 4 (01:20:22):
Right? Remember Black Henster first came out.

Speaker 6 (01:20:25):
They had a video on World Star about him, about
the about the bank calling the police on him, came
a big viral video on on on World Star and
all that shit. Maybe and they kept on saying he's
a rap, he's a rapper. Never heard none of his music,
but never heard none of his music.

Speaker 2 (01:20:39):
But that but that's the thing, like good music is
shout out to Red Ro. She made a great point.
Good music is art artist subjective, right, But it's like.

Speaker 1 (01:20:50):
I knew who uzi Yachty Kodak twenty one and one
more person was ever heard of their music because the
brand of who they I could point them niggas out
on the streets at that time.

Speaker 2 (01:21:03):
Twenty one Savage had that sword in his face.

Speaker 4 (01:21:06):
Yeah, that dagger. And it's always been like that though, Bro,
it's always been like that.

Speaker 1 (01:21:12):
It's always been not always like that because we didn't
have Instagram to move people through.

Speaker 2 (01:21:17):
Like you gotta realize how we're.

Speaker 1 (01:21:19):
Consuming Instagram video shows should be different other than that
that nigga Trap will be in a magazine. Nigga, ain't
nobody looking at the magazine all the time. Every day
we look at our phones with.

Speaker 4 (01:21:31):
The video show shows there with the video shows.

Speaker 1 (01:21:34):
But that's only that might have been an hour or two. Nigga,
we on Instagram all day, Trap all day. I never
saw an artist before I heard they music. I never,
I never in my life knew this many artists as
they looked like before I heard this before Instagram.

Speaker 4 (01:21:52):
That's the fact. That's a fact. I saw you the.

Speaker 2 (01:21:54):
First time out of heard your music the second time.

Speaker 1 (01:21:56):
There's five or six artists that I could I could
point out in the all and I still ain't never
heard they song that suit crazy.

Speaker 6 (01:22:04):
But I realized that that's when I stopped, like you
know what I'm saying, I stopped paying attention to all
other extra ship like that.

Speaker 4 (01:22:09):
You know what I'm saying.

Speaker 6 (01:22:10):
When I realized it was like, Yo, they selling the
image of a music right now. Bro, this is crazy.
It's not them.

Speaker 1 (01:22:16):
It's just how we're consuming things. We're looking, we're not hearing. Bro,
what you don't think I could have found a smaller
pair of glasses. Them fucking glasses three hundred and fifty dollars.
Some of them big gas glasses I wear is five
hundred dollars. They're called ultra glives.

Speaker 2 (01:22:34):
Bro.

Speaker 1 (01:22:35):
They're not cheap glass fucking glasses. Niggas be like glass
got them big ass dougg this. These glasses cost more
than your shoes and everything. But I knew that they
were big.

Speaker 6 (01:22:46):
And you know who like little Yeah, like little little
glass they want they want to coach glasses and little.

Speaker 1 (01:22:54):
Four five hundred glasses coming out. I got my own
version of my big glasses coming out myself, and I'm
going to sell more of those glasses.

Speaker 2 (01:23:02):
Than anything I ever had in my life. I'm sell
war of those glasses.

Speaker 1 (01:23:06):
Then I sold music right because them motherfucker's big. Because
the first time I seen uh, motherfucking cousin Florida. Damn,
Why is mixed to my mind. No, I was signed
a con t pain. Where is your glasses? I'm like,
I'm wearing contact. He like, man, you gotta get some glasses.

(01:23:29):
That fact, I could have wore some loaks because I
asked some Gucci loaks, I would wear bro these I realized,
you gotta see my eyes dugging nothing and that and
no lie trap. When I walk out and I go
to the grocery store. Mind you, I'm on the West Bro.
So even if I'm not the greatest, biggest motherfucker around
the world, when I'm out this bitch, I'm glasses low.

Speaker 4 (01:23:51):
Nigga. We was outside playing New York Niga pulled up
on us.

Speaker 1 (01:23:55):
I went all over this country and got recognized. I'm saying,
but at home, like I, you ain't have no glasses
on even that day. You may have no glasses on
that day you recognize you no glasses. Shout out to Jody, Jess.
Can you please stop Cary so much. I'm gonna try
to forgive me. Jody, I got you my bad.

Speaker 2 (01:24:13):
We ain't got to curse. I can get my point.

Speaker 1 (01:24:16):
What I'm saying is I went and found the biggest
glasses that I could that were like right on the
border of being goofy for people something wearing them goofy
glasses because I didn't understand that at first how brand
worked trapped. If I wear my glasses in Los Angeles

(01:24:39):
all day, If I don't, I'm noticed four times. If
I'm I'm walking to Target the other day, I'm wearing
some shorts, T shirt, some sandals, some socks. I had
my glasses on this dude, Like, what's up, Cuz, what's
up glasses?

Speaker 2 (01:24:56):
I could I want by this dude before.

Speaker 4 (01:24:59):
Yeah, people see.

Speaker 2 (01:25:00):
Them glasses and glasses big, They're like, that's glasses. Just
can't that's dope, that's dope.

Speaker 4 (01:25:08):
Yeah.

Speaker 1 (01:25:08):
I made the song and glasses know I'm about to
because I'm finna have my glasses vocals.

Speaker 6 (01:25:14):
What you need to make a song called make a
song called bifocals? Man, you went hit them, you know.
I was going, that's fire right there, y'all. That's fire though. No,
it's definitely brand though.

Speaker 4 (01:25:27):
Man. You know it was the Illis brand. That Big
d m X. Yeah you do that.

Speaker 2 (01:25:36):
The first time I saw him, I never forgotten.

Speaker 1 (01:25:40):
That was it. It was barking big, it was balking
shout out to man sign Target. I go to Target,
I go to Walmart.

Speaker 2 (01:25:48):
Target.

Speaker 3 (01:25:48):
Don't, don't, don't, don't, don't don't. We're not doing you.

Speaker 4 (01:25:52):
Know, about to go to you know they about to
go to right now. You know they about to go
to y.

Speaker 1 (01:25:59):
I'm not feeling I had any political conversations needed something
at Target.

Speaker 2 (01:26:03):
No, man, scientists.

Speaker 1 (01:26:05):
I did not get my message from the crips that
we are boycotting Target. I never got my message from
Black America that we boy contract.

Speaker 6 (01:26:11):
Send me my letter, shopped and sent that letter out.
I got turn it over to you to shop.

Speaker 7 (01:26:20):
I'm not getting Target. I ain't taking Target away. Were
cutting the water off February twenty eight. We ain't buying nothing.
If you gotta get anything, get that ship February twenty seventh.
That's what we know. I got it over to.

Speaker 3 (01:26:31):
You, turning off your own water on February.

Speaker 5 (01:26:34):
Take to flight that TV.

Speaker 2 (01:26:47):
I'll stop.

Speaker 1 (01:26:48):
I'll stop, boy, I'll start buddy cootting Target when we
stop wearing cotton.

Speaker 2 (01:26:52):
Fact.

Speaker 1 (01:26:53):
I'm not getting in that man, niggas man, I'm not
in that conversation about Target and all of that. Y'all listen,
there's too much going on. It's too much fake outrage.
Y'all gotta come together. We gotta come together on one idea.
This one I'm in, but we gotta come one. Y'all

(01:27:13):
can't take target away from.

Speaker 6 (01:27:14):
Me the chat. Who is boycott the eighth Let me
know in the chat right now?

Speaker 4 (01:27:20):
Please?

Speaker 2 (01:27:21):
I didn't even know about this. How am I not
getting these messages? A damn the New York thing.

Speaker 4 (01:27:29):
No, it's not your thing. That on the man going
on boycott. I'm gonna send it to you.

Speaker 6 (01:27:38):
Hey, but yeah, God, I can't more than the Nazis,
be more than the Nazis.

Speaker 1 (01:27:44):
No, I'm telling y'all right now, hate you. I had
no idea. I'm so embarrassed that y'all got something going
on without the low how the log is, how the
load didn't know? How am I not informed most boycotting?

Speaker 4 (01:28:02):
I got this text last night. It was said, sending
around everybody. Answer this is not.

Speaker 6 (01:28:06):
One person, yep, it to myself. I'm sending to you.
Ain't No, it's.

Speaker 4 (01:28:12):
Long it together.

Speaker 1 (01:28:16):
Shout out to Jody Jims. It would be your conversation
when they take your so security away. I was playing
life without social security. But I don't want them to
take away your sol security, Jody. So I'm with whatever
y'all win, but y'all got to do a better job
of letting us all know what we're doing. Gotta let
us know what we're doing, because y'all doing a horrible
job of letting us Although how do I not know?
In the twenty eighth is two days from now?

Speaker 3 (01:28:39):
Is there going to be a boycott of the Walmart
on seventy ninth Street anytime soon? Because that son of
a bitch or disgusting, and I would like to go
on that day.

Speaker 2 (01:28:51):
You never got this forward, miss.

Speaker 3 (01:28:53):
There's no self checkout over there.

Speaker 4 (01:28:56):
Man.

Speaker 6 (01:28:56):
They lock up everything in the Walmart Target excuse as Walgreens.

Speaker 4 (01:29:01):
Everything's locked up.

Speaker 3 (01:29:03):
They have a lot of ship well actually the Walgreens
downstairs from me locked up. They have a lot of
They have a lot of lock up cases, but there's
nothing in there. It's like someone stealing it out of
the back.

Speaker 2 (01:29:18):
Asking for what are we asking for with this boycott?

Speaker 3 (01:29:22):
They want to bring de I policies back to Target.
I think is the theme of the boycott.

Speaker 2 (01:29:30):
Nowhere.

Speaker 4 (01:29:32):
It's ain't nowhere, it's I don't want to do d
I no more.

Speaker 2 (01:29:35):
It got to just be black.

Speaker 6 (01:29:38):
So I heard somebody say, like on the list, we like,
we like fifth on the list for the d I.
It wasn't for us that.

Speaker 2 (01:29:45):
When it first started.

Speaker 1 (01:29:46):
I'm like, the first person of d I, the first
person on any of that stuff is a white woman.

Speaker 2 (01:29:51):
That's why I just got to be black.

Speaker 3 (01:29:52):
It's all for full bullshit marketing, that's all it is.

Speaker 4 (01:30:00):
They they hate this man.

Speaker 3 (01:30:02):
B Also, even like during the height of d I,
all it was it was free marketing for companies to
try to solicit customer basis we hired.

Speaker 1 (01:30:14):
That's how they for whatever the Yeah.

Speaker 4 (01:30:21):
What the hell? A little limit that was? Oh so, yeah,
I get what you're saying.

Speaker 5 (01:30:31):
Okay, I got.

Speaker 2 (01:30:32):
You the same idea.

Speaker 4 (01:30:34):
Yeah, I got your.

Speaker 2 (01:30:35):
Same idea again. Man, we're finna go to a d
h D.

Speaker 1 (01:30:41):
This is No Seilings Live the Lunch Hour every Monday,
Wednesday and Friday at noon specific standard time right here
on Digital Soul. By click the thumbs up button right
there in the corner. Like this you on Twitter, Retweet
this link so somebody else can see it. If you're
on Facebook, share this post. We do this stream and
support the No Sellings podcast. Just drop the fire episode yesterday.
You can listen to the No Sellings podcasts on Apple Podcasts,

(01:31:04):
iHeart Podcast or anywhere else you get your podcasts. No
Sellings Podcast executive produced by Charlomagne to God, the Black
Effect Podcast Network and iHeart anything Else.

Speaker 2 (01:31:16):
Before we get about here.

Speaker 6 (01:31:20):
It was something else, but I forgot what it was though.
Twenty eighth man cut the water off.

Speaker 4 (01:31:25):
Huh. So we're doing, y'all.

Speaker 1 (01:31:27):
I'm gonna do it, but I really feel like I'm
cheating because y'all not telling me exactly.

Speaker 6 (01:31:32):
What for the people's for the cause, for the people's
be for the people's So you just doings and the
text out ass and the text how you said you listen,
this is what it is. That's what it was. What
it was is what it is right now. That's it,
you know what I mean, That's what we're doing. Twenty
eight cut the water off.

Speaker 3 (01:31:49):
One thing I'll say before we go, you have to
release brand giant sunglasses that are blackout and girls will
buy them because like, yeah, girls like to hide in public.
So if they can hide out and still see that,
and it's gonna do just fine. It call like the
Sunday Mornings.

Speaker 4 (01:32:08):
Yes Sunday mornings right there.

Speaker 1 (01:32:09):
Yeah, this is one of the best podcasts on YouTube.
Keep doing your thing. Thank you, MUMU make sure y'all
like this comes up. EHD. We're up over there after
this much love y'all. They're looking out for tuning into
the Note Sellers podcast. Please do us a favorite, subscribe, rate, comment,
and share. This episode was recorded right here on the

(01:32:32):
West coast of the USA. They produced about the Black
Effect podcast network and not hard Radio.

Speaker 4 (01:32:37):
Yeah.

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