April 9, 2025 • 57 mins
Glasses Malone along with Rose Gold Pete move beyond their traditional episode style to focus on real conversation—where intelligence, active listening, and authentic connection take center stage. From the influence of gang culture to the role of storytelling in marketing, the discussion explores how music promotion has shifted in the digital age and what that means for hip hop today. The speaker reflects on the challenges of maintaining quality in a high-volume, social media-driven world, while also sharing their personal journey and deep love for the culture. At its core, this episode is about the power. Tune in and join the conversation in the socials below.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Speaks to the planet.
Speaker 2 (00:01):
I go by the name of Charlamagne Tha God and
guess what, I can't wait to see y'all at the
third annual Black Effect Podcast Festival. That's right, We're coming
back to Atlanta, Georgia, Saturday, April twenty six at Poeman
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of All podcasts with Saray Jake Roberts, we got Good
(00:23):
Mom's Bad Choices. Carrie Champion will be there with her
next sports podcast, and the Trap Nerds podcast with more
to be announced. And of course it's bigger than podcasts.
We're bringing the Black Effect marketplace with black owned businesses
plus the food truck court to keep you fed while
you visit us.
Speaker 1 (00:38):
All right, listen, you don't want to miss this.
Speaker 2 (00:40):
Tap in and grab your tickets now at Black Effect
dot Com Flash Podcast Festival.
Speaker 1 (00:47):
Watch up and welcome back to another episode of No
Sinners Podcast with your hosts now fuck that with your
load glasses Malone. So the tricky part is, right, is
I don't really look at. So when I podcast, I
(01:07):
don't do interviews. Like one thing I wanted to do
with no seilings is not have like an interview like
they like the audience. The population has enough interview ideas.
I just wanted to have a normal conversation with people
based off or whatever the thought is. So one of
(01:29):
the greatest people that I have conversations with is Pete.
Like Pete is somebody that's he's very knowledgeable in a
lot of different things, but it really strong and then
where I'm strong at, I'm strong at, but he's open
like Pete is. This ain't the true definition, but this
is my interpretation of definition through my experience of breathing.
Their smart is the ability to talk. It's like a
(01:53):
quick wit you could talk. Intellect is the ability to
listen and process with your listen to and then to
be able to respond to that. Peter's intelligent, Like Peter'll
be open to some information. Like We've had multiple conversations today.
I was on Twitter and I was telling somebody they
was telling me about They were talking about gang culture,
(02:14):
and I'm like, bro, they are so minimal things that
separate gang culture from any level of street culture. And
you'll have one hundred people that's upset that I'm distinguishing it.
They'll be mad, and I'm like, because they want to
be upset at gangs. They really want to feel like
gangs are the issue in the community, not oppression, not poverty,
(02:38):
not the lack of resources and opportunities, not the police
force driving down. They like gangs right and specifically they
kind of want to corner black people in games. They
don't want to talk about al Capone, like Sherry. They
don't want to talk about al Capone. They don't want
to talk about the mafia. They don't want to talk
about the same thing that's happen in East LA and
(03:01):
then cycles. They don't talk about it. They don't want
to talk about the hell. They want to hide it
under the guise of them being black. Like I was
talking to the Homie Champ today and I was telling him,
you know, it's a brother I start building from Alabama.
And I was explaining to him like he was like, well,
I don't care about my people because I'm black. I'm like,
how is it your people? He's like, well, them people
(03:21):
come from Mexico. No, they were born in America, just
like you, Like I think it's a lazy, irresponsible thing
that sometimes brothers do. It's like, I only worry about
black people. You have to be worried about humanity because
some things go across the clear landscape of humanity and
it lets you know that it's not an individual thing
(03:41):
based off this. So if you could solve this problem
for us, then you could solve the same problem for
everybody else. So Pete said to them, He tweeted, he said, man, look,
I was telling them that the same thing happened in
Oakland happens in LA. There's no crips of bloods. The
murder rate is just as high per capital. It's just
(04:03):
as violent. Everything that you would like to think is
the community itself. I'm like, there's no crips of blood,
so why do you think that is? Intellect allows you
to take what I'm saying and listen. Emotions make you
think I'm defending it because I'm a crypt But if
you think about everything happening in Oakland, he could tell
you he lived up there. It's the same fucking thing.
(04:27):
But it's also rooted in their ignorance, like most people's
ignorance about what gang banging is about. Most people think
it's about colors. They really saw the movie and it's like,
all that's about colors. So that's how I built no seilings.
I built it, you know, with Pete and the cousins,
(04:50):
to have real conversation things with things in good conversations
and good faith, where where you're hoping to learn in
exchange a bunch of facts to create dialogue and thought,
it's not meant to be entertaining. It just happens to
be entertaining. I can make it way more entertaining.
Speaker 3 (05:13):
But do you think you'll be going against what you
trying to build? Do you make it more entertaining?
Speaker 1 (05:18):
I mean I could put somebody that sit next to
you and and they'll just argue with me for the
sake of argue with me, And then at that point
the polarity, the negative and the positive coming to each
other makes it more powerful. I think the listener doesn't
get anything from that, Okay, Like it's more important as
(05:38):
a healthy sale to pass DNA genetic information. Just to
pass information, that's the most important thing. So like we're
trying to pass information that that's to me to go.
So even if we're having a conversation that I'm wrapped
up in which is what this thing was about. I'm
having a conversation. I'll bring it right to the podcast
to talk to Peter about. So like, if the concept
(06:00):
is storytelling, right, and it's like, that's all marketing is
is storytelling. Promotion is when I tell you the story
if it's mine story. Publicity is when somebody else tell
you the story. Advertising is when you pay for the
story to be told. So like, even if I'm talking
to Madi and I'm telling Madi right now, I'm like, man, Mady,
this is what I need, Like you can hear, I'm
(06:22):
gonna walk it down and she's gonna be like, yep, yep, yep, yep, yep, yep,
she's telling me in this time, like the conversation, the
story needs to be very intriguing. She said that to you,
She said, yeah, because it mattered you know who the
first person is that validates the story, and then you
(06:42):
can move a story based off who validated thing about that.
She said that, Remember I just said that. I said,
it's one thing if you get TMZ, it's another thing
you get the breakfast club or iHeart right, But then
there's still the work to take that story to everybody
in between see the belief that we've been doing business own.
(07:02):
Like I told you earlier, I was telling Pete, excuse me, Pete,
I was telling King. I was like, that's like, if
I open up a weed store and people like to
smoke weed, I think people supposed to come through the door.
Marketing is the reason people come through the door. The
tricky is people think you come to the door because
(07:23):
you want to get some weed. That's minute part of
the population. Marketing might be that you panked the front
of this motherfucker with a big ass cannabis leaf looked
like the front of the Chronic album covered that make
motherfuckers walk in. That's marketing. That's telling the story to
anybody that sees the front of that building. This got
(07:46):
something to do with weed, marijuana.
Speaker 4 (07:49):
That's why every weed shop in the first like ten
years that they had weed shops had some sort of
play on words about smoking weed as the title name
of the shop.
Speaker 1 (08:01):
No Selings, Jail, Come my Brother Peter, Boss in the house.
Another episode, No Breaks, got King of Things in the house.
What's up Ken, what's happening Pete? Okay, So that's the goal.
The goal is to tell the story. So it's like
when you asked me, what did I do wrong with cancel?
(08:23):
Specifically cancel. So when we first right before we first met,
when I first started learning all of this stuff, I
was picking up records, like I always told you, I
was picking up hip hop. Then I got to marketing.
We met when I was starting to pick up hip hop.
So at that point it's like you study, study, study, study, study,
and then you do these things that are tests. Right,
(08:44):
That good was my first test on record, and then
it being my first independent hit record. It was a
regional record, but it's my first hit record independently. My
MOA was just us. The proof of hip hop was
glass House Too. When people heard it, they could hear
the culture in it. They I knew what to do,
like I I got it. I know what's happening. And
then the marketing proof was when I did Tupac Months Die.
(09:07):
Remember I was like, man, it's gonna be the most
talked about song on the internet for twenty four hours,
and that mother fucking up being the most talked about
song on the internet for twos maybe even a month.
But it's all because now I'm not sacrificing no part
of my brand. I don't gotta give no, I don't
give nothing. I lean into my brand more. When everybody
feels like they need to run away, I lean into
(09:29):
my brand even more than before. That's the trick. I
leans into that shit. I'm not running away from shit
this crip. Yeah, whatever you think that mean. To some people,
they think it's like, oh, that means you're gonna snatch
your old lady purpose. That's they ignorance, you know what
(09:49):
I mean. They don't know. They like, what does that mean?
It means you you're gonna kill somebody that wears red.
They all kind of ridiculous shit. But it's not their
fault they ignorant. But it's also my job to That's
what makes me so valuable in the marketplace. I can
fill in the gray area. Now, there's gonna be a
population of people that act like they don't care. That's
(10:09):
just a fact. They're gonna act like they don't care.
It's a population of people that, oh my god, you know,
they feel the threat of how cool that's being, and
they tired of not being cool themselves. Oh you know,
fuck glasses, the creps. What they did every special to
Homie asked me that he was like, Yo, what's the
benefit of being a crip? And I'm like, the benefit, Like,
(10:31):
I don't do most of the stuff in my life
to be the benefit. But you know, I'm sure it's
the level of camaraderie. It's a level of opportunity to
actually hustle. Like in la you can't just be hustling
in everybody neighborhood. You got to have a relationship. I mean,
motherfuckers ain't let you monetize their community for free, just
like american't let you monetize this country for free. So
(10:56):
the point I'm saying is it's like you have to
kind of see it. So the difference what canceled is
I knew how to make the content right. I made
a great body of work. Canceled These Nuts is really
a solid body of work. Like definitely on the top
half of my project follow You by a four, it's
really good. But from the promotional angle, I just depended
(11:24):
on podcasting. Like a lot of people that that has
a that have a product, right that they depend on
just going around on a podcast to it right. People
they telling everybody, here's I'm gonna use my brand and
then you're gonna be interested in my brand, and I'm
gonna tell you at the end, gonna listen to my
album and that's gonna work. Right. I stop at the
breakfast club, I'll stop at you know, brilliant Idiots. I'll
(11:47):
stop at you know, uh eighty five South. I'll go
to the Bay.
Speaker 4 (11:51):
Traditional press tour concept, huh, like the traditional press tour
concept when they drop a book, when they drop an album,
they got a movie coming out all the rest.
Speaker 1 (12:01):
Yeah, right, So it's like that was something cool, right,
So that was my only promotion. There was nothing else
that wasn't no promotion. The music videos and promotion, but
even that point, the way I saw it, once you
do a music video on YouTube, you're not promoting anymore.
You're giving away the product. Like the inception of music
(12:23):
videos was all about you putting something on television that
you didn't have, like you were able to get you
got privy to a new song, Like you looked at
the TV and you heard that song. The only way
you could have that song on command to be at
a player wherever you want to after that was to
go to the store and buy the song. And they
made you buy a whole album. They didn't even let
(12:45):
you buy the song, like you got to buy this
whole straight out of Compton and Master.
Speaker 4 (12:51):
Pigmate, you buy twenty two songs and seven skits. So
it was quite a commitment, you like.
Speaker 1 (13:00):
So it's like that was the point, right. So the
only way I could hear this song, if I liked
this song with that brand that I just saw on
the television, was to go to the record store and
buy it today on YouTube if I give you the
music video, you stream from YouTube. So you play your
music from YouTube and they pay you a whapp in
(13:20):
one cent per ten plays, one cent a penny for
ten plays. That's crazy, right. So it's like I didn't
calculate that. So when I dropped you know, some for
some for bitches, or when I dropped tra like, I
didn't calculate that. I didn't think about that. I was like, Okay, well,
(13:43):
if it's gonna do two to three million like Kanye
fit me, then I can make it work. But it didn't.
They was like, yeah, we're not finna move this nowhere.
You need to advertise. Yeah, you need to fiz some
money into this, you know what I'm saying. So one
thing was I didn't really have the promotion outside of
the press tour the proverbial like PI said, the press
(14:04):
tour or just the videos. I was thinking about something
else too, right, like YouTube like MTV might have charge
you five or six thousand dollars to slay the video
to put a video inside their system. Right, that's what
you paid for. You paid for the video, then you
prayed the slaty. So it's not like me advertising a
(14:24):
video is doing too much. The trick, though, is to
not advertise a video and then give you the song
at the same time explain that you can't put the
video on fucking YouTube first, okay, because if you put
the video on YouTube, I gave you the song, okay,
So you gotta put it out without visuals first. But
(14:45):
that's where it get tricky, you know what I mean.
That's where I'm that Nigga and other people gotta figure
it out because when they see what I'm doing, that's
the plan. Okay. But I'm telling you that's the problem.
Speaker 4 (14:55):
You gotta sell your horses in the stable. You can't
let them flee the barn first and then try to
sell them when they're gone.
Speaker 1 (15:02):
That means my idea, I can't give it to people
because it's my idea. They gotta pay me, and it's
not gonna work for everybody. Neither. My idea ain't gonna work.
I had to figure out the idea for them after
I'm done with this presentation. Man, some problem. Contina should
be hiring me to be her motherfucking in turn, to
take her position that she you know, when she when
she get out of the business. That's how good I should
(15:22):
be a product manager at some company at this point,
you know what I mean. That's how I see the game.
So if you gonna see me talk to the best
people in our field, you're gonna see me talk to
the best executive. If I'm talking to Brian Turner, it's
gonna make more sense. If I'm talking to Madi, who's
a publicist. Job she did with Tory Lang in Credible,
it's gonna be an impressive conversation. If I talk to
a distribution company, it's gonna be an impressive conversation. Hell,
(15:43):
if I talk to Doctor Dre about records, it's gonna
be an impressive conversation. If I talk to Lord Jamar
about hip hop, it's gonna be an impressive conversation. Because
I care. I put way too much effort in it.
So the separation from cancel to what I'm about to
do coming up is like I'm no longer trying to
figure it out. M And that's why I like when
(16:05):
you feel like, forgive me for lack of better terms.
If I snap at you, I'm not snapping, nigga. How
dare you question it? You feel now? That's raggedy. Don't
get me wrong, and I get it. I'm supposed to,
but I talk, but no, I see why the greatest
niggas are that way. I see why Kanye is that crazy.
(16:26):
I see why niggas is like, Nigga, you ain't put
in nowhere near this to be talking to me, nigga.
That's how I feel about creeping nigga. What the fuck like, Nigga,
Go get baby gangster. You know what I'm saying. Go
get get nigg you on the phone. Niggas ain't nigga.
Go get my nigga girch. Go go get some homie,
(16:47):
go get something, go get plucked, go get moon, go
get some older homies. You niggas don't give a fuck
enough to be talking to me about this. That's so
so when I'm telling you. I'm like, man, this poster,
this is the campaign. I want to drop this poster here.
You're like, well, you know, I don't know because Nigga, what, No,
don't take that picture. We're not gonna take that. It's
(17:08):
not a picture. I'm not saying you're wrong. King Olivia's soul. Bro,
I swim on my mother. Bro, you're not wrong, but
go ahead. But I'm saying it because I know, yeah,
now you could build everything I saw on top of it.
I'm sure it's gonna be a challenge that you want
me to do it because this is what I do.
And no, I don't want you to do it. That's
not what I'm saying. That what I'm saying, I'm saying
(17:32):
it comes across to everybody else like arrogance or like
like Cherry said, I'm being a dictator. I'm not because
I'm not talking to you about who gonna win to
chatter if you say who won win the finals, I
can't be like, yeah, the Knicks is gonna win. Here
it is boom and I know Nigga now want you
I wouldn't bet on it? Well, not straight up.
Speaker 4 (17:53):
That happened me A couple of times, like I've hung
out with Malcolm and some people and aside from the
fact act like if I make jokes, they can be
a little sharp, but also like I have no no
patience and stupid, not well read loud opinions. I just
I don't have the patience to take them off. So
(18:14):
like fella, last couple of times, like we hung out
with some people and they say some shit, he just looks.
Speaker 1 (18:20):
At me like, please don't embarrass me.
Speaker 4 (18:23):
Man, yeah, and I know, and like this is your friends,
but like he'll just kind of go just just no,
not today.
Speaker 1 (18:32):
But I get can't feel and getting older, like it
makes sense, like you know what I mean If you
don't ask me, nigga, I'm telling you. So it's like, Nigga,
I gave up everything to know what I know. Now
I am up for listen. If you say something, I'm
ana listen. But if it's say some bullshit, the first
thing I'm about to them to cuss you out. You
(18:53):
made me listen to this ship when I just gave
you this soul fly shit that took me seventeen years
to figure out. You're gonna tell me just think you said.
Speaker 4 (19:03):
I had a question from earlier from like we were
talking about before we got on, because he had mentioned
like the time gap between Kanye and Cancel. Yeah, and
obviously there's a lot of factors, say, like you know,
(19:24):
you and Kendrick aim for like your most pinnacle quality
of artistic output, which with each project. Yeah, and I
would say, you guys are also both older than like
like you were doing your thing and then social media happened.
You weren't born into the social media ecosystem.
Speaker 1 (19:41):
You know.
Speaker 4 (19:42):
Do you think that a good portion or at least
the younger portion of.
Speaker 1 (19:47):
Hip hop is.
Speaker 4 (19:49):
You Maybe you could make the case like suffering from
low quality, high quantity, or at least being framed by
the fact that you see, all right, this is good
enough to to consume or be consumed, but we have
to just keep putting out fives on a scale of
one to ten, just all the time, the way like
you see girls trying to build a massive social media
(20:11):
portfolio of like as bouncing videos. Just low quality, stupid ship.
We're putting out three a day, all the time, all
the time. Put it out all the time, like like
the Curtis le may fire bombing thousands of bombs a day,
versus just one nuke and then end it?
Speaker 1 (20:29):
Do I think so? So I don't want to say that.
Speaker 4 (20:32):
Is that in my head?
Speaker 1 (20:33):
Or is that? Like? No, I don't want to say local,
you're not tripping, but I don't want to say low quality.
It's like an NBA Young Boys, like the Father. It
is NBA Young. We got so many goddamn songs, so
many that motherfucker probably got one hundred plaques. Welcome home,
because I know you came home. You know I'm happy
for you. Do the most with your time out. Go
make it happen, bro, because you your wizard. It's like
(20:58):
he understands right now. I don't know if you understgive
me that's not That may not be true, but this
goes to that theory that hip hop is street urban
culture personified through the arts. So where it may not
have the literature or the English technique some other hip
hop artists have, the culture is so heavy with it
(21:19):
that's all you really need to move it across the
landscape so people can enjoy it. Because whether people know
it or not, Pete, they're coming for the culture. They
not coming for the English technique. They not coming for
the metaphors. The punchlines and similes, even though historically they
have found that in certain artists usually.
Speaker 4 (21:38):
Well, I think that the quality suffers on everything, well,
at least comparatively, Like some guys are really good. You
can put you can put stuff out, good quality, you know,
out of your mouth, uh, and good volume. I think
maybe it's more so on the musical side.
Speaker 1 (21:57):
We're talking about like.
Speaker 4 (21:59):
I'm talking songs like like I said, of putting out
like the Chronic and then two thousand, like they're eight
years apart when they hit. They hit like you know,
with with metric tonnage, just putting out like decent enough
songs all the all the all the time, and the
songs kind of sound the same. You might be rapping
phenomenally on them, but the songs are just a just
(22:21):
an ocean of Honda civics just boom boom boom boom.
Speaker 1 (22:24):
Yeah. Yes, answering the question is yes, but well I
guess there is no but yes, yes, that's like that's.
Speaker 4 (22:45):
Led to where like there's a few songs have a
good sound and then people just make similar ish sounding
beats just in huge volumes.
Speaker 1 (22:57):
Yeah, yeah, yes, yes that's happening. Yes, why is that happened.
Everything else is harder, which made harder to find producers,
harder to find different music, or to make the chronic
of two thousand. To make the chronic or two thousand
and one is hard. But can you just make good music?
(23:17):
You don't have to make the chronic, But can you
make good music? What's good? I guess? I mean it
appears like if you young boy, young boys dropping a song,
he dropped one hundred songs in the year them, then,
so how can you be great overall with one hundred songs? Well,
I think his greatness is measured differently. His greatness is
(23:37):
measured in his cultural appeal, and then the songs just
become away for you to vote that you fuck with
him culturally. Yeah, but you go ahead, you'll find something
you like in the songs if you put out one hundred. Yes,
I say what I'm saying, like people support young boy
because I noticed this as soon as we got the
(23:58):
phones in our hand. You know what I'm saying. As
we got phones in our hands, it made everything what
we see, not what we hear. So all you have
to do is deliver what you see in my ears,
so it don't have to be they don't have to
master what you hear. This ain't you know pre phone ever,
(24:18):
where a visual took longer to travel like a picture.
There were certain artists I didn't even know what they
looked like, and I knew some of their songs. A
god was like that for a long time. Most people
that know Bobby Carwell was a white man, right, people
didn't know that. Now it's the exact opposite. I know
who a lot of these people are and never heard
(24:39):
a song. Because of how we consume, you know, entertainment,
It's changed. It's all in my hand and I see
everything it's like right now. One of the biggest and
greatest mistakes of No Feelings not being this really huge
podcast because I think me and pe conversations will go
(25:00):
as big as Joe or anybody else conversations is we
don't just have a simple visual component. Now it couldn't
be as simple as like what we do with the
live stream, whereas it's kind of like underproduced idea needs
to be produced to some degree. Part of the thing.
Pete moved to Florida, so is like trying to figure
that out, it's really tedious, and then creating a set
(25:21):
that would give off something special, right, It's like huff
But that's we're probably missing out on ninety percent of
the shit we could have. And I mean ninety percent.
We're probably at ten percent potential. A lot of other
shows don't they do like interviews and stuff. That's something
you don't really want to do. It's not the interview part.
Like I could sit down and have a conversation with
(25:42):
too short. We don't got an interview it if you
can sit down and have a conversation with Shaq, I
just ain't trying to ask you, you know, like unless
it falls within the conversation, Like the goal ain't to
come in and know no siblings, ain't to come in
and probe you. Yeah, nigga, you could join in what
we're talking about. And I learned that from brilliant idiots.
I learned that from Scholtz and Charlotte Mane. Like they
(26:04):
just be having a conversation, they jump jump in ge
like double dutch. You know what I'm saying. And when
he kept trying to get me to do a podcast,
that's how I believe in podcasts. Shout out to Jack Recipes,
the podcast God About to Chris and all the other
(26:24):
podcast text on all the other god the podcast gods.
But to me, that's what real. Joe Budden's just conversation.
So I hang my hat on it. I'm not here
to interview people ask you about your songs, and you're right.
Every a lot of people they just sit back and
just talk to the person versus letting people see this
person talk about something else. He always put a lot
(26:47):
of pressure on still about that, like, don't turn against
the chronicles into an interview platform. You're not. You're not
Donnie Simpson. So that's the job. Storytelling is the job
on every level, So even on the promotional levels. Telling
(27:10):
you the story. So if the posters look a certain way,
they want it, and they look a certain way, how
do I convey want it through a poster? Now you
see the poster, it makes sense, right, How do I
convey the title of the song wanted? All right? How
do I convey the title of the wanted song through publicity?
How do I convey the advertisement? How do I make
(27:34):
it work the greatest levels? I can make that work
at the greatest levels means more people get exposed to
the campaign. So what separates cancel from this one particularly
is just my mentality going into it, like I made
the record a little bit more unique to fit the
(27:56):
landscape of the day. Like Pete was saying, like I'm
mindful of even now this was the last part. I
wasn't even mindful the streaming. In twenty twenty three, I
made traditional records from you know that Ray Charles created
the whole traditional hook bridge, you know verse shit. You
know we've been making that style of record now for
(28:17):
I don't know seventy years, and it's like, but we
may don't have the medium or the structure that that
created to even market it. So now we're stuck marketing.
Even when I'm telling Mardy like that's why she was honest,
she was like she was like, yeah, it changed a lot,
Like you really got to have something now, You really
(28:39):
got to have something now. I mean other than that,
people are gonna be like, you need to pay me
to expose your shit. People offer me ads and shit,
and they like, man, you got to post it on
your page too. What they they offering me? A story?
You got to posts on your place? Nigga? You are
you why I could tell my own people that shit?
You want me to say? You know what, I'm saying.
(28:59):
So it's like you have to understand that's marketing in
the nutshell, it's just really great storytelling. And once you
get that, you know what I mean, you can make
it work. Now you know exactly who to go to,
what to tell them, what you need from him, and
what they should be doing. And then if somebody really
fuck with you, like Mady so a big part, like
(29:21):
Greg is my nigga, Like Greg the publishers, Greg is
like my guy. Mady is like, really my sist. This
is really my friend too, like Greg is. We built
the relationship me and Maighty before we did every did
we never did business. That's just really been my dog.
And she'll be honest with me. And if anybody else
don't cut me some slacks, she'll cut me the most slack.
Greg would too what I mean, But Mady is like,
(29:44):
you know, that's really my dog. So it's like, you know,
finding rounding up the best storytellers, you know what I mean?
In advertising, my nigga Drew that work with joining the
Luka shout out to Army Drew. Drew was one of
the best stories tellers when it comes to advertising. Not
the content, sheer just shifting the conversation out there, making
(30:07):
it worth less than a cent per engagement, less than
a cent per engagement, less than a cent per engagement.
So think about it. That means one dollar means one
hundred eyes eyeballs less shit, maybe two hundred eyeballs for
(30:30):
one hundred you know, all the way to ten dollars.
And that's the thing. So you really gotta when you're
trying to market something, you gotta figure out what's the
story that's gonna make people interested and then round up
the best storytellers you can get. Shout out to the
Tommy Jagbamb Right, Jagbamb is one of the best street
(30:50):
team guys on the promotional level. So even though I
can create how to tell this story through this promotional poster, right,
we figured that out, Right now, I need somebody to
go out and tell help me tell that story, put
it to where that story will convey it matter the
most to the people that see it, because it ain't
as simple as making a poster cousin and putting that
poster in church that might not work out. You can't
(31:14):
just have the little Kim hardcore poster in church that
might not get what you trying to get she got
that thing bust open, spread eagle. You feel me? That
might not be cool at church. You may not get
CD sales because of that. You might get some outred,
but you might not get no CD seid one thing.
(31:34):
Like I said, I'd be really upset at Kanye a
lot right because and I don't know why I should
expect Kanye be Kanye. It's Kanye. But I think he
really gets how to make He gets how to garner
major level of publicity on independent status by the antics
(31:55):
he do. I mean, if you use the term antics,
I mean he's just saying something now. He don't have
a fear of the repercussion of how people gonna feel
about it. He probably knows something more than most of
us know. But you know, in my situation, like I said,
I wouldn't galvanize an audience to not listen to him.
(32:16):
I'm just not gonna fuck with him when I'm not.
I'm not going to fuck with that new project. You
have to do better, show me something that I should
care about there, like the last project, I don't care
if you go number one. I'm not the traditional listener,
you know what I mean? The story of you going
number one or making the Billboard charts mean nothing to me.
I ain't never saw no motherfucking body who made a
Billboard charge that person number one. I need to go
(32:37):
listen to the project, and I ain't listen to a
Traviscott project. Still. I heard about eight Travis Scott song.
I ain't never heard a Travis Scott song. Shut out
the travel. I'm not talking shit for I'm not telling
shit no for real, because I've never heard a Travis
Scott song that maybe want to listen to the album.
I've heard Traviscott songs that I enjoy and be banging.
But nigga, just because you got album don't mean I
(32:58):
gotta listen to it. A nigga, he thank you, sick mo,
thank you, this is your song. I appreciate that. The
jams I don't know. I don't gnna fuck with albums
own is because it's his brands and the product itself. Okay,
Like like for example, right Pete, it's fair to say,
(33:20):
like like if somebody got a good piece of fried
chicken and now they're selling uh burgers. Yeah, I'm not
buying burgers from Kentucky. Mm hmm fuck no ho the fuck?
How good. I like your original recipe chicken. I'm not
buying no fucking burgers from y'all. Fuck out of here.
I won't even buy the chicken sandwich from me.
Speaker 4 (33:39):
Really, that's one of the funniest phenomenons. And I guess
they all seem to survive. But you know Papao, the
company out in Houston. Yeah, well they've got like Papa's Barbecued,
They've got Papa's Mexican Food, like or like text mex
or whatever like that. There's a whole series of different
genres of type of restaurants under the Papa's umbrella. And
(34:02):
I'm amazed that, like the I mean, I guess I don't.
I haven't eaten it. If they might be terrific, but you're.
Speaker 1 (34:09):
Like the marketing person like me, like I actually judge
your marketing. So too many papa scare you with different.
Speaker 4 (34:22):
I don't know about that because they got different, different
things going on. But sometimes it's like, what's the what's
the what's the expression of a master of none? You
want to trade oh jack wads, master of nuns. Yeah,
you start to become the cheesecake factory. We got seventy
five I's on the menu and another of Murney good.
Speaker 1 (34:37):
And the only thing good is the fucking cheesecake.
Speaker 4 (34:40):
Yeah, which incidentally is going down their thing.
Speaker 1 (34:46):
Yeah, it's like we're gonna make this fire and we're
gonna have a bunch of regular ship.
Speaker 4 (34:51):
Just give some dinner. It's all about the dessert. Throw it.
Speaker 1 (34:55):
And that's how they should marketing. Who cares about the dinner.
You come for the dessert. That that's just to get
you to the dessert menu.
Speaker 4 (35:03):
We just gave you that to We're just we're giving
you a justification for eating this cheesecake.
Speaker 1 (35:09):
They should charge sixty dollars for the cheesecake and it
comes with dinner for free.
Speaker 4 (35:16):
I think you're I think you're on something.
Speaker 3 (35:19):
I have to think about it too, Like.
Speaker 1 (35:25):
Hey, come to cheesecake factory where dinner is free with
every slice of cheesecake. Yeah, it could work. All that
nasty as ship. You can pick off that and sorry cheesecake,
because I know I'm on your sh I had that
chefer's part. You need to be ashamed of yourself. But
that's how that's how good the food is not The
food is not that good. But if they focus on cheesecake,
(35:48):
like every order you get free dinner with your cheesecake.
You got us, Like that's one thing. Like I stand
on being a crypt from the West Coast. Now I
do let other people's ignorre kind of control them because
I really ain't tripping like whatever, like what you really want?
That's the way that move. Originally you started that.
Speaker 4 (36:08):
Yeah, buy this water and get a cigarette for free.
Speaker 1 (36:12):
That's true. True, And everybody used to make a lot
of people used to make people bring their own cigarettes,
like now you gotta bring your own new Ports. I
got Sherman. That's where the name sharm come from. Sherman
cigarettes and brown cigarettes. Oh interesting, that's what the brown
cigarettes is called Sherman. Yeah, so that's where the term
sherm weirdose had brown cigarettes when I was young, Well
(36:32):
that's what you used to dip them all, because I
guess I don't know. I did the white paper ones.
I had to ask the older hummies, why do they select.
Speaker 4 (36:39):
Sherm confused and smoke the rog cigarette?
Speaker 1 (36:43):
Probably so they okay, Yeah, I got to the plaint.
I got to the point where I started dipping anything.
Speaker 3 (36:49):
Yeah, that's what I'm saying. I seen white ones dipp
and all that kind of stuff, but not I dipped
your blunt at the brown. You ain't getting no five
or ten dollars deal with no blunt.
Speaker 1 (36:58):
That's twenty hit this motherfucker cause you know that blunt,
soak up all your God damn it was dipping blunts.
So yeah, damn they was going hard. And then that
we was touching that tac strogg Yeah weed to call
that hurr game.
Speaker 3 (37:17):
Yep.
Speaker 1 (37:17):
So it's like just leaning on it and understanding your
job as a storyteller.
Speaker 3 (37:25):
So you think with storytelling, now you gotta start adding
stuff to it, like products or something in your storytelling
so people could take something with them.
Speaker 1 (37:34):
For me, I just feel like it needs to be immersive,
you know what I mean, Like you gotta really do it.
You ain't no more half stepping, and so what's immersive
and not half stepping to you? So, like, if my
goal was to leak a snippet, right, if i'm i'm
I'm I'm gonna use this video as a vessel to
(37:55):
market to something, right, as a vessel to not even
market to expose this because you were on the phone
and you need to see everything first. So if that's
a vessel to expose even building up to the release
of the vessel of how I want you to see
it need to be just as tedious like the average
person right there, just put up you know, not dissing them.
(38:16):
They're not wrong. They'll just put a picture of a
wave on air. Ig listen to my new snippet. No no, no, no,
no cuss glass low hip hop all the way in
like this. I'm gonna make it a part of the video.
I'm gonna build the video out more. I'm not just
gonna let y'all have this house. That's the video. You
come in this yard, No no, no, I'm putting grass down.
(38:38):
I'm put a gate around it, put a basketball court
and the pool in the backyard. When you're leaving, it's
a pool in the backyard. I'm gonna build it out
for the fans, so so motherfucker that wanna have some
dope shit could be wrapped up into it and give
them more things to talk about. I feel like you
gotta go all the way. You know what I'm saying.
(39:00):
People want it all, they don't They not taking just
part of it no more. It's music itself, just part
of it now. I mean, yes, music was its own product,
but you take somebody like Larry June, Like a lot
of Larry June's business is like you know, like good
(39:23):
job Larry talking about people with the job, or get
healthy and juicing, or you know what I mean. It's
a million other things, and it's a full emotion immercial world.
Same thing with like the Russell Like they give you
a full immersive experience. You fully engulfed in the experience
of whatever they doing. They brand and then the music
just become an extension of the brand. M My shit
(39:48):
is different because I still make fucking joints. Though my
shit could live on its own. You don't need me
to be there at the highest level, Like I don't
got to be with the record. The record could go
on his own. People will be like, oh, I didn't
know that was your song. Yeah, I'm good that good
at making records. People tell me all the time that God,
I didn't know that good was yourself. Damn that is you.
(40:08):
I used to be Nigga that because it wasn't important.
The product itself was specialized and learn how to make
the best product of record first. A lot of other
people specialize in how to market their brand. That was
nip thing that was like nip Shit was brand, the
Russell was brand their brand. Guys, I'm a record guy
(40:32):
that understood finally, Like, oh, y'all want me to be
the nigga for real? Okay, well, y'all can't shit really
can't nobody even be this nigga like this? No, Like
this is like I'm the last of a few. You
know what I'm saying, Like, oh you you oh you
really want to see it? Oh you want to see
the whole thing I got you here it is? This
(40:54):
would have looked like so you think you got everything?
Speaker 3 (40:57):
Now the totality of what needs to be done, from
the records to the business.
Speaker 1 (41:02):
Side to the most stripped down minimals still ain't great.
Like still one person. But should I send at the
top dog the dude Doff from TD, Like, look at this,
he ain't said one thing back. I'm gonna call his
ass soon as I get off this podcest What you
tak I call stress stretch? Can I do this and that? Like?
You still have to keep us er? Now I have
to ask Pete people you to get his market. Pete
don't give a fuck, but he might see one thing,
(41:24):
you know what I mean to be like yeah, what
about this, So you still got to use your resources,
you know what I mean? And and thank god, I'm
not the smartest person I know. Thank God, I just
know a lot of smarter people. But it's like I
know at the I know at the basic level, at
the oct to put his level, what needs to happen.
(41:46):
I know where all eight arms, I know where all
eight tentacles need to be. I know exactly what's the story.
You know what I mean, and who the story needs
to be told to. And then after that story told
to that person, now I understand you need to go
tell everybody else under that person that story. That's gonna
be the reason that they tell the story for you.
(42:07):
That's important to know. I can even size it up
based off impressions at this point. I know what I'm
gonna stream based off impressions at this point, Like if
I get this many impressions, i'ma streaming this much Like
this is how much I believe in the math of
the business. So it it I paid. I gave up
(42:34):
a lot of years to get to this point, for
probably very little years, but I'm finna run this bitch
into the ground until the end though, I mean even
if it was eighteen months that sacrifice was worth it.
Like this became like my first love is drag racing.
If you have to give that up for this, Yeah,
(42:54):
this is my second love. But you learned to love this, right. Yeah.
I didn't love it at first. Yeah, I love drag racing.
At the beginning, I wanted to know everything that was
know about it. Hip hop not so much. It was
just like my mom used to listen to the song
blah blah blah, but I didn't really know what it
was about. I didn't really know what about. I always
knew what racing was about. I always knew the math
(43:14):
and racing always knew it was way more to it,
Like I always knew with hip hop, I didn't quite
know that.
Speaker 3 (43:21):
But hip hop being so like time's frustrating. What made
you start loving is because just just who you are,
it's just culture. Well, it wasn't frustrating. That's probably from
my view. I mean, from my view of hip hop
is frustrating to me. You know at times, I've never
been frustrated by it.
Speaker 1 (43:39):
I just so what I knew that when I fell
in love is when I realized somebody made something for
people like me. Okay, you know what I mean. Like
when I went to the Bronx and talked to some
of them old spades and different people, it was made
for people like me. I talked to crazyness, shut out
the crazy legs. He was like, g Na, we was
(43:59):
just like you, bro, we would stick up kids da da.
That shit put it on my heart like differently, like
oh wow, this is really something special for niggas that
came through this traumatic experience like me, me, And they
made just to express what's like coming through that experience
and how you find pride in comraderie, and that's what
hip hop was. And I was like, damn, So now
(44:20):
it went from just being something personal that I love
and enjoy doing to something I wanted to protect and
defend and I wanted to be there for the next
group of people that came up like me.
Speaker 3 (44:31):
It's so funny that you say that, because when I
went with you back through you know, the United States,
like you did, I didn't know nothing about real black
culture outside of where I was sure, you know.
Speaker 1 (44:43):
But then when I went back there and seen that,
it made me much different.
Speaker 3 (44:46):
Yeah, it made me want to do something, you know,
as a whole and not as just in Tacoma or
something made me want to just like as a whole
now when I've seen that Pete.
Speaker 1 (44:56):
So we go hang out with coming from GS nine
right in Brooklyn, just nine as were Bobbie murdered, you know,
was claiming the ship. We went to jail. So King
got all this crazy you know Washington where you know,
Washington got that really good environment, you know what I mean,
like they got the best atmosphere to grow shit, and
(45:17):
I mean or it's like weed weed. So we standing
around talking to some Homi, shout out to a couple
of homies from over there at the time. We politics
we sitting out in Middle Street, no different than we
sit on the West Hub, and they just blowing. They
got a circle blow. He's like, yeah, this will ill
be on right here. So King's smoking past it. They
got around to the second time, pass it. They want
(45:37):
to go around the third time. Why did this nigga
just faint? This New York is this Brooklyn nigga just
ain't it? I was like, I want the league and
I'm like, oh my god, we s gonna catch a case.
What Fudy got this nigga? This motherfucker West Coast weed. Man, this,
Oh my god, we go to prison. Shout out to
the homies from jes nine because he he hopped up
(45:59):
after he was for fun though. That was some fun
times that year. Going through that all the places, I
learned a lot and you realize it's just like us. Yeah,
it was crazy. That's why. That's why when people be
trying to tell me about game, cause I'm like, nah, nigga,
you can't tell me. I'm really fucked away, Like no,
you do really around like nigga, I'm not you know,
(46:21):
I'm not there. I love my people, man, I'm hanging
out with the hommies from from one and the Bronx Dog.
I'm in a back chiller shooting dice fuck with man.
I'm not nigga. I love my people. I love black people.
I look at fuck how poor we is? I fuck
which ghetto? I love us? Pete, Pete, can you hear me?
Speaker 4 (46:40):
Yeah?
Speaker 3 (46:41):
I think he had us in a barber shop that
I seen like on forty eight hours months later, like
this is where he had me at motherfuckers walking around
with pistols. When police driving around seventy eleven, They're like,
it's okay over here, what you mean. It's okay, you
got pollice, some pistols all around here.
Speaker 1 (47:00):
Leaving this blackness. I don't get fuck with none of
these beings talking about Yeah black my whole life. I've
been ghetto my whole life, and I'm go fuck with
everybody to gettigga when you get killed, ship, I don't
live long enough, nigga. But I am not running from
black people, bro, I am not. I'm I'm fucking my
people's man. I be enamored that they just like us.
(47:21):
I mean that youte motherfuckers three thousand miles away and
be on this bus.
Speaker 4 (47:24):
Shit, it's a good thing. Jobs isn't here to hear this.
Speaker 3 (47:34):
Man.
Speaker 1 (47:36):
Job's called me out to call John's back.
Speaker 4 (47:38):
God damn, we're gonna have to crop this piece and
send it to him.
Speaker 1 (47:42):
Yeah facts, but uh man, I was trade man. I'll
just be posting up with my people's man, like I'm
posting up with my people's man. I'm chilling. I'm with
my peoples right now. Man. That's how I feel.
Speaker 3 (47:54):
I see how that's the brand or like you say,
your brand, that's your brand, like that it's part of
your brand to go anywhere and be with your people
and not have no fear or nothing.
Speaker 1 (48:03):
I mean, because I ain't getting nothing to none of
these niggas. Yeah, that's how I feel like I heard.
Uh it's a cat named Myran Refresh and Fit podcast.
You're talking about Myron is so mad at black people,
like all you niggas and Nigga Tree and I'm like,
you know, you can't be around you niggas. Could up?
What are you talking? I've never got that. I never
got that. I never when I was in the Bronx.
(48:24):
When we was in the Bronx, it was I that
one round fifty cent neighborhood, like I owned the house
around the smother So with y'all, bro, Oh yeah, I'm
glad I'm alone. Oh West Coast, Yeah, watch up with it,
my nigga. Yeah, man, I'm coming to the fucking around.
I wanted to feel, bro, I wanted to be around
in the area. Oh ah, you're trying to get on
that hip hop Yes, son, I'm in Queen's. What's up
with y'all?
Speaker 3 (48:42):
Man?
Speaker 1 (48:43):
Like, like, nigga, what so what if a nigga want
to spot at the end of the day, I hate
that whole thing, Pete, Like if a nigga want to squabble.
What a nigga want to try? Like what Pete?
Speaker 3 (48:52):
He was there by hisself at times with nobody else.
Pete like by himself.
Speaker 1 (48:57):
Man, I lost my people's man, I don't just fun
what these people talking about. I love my peoples, bro,
I don't give fuck. We in Detroit and the ghetto,
and we was at a bar and Detroit and the ghetto. Man, Man,
what I'm with my people. If I'm gonna go out,
this is how I want to die. I want to
die with my peoples anywhere. If I'm gonna die, If
I ain't gonna die more das let me die with
(49:18):
my people for me. That's cool, you know what I mean.
I just I don't see that fear in us. I
don't look at us as these predators. Like it's a
love about us. And I got that love when I
went out there, Like it wasn't like that Pete. I
got that love. I got that love, bro. It was like,
damn you really posted yeah, man, it was like cool.
(49:41):
It was like, damn, get what we're doing. We're in
the projects and Jorgy shut out to Armie Free the army, Bro.
We're in the Project and Jorgey just chilling. What's up
with y'all? You only went to the projects in every
state in the projects and Jersey with the great streets,
and it's like, what show with y'all? My nigga show
with y'all. Nigga like watch up g man, oh g O.
I'm like, man, this nigga said on George on b
(50:03):
A nigga sad on Brandon in Jersey. Nigga in Jersey's
nigga said on George and Brandon, So you know, I'm
enamored that we're so close, three thousand miles away, like
like you know what I mean, Like everybody can frown,
but I love. I love the fact that we're so close.
Like I feel like when I as a rapper, like
that's my New York thing, even though I do West
(50:25):
Coast hip hop, that's something New York gave me, give
me and I and I want to make sure they
impressed with what I'm doing with it. It's y'all, just
like when I go over there, they want to show
me how they doing that things with their communities and
trying to organize and put together their own little street
gangs to protect each other and stand up. They care
what I thought? You see how deep our ten trade
(50:45):
day g is we out here? Becuz? Oh great, cause
I see y'all for real too. Back the three thousand
miles three thousand miles of Port Wemember, we're in Memphis.
This niggas are gonna gray old baby lo. What do
you y'all? We are talking about here with brothers? We
(51:06):
had the street racers. We say with y'all, men, what something?
Speaker 4 (51:08):
Man?
Speaker 1 (51:08):
Yeah, man, y' I'm gonna get my caught. We're gonna
figure it out. We're gonna make this thing. I'm in Kentucky, man,
I mean Louisville. Stay with y'all. That's what hip hop
is supposed to do. It's supposed to bring you closer
to brothers in all these ghettos. It's supposed to make
the mainstream America understand our plfe a little bit more.
(51:32):
They supposed Tupac made them understand our plife a little
bit more. They was like, you know, niggas ain't that bad.
You know that Tupac nigga. You know they understand our
feel mean like that shit matter cuse like, and niggas
don't get that's what this is for. They still be
trying to use it selfishly to try to get rich.
You know what I mean. Like, don't get me wrong,
it's some paper to get what I'm saying. It's so
(51:54):
much more to it that can happen, and we can
mobilize the whole country, This whole fly as shit, even
with cribs like nigga. When I went to New York, nigga,
we shot that video. Niggas crips everywhere, niggag, that's a nigga.
Look at this is three thousand miles away and the
brothers is united together? Or video was that you shot
(52:15):
there east side? Yeah, shout out to my brother went
and the brothers united. It brought us together. It's a
belief that a tear is aparted. Don't trust me. The
niggas who wasn't together in La wasn't together way before
crips and bloods came about. They was not together already.
(52:38):
This is not terrible part. Any further, they was gonna
still be like, well, man, them niggas live over there,
off slosson them. Niggas live over there off Western man
them a nigga. You could use any tidy you want to.
People just gonna find separations, I mean and distance. It's
just how it worked.
Speaker 4 (52:55):
I think that so to me, like, well, like Miami
is not a city that really has that. In Oaklands
dot of city that really has like blood and crypt
type things going on, you know.
Speaker 1 (53:05):
But most of all do. But they still got the
same shit happening.
Speaker 4 (53:10):
Yeah, I was just gonna say, the only differentially that
I see is the intergenerationality of one particular like name.
Speaker 1 (53:19):
That's it.
Speaker 4 (53:20):
Otherwise, like the same situation pops up and then it
kind of expires, and the same situation pops up from
the same courtyard in front of the same building. After
that one expires and does the same thing until that expires.
It just does it with different names in.
Speaker 1 (53:33):
The postal one. But the whole time, even when you
think of the gray stries, right, it feel like shut
up to the homies. It feel like everything is gray sty.
People don't really know the grace. That's not the first
like idea of Gray Street. The first Gray Street is
watched Wady of grat They got they got east Side kids,
(53:55):
they got Jordan down, they got Jordan down, gangs. They
had two other games in between that one. Then Gray
Street came along, right, then they got gangs under Grave Street, right,
they got baby low that's niggas older than me, baby
loas older than they was just baby loads at the time.
Then they got the niggas that's my age, the Peter
(54:15):
Rol niggas or the Dustail niggas or the paro Leae
and these are all gangs within that place. They feel
like it's all a sign. But them niggas a fight
and shoot and hurt each other too. You go to
the niggas and guards. They got lot. They got lots
in line, like the parking lot, Like these niggas from
this parking lot versus these niggas that hang out off
of this street, the deuce line one hundred and thirty,
(54:35):
one hundred and twelve versus the niggas that be in
this parking lot. Then you got the block, the block Boys,
which is out of the projects, so the Bell Havens
which is out of the project. So it's like it's
the same thing. But again if everybody from the outside
or they just grape streets, it just looked like nothing.
But again that's the point of hip hop, Like I
(54:56):
could give people sub the nuances to make them see
that they not that different. That's what I'm supposed to
be doing. That's why I'm here. That's why God put
me through all the stuff he put me through. That's
why God really put me through this stuff. We're gonna
be able to convey that this new project I conveyed
what's gonna blow everybody back. Pause is when I actually
dropped this and it be a big deal and everybody
(55:17):
gotta go back and listen and realize I've been doing this.
That's gonna fuck everybody. Man, this nigga really been on
this ship, so you know what I mean. That's when
it's gonna for me. It's more or less like God
always gave me a level of intellect, so it made
everything always a little bit more challenging. I could never
take the cheap way. What you mean by pause? That's
(55:39):
the New York Ship fuck with hummies and hartum.
Speaker 3 (55:41):
Okay he said bloody back and said pause. That tripped
me out.
Speaker 1 (55:44):
That means that's telling you I don't mean it in
a sexual way. Okay, Yeah, it's like some Harlem sh
It's New York Ship. I don't know, hal shit, A
bad bad why you laugh peaks just.
Speaker 4 (56:04):
The whole nature of it. It kind of replaced what
was the previous iteration of that.
Speaker 1 (56:11):
Something kind of like that. So that's all. That's all
it is. I focus on that more than anything. So
that's why a lot of times the things that's going
on inside of my mind come right to the podcast,
because really, these are things that can help people with
(56:32):
their every day life. This is something peak it help
me with. I can say one thing, people like, man, gee,
I thought about that? Did that?
Speaker 2 (56:39):
Or that?
Speaker 1 (56:39):
Man? Somebody can hear this podcast and be able to
tap in be like man, gee, that's a good point.
I thought this that And the third you do get
some of the people that like man, that was brilliant.
But you know, you're really putting out the information so
people could use it to they benefit. They're looking out
for tuning into the Note Senters podcast. Please do us
(57:00):
a favorite, subscribe, rate, comment, and share. This episode was
recorded right here on the West coast of the USA.
It produced about the Black Effect podcast network and not
heard radio year
Speaks to the planet.
Speaker 2 (00:01):
I go by the name of Charlamagne Tha God and
guess what, I can't wait to see y'all at the
third annual Black Effect Podcast Festival. That's right, We're coming
back to Atlanta, Georgia, Saturday, April twenty six at Poeman
Yards and it's hosted by none other than Decisions, Decisions Man,
DyB and Weezy. Okay, we got the R and B
Money podcast were taking Jay Valentine. You got the Women
of All podcasts with Saray Jake Roberts, we got Good
(00:23):
Mom's Bad Choices. Carrie Champion will be there with her
next sports podcast, and the Trap Nerds podcast with more
to be announced. And of course it's bigger than podcasts.
We're bringing the Black Effect marketplace with black owned businesses
plus the food truck court to keep you fed while
you visit us.
Speaker 1 (00:38):
All right, listen, you don't want to miss this.
Speaker 2 (00:40):
Tap in and grab your tickets now at Black Effect
dot Com Flash Podcast Festival.
Speaker 1 (00:47):
Watch up and welcome back to another episode of No
Sinners Podcast with your hosts now fuck that with your
load glasses Malone. So the tricky part is, right, is
I don't really look at. So when I podcast, I
(01:07):
don't do interviews. Like one thing I wanted to do
with no seilings is not have like an interview like
they like the audience. The population has enough interview ideas.
I just wanted to have a normal conversation with people
based off or whatever the thought is. So one of
(01:29):
the greatest people that I have conversations with is Pete.
Like Pete is somebody that's he's very knowledgeable in a
lot of different things, but it really strong and then
where I'm strong at, I'm strong at, but he's open
like Pete is. This ain't the true definition, but this
is my interpretation of definition through my experience of breathing.
Their smart is the ability to talk. It's like a
(01:53):
quick wit you could talk. Intellect is the ability to
listen and process with your listen to and then to
be able to respond to that. Peter's intelligent, Like Peter'll
be open to some information. Like We've had multiple conversations today.
I was on Twitter and I was telling somebody they
was telling me about They were talking about gang culture,
(02:14):
and I'm like, bro, they are so minimal things that
separate gang culture from any level of street culture. And
you'll have one hundred people that's upset that I'm distinguishing it.
They'll be mad, and I'm like, because they want to
be upset at gangs. They really want to feel like
gangs are the issue in the community, not oppression, not poverty,
(02:38):
not the lack of resources and opportunities, not the police
force driving down. They like gangs right and specifically they
kind of want to corner black people in games. They
don't want to talk about al Capone, like Sherry. They
don't want to talk about al Capone. They don't want
to talk about the mafia. They don't want to talk
about the same thing that's happen in East LA and
(03:01):
then cycles. They don't talk about it. They don't want
to talk about the hell. They want to hide it
under the guise of them being black. Like I was
talking to the Homie Champ today and I was telling him,
you know, it's a brother I start building from Alabama.
And I was explaining to him like he was like, well,
I don't care about my people because I'm black. I'm like,
how is it your people? He's like, well, them people
(03:21):
come from Mexico. No, they were born in America, just
like you, Like I think it's a lazy, irresponsible thing
that sometimes brothers do. It's like, I only worry about
black people. You have to be worried about humanity because
some things go across the clear landscape of humanity and
it lets you know that it's not an individual thing
(03:41):
based off this. So if you could solve this problem
for us, then you could solve the same problem for
everybody else. So Pete said to them, He tweeted, he said, man, look,
I was telling them that the same thing happened in
Oakland happens in LA. There's no crips of bloods. The
murder rate is just as high per capital. It's just
(04:03):
as violent. Everything that you would like to think is
the community itself. I'm like, there's no crips of blood,
so why do you think that is? Intellect allows you
to take what I'm saying and listen. Emotions make you
think I'm defending it because I'm a crypt But if
you think about everything happening in Oakland, he could tell
you he lived up there. It's the same fucking thing.
(04:27):
But it's also rooted in their ignorance, like most people's
ignorance about what gang banging is about. Most people think
it's about colors. They really saw the movie and it's like,
all that's about colors. So that's how I built no seilings.
I built it, you know, with Pete and the cousins,
(04:50):
to have real conversation things with things in good conversations
and good faith, where where you're hoping to learn in
exchange a bunch of facts to create dialogue and thought,
it's not meant to be entertaining. It just happens to
be entertaining. I can make it way more entertaining.
Speaker 3 (05:13):
But do you think you'll be going against what you
trying to build? Do you make it more entertaining?
Speaker 1 (05:18):
I mean I could put somebody that sit next to
you and and they'll just argue with me for the
sake of argue with me, And then at that point
the polarity, the negative and the positive coming to each
other makes it more powerful. I think the listener doesn't
get anything from that, Okay, Like it's more important as
(05:38):
a healthy sale to pass DNA genetic information. Just to
pass information, that's the most important thing. So like we're
trying to pass information that that's to me to go.
So even if we're having a conversation that I'm wrapped
up in which is what this thing was about. I'm
having a conversation. I'll bring it right to the podcast
to talk to Peter about. So like, if the concept
(06:00):
is storytelling, right, and it's like, that's all marketing is
is storytelling. Promotion is when I tell you the story
if it's mine story. Publicity is when somebody else tell
you the story. Advertising is when you pay for the
story to be told. So like, even if I'm talking
to Madi and I'm telling Madi right now, I'm like, man, Mady,
this is what I need, Like you can hear, I'm
(06:22):
gonna walk it down and she's gonna be like, yep, yep, yep, yep, yep, yep,
she's telling me in this time, like the conversation, the
story needs to be very intriguing. She said that to you,
She said, yeah, because it mattered you know who the
first person is that validates the story, and then you
(06:42):
can move a story based off who validated thing about that.
She said that, Remember I just said that. I said,
it's one thing if you get TMZ, it's another thing
you get the breakfast club or iHeart right, But then
there's still the work to take that story to everybody
in between see the belief that we've been doing business own.
(07:02):
Like I told you earlier, I was telling Pete, excuse me, Pete,
I was telling King. I was like, that's like, if
I open up a weed store and people like to
smoke weed, I think people supposed to come through the door.
Marketing is the reason people come through the door. The
tricky is people think you come to the door because
(07:23):
you want to get some weed. That's minute part of
the population. Marketing might be that you panked the front
of this motherfucker with a big ass cannabis leaf looked
like the front of the Chronic album covered that make
motherfuckers walk in. That's marketing. That's telling the story to
anybody that sees the front of that building. This got
(07:46):
something to do with weed, marijuana.
Speaker 4 (07:49):
That's why every weed shop in the first like ten
years that they had weed shops had some sort of
play on words about smoking weed as the title name
of the shop.
Speaker 1 (08:01):
No Selings, Jail, Come my Brother Peter, Boss in the house.
Another episode, No Breaks, got King of Things in the house.
What's up Ken, what's happening Pete? Okay, So that's the goal.
The goal is to tell the story. So it's like
when you asked me, what did I do wrong with cancel?
(08:23):
Specifically cancel. So when we first right before we first met,
when I first started learning all of this stuff, I
was picking up records, like I always told you, I
was picking up hip hop. Then I got to marketing.
We met when I was starting to pick up hip hop.
So at that point it's like you study, study, study, study, study,
and then you do these things that are tests. Right,
(08:44):
That good was my first test on record, and then
it being my first independent hit record. It was a
regional record, but it's my first hit record independently. My
MOA was just us. The proof of hip hop was
glass House Too. When people heard it, they could hear
the culture in it. They I knew what to do,
like I I got it. I know what's happening. And
then the marketing proof was when I did Tupac Months Die.
(09:07):
Remember I was like, man, it's gonna be the most
talked about song on the internet for twenty four hours,
and that mother fucking up being the most talked about
song on the internet for twos maybe even a month.
But it's all because now I'm not sacrificing no part
of my brand. I don't gotta give no, I don't
give nothing. I lean into my brand more. When everybody
feels like they need to run away, I lean into
(09:29):
my brand even more than before. That's the trick. I
leans into that shit. I'm not running away from shit
this crip. Yeah, whatever you think that mean. To some people,
they think it's like, oh, that means you're gonna snatch
your old lady purpose. That's they ignorance, you know what
(09:49):
I mean. They don't know. They like, what does that mean?
It means you you're gonna kill somebody that wears red.
They all kind of ridiculous shit. But it's not their
fault they ignorant. But it's also my job to That's
what makes me so valuable in the marketplace. I can
fill in the gray area. Now, there's gonna be a
population of people that act like they don't care. That's
(10:09):
just a fact. They're gonna act like they don't care.
It's a population of people that, oh my god, you know,
they feel the threat of how cool that's being, and
they tired of not being cool themselves. Oh you know,
fuck glasses, the creps. What they did every special to
Homie asked me that he was like, Yo, what's the
benefit of being a crip? And I'm like, the benefit, Like,
(10:31):
I don't do most of the stuff in my life
to be the benefit. But you know, I'm sure it's
the level of camaraderie. It's a level of opportunity to
actually hustle. Like in la you can't just be hustling
in everybody neighborhood. You got to have a relationship. I mean,
motherfuckers ain't let you monetize their community for free, just
like american't let you monetize this country for free. So
(10:56):
the point I'm saying is it's like you have to
kind of see it. So the difference what canceled is
I knew how to make the content right. I made
a great body of work. Canceled These Nuts is really
a solid body of work. Like definitely on the top
half of my project follow You by a four, it's
really good. But from the promotional angle, I just depended
(11:24):
on podcasting. Like a lot of people that that has
a that have a product, right that they depend on
just going around on a podcast to it right. People
they telling everybody, here's I'm gonna use my brand and
then you're gonna be interested in my brand, and I'm
gonna tell you at the end, gonna listen to my
album and that's gonna work. Right. I stop at the
breakfast club, I'll stop at you know, brilliant Idiots. I'll
(11:47):
stop at you know, uh eighty five South. I'll go
to the Bay.
Speaker 4 (11:51):
Traditional press tour concept, huh, like the traditional press tour
concept when they drop a book, when they drop an album,
they got a movie coming out all the rest.
Speaker 1 (12:01):
Yeah, right, So it's like that was something cool, right,
So that was my only promotion. There was nothing else
that wasn't no promotion. The music videos and promotion, but
even that point, the way I saw it, once you
do a music video on YouTube, you're not promoting anymore.
You're giving away the product. Like the inception of music
(12:23):
videos was all about you putting something on television that
you didn't have, like you were able to get you
got privy to a new song, Like you looked at
the TV and you heard that song. The only way
you could have that song on command to be at
a player wherever you want to after that was to
go to the store and buy the song. And they
made you buy a whole album. They didn't even let
(12:45):
you buy the song, like you got to buy this
whole straight out of Compton and Master.
Speaker 4 (12:51):
Pigmate, you buy twenty two songs and seven skits. So
it was quite a commitment, you like.
Speaker 1 (13:00):
So it's like that was the point, right. So the
only way I could hear this song, if I liked
this song with that brand that I just saw on
the television, was to go to the record store and
buy it today on YouTube if I give you the
music video, you stream from YouTube. So you play your
music from YouTube and they pay you a whapp in
(13:20):
one cent per ten plays, one cent a penny for
ten plays. That's crazy, right. So it's like I didn't
calculate that. So when I dropped you know, some for
some for bitches, or when I dropped tra like, I
didn't calculate that. I didn't think about that. I was like, Okay, well,
(13:43):
if it's gonna do two to three million like Kanye
fit me, then I can make it work. But it didn't.
They was like, yeah, we're not finna move this nowhere.
You need to advertise. Yeah, you need to fiz some
money into this, you know what I'm saying. So one
thing was I didn't really have the promotion outside of
the press tour the proverbial like PI said, the press
(14:04):
tour or just the videos. I was thinking about something
else too, right, like YouTube like MTV might have charge
you five or six thousand dollars to slay the video
to put a video inside their system. Right, that's what
you paid for. You paid for the video, then you
prayed the slaty. So it's not like me advertising a
(14:24):
video is doing too much. The trick, though, is to
not advertise a video and then give you the song
at the same time explain that you can't put the
video on fucking YouTube first, okay, because if you put
the video on YouTube, I gave you the song, okay,
So you gotta put it out without visuals first. But
(14:45):
that's where it get tricky, you know what I mean.
That's where I'm that Nigga and other people gotta figure
it out because when they see what I'm doing, that's
the plan. Okay. But I'm telling you that's the problem.
Speaker 4 (14:55):
You gotta sell your horses in the stable. You can't
let them flee the barn first and then try to
sell them when they're gone.
Speaker 1 (15:02):
That means my idea, I can't give it to people
because it's my idea. They gotta pay me, and it's
not gonna work for everybody. Neither. My idea ain't gonna work.
I had to figure out the idea for them after
I'm done with this presentation. Man, some problem. Contina should
be hiring me to be her motherfucking in turn, to
take her position that she you know, when she when
she get out of the business. That's how good I should
(15:22):
be a product manager at some company at this point,
you know what I mean. That's how I see the game.
So if you gonna see me talk to the best
people in our field, you're gonna see me talk to
the best executive. If I'm talking to Brian Turner, it's
gonna make more sense. If I'm talking to Madi, who's
a publicist. Job she did with Tory Lang in Credible,
it's gonna be an impressive conversation. If I talk to
a distribution company, it's gonna be an impressive conversation. Hell,
(15:43):
if I talk to Doctor Dre about records, it's gonna
be an impressive conversation. If I talk to Lord Jamar
about hip hop, it's gonna be an impressive conversation. Because
I care. I put way too much effort in it.
So the separation from cancel to what I'm about to
do coming up is like I'm no longer trying to
figure it out. M And that's why I like when
(16:05):
you feel like, forgive me for lack of better terms.
If I snap at you, I'm not snapping, nigga. How
dare you question it? You feel now? That's raggedy. Don't
get me wrong, and I get it. I'm supposed to,
but I talk, but no, I see why the greatest
niggas are that way. I see why Kanye is that crazy.
(16:26):
I see why niggas is like, Nigga, you ain't put
in nowhere near this to be talking to me, nigga.
That's how I feel about creeping nigga. What the fuck like, Nigga,
Go get baby gangster. You know what I'm saying. Go
get get nigg you on the phone. Niggas ain't nigga.
Go get my nigga girch. Go go get some homie,
(16:47):
go get something, go get plucked, go get moon, go
get some older homies. You niggas don't give a fuck
enough to be talking to me about this. That's so
so when I'm telling you. I'm like, man, this poster,
this is the campaign. I want to drop this poster here.
You're like, well, you know, I don't know because Nigga, what, No,
don't take that picture. We're not gonna take that. It's
(17:08):
not a picture. I'm not saying you're wrong. King Olivia's soul. Bro,
I swim on my mother. Bro, you're not wrong, but
go ahead. But I'm saying it because I know, yeah,
now you could build everything I saw on top of it.
I'm sure it's gonna be a challenge that you want
me to do it because this is what I do.
And no, I don't want you to do it. That's
not what I'm saying. That what I'm saying, I'm saying
(17:32):
it comes across to everybody else like arrogance or like
like Cherry said, I'm being a dictator. I'm not because
I'm not talking to you about who gonna win to
chatter if you say who won win the finals, I
can't be like, yeah, the Knicks is gonna win. Here
it is boom and I know Nigga now want you
I wouldn't bet on it? Well, not straight up.
Speaker 4 (17:53):
That happened me A couple of times, like I've hung
out with Malcolm and some people and aside from the
fact act like if I make jokes, they can be
a little sharp, but also like I have no no
patience and stupid, not well read loud opinions. I just
I don't have the patience to take them off. So
(18:14):
like fella, last couple of times, like we hung out
with some people and they say some shit, he just looks.
Speaker 1 (18:20):
At me like, please don't embarrass me.
Speaker 4 (18:23):
Man, yeah, and I know, and like this is your friends,
but like he'll just kind of go just just no,
not today.
Speaker 1 (18:32):
But I get can't feel and getting older, like it
makes sense, like you know what I mean If you
don't ask me, nigga, I'm telling you. So it's like, Nigga,
I gave up everything to know what I know. Now
I am up for listen. If you say something, I'm
ana listen. But if it's say some bullshit, the first
thing I'm about to them to cuss you out. You
(18:53):
made me listen to this ship when I just gave
you this soul fly shit that took me seventeen years
to figure out. You're gonna tell me just think you said.
Speaker 4 (19:03):
I had a question from earlier from like we were
talking about before we got on, because he had mentioned
like the time gap between Kanye and Cancel. Yeah, and
obviously there's a lot of factors, say, like you know,
(19:24):
you and Kendrick aim for like your most pinnacle quality
of artistic output, which with each project. Yeah, and I
would say, you guys are also both older than like
like you were doing your thing and then social media happened.
You weren't born into the social media ecosystem.
Speaker 1 (19:41):
You know.
Speaker 4 (19:42):
Do you think that a good portion or at least
the younger portion of.
Speaker 1 (19:47):
Hip hop is.
Speaker 4 (19:49):
You Maybe you could make the case like suffering from
low quality, high quantity, or at least being framed by
the fact that you see, all right, this is good
enough to to consume or be consumed, but we have
to just keep putting out fives on a scale of
one to ten, just all the time, the way like
you see girls trying to build a massive social media
(20:11):
portfolio of like as bouncing videos. Just low quality, stupid ship.
We're putting out three a day, all the time, all
the time. Put it out all the time, like like
the Curtis le may fire bombing thousands of bombs a day,
versus just one nuke and then end it?
Speaker 1 (20:29):
Do I think so? So I don't want to say that.
Speaker 4 (20:32):
Is that in my head?
Speaker 1 (20:33):
Or is that? Like? No, I don't want to say local,
you're not tripping, but I don't want to say low quality.
It's like an NBA Young Boys, like the Father. It
is NBA Young. We got so many goddamn songs, so
many that motherfucker probably got one hundred plaques. Welcome home,
because I know you came home. You know I'm happy
for you. Do the most with your time out. Go
make it happen, bro, because you your wizard. It's like
(20:58):
he understands right now. I don't know if you understgive
me that's not That may not be true, but this
goes to that theory that hip hop is street urban
culture personified through the arts. So where it may not
have the literature or the English technique some other hip
hop artists have, the culture is so heavy with it
(21:19):
that's all you really need to move it across the
landscape so people can enjoy it. Because whether people know
it or not, Pete, they're coming for the culture. They
not coming for the English technique. They not coming for
the metaphors. The punchlines and similes, even though historically they
have found that in certain artists usually.
Speaker 4 (21:38):
Well, I think that the quality suffers on everything, well,
at least comparatively, Like some guys are really good. You
can put you can put stuff out, good quality, you know,
out of your mouth, uh, and good volume. I think
maybe it's more so on the musical side.
Speaker 1 (21:57):
We're talking about like.
Speaker 4 (21:59):
I'm talking songs like like I said, of putting out
like the Chronic and then two thousand, like they're eight
years apart when they hit. They hit like you know,
with with metric tonnage, just putting out like decent enough
songs all the all the all the time, and the
songs kind of sound the same. You might be rapping
phenomenally on them, but the songs are just a just
(22:21):
an ocean of Honda civics just boom boom boom boom.
Speaker 1 (22:24):
Yeah. Yes, answering the question is yes, but well I
guess there is no but yes, yes, that's like that's.
Speaker 4 (22:45):
Led to where like there's a few songs have a
good sound and then people just make similar ish sounding
beats just in huge volumes.
Speaker 1 (22:57):
Yeah, yeah, yes, yes that's happening. Yes, why is that happened.
Everything else is harder, which made harder to find producers,
harder to find different music, or to make the chronic
of two thousand. To make the chronic or two thousand
and one is hard. But can you just make good music?
(23:17):
You don't have to make the chronic, But can you
make good music? What's good? I guess? I mean it
appears like if you young boy, young boys dropping a song,
he dropped one hundred songs in the year them, then,
so how can you be great overall with one hundred songs? Well,
I think his greatness is measured differently. His greatness is
(23:37):
measured in his cultural appeal, and then the songs just
become away for you to vote that you fuck with
him culturally. Yeah, but you go ahead, you'll find something
you like in the songs if you put out one hundred. Yes,
I say what I'm saying, like people support young boy
because I noticed this as soon as we got the
(23:58):
phones in our hand. You know what I'm saying. As
we got phones in our hands, it made everything what
we see, not what we hear. So all you have
to do is deliver what you see in my ears,
so it don't have to be they don't have to
master what you hear. This ain't you know pre phone ever,
(24:18):
where a visual took longer to travel like a picture.
There were certain artists I didn't even know what they
looked like, and I knew some of their songs. A
god was like that for a long time. Most people
that know Bobby Carwell was a white man, right, people
didn't know that. Now it's the exact opposite. I know
who a lot of these people are and never heard
(24:39):
a song. Because of how we consume, you know, entertainment,
It's changed. It's all in my hand and I see
everything it's like right now. One of the biggest and
greatest mistakes of No Feelings not being this really huge
podcast because I think me and pe conversations will go
(25:00):
as big as Joe or anybody else conversations is we
don't just have a simple visual component. Now it couldn't
be as simple as like what we do with the
live stream, whereas it's kind of like underproduced idea needs
to be produced to some degree. Part of the thing.
Pete moved to Florida, so is like trying to figure
that out, it's really tedious, and then creating a set
(25:21):
that would give off something special, right, It's like huff
But that's we're probably missing out on ninety percent of
the shit we could have. And I mean ninety percent.
We're probably at ten percent potential. A lot of other
shows don't they do like interviews and stuff. That's something
you don't really want to do. It's not the interview part.
Like I could sit down and have a conversation with
(25:42):
too short. We don't got an interview it if you
can sit down and have a conversation with Shaq, I
just ain't trying to ask you, you know, like unless
it falls within the conversation, Like the goal ain't to
come in and know no siblings, ain't to come in
and probe you. Yeah, nigga, you could join in what
we're talking about. And I learned that from brilliant idiots.
I learned that from Scholtz and Charlotte Mane. Like they
(26:04):
just be having a conversation, they jump jump in ge
like double dutch. You know what I'm saying. And when
he kept trying to get me to do a podcast,
that's how I believe in podcasts. Shout out to Jack Recipes,
the podcast God About to Chris and all the other
(26:24):
podcast text on all the other god the podcast gods.
But to me, that's what real. Joe Budden's just conversation.
So I hang my hat on it. I'm not here
to interview people ask you about your songs, and you're right.
Every a lot of people they just sit back and
just talk to the person versus letting people see this
person talk about something else. He always put a lot
(26:47):
of pressure on still about that, like, don't turn against
the chronicles into an interview platform. You're not. You're not
Donnie Simpson. So that's the job. Storytelling is the job
on every level, So even on the promotional levels. Telling
(27:10):
you the story. So if the posters look a certain way,
they want it, and they look a certain way, how
do I convey want it through a poster? Now you
see the poster, it makes sense, right, How do I
convey the title of the song wanted? All right? How
do I convey the title of the wanted song through publicity?
How do I convey the advertisement? How do I make
(27:34):
it work the greatest levels? I can make that work
at the greatest levels means more people get exposed to
the campaign. So what separates cancel from this one particularly
is just my mentality going into it, like I made
the record a little bit more unique to fit the
(27:56):
landscape of the day. Like Pete was saying, like I'm
mindful of even now this was the last part. I
wasn't even mindful the streaming. In twenty twenty three, I
made traditional records from you know that Ray Charles created
the whole traditional hook bridge, you know verse shit. You
know we've been making that style of record now for
(28:17):
I don't know seventy years, and it's like, but we
may don't have the medium or the structure that that
created to even market it. So now we're stuck marketing.
Even when I'm telling Mardy like that's why she was honest,
she was like she was like, yeah, it changed a lot,
Like you really got to have something now, You really
(28:39):
got to have something now. I mean other than that,
people are gonna be like, you need to pay me
to expose your shit. People offer me ads and shit,
and they like, man, you got to post it on
your page too. What they they offering me? A story?
You got to posts on your place? Nigga? You are
you why I could tell my own people that shit?
You want me to say? You know what, I'm saying.
(28:59):
So it's like you have to understand that's marketing in
the nutshell, it's just really great storytelling. And once you
get that, you know what I mean, you can make
it work. Now you know exactly who to go to,
what to tell them, what you need from him, and
what they should be doing. And then if somebody really
fuck with you, like Mady so a big part, like
(29:21):
Greg is my nigga, Like Greg the publishers, Greg is
like my guy. Mady is like, really my sist. This
is really my friend too, like Greg is. We built
the relationship me and Maighty before we did every did
we never did business. That's just really been my dog.
And she'll be honest with me. And if anybody else
don't cut me some slacks, she'll cut me the most slack.
Greg would too what I mean, But Mady is like,
(29:44):
you know, that's really my dog. So it's like, you know,
finding rounding up the best storytellers, you know what I mean?
In advertising, my nigga Drew that work with joining the
Luka shout out to Army Drew. Drew was one of
the best stories tellers when it comes to advertising. Not
the content, sheer just shifting the conversation out there, making
(30:07):
it worth less than a cent per engagement, less than
a cent per engagement, less than a cent per engagement.
So think about it. That means one dollar means one
hundred eyes eyeballs less shit, maybe two hundred eyeballs for
(30:30):
one hundred you know, all the way to ten dollars.
And that's the thing. So you really gotta when you're
trying to market something, you gotta figure out what's the
story that's gonna make people interested and then round up
the best storytellers you can get. Shout out to the
Tommy Jagbamb Right, Jagbamb is one of the best street
(30:50):
team guys on the promotional level. So even though I
can create how to tell this story through this promotional poster, right,
we figured that out, Right now, I need somebody to
go out and tell help me tell that story, put
it to where that story will convey it matter the
most to the people that see it, because it ain't
as simple as making a poster cousin and putting that
poster in church that might not work out. You can't
(31:14):
just have the little Kim hardcore poster in church that
might not get what you trying to get she got
that thing bust open, spread eagle. You feel me? That
might not be cool at church. You may not get
CD sales because of that. You might get some outred,
but you might not get no CD seid one thing.
(31:34):
Like I said, I'd be really upset at Kanye a
lot right because and I don't know why I should
expect Kanye be Kanye. It's Kanye. But I think he
really gets how to make He gets how to garner
major level of publicity on independent status by the antics
(31:55):
he do. I mean, if you use the term antics,
I mean he's just saying something now. He don't have
a fear of the repercussion of how people gonna feel
about it. He probably knows something more than most of
us know. But you know, in my situation, like I said,
I wouldn't galvanize an audience to not listen to him.
(32:16):
I'm just not gonna fuck with him when I'm not.
I'm not going to fuck with that new project. You
have to do better, show me something that I should
care about there, like the last project, I don't care
if you go number one. I'm not the traditional listener,
you know what I mean? The story of you going
number one or making the Billboard charts mean nothing to me.
I ain't never saw no motherfucking body who made a
Billboard charge that person number one. I need to go
(32:37):
listen to the project, and I ain't listen to a
Traviscott project. Still. I heard about eight Travis Scott song.
I ain't never heard a Travis Scott song. Shut out
the travel. I'm not talking shit for I'm not telling
shit no for real, because I've never heard a Travis
Scott song that maybe want to listen to the album.
I've heard Traviscott songs that I enjoy and be banging.
But nigga, just because you got album don't mean I
(32:58):
gotta listen to it. A nigga, he thank you, sick mo,
thank you, this is your song. I appreciate that. The
jams I don't know. I don't gnna fuck with albums
own is because it's his brands and the product itself. Okay,
Like like for example, right Pete, it's fair to say,
(33:20):
like like if somebody got a good piece of fried
chicken and now they're selling uh burgers. Yeah, I'm not
buying burgers from Kentucky. Mm hmm fuck no ho the fuck?
How good. I like your original recipe chicken. I'm not
buying no fucking burgers from y'all. Fuck out of here.
I won't even buy the chicken sandwich from me.
Speaker 4 (33:39):
Really, that's one of the funniest phenomenons. And I guess
they all seem to survive. But you know Papao, the
company out in Houston. Yeah, well they've got like Papa's Barbecued,
They've got Papa's Mexican Food, like or like text mex
or whatever like that. There's a whole series of different
genres of type of restaurants under the Papa's umbrella. And
(34:02):
I'm amazed that, like the I mean, I guess I don't.
I haven't eaten it. If they might be terrific, but you're.
Speaker 1 (34:09):
Like the marketing person like me, like I actually judge
your marketing. So too many papa scare you with different.
Speaker 4 (34:22):
I don't know about that because they got different, different
things going on. But sometimes it's like, what's the what's
the what's the expression of a master of none? You
want to trade oh jack wads, master of nuns. Yeah,
you start to become the cheesecake factory. We got seventy
five I's on the menu and another of Murney good.
Speaker 1 (34:37):
And the only thing good is the fucking cheesecake.
Speaker 4 (34:40):
Yeah, which incidentally is going down their thing.
Speaker 1 (34:46):
Yeah, it's like we're gonna make this fire and we're
gonna have a bunch of regular ship.
Speaker 4 (34:51):
Just give some dinner. It's all about the dessert. Throw it.
Speaker 1 (34:55):
And that's how they should marketing. Who cares about the dinner.
You come for the dessert. That that's just to get
you to the dessert menu.
Speaker 4 (35:03):
We just gave you that to We're just we're giving
you a justification for eating this cheesecake.
Speaker 1 (35:09):
They should charge sixty dollars for the cheesecake and it
comes with dinner for free.
Speaker 4 (35:16):
I think you're I think you're on something.
Speaker 3 (35:19):
I have to think about it too, Like.
Speaker 1 (35:25):
Hey, come to cheesecake factory where dinner is free with
every slice of cheesecake. Yeah, it could work. All that
nasty as ship. You can pick off that and sorry cheesecake,
because I know I'm on your sh I had that
chefer's part. You need to be ashamed of yourself. But
that's how that's how good the food is not The
food is not that good. But if they focus on cheesecake,
(35:48):
like every order you get free dinner with your cheesecake.
You got us, Like that's one thing. Like I stand
on being a crypt from the West Coast. Now I
do let other people's ignorre kind of control them because
I really ain't tripping like whatever, like what you really want?
That's the way that move. Originally you started that.
Speaker 4 (36:08):
Yeah, buy this water and get a cigarette for free.
Speaker 1 (36:12):
That's true. True, And everybody used to make a lot
of people used to make people bring their own cigarettes,
like now you gotta bring your own new Ports. I
got Sherman. That's where the name sharm come from. Sherman
cigarettes and brown cigarettes. Oh interesting, that's what the brown
cigarettes is called Sherman. Yeah, so that's where the term
sherm weirdose had brown cigarettes when I was young, Well
(36:32):
that's what you used to dip them all, because I
guess I don't know. I did the white paper ones.
I had to ask the older hummies, why do they select.
Speaker 4 (36:39):
Sherm confused and smoke the rog cigarette?
Speaker 1 (36:43):
Probably so they okay, Yeah, I got to the plaint.
I got to the point where I started dipping anything.
Speaker 3 (36:49):
Yeah, that's what I'm saying. I seen white ones dipp
and all that kind of stuff, but not I dipped
your blunt at the brown. You ain't getting no five
or ten dollars deal with no blunt.
Speaker 1 (36:58):
That's twenty hit this motherfucker cause you know that blunt,
soak up all your God damn it was dipping blunts.
So yeah, damn they was going hard. And then that
we was touching that tac strogg Yeah weed to call
that hurr game.
Speaker 3 (37:17):
Yep.
Speaker 1 (37:17):
So it's like just leaning on it and understanding your
job as a storyteller.
Speaker 3 (37:25):
So you think with storytelling, now you gotta start adding
stuff to it, like products or something in your storytelling
so people could take something with them.
Speaker 1 (37:34):
For me, I just feel like it needs to be immersive,
you know what I mean, Like you gotta really do it.
You ain't no more half stepping, and so what's immersive
and not half stepping to you? So, like, if my
goal was to leak a snippet, right, if i'm i'm
I'm I'm gonna use this video as a vessel to
(37:55):
market to something, right, as a vessel to not even
market to expose this because you were on the phone
and you need to see everything first. So if that's
a vessel to expose even building up to the release
of the vessel of how I want you to see
it need to be just as tedious like the average
person right there, just put up you know, not dissing them.
(38:16):
They're not wrong. They'll just put a picture of a
wave on air. Ig listen to my new snippet. No no, no, no,
no cuss glass low hip hop all the way in
like this. I'm gonna make it a part of the video.
I'm gonna build the video out more. I'm not just
gonna let y'all have this house. That's the video. You
come in this yard, No no, no, I'm putting grass down.
(38:38):
I'm put a gate around it, put a basketball court
and the pool in the backyard. When you're leaving, it's
a pool in the backyard. I'm gonna build it out
for the fans, so so motherfucker that wanna have some
dope shit could be wrapped up into it and give
them more things to talk about. I feel like you
gotta go all the way. You know what I'm saying.
(39:00):
People want it all, they don't They not taking just
part of it no more. It's music itself, just part
of it now. I mean, yes, music was its own product,
but you take somebody like Larry June, Like a lot
of Larry June's business is like you know, like good
(39:23):
job Larry talking about people with the job, or get
healthy and juicing, or you know what I mean. It's
a million other things, and it's a full emotion immercial world.
Same thing with like the Russell Like they give you
a full immersive experience. You fully engulfed in the experience
of whatever they doing. They brand and then the music
just become an extension of the brand. M My shit
(39:48):
is different because I still make fucking joints. Though my
shit could live on its own. You don't need me
to be there at the highest level, Like I don't
got to be with the record. The record could go
on his own. People will be like, oh, I didn't
know that was your song. Yeah, I'm good that good
at making records. People tell me all the time that God,
I didn't know that good was yourself. Damn that is you.
(40:08):
I used to be Nigga that because it wasn't important.
The product itself was specialized and learn how to make
the best product of record first. A lot of other
people specialize in how to market their brand. That was
nip thing that was like nip Shit was brand, the
Russell was brand their brand. Guys, I'm a record guy
(40:32):
that understood finally, Like, oh, y'all want me to be
the nigga for real? Okay, well, y'all can't shit really
can't nobody even be this nigga like this? No, Like
this is like I'm the last of a few. You
know what I'm saying, Like, oh you you oh you
really want to see it? Oh you want to see
the whole thing I got you here it is? This
(40:54):
would have looked like so you think you got everything?
Speaker 3 (40:57):
Now the totality of what needs to be done, from
the records to the business.
Speaker 1 (41:02):
Side to the most stripped down minimals still ain't great.
Like still one person. But should I send at the
top dog the dude Doff from TD, Like, look at this,
he ain't said one thing back. I'm gonna call his
ass soon as I get off this podcest What you
tak I call stress stretch? Can I do this and that? Like?
You still have to keep us er? Now I have
to ask Pete people you to get his market. Pete
don't give a fuck, but he might see one thing,
(41:24):
you know what I mean to be like yeah, what
about this, So you still got to use your resources,
you know what I mean? And and thank god, I'm
not the smartest person I know. Thank God, I just
know a lot of smarter people. But it's like I
know at the I know at the basic level, at
the oct to put his level, what needs to happen.
(41:46):
I know where all eight arms, I know where all
eight tentacles need to be. I know exactly what's the story.
You know what I mean, and who the story needs
to be told to. And then after that story told
to that person, now I understand you need to go
tell everybody else under that person that story. That's gonna
be the reason that they tell the story for you.
(42:07):
That's important to know. I can even size it up
based off impressions at this point. I know what I'm
gonna stream based off impressions at this point, Like if
I get this many impressions, i'ma streaming this much Like
this is how much I believe in the math of
the business. So it it I paid. I gave up
(42:34):
a lot of years to get to this point, for
probably very little years, but I'm finna run this bitch
into the ground until the end though, I mean even
if it was eighteen months that sacrifice was worth it.
Like this became like my first love is drag racing.
If you have to give that up for this, Yeah,
(42:54):
this is my second love. But you learned to love this, right. Yeah.
I didn't love it at first. Yeah, I love drag racing.
At the beginning, I wanted to know everything that was
know about it. Hip hop not so much. It was
just like my mom used to listen to the song
blah blah blah, but I didn't really know what it
was about. I didn't really know what about. I always
knew what racing was about. I always knew the math
(43:14):
and racing always knew it was way more to it,
Like I always knew with hip hop, I didn't quite
know that.
Speaker 3 (43:21):
But hip hop being so like time's frustrating. What made
you start loving is because just just who you are,
it's just culture. Well, it wasn't frustrating. That's probably from
my view. I mean, from my view of hip hop
is frustrating to me. You know at times, I've never
been frustrated by it.
Speaker 1 (43:39):
I just so what I knew that when I fell
in love is when I realized somebody made something for
people like me. Okay, you know what I mean. Like
when I went to the Bronx and talked to some
of them old spades and different people, it was made
for people like me. I talked to crazyness, shut out
the crazy legs. He was like, g Na, we was
(43:59):
just like you, bro, we would stick up kids da da.
That shit put it on my heart like differently, like
oh wow, this is really something special for niggas that
came through this traumatic experience like me, me, And they
made just to express what's like coming through that experience
and how you find pride in comraderie, and that's what
hip hop was. And I was like, damn, So now
(44:20):
it went from just being something personal that I love
and enjoy doing to something I wanted to protect and
defend and I wanted to be there for the next
group of people that came up like me.
Speaker 3 (44:31):
It's so funny that you say that, because when I
went with you back through you know, the United States,
like you did, I didn't know nothing about real black
culture outside of where I was sure, you know.
Speaker 1 (44:43):
But then when I went back there and seen that,
it made me much different.
Speaker 3 (44:46):
Yeah, it made me want to do something, you know,
as a whole and not as just in Tacoma or
something made me want to just like as a whole
now when I've seen that Pete.
Speaker 1 (44:56):
So we go hang out with coming from GS nine
right in Brooklyn, just nine as were Bobbie murdered, you know,
was claiming the ship. We went to jail. So King
got all this crazy you know Washington where you know,
Washington got that really good environment, you know what I mean,
like they got the best atmosphere to grow shit, and
(45:17):
I mean or it's like weed weed. So we standing
around talking to some Homi, shout out to a couple
of homies from over there at the time. We politics
we sitting out in Middle Street, no different than we
sit on the West Hub, and they just blowing. They
got a circle blow. He's like, yeah, this will ill
be on right here. So King's smoking past it. They
got around to the second time, pass it. They want
(45:37):
to go around the third time. Why did this nigga
just faint? This New York is this Brooklyn nigga just
ain't it? I was like, I want the league and
I'm like, oh my god, we s gonna catch a case.
What Fudy got this nigga? This motherfucker West Coast weed. Man, this,
Oh my god, we go to prison. Shout out to
the homies from jes nine because he he hopped up
(45:59):
after he was for fun though. That was some fun
times that year. Going through that all the places, I
learned a lot and you realize it's just like us. Yeah,
it was crazy. That's why. That's why when people be
trying to tell me about game, cause I'm like, nah, nigga,
you can't tell me. I'm really fucked away, Like no,
you do really around like nigga, I'm not you know,
(46:21):
I'm not there. I love my people, man, I'm hanging
out with the hommies from from one and the Bronx Dog.
I'm in a back chiller shooting dice fuck with man.
I'm not nigga. I love my people. I love black people.
I look at fuck how poor we is? I fuck
which ghetto? I love us? Pete, Pete, can you hear me?
Speaker 4 (46:40):
Yeah?
Speaker 3 (46:41):
I think he had us in a barber shop that
I seen like on forty eight hours months later, like
this is where he had me at motherfuckers walking around
with pistols. When police driving around seventy eleven, They're like,
it's okay over here, what you mean. It's okay, you
got pollice, some pistols all around here.
Speaker 1 (47:00):
Leaving this blackness. I don't get fuck with none of
these beings talking about Yeah black my whole life. I've
been ghetto my whole life, and I'm go fuck with
everybody to gettigga when you get killed, ship, I don't
live long enough, nigga. But I am not running from
black people, bro, I am not. I'm I'm fucking my
people's man. I be enamored that they just like us.
(47:21):
I mean that youte motherfuckers three thousand miles away and
be on this bus.
Speaker 4 (47:24):
Shit, it's a good thing. Jobs isn't here to hear this.
Speaker 3 (47:34):
Man.
Speaker 1 (47:36):
Job's called me out to call John's back.
Speaker 4 (47:38):
God damn, we're gonna have to crop this piece and
send it to him.
Speaker 1 (47:42):
Yeah facts, but uh man, I was trade man. I'll
just be posting up with my people's man, like I'm
posting up with my people's man. I'm chilling. I'm with
my peoples right now. Man. That's how I feel.
Speaker 3 (47:54):
I see how that's the brand or like you say,
your brand, that's your brand, like that it's part of
your brand to go anywhere and be with your people
and not have no fear or nothing.
Speaker 1 (48:03):
I mean, because I ain't getting nothing to none of
these niggas. Yeah, that's how I feel like I heard.
Uh it's a cat named Myran Refresh and Fit podcast.
You're talking about Myron is so mad at black people,
like all you niggas and Nigga Tree and I'm like,
you know, you can't be around you niggas. Could up?
What are you talking? I've never got that. I never
got that. I never when I was in the Bronx.
(48:24):
When we was in the Bronx, it was I that
one round fifty cent neighborhood, like I owned the house
around the smother So with y'all, bro, Oh yeah, I'm
glad I'm alone. Oh West Coast, Yeah, watch up with it,
my nigga. Yeah, man, I'm coming to the fucking around.
I wanted to feel, bro, I wanted to be around
in the area. Oh ah, you're trying to get on
that hip hop Yes, son, I'm in Queen's. What's up
with y'all?
Speaker 3 (48:42):
Man?
Speaker 1 (48:43):
Like, like, nigga, what so what if a nigga want
to spot at the end of the day, I hate
that whole thing, Pete, Like if a nigga want to squabble.
What a nigga want to try? Like what Pete?
Speaker 3 (48:52):
He was there by hisself at times with nobody else.
Pete like by himself.
Speaker 1 (48:57):
Man, I lost my people's man, I don't just fun
what these people talking about. I love my peoples, bro,
I don't give fuck. We in Detroit and the ghetto,
and we was at a bar and Detroit and the ghetto. Man, Man,
what I'm with my people. If I'm gonna go out,
this is how I want to die. I want to
die with my peoples anywhere. If I'm gonna die, If
I ain't gonna die more das let me die with
(49:18):
my people for me. That's cool, you know what I mean.
I just I don't see that fear in us. I
don't look at us as these predators. Like it's a
love about us. And I got that love when I
went out there, Like it wasn't like that Pete. I
got that love. I got that love, bro. It was like,
damn you really posted yeah, man, it was like cool.
(49:41):
It was like, damn, get what we're doing. We're in
the projects and Jorgy shut out to Armie Free the army, Bro.
We're in the Project and Jorgey just chilling. What's up
with y'all? You only went to the projects in every
state in the projects and Jersey with the great streets,
and it's like, what show with y'all? My nigga show
with y'all. Nigga like watch up g man, oh g O.
I'm like, man, this nigga said on George on b
(50:03):
A nigga sad on Brandon in Jersey. Nigga in Jersey's
nigga said on George and Brandon, So you know, I'm
enamored that we're so close, three thousand miles away, like
like you know what I mean, Like everybody can frown,
but I love. I love the fact that we're so close.
Like I feel like when I as a rapper, like
that's my New York thing, even though I do West
(50:25):
Coast hip hop, that's something New York gave me, give
me and I and I want to make sure they
impressed with what I'm doing with it. It's y'all, just
like when I go over there, they want to show
me how they doing that things with their communities and
trying to organize and put together their own little street
gangs to protect each other and stand up. They care
what I thought? You see how deep our ten trade
(50:45):
day g is we out here? Becuz? Oh great, cause
I see y'all for real too. Back the three thousand
miles three thousand miles of Port Wemember, we're in Memphis.
This niggas are gonna gray old baby lo. What do
you y'all? We are talking about here with brothers? We
(51:06):
had the street racers. We say with y'all, men, what something?
Speaker 4 (51:08):
Man?
Speaker 1 (51:08):
Yeah, man, y' I'm gonna get my caught. We're gonna
figure it out. We're gonna make this thing. I'm in Kentucky, man,
I mean Louisville. Stay with y'all. That's what hip hop
is supposed to do. It's supposed to bring you closer
to brothers in all these ghettos. It's supposed to make
the mainstream America understand our plfe a little bit more.
(51:32):
They supposed Tupac made them understand our plife a little
bit more. They was like, you know, niggas ain't that bad.
You know that Tupac nigga. You know they understand our
feel mean like that shit matter cuse like, and niggas
don't get that's what this is for. They still be
trying to use it selfishly to try to get rich.
You know what I mean. Like, don't get me wrong,
it's some paper to get what I'm saying. It's so
(51:54):
much more to it that can happen, and we can
mobilize the whole country, This whole fly as shit, even
with cribs like nigga. When I went to New York, nigga,
we shot that video. Niggas crips everywhere, niggag, that's a nigga.
Look at this is three thousand miles away and the
brothers is united together? Or video was that you shot
(52:15):
there east side? Yeah, shout out to my brother went
and the brothers united. It brought us together. It's a
belief that a tear is aparted. Don't trust me. The
niggas who wasn't together in La wasn't together way before
crips and bloods came about. They was not together already.
(52:38):
This is not terrible part. Any further, they was gonna
still be like, well, man, them niggas live over there,
off slosson them. Niggas live over there off Western man
them a nigga. You could use any tidy you want to.
People just gonna find separations, I mean and distance. It's
just how it worked.
Speaker 4 (52:55):
I think that so to me, like, well, like Miami
is not a city that really has that. In Oaklands
dot of city that really has like blood and crypt
type things going on, you know.
Speaker 1 (53:05):
But most of all do. But they still got the
same shit happening.
Speaker 4 (53:10):
Yeah, I was just gonna say, the only differentially that
I see is the intergenerationality of one particular like name.
Speaker 1 (53:19):
That's it.
Speaker 4 (53:20):
Otherwise, like the same situation pops up and then it
kind of expires, and the same situation pops up from
the same courtyard in front of the same building. After
that one expires and does the same thing until that expires.
It just does it with different names in.
Speaker 1 (53:33):
The postal one. But the whole time, even when you
think of the gray stries, right, it feel like shut
up to the homies. It feel like everything is gray sty.
People don't really know the grace. That's not the first
like idea of Gray Street. The first Gray Street is
watched Wady of grat They got they got east Side kids,
(53:55):
they got Jordan down, they got Jordan down, gangs. They
had two other games in between that one. Then Gray
Street came along, right, then they got gangs under Grave Street, right,
they got baby low that's niggas older than me, baby
loas older than they was just baby loads at the time.
Then they got the niggas that's my age, the Peter
(54:15):
Rol niggas or the Dustail niggas or the paro Leae
and these are all gangs within that place. They feel
like it's all a sign. But them niggas a fight
and shoot and hurt each other too. You go to
the niggas and guards. They got lot. They got lots
in line, like the parking lot, Like these niggas from
this parking lot versus these niggas that hang out off
of this street, the deuce line one hundred and thirty,
(54:35):
one hundred and twelve versus the niggas that be in
this parking lot. Then you got the block, the block Boys,
which is out of the projects, so the Bell Havens
which is out of the project. So it's like it's
the same thing. But again if everybody from the outside
or they just grape streets, it just looked like nothing.
But again that's the point of hip hop, Like I
(54:56):
could give people sub the nuances to make them see
that they not that different. That's what I'm supposed to
be doing. That's why I'm here. That's why God put
me through all the stuff he put me through. That's
why God really put me through this stuff. We're gonna
be able to convey that this new project I conveyed
what's gonna blow everybody back. Pause is when I actually
dropped this and it be a big deal and everybody
(55:17):
gotta go back and listen and realize I've been doing this.
That's gonna fuck everybody. Man, this nigga really been on
this ship, so you know what I mean. That's when
it's gonna for me. It's more or less like God
always gave me a level of intellect, so it made
everything always a little bit more challenging. I could never
take the cheap way. What you mean by pause? That's
(55:39):
the New York Ship fuck with hummies and hartum.
Speaker 3 (55:41):
Okay he said bloody back and said pause. That tripped
me out.
Speaker 1 (55:44):
That means that's telling you I don't mean it in
a sexual way. Okay, Yeah, it's like some Harlem sh
It's New York Ship. I don't know, hal shit, A
bad bad why you laugh peaks just.
Speaker 4 (56:04):
The whole nature of it. It kind of replaced what
was the previous iteration of that.
Speaker 1 (56:11):
Something kind of like that. So that's all. That's all
it is. I focus on that more than anything. So
that's why a lot of times the things that's going
on inside of my mind come right to the podcast,
because really, these are things that can help people with
(56:32):
their every day life. This is something peak it help
me with. I can say one thing, people like, man, gee,
I thought about that? Did that?
Speaker 2 (56:39):
Or that?
Speaker 1 (56:39):
Man? Somebody can hear this podcast and be able to
tap in be like man, gee, that's a good point.
I thought this that And the third you do get
some of the people that like man, that was brilliant.
But you know, you're really putting out the information so
people could use it to they benefit. They're looking out
for tuning into the Note Senters podcast. Please do us
(57:00):
a favorite, subscribe, rate, comment, and share. This episode was
recorded right here on the West coast of the USA.
It produced about the Black Effect podcast network and not
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