Conversations About The West Coast Sound

Glasses Malone joined by special guests Nayna, Joey Westside and 110 Gene, the speakers explore the misconceptions surrounding the idea of a 'West Coast sound', emphasizing that hip hop is a cultural expression rather than a regional sound. They discuss the importance of sampling, the influence of funk, the cultural reset brought by artists like Kendrick Lamar. Ultimately, they debate about whether hip hop is an extension of black music, shaped by various genres and cultural influences and more. Tune in and join the conversation in the socials below.

 

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Episode Transcript

Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealers Podcast with your host. Now fuck that with your
loaw glasses alone.

Speaker 2 (00:13):
So how was your birthday weekend? Next?

Speaker 3 (00:15):
Tell me I had a birthday season. I had a
good time. I really had a good time. I relaxed.

Speaker 4 (00:22):
What's some birthday?

Speaker 3 (00:24):
I celebrated the whole season.

Speaker 4 (00:29):
Women is cra.

Speaker 1 (00:33):
It is standard in all of them, like they just
like this month is about me.

Speaker 3 (00:39):
It is. I did, and I think my prayers is
being answered. I'm officially a real jeweler now, like really
about to be hands on with it downtown. I traveled,
I got some rest, I got some money. You had
a good time.

Speaker 4 (00:59):
Get some money. Um hm.

Speaker 3 (01:01):
So you know, anybody who trying to make a custom piece,
go diamonds, all of that, let him know I got them.

Speaker 4 (01:08):
I might need that.

Speaker 2 (01:10):
Yeah, so your bamboos is now real gold?

Speaker 3 (01:14):
Okay, all right, yeah, well I would still have those
options for the people who want, you know, played it.
But yeah, we're moving.

Speaker 2 (01:21):
Up, Joey, y'all was your weekend?

Speaker 4 (01:29):
I went to church. I chilled with the church church. Okay, okay,
I was it eight too damn much?

Speaker 2 (01:38):
Yeah, stop you stopping I'm gonna go walk arount as
soon as we finished with this.

Speaker 4 (01:42):
Much, man, I just went and bought a gang of
fruit and ship.

Speaker 5 (01:45):
I'm about to too much, man, and I.

Speaker 1 (01:50):
The best thing I ever started doing was looking for
myself because I under it was weird is how much
I know about nutrition? Shout out to how to by
the honorable lives of Mohammed, but just simple science. Outside
of everything I learned from that bucking shout out to
Cam brother Cam and uhh yb Young Bro just really

(02:13):
institute in a different level of discipline that I didn't
even know was possible.

Speaker 2 (02:17):
But they really helped my health a lot. And man,
it's everything I was just.

Speaker 4 (02:22):
I was just starting because I wanted to get them
down measurement. They gave you that vitamin whole routine and.

Speaker 2 (02:30):
One thing about the nation.

Speaker 1 (02:32):
One thing about the nation, Bro, they going, I didn't
know I said this on shout out to s O
and Heineken from bag Fuel Podcasts. I just did their podcast.
It just dropped like today.

Speaker 3 (02:46):
Watching it a little bit when I was working.

Speaker 1 (02:48):
Out, everybody said it was a really good podcast. Outside
of they were just pressing me about gangs, which was awkward,
but I get it.

Speaker 2 (02:55):
That's everybody's interest. You know what I'm saying. I can't
help it.

Speaker 1 (02:58):
But the point I was saying, I said that to
say that.

Speaker 2 (03:05):
I said that to say that.

Speaker 1 (03:09):
I noticed when they was talking to me about it,
everybody keeps talking about a sound. When they think of
West Coast hip hop, it's always a sound. And again,
I think that's the the the entry level idea when
it comes to hip hop is to think something has
a sound right. And obviously I've been falling down this

(03:33):
cultural I fell down at the bottom of this cultural
rabbit hole and I had to climb my way back up,
and it's been a long climb.

Speaker 2 (03:40):
Here here we are now I'm barely getting back up
out of this hole, just climbing and looking around as
I'm climbing up out of this rabbit hole that we
call street urban culture on the West and one of
the things that I've came to realize is there is
no sound right. And it sounds crazy because we grew.

Speaker 1 (03:59):
Up our whole saying the West Coast sound, and this
is the West Coast sound. And obviously some of the
ideas are inspired by funk, and we did kind of
take to funk a little bit more, but even that
wouldn't be a sound, that would be more of a
genre and a styling. So I decided to take this
time on No Selings podcast to kind of because Joey

(04:21):
we working hand in hand, you know, I mean on
making records, and while you induce are phenomenal mcs and
really great songwriters, being a record maker right is a
different journey. It's not as like simple as making a
dope rap or you know, even making a good song.
It's more about translating culture through sonics, attitude through sonics,

(04:48):
and that's what I wanted to really dedicate this podcast episode.
Pete's not here, so it's just again this is No
Selings Podcast. Last is Locan the house, my brother Pete
and I here, but I got my niece DJ and
a if y'all sometimes come to the live stream. Y'all
see name on the live she's there again. She has
a jewel a jewelry company. Make sure y'all follow her.

(05:10):
Piece of Nate check her out. And I got my
brother Joey Westside one High for the La Giants, one
third of the one ten and Gray rap group that
we're finishing up. And I just was gonna kind of teach,
and if y'all allow me to. You know, I know
y'all been in the business. You've been learning a lot now,
probably since a baby to some degree. Joey, you was
raising it because your dad and I got my man

(05:32):
Jean like the voice of God. He ain't got no mic,
but he could chime in just when he want to.
You know what I'm saying.

Speaker 5 (05:37):
So niggas encyclopedia and you remember everything exactly.

Speaker 1 (05:43):
Do So I wanted to make sure that I taught
what I'm thinking, so you know, even the listeners can hear.
And I'm gonna risk some stuff cause I'm gonna play
some music I'm not We ain't live streaming, so we
could put it on the stream.

Speaker 2 (05:58):
Gotcha, And I just want to teach so people hear
this song right here. It is.

Speaker 5 (06:17):
One two bringing to the folk Snoop Doggie Dogg and
Doctor Drake is a dope to make the difference, So
back go up.

Speaker 4 (06:24):
Because you know what grip give like a buffle hopping
and lone beasts.

Speaker 1 (06:30):
Together right, and they immediately be like, that's the West
Coast Sam right, and I get wide because culturally they
did such a great job of covering. You know what
I mean, what how we live as street urban people

(06:51):
in Los Angeles, even the attitude of the music. But
to disprove the concept of it being West Coast culture,
I mean, excuse me, a West Coast sound. Leon Heywood
is from Texas initially, right, Leon Haywood is from Texas.

Speaker 2 (07:07):
Initially he's not from Los Angeles. There you go right here.

Speaker 4 (07:28):
You maybe he didn't overdo it when he did it too.

Speaker 1 (07:55):
So when people say something is a West Coast sound,
that never makes sense, especially the further I get right.
And it don't matter which classic song right that you
decide that you're gonna go to to figure this idea out,
You're going to keep running into the same concept.

Speaker 6 (08:15):
Right, if it's this.

Speaker 7 (08:18):
Song, Regulators regulate any stealing up his property.

Speaker 4 (08:23):
We're damn good too, But you can't be any geek
off the street. You gotta be handy with the steal
if you know what I mean, you keep.

Speaker 3 (08:34):
No.

Speaker 2 (08:35):
It was a clear black night, a clear white man woman.
He was on the streets, trying to consume, search for
to eat, so I could get some phones rolling in
a wide.

Speaker 4 (08:45):
Get the east side of the LVC, A corpull of girls, they.

Speaker 1 (08:52):
Don't need a tweak or something right classic West Coast,
we'll hear that. They'd be like, that's that West Coast sound.
It sounded like the West Coast right, But upon research
and understanding hip hop.

Speaker 2 (09:13):
Is that that I can't from missour I.

Speaker 4 (09:18):
Did he get that from somebody?

Speaker 2 (09:20):
To No, this is Mike's I think he bro.

Speaker 5 (09:26):
I think somebody else had this, or maybe I can't
forget you got that from somebody.

Speaker 1 (09:40):
So again, it's one of those things where people think
something is the West Coast sound because somebody took the
cultural somebody took some some level of hip hop, you know,
cultures or producer like a record producer took the turn
to give this sonic an addam, and then they actually

(10:03):
took the music right and decided, hey, I'm going to
convey the street urban culture of the West Coast. But
yet those two songs, particularly especially g Thang and Regulate,
would be considered West Coast sounds. But when you listen
to them, one is from the South, the other is
from the Midwest.

Speaker 2 (10:25):
It has nothing to do with sound. And I can't
stress this enough.

Speaker 1 (10:29):
In this time period where I keep hearing people use
the term sound now there is some concepts of sounds right, like,
and this is kind of what's wrong with hip hop
right now, where you have people here a lead right,
the Funky Worm, h.

Speaker 2 (10:45):
Do Do Do Do Do Do Do Do.

Speaker 1 (10:48):
That's an Ohio thing, right, that's from the Funky Worm,
the Ohio players. So again, things that culture popularizes kind
of gives the creators to what you think is a sound,
but it's also.

Speaker 2 (11:02):
Whacking hip hop, right. So it's like.

Speaker 1 (11:09):
It's whacking hip hop because now you have a bunch
of guys making beats emulating what they think West Coast
hip hop is or sounds like I shout out to
my homeboy Saga, me and Saga was working on some ideas.
He did some dope stuff. I sent it to you,
Joey two beats. They was from both from Saga and

(11:31):
Kiki Loko. Send him to you inducing the group chat
and we was working on some ideas and I sent
him this daft punk idea that I chopped up, and
I'm like, hey, let's flip this.

Speaker 2 (11:42):
We're gonna replay this and this. So when he.

Speaker 1 (11:44):
Did the record, right, the record itself, bro was like
he added a baseline in the league and that was
the first time in my life that I was like, Oh,
I get what people mean when they say the West
Coast Sam, but I also get why it comes across

(12:08):
so regional. I also get why it comes across so regional.

Speaker 3 (12:17):
But do you think a sound on it? They just
being kind of lazy.

Speaker 2 (12:22):
Being lazy. I don't think they supposed to know.

Speaker 1 (12:26):
I think they're so lazy is when I think you
can do the work and you just don't take the time.
I mean, it's probably closer to ignorant. They don't know.
So they're taking what they feel about or things that
they could recognize, like a lead right, or like a
baseline being the centerpiece of a song, and the okay,
that's West Coast versus that's funk m And if you

(12:52):
identify and separate them and say, oh that's Funk, you
could do more with the music.

Speaker 2 (12:56):
But if you start.

Speaker 1 (12:57):
Saying, oh, that's that West Coast SUND, you're gonna be
limited to what you could do with the music. And
the more I study this, right, I learned it the
hard way. Every time there's a great idea right here,
right all right, this idea is fantastic. Most people gonna

(13:18):
feel like this sounded like the West Coast. It's one
of their favorite songs that say, sound like the West Coast.

Speaker 2 (13:28):
But now again jebe here's a guy from socking All, Michigan.

Speaker 3 (13:41):
Now that's crazy.

Speaker 2 (13:42):
I never knew that was.

Speaker 6 (13:44):
I never knew that was a simple.

Speaker 4 (13:49):
All think it's a hit.

Speaker 6 (13:50):
Oh yeah, the song, I knew the song. Yes, the
Past Time Paradise, that's album.

Speaker 5 (14:01):
That time.

Speaker 6 (14:05):
Right.

Speaker 1 (14:05):
So again, it's one of those things where laziness is
what makes us say what we think. We don't even
be tripping off what actually is happening. We're not tripping
off what's happening. We just thinking, Okay, this sounds like
the West Coast. This sounds like the West Coast, and

(14:26):
it's way deeper. So there is no proverbial West Coast Sam.
There's a pace of life, but there is no sund
And I think this is the message that's important for
me to disseminate amongst the new hip.

Speaker 2 (14:40):
Hop space.

Speaker 1 (14:43):
Because a lot of people are saying, hey, man, Kendrick
opened the door for the West Coast.

Speaker 2 (14:49):
Oh man, he gave a West coast. That's not what happened.

Speaker 1 (14:53):
What he did was he made a cultural reset for
hip hop period he removed kind of somebody whose presence
was looming and very much compromising. He took the influence
from that person. So now there is nobody to emulate,
because obviously most of the rest of the country can't

(15:14):
emulate what gn X sounds like. So now you're backstuff
to doing what you think people around you want to hear.
You don't have the luxury of emulating a bunch of
guys from another country. You know what I'm saying, a

(15:35):
bunch of guys from another country to make a record
that your record label is gonna support, and while it
does it, shout out to like I said to Berg
aka hit Maker, because he was saying that, he was like,
hey man, you know that dude set a target for us.
But that never was the premise of hip hop in
the first place. There was no targets. Matter of fact,

(15:58):
people who hit the target, they were frowned upon. Shout
out to somebody like Jermaine Dupre who really took a
lot of shit because he understood how people were being
successful in marketing, and he took a lot of marketing
ideas even though his music was different, and he made
sure but that just because the marketing part of it
seemed familiar. People wanted to call him a biker, like

(16:22):
I heard that at the highest level, highest level. So
that's just been on my mind a lot. Every song
that we think of as West Coast or it sounds
like West Coast most likely is going to be from

(16:42):
some other region.

Speaker 2 (16:45):
These were called Black classics.

Speaker 1 (16:48):
Leon Heywood, I want to Do Something Freaky to you
is a Black classic.

Speaker 2 (16:52):
That's not.

Speaker 1 (16:55):
That's not a West Coast song. That's a black that
was in Black households. So when Dre and Warren and
everybody come together to make G Thanging Dog, right, they.

Speaker 2 (17:08):
Took a Black classic.

Speaker 1 (17:10):
So that's why when the song was coming out, it
was no problem for it to be played around Black
America hip hop spaces because it's a song that most
everybody's mother and father played. So again, we'll start trying
to be distinctive about drums, We'll start trying to be

(17:30):
distinctive about claps. None of this shit belongs to a region,
none of it.

Speaker 3 (17:37):
Do you think any region has a sound?

Speaker 2 (17:40):
No, No, you have.

Speaker 1 (17:46):
Hip hop inspired by genres, right, So the West Coast.
A lot of West Coast hip hop is inspired by funk.
That's what took a life right, but early in WA
wasn't funky. That was more like mally yeah, quick quick,
you know clear right, shout out to clear quick, shout

(18:07):
out to too Short, too short. It's probably the true
father of how we use funk music. He is the
foundation in proof that he's the working model that it
would work because he was the he would stay a
funky a lot of the times, but even earlier songs
like blow Joh, Betty, he you reggae. So again, him
defining funk right is kind of how quick Like your

(18:30):
dad talked to me about the stuff that they were
playing when they was trying to get quick and he
was starting to produce, and they wasn't listening to NWA.
They were listening right, They were listening to they were
listening to Too Short right around the same time, Don't fight.

Speaker 2 (18:48):
The feeling came out right around that same time. So
this narrative that a region got a sound is not true.

Speaker 3 (19:01):
Mm hmm.

Speaker 2 (19:02):
This is notsting point. There's another.

Speaker 3 (19:06):
So now you're just breaking down the beer, the wall
between actually studying music for for real. Now, people who really.

Speaker 1 (19:15):
I'm merging what I would like to believe. Is I
merging what I would like to believe is emerging. What
makes hip hop hip hop?

Speaker 3 (19:26):
Mm hmm, not so much.

Speaker 2 (19:31):
What makes hip hop? Actually what makes this.

Speaker 4 (19:45):
Is classic.

Speaker 6 (19:55):
Screw.

Speaker 2 (19:57):
But check this out.

Speaker 1 (20:00):
This group is from the West Coast, her Albert and
the Tijuana Brass. So a lot of the stuff that
we are we've been lazily shout out to the to
the to the ancestors and the creators of this thing

(20:21):
we call hip hop. And I'm not just talking about
the the guys from the seventies and the eighties, you
know what I mean. I'm not just talking about Her,
I'm not just talking about Bam, I'm not talking about
Egyptian Lover. I'm not even talking about them. I'm talking
about all the way until you get to.

Speaker 2 (20:40):
Dre, Puff Tone and Polk, Warren Maull and all of them.

Speaker 1 (20:52):
Because what they understood about hip hop was it was
built off black music.

Speaker 2 (21:00):
So and now we see that, right, that foundation.

Speaker 4 (21:04):
From the first.

Speaker 1 (21:06):
Records right now, moving on from the first record seventy
nine to ninety six.

Speaker 2 (21:11):
We see that right, And that's how we.

Speaker 1 (21:16):
Define hip hop from okay, from seventy nine to ninety six,
that's how we define hip hop. Were like this is
what gives us our sounds. But the guys who created
it that really broke all the barriers down, that's not
how they saw it. They didn't have hip hop to
look at. They were too busy making hip hop to

(21:38):
stare at just hip hop.

Speaker 2 (21:39):
Imagine if Pup.

Speaker 1 (21:42):
He doesn't look at Herb Albert and the Tijuana Brass,
which is a jazz band that's a number.

Speaker 2 (21:47):
One song in the country.

Speaker 1 (21:48):
Herb Albert Rise, the sample that they used to make Hypnotized,
is an instrumental number one record in the country. It's
an instrumental record, a jazz record. So again, what I
like about that generation is they didn't have hip hop

(22:08):
to look at.

Speaker 2 (22:09):
They were too busy making it.

Speaker 1 (22:13):
And that's where I think for hip hop to have
a chance because shout out to the Hummy, shout out
to Doc because he gave it a chance to go further.
Because ever since Kanye got the rock right, Kanye set
it off into a spirals. Kanye became a model that
everybody could emulate. You can go as wild as a

(22:35):
kid cutting, you can go Jack Harlowe, you can go Drake,
you can go a million other things that were outside
of possibly street, urban culture, and people thought that that
felt the void of hip hop, even though that voice
means a lot. That voice supposed to really represent a

(22:55):
group of people.

Speaker 2 (22:56):
That can't speak.

Speaker 1 (22:58):
But all of these people that's been following that mold
they have a voice already in mainstream media.

Speaker 2 (23:05):
Drake was actually a part of a show. Like his
voice was in mainstream media.

Speaker 1 (23:08):
His existence was already there, not just him as a person,
but the character that he grew up being was already there,
to the point to where he decided, like, I need
to be like them niggas.

Speaker 4 (23:22):
That's the cool shit.

Speaker 1 (23:24):
Yeah, which is why I think he came in the
game in the first place. I think he was pursuing cool.
I think money mattered, but I think he was pursuing
he was tired of being the not cool person and
hip hop has always been the cool thing, so that
became people's door. So I think it's important because of

(23:46):
what Dot did over these last eight.

Speaker 2 (23:48):
Or nine months.

Speaker 1 (23:50):
He made such a cultural reset and hip hop that it's.

Speaker 2 (23:53):
Gonna be hard for them to pass another Drake.

Speaker 3 (23:56):
And you want to know something too. Even when you
played that song forgetting so, I remember listening to what's
that channel? Is that the wave and being able to
and being able to spot the sample or whatever beat
was used in the hip hop song. So I was
like obsessed with finding simples at one point in my life,

(24:18):
like what song is getting down to, like the root
of the song. So basically, what you're trying to say
is that hip hop is just an extension of just
black music period. It's not about this region, average in
that region, and it's not about chasing a sound to
get the next hit, but just keep extending black music
as a whole.

Speaker 4 (24:37):
Yeah, you play it.

Speaker 2 (24:39):
It's street, urban coachure built on black music. That's what
hip hop records are about.

Speaker 7 (24:45):
Street about the West Coast sound didn't start till g
thing that it was all breakbeat.

Speaker 2 (24:54):
It was. It was just hip hop, Yeah, it was.

Speaker 7 (24:58):
It was a West Coast look. So they had to
finally match the look with the sund laid back niggas,
Jamie curl Low Riders. That's the West Coast seal. It's
really a West Coast look when you think about it, yes, exactly.

Speaker 1 (25:18):
So again it's like, yes, now, there there are some
things that are obvious, right, the West Coast built, you know,
West Coast hip hop built you know, when it became
its own thing, it's built its premise off funk a
lot harder than everybody else. Right, you got Warren g
who used Michael McDonald, which is kind of like a
jazzy funk. Right, Quick built his stuff off to me

(25:41):
like a disco funk, clear real disco.

Speaker 2 (25:43):
We feel dre Obviously everybody can see the p.

Speaker 1 (25:46):
Funk passed down to him from a hutch and everything
that they was doing.

Speaker 4 (25:51):
Battle Cat took that.

Speaker 1 (25:53):
Battle Cat did an R and B funk right here
like battle Cat for example, right.

Speaker 4 (26:02):
There you go, who's your boy too?

Speaker 5 (26:04):
From the band man I was doing that, was doing
a lot of beats for Foldy and all that.

Speaker 4 (26:08):
That always normally the talk box to.

Speaker 2 (26:11):
Talk about about Bosco.

Speaker 6 (26:14):
Yeah, my music.

Speaker 2 (26:22):
A free class. You get.

Speaker 5 (26:28):
Black classes, definitely a black class.

Speaker 6 (26:31):
My favorite song ever.

Speaker 4 (26:34):
I'm mother fucker artist like that could have been an
instrumental hate.

Speaker 3 (26:38):
Huh Man, You thought who I wanted to ask you
about speaking of this conversation because you have a song
with him, Raphael, because you don't think people give him
his just my favorite singer, because I think he understands

(26:59):
exactly what you're talking about everything.

Speaker 1 (27:02):
Yeah, he is like a master. He's a different type
of master. But even as an R and B producer,
it's about knowing what's happening right here, you go right,

(27:28):
slow down and play this week in freaking Ray Parker's
from Detroit. So the attitude of something is more related
to culture than sound. So the first tier understanding of
what's happening is sound. But I think because a lot
of us are professionals now, we don't have the luxury

(27:51):
of trying to emulate sound, especially at a time.

Speaker 2 (27:55):
Where hip hop.

Speaker 1 (27:56):
Everybody is spoiled with the presence of hip hop, like
you know what I mean, the cultural movement. They've had
it now on records for forty plus years, roughly forty
six years this year. The first record is is if
the first record that gets credited is is, or at
least the first hit record is in seventy nine, which
is you know, rappers Delight. Right now, it's twenty five,

(28:19):
I mean, so that's forty five years of having hip hop.

Speaker 5 (28:25):
Which is why they start sampling the hip hop records
versus going deeper and deeper into fining because it's so
much you even from that beat right there though you
it's so much even from that music way, you take
and do other shit with it that ain't we can
freak it. It's like whether the top, you know what
I'm saying. The guitar is so much you could do,
so that's dope. So yeah, most people ain't doing that.

(28:47):
They just going to what they're familiar with and then
trying to emulate that, and then it become diet and
now you got diet, diet diet.

Speaker 3 (28:56):
Wasn't it Lotto? When she was on that song with
Mariah Carey or something like that, she didn't even I
don't think she even knew that was a Mariah Carey song.
What song was that that she had? Did she did
some song it was like one of her biggest records.
Oh yeah, yeah, she didn't even know that was Mariah Carey.

Speaker 1 (29:14):
But if you notice, like I said that, the conversation
about sound like the West Coast, the West Coast, the
West Coast built it's hip hop.

Speaker 2 (29:26):
You know, it's hip hop music off of funk.

Speaker 1 (29:29):
But there was always people that did a little something different,
but that's it. The South built it off of blues
for the most part, mid West built it off R
and B. In the East Coast tend to favorite jazz, right,
which is crazy when you think of hypnotized by Biggie
knowing that's a Herb Albert Tijuana brass jazz song.

Speaker 6 (29:46):
Right.

Speaker 1 (29:46):
Even songs like like Juicy, people consider that more jazz
than funk.

Speaker 2 (29:54):
The original song.

Speaker 5 (29:56):
Yeah, even so, a lot of these people is introduced
to funk from West Coast.

Speaker 2 (30:02):
So they automatically, so they don't ain't like they don't know.

Speaker 1 (30:07):
Not just no, they don't. They don't know that that's
they think that's West Coast.

Speaker 5 (30:13):
Yeah, exactly, versus competent. So we put our culture with it.
Low riders, the way we dance like you said, niggas
with the j curls.

Speaker 6 (30:22):
The music.

Speaker 7 (30:23):
Niggas a gang gang bang too. What happened, we said,
But all the music niggas funny, gripping blood too and
low riding too, right, and made that ship popular.

Speaker 3 (30:34):
Yes, a question what makes because I remember Beyonce said
something in her post Grammy interview about the main instrument
in country music and the history of it. So what
is the instrument or what makes funk funk? What is that?
Is it a baseline?

Speaker 6 (30:53):
Yes, when it starts the one.

Speaker 1 (30:57):
The one thing is when the mid frequency is driving
the song. So it's the baseline the brass when those
are the main melodies. Shout out to Warren g. He
says something really dope about G funk that really applies
to funk music as well. Right, I'm gonna read it
versus me trying to rap it and make sure. Yeah,

(31:18):
any whenever the bassline is the main star of the
melody of a song, that song is for the most
part funk.

Speaker 3 (31:26):
Okay, because I asked that because the last song that
Cardi dropped when Meghan was at Bongo's, she said that
was funk. But I had never heard funk like that before.

Speaker 1 (31:37):
Yeah, but I probably would be careful listening to them,
crazy people. I'm tweaking into a whole new era. G
funk stepped to this idea.

Speaker 2 (31:46):
You funk on a.

Speaker 1 (31:47):
Whole new level. The rhythm is the bass and the
bass is the treble.

Speaker 7 (31:53):
I never thought about that that way. That's it. That's
the recipe, so.

Speaker 4 (31:59):
You basically given it to you.

Speaker 1 (32:02):
It's when the med is driving the song. So like
a James Brown song, doom Doom, Doom, Doom, Doom, don't
don't don't win a mid normally songs or an R
and B. It's a it's a combination of chords and
bass and blues. It's different, it's different feels. But I
am a specialist.

Speaker 2 (32:19):
At what we're talking about.

Speaker 1 (32:21):
Things built off of that West Coast hip hop built
off of. But the point I'm saying is there is
no sound. See the sound is whatever, you know what
I mean. However, you can culturally bring together and present
the attitude of West Coast over music. Now, if you're

(32:43):
emulating trap, you're going to be challenged because trap is
going to be spoken for. The attitude is spoken for.
If you're going to drill music, the attitude is spoken for.
You're gonna use boom back, the attitude is poken for.
That's the trick, you.

Speaker 6 (33:01):
Know what I mean?

Speaker 1 (33:02):
Culture, street, urban culture. It's a lot of attitude in it,
you know what I mean. However you want to do it.
It could be extra laid back, it could be extra aggressive,
but it's gonna be unique to this place for the
most part.

Speaker 2 (33:15):
So I've just been thinking about that more and more.

Speaker 1 (33:19):
The confusion, and that's every song we could think of.
Hell really the only song that's a smash hit record
from the West Coast that sampled like a West Coast
band was YG's toutedn't booted. They sampled the association, you
know what I mean, from Orange County, a band you
never heard of, which is pretty much the only genre

(33:39):
of music that comes from the West Coast. That's real musicianship,
which is the sunshine pop.

Speaker 4 (33:46):
And that's what Beach Boys did too.

Speaker 2 (33:47):
Right, Sunshine pop.

Speaker 1 (33:50):
That's the West Coast, that's the West Coast. If there
was a sound, no sound. But again I always say this,
and it's gonna sound raggedy. Hip hop is not necessarily
about the best music. Now, don't kill me. Whoever listened

(34:10):
to this podcast, I'm not dissing us. I'm if you
heard a Marvin Gaye album or Luther Vandross album and
you listen to a Snoop Dog album, it's just different.

Speaker 2 (34:22):
It's just way different. Like shout out the dog Dog
know what I think of it. But Luther Van.

Speaker 1 (34:27):
Draws never too much album Dog's Doggie style. It's not
even close. Doggie style is way better when it comes
to just music. But what makes hip hop special is
the cultural things happening in your ear. It's the it's
the it's the attitude.

Speaker 4 (34:45):
It's just the thing. Though, it's the.

Speaker 1 (34:47):
Conveyance of how we live our lives that makes it,
that gives it a chance to even compete or surpass
of Luther Van Dross Never too Much.

Speaker 2 (34:57):
Luther Vandross sings so fucking.

Speaker 1 (34:59):
Good it should be no way possible a Snoop dog
Doggie style. It's better than Luther Van Draws Never too
much the music and close Luther is a way better
producer than Drake as far as musicianship. But when you
add in that street urban culture element, that thing that

(35:21):
makes it cool, you add in this new lingo, you
adding this never saw before attitude, this this this very
underrepresented way of life and living and shit, you can
get a doggie style that is going to perform and
be a greater artistic piece and a more celebrated and

(35:43):
financially viable piece than Luther fucking Van Draws.

Speaker 7 (35:47):
Snoop, Them niggas moved the culture. Them niggas changed the
weed scope in the city. Couldn't even smoke fucking stress
no more. Got be the chronic that chronic niggas A
laugh at your ass boy. After the album, Drop.

Speaker 1 (36:05):
Draws, who's probably the best, the best male vocalist of
all time? Right, who is one of the best producers
of all time, could play every instrument in that motherfucker right,
write his ass off against Doctor Dre and Snoop, who
can't play no instruments. Neither one of them could out

(36:26):
sing Rick James. They couldn't even out seen Rick James.
They couldn't now seen Keith Sweat nigga, you.

Speaker 6 (36:33):
Know what I mean.

Speaker 1 (36:33):
And none of them could play no fucking instrument. Could
make a greater artistic piece and a more financially valuable
piece than fucking Luther Van.

Speaker 4 (36:43):
Draws that.

Speaker 6 (36:47):
Year.

Speaker 2 (36:48):
Yes, that's ass.

Speaker 1 (36:50):
That's the value of street urban culture personify through these
art to elements, this thing we call hip hop. Your
culture is everything levels, it changes the levels of it's
Luther Vandraws.

Speaker 3 (37:08):
I never thought sat.

Speaker 1 (37:09):
In front of seven eleven in rap lyrics, he might
make thirty dollars very Snoop freestyling, he might make thirty dollars.
And that's good because it's hard to make some money
as a rapper in front of the store. If Luther
Vandras sang out in front of the fucking seven eleven,

(37:29):
that nigga could probably afford a fucking house in a
suburb still right, that's how many motherfuckers to be dropping money.
Imagine you walking seven eleven joint, dude like, man, you
got a dollar? I sing a song and you're like
what you got? And that nigga starts singing never too much.

Speaker 5 (37:42):
It sounded like Luke I walked out of and it
was a white dude playing a guitar, singing send Indian style,
and I was so moved.

Speaker 4 (37:54):
I was like this nigga.

Speaker 2 (37:55):
Fire, Yeah, that's wild.

Speaker 5 (37:59):
Years you nigga, you too, fire bath man, and.

Speaker 1 (38:06):
That's the And so when people were like, a dude
was just asking me, he was like, well, glets you
think too much of culture see money, I'm like, money
don't mean nothing like I get that money mean the
world to you because you don't got nothing else. But
I was thinking about this and I'm like, Luther Van draws,
album is not as successful as fucking Doggie Style. Luther

(38:30):
Van Draws.

Speaker 3 (38:33):
If these niggas have money, we wouldn't even we wouldn't
have all this good music.

Speaker 7 (38:39):
Year before it whipped. Prince asked, I'm saying that album
is amazing. It's just a culture like you said, that.

Speaker 2 (38:50):
Is, and That's what I'm trying to tell them when
they want.

Speaker 1 (38:53):
When everybody hear me say culture over and over again
and shout out to my knees cause pumping and shout
out to DoD you know, because I'm preaching too. They
preaching it, and I'm like, it can make doggy style
better than fucking never too much. Nick, It's Luther fucking
Van Draws.

Speaker 3 (39:12):
It's the influence too. It's the cool that comes with it.

Speaker 1 (39:16):
Street urban culture, every part about it, like Luther Vandross.
You feel me like Luther Vandross, one of the best
male vocalists in history who can produce and play his
ass off and the fucking doggy style.

Speaker 3 (39:38):
At the same time. I think of it as too.
A hip hop is like the combination of all the
black music stough, it's the disruptor. Is the combination is
to we could take all everything jazz, blues, funk, and
we're gonna do it this way, but the same you
know recipes, we just gonna do it this way. So
it's like the combination of it.

Speaker 1 (39:58):
And it's it's crazy because it's starts off as street
urban culture.

Speaker 6 (40:03):
Black.

Speaker 1 (40:03):
Yeah, it starts as street urban culture built on black music,
on black as far as the as far as the
rapping side, the record side, but.

Speaker 2 (40:11):
Now like it's like it's like how we cook tacos.
It's even crazy enough. You could do it to some
fucking Spanish ship.

Speaker 1 (40:18):
You could take some Spanish ship right like like.

Speaker 2 (40:23):
Like Big pun I don't want to be a player
no more.

Speaker 1 (40:25):
You could take some Spanish ship and put street urban
culture on top of that ship.

Speaker 2 (40:31):
It makes some ship everybody wants. It's like nigga tacos.

Speaker 1 (40:34):
You know, like we all had nigga tacos growing up,
Like the taco is a.

Speaker 4 (40:40):
He only eight nigga tacos.

Speaker 5 (40:43):
We need to get tacos from taco spots growing up,
strip bro after or.

Speaker 1 (40:48):
Fire, but tacos are fire from the start bro. Regular
tacos are fire.

Speaker 3 (40:55):
Streetco street tacos are I have some real.

Speaker 1 (41:00):
Do to make something right, You to do something, to
make something that was actually you would eat. That's an
emulation of that. That's what hip hop is. A nigga taco,
like you could take something like a street taco, street
taco fire rod of no no, no, no, no, you
know what, I ain't finna make that fresh, So I'm

(41:21):
gonna take this.

Speaker 2 (41:21):
I'ma fry this shell in grease, and you know what.

Speaker 1 (41:26):
This meat, this is cheap meat, but it's too expensive.
Let me get the ground version of that meat that's
even cheaper. Let me get the ground version of cheap
meat that y'all using to make street top. I'm a
ground that ship up. I'm gonna fry that with some seasoning.
You know, I'm man cheese, letters and tomatoes and some

(41:46):
hot sauce.

Speaker 2 (41:47):
That's hip hop.

Speaker 1 (41:49):
Hip hop can improve on like fire shit, like street tacos.
It can improve on street tacos. So to keep reducing
it down into a sund it's just fucking ridiculous.

Speaker 3 (42:02):
It's not.

Speaker 1 (42:03):
None of this ship is the West Coast sound except
to didn't it. As far as hip hop goes, everything
is built off of ship invented.

Speaker 2 (42:14):
Remember the West didn't invent nothing but sunshine.

Speaker 6 (42:17):
Pop.

Speaker 2 (42:17):
Niggas didn't come.

Speaker 1 (42:18):
To this motherfucker to the last couple of days California.
Far Ain't nobody been in No motherfucking California. That was nobody.

Speaker 2 (42:25):
But have we like natives?

Speaker 4 (42:28):
This?

Speaker 2 (42:29):
It is far like you start, you start in Virginia
and people start in New York because it's a long.

Speaker 5 (42:36):
Well as far as the motherfucker take a lot of
genres before they got here, and nobody else is gonna
play Sunshine Populf.

Speaker 4 (42:45):
It's like, we just got us. But that's what.

Speaker 3 (42:49):
What do you think it is about our side that
made it that makes it so? And what is it
about the West coast? And we all the way over here?
But we just made this big impact?

Speaker 1 (43:00):
What it is we like the niggas that gamble? Who
the fuck comes way over here? How far this motherfucker
is from where niggas started at in Virginia, nice and
in Louisiana.

Speaker 2 (43:13):
That's far.

Speaker 1 (43:14):
You had to be a gambling ass nigga to come
way over here this far. Think about it. Niggas wasn't
catching planes and ship Niggas wasn't catching no planes. That
was a ride in a wagon.

Speaker 6 (43:31):
What you mean to move here? Back back then?

Speaker 2 (43:34):
Think about it.

Speaker 6 (43:36):
My grandparents all four worked for.

Speaker 7 (43:40):
McDonald douglas and they all had jobs there prior to
moving here. That was the force that actually had them
drive here. You know, a job that that was waiting
for him.

Speaker 2 (43:54):
Think about that job there, Think about the jobs there.
You would have left that job. It was like I'm
going over here. These niggas.

Speaker 1 (44:03):
They want me to go two thousand miles to the
what the fuck is in California? So it's the wildest
motherfuckers in the world. This is the wild West. It's
a different everything. It's just a different sentiment. But I
don't think our culture is no better than anybody else's.
I think we all got, you know, like like we.

Speaker 6 (44:21):
All got, We're much better. No, don't do that, we
are much better.

Speaker 1 (44:32):
What I am gonna say is the fact that we
have Hollywood helps.

Speaker 3 (44:37):
We take a lot of pride, though I don't say
that we are very like, but.

Speaker 1 (44:41):
But everybody used to have that same pride in poverty
because it's.

Speaker 2 (44:48):
Think about the cash money niggas.

Speaker 1 (44:50):
Them niggas used to be wearing band Danner's T shirts
and bowls, And first off, they weren't Readboy classics. That's
kind of you're right, I take that back. That's kind
of expensive compared to All Star mm hmmm. I think
the cheapest Rebout Classics I can remember is like thirty
four to ninety nine.

Speaker 6 (45:05):
But I even think with Persuade, with the funny material.

Speaker 2 (45:10):
With the gum bottom.

Speaker 6 (45:13):
With the with the all all white soul.

Speaker 3 (45:18):
Yeah, the leather with the two straps. Always was like
top of the top.

Speaker 2 (45:25):
That's yeah.

Speaker 1 (45:26):
Say what I'm saying is even take the shoe to shoot.
We still got the cheapest ship. That make you think
of the West coast. And culture is all about pride
and poverty. Like people hate when I said.

Speaker 2 (45:40):
That, ain't just being poor and culture nigga.

Speaker 1 (45:44):
Culture is all about necessity when you need to do something,
if you could ship.

Speaker 4 (45:50):
If you already got the ship, Yeah, why would you Why.

Speaker 1 (45:53):
Would you eat a taco if you got money? Like
people think, oh it's good. Nobody would have came up
with that. A taco or some ship you get when
you don't got a lot of money. You need to
make some ship go a long way. The bread that's
not near one pot meal, Joe.

Speaker 4 (46:09):
Yeah, that's like chili.

Speaker 3 (46:11):
Always say chili is a po man's.

Speaker 1 (46:19):
Spaghetti pasta sauce. It is called gravy in Italy. That's gravy.
That's all the old tomatoes and old She's gonna put
all this ship in the pot, mix this up, the seasoning,
cook it a little bit, bring it back, and put
this ship on some cheap ass starch pasta.

Speaker 2 (46:38):
That's what it's all about.

Speaker 7 (46:42):
Same, the same things made it made it boozy with
the big strimp. We used to have the sausage and
chi and a few legs every now and then.

Speaker 6 (46:58):
It was fine. Her.

Speaker 2 (47:00):
Yeah, so again, so our pride.

Speaker 6 (47:06):
In our grandmother French Nigga.

Speaker 1 (47:10):
So so our pride and our poverty is a lot
different because we do got dickies m hm.

Speaker 2 (47:17):
And that's cheap. Chucks is cheap and too.

Speaker 3 (47:20):
It wasn't. I mean, okay, I'm not gonna I don't
know the numbers, but there was a lot of rich
black families in the South too though, like I'm not slaves.
It was a lot of rich black family versus we
was just.

Speaker 2 (47:33):
We were just talking about that that they call it.
The bulet m h.

Speaker 6 (47:39):
Still exist.

Speaker 3 (47:41):
Because I met the I'm at the one of the granddaughters,
our great granddaughters who family owned Harold and Bells. And
when I used to work at the whack center, I
met her and she said her family wasn't slaves.

Speaker 6 (47:54):
They wasn't.

Speaker 3 (47:57):
Mm hmm. It's still open. But she take me was
is that it's still in a family. But the reason
why the food might taste different because it might be
a different part of the family that's owning that.

Speaker 4 (48:07):
Of all the food.

Speaker 3 (48:08):
Different Now they rotate families who yeah, people who own
it in the family. So that's what it is.

Speaker 6 (48:18):
It's not soulful. It's creole food.

Speaker 2 (48:21):
Mm hmmm. It used to be sould for creole fool.
It used to be both.

Speaker 6 (48:26):
If I went there for one of my family creo food,
you know.

Speaker 3 (48:31):
But she told me, she said he they weren't slaves.
They weren't in her family. They had money down south.
A lot of people in LA didn't have money. Black people,
they didn't have money.

Speaker 2 (48:43):
No, it really wasn't a bunch of black rich families
out here.

Speaker 1 (48:46):
There's a long way to come. But New Orleans, New
Orleans is not. While New Orleans is probably the best
food to get in America, is not the best place
to get sold for for sure. Again, it is a
little bit more remember the French, It is a little
bit more ritzy. That's crazy as you think about, it's
a little bit more ritzy than the rest of the
country because it is that that rich French history that

(49:09):
mixed on that food, and it's a ton.

Speaker 4 (49:11):
Of season who known for the soul food.

Speaker 1 (49:14):
The poorest places Alabama, Mississippi.

Speaker 2 (49:18):
Places where you can get a house.

Speaker 4 (49:22):
The houses on sticks and ship.

Speaker 1 (49:25):
Detroit is an underrated good soul food place. You're gonna
get some really good food in Detroit. They gonna have
really creating some ship.

Speaker 3 (49:32):
Still, I say Mississippi too, Mississippi.

Speaker 2 (49:35):
The Mississippi, Alabama, Oklahoma. You're gonna get some.

Speaker 3 (49:40):
Flowers and not just the fact that they know how
to season. They really put love in that food.

Speaker 4 (49:48):
Like it's really.

Speaker 1 (49:51):
Remember the love went there because that ship what you
want supposed to even be cooking that ship? What kind
of green vegetable do you gotta cook for four hours
to make it tender?

Speaker 4 (50:01):
Listen, think about imagine if.

Speaker 1 (50:03):
You cook cabbage for four hours, No fuck cabbage. Imagine
if you could spendence for four hours, that's.

Speaker 4 (50:09):
Juice, that's you're juice.

Speaker 2 (50:13):
It feel me four hours.

Speaker 1 (50:16):
So you had to put love in that ship because
you was trying to make some ship that you was
not supposed to eat a.

Speaker 3 (50:22):
Bit to make it spread too.

Speaker 1 (50:24):
For about people talk about ship about chillings, to about
how long it takes or how it smell.

Speaker 2 (50:30):
Look at what the fuck it is? How you whipped
that into something that tastes good?

Speaker 1 (50:41):
Ship goes through those fucking things and then they do
so much ship and make it delicious.

Speaker 4 (50:50):
I never had it.

Speaker 2 (50:52):
Oh, they fired me and Jean had them, and I
know the fire.

Speaker 6 (50:56):
I can't eat.

Speaker 2 (51:00):
To fuck them up. People that crave chip they were,
They're fucking delicious. Think about House crazy.

Speaker 4 (51:08):
Now though I grew up on him.

Speaker 1 (51:13):
Remember remember the Tale of a Cow. Nobody wanted that ship.

Speaker 3 (51:16):
Yo, the ox Oh, I can't wait to go to Jamaica.
I'm a missive ox tails.

Speaker 4 (51:21):
Expensive and ship. They see what I'm saying. So this
is the power of coaching for them on fries.

Speaker 6 (51:28):
With them all kinds of ship with him.

Speaker 1 (51:30):
Man shout out to the homeboy many man, he say,
a boy, man, he say that ship ain't no motherfucking
fucking oxtail.

Speaker 2 (51:37):
He said, that's cheek, that's beef cheek. He said, they
fooling us.

Speaker 4 (51:43):
I think I heard somebody else.

Speaker 5 (51:44):
It might have been Douce who told me that, like Nigga,
these ain't oxtail like they they full of ship, because
how you put an oxtail on When you think about it,
that's a different type of shop.

Speaker 4 (51:56):
Ass man. You don't.

Speaker 5 (51:57):
They don't even it's a different thing. So yeah, it's
like Yeah, that's some bullshit, I believe.

Speaker 4 (52:04):
So again, it's like up in the price for that shit.

Speaker 2 (52:07):
Though hip hop is in a really.

Speaker 1 (52:11):
Hip hop is in a really great position. We got
an extra life that jazz didn't get. We got the
extra life that rock and roll didn't get. We got
the extra life that country music didn't get.

Speaker 4 (52:26):
Because we could take all they shit and make it
hip hop.

Speaker 1 (52:30):
Not just that I'm saying we got an extra life
because of what the homie did. Because the homie bumped
that boy off, and now it's like, okay, we can't
we can't stick another one in his place right now.

Speaker 4 (52:43):
They too had to turn up and do it right.

Speaker 1 (52:47):
So now if you want to do business and hip hop,
you gotta come through the source right now. Every whether
nobody admitting it, everybody's worried.

Speaker 2 (52:56):
Because they like, hold up. I think these niggas is
up on it. He like every time Drake says somethings,
be like, nah.

Speaker 4 (53:05):
Nigga, you ain't there, you ain't the real.

Speaker 1 (53:12):
Like like I heard the nigga say today, shout out
to the to the nigga that said today, he was like,
he was like, that's like when he said the ship
about the strippers with dictionary, Like nigga was wrong with
a dictionary.

Speaker 2 (53:21):
I was like, niggas is up on it, so that.

Speaker 3 (53:26):
He chasing chasing him hits, chasing the sound, chasing that
number one hit.

Speaker 5 (53:32):
He do say a lot of uncool ship to try
to make it. It's like, how are you? Like, yeah,
like what are you talking about? First of all, you
know how many college bitches stripped? Shut up nigga.

Speaker 1 (53:42):
But it's like and then he said that, He's like, yeah,
he said this about strippers and dictionary.

Speaker 2 (53:48):
And I was thinking to.

Speaker 1 (53:48):
Myself like, oh you caught that because when I heard
that line, I was like, man, I'll be like, I'm like,
people think this line is dope, like it's something wrong
with if a strippers start to read.

Speaker 2 (53:58):
And then he said that, I was like, oh.

Speaker 3 (54:00):
He never saw best man.

Speaker 4 (54:05):
In school. Like I'm just I go to school in
San Diego.

Speaker 3 (54:08):
That's why I said he never saw the best man.
Remember Regina.

Speaker 5 (54:12):
Regina was like, no black man, No nigga gonna say that,
bro Like but yeah, and only Kencher was able to
do it and highlight like look how uncool is man?

Speaker 3 (54:25):
But I remembering the best man. Regina Hall was a stripper.
Candy was a stripper, but she was in school.

Speaker 1 (54:33):
But the fact that he tried to make it like
reading or knowing words was bad. Like when it came
to strippers and then for that guy for that, and
then for that guy to catch it.

Speaker 2 (54:46):
I was like, oh, the jig is up, niggas is
catching up because I started.

Speaker 3 (54:53):
I was just watching Ebro in the in the deska
today I was working out, And that's what Ebro said
when he was talking about the halftime show where he
was like, yeah, you know it did people did want that,
you know, Okay, we're just supposed to party now whatever.
But he was like, Hendrick kat made it to where
now you gotta think, like, you know, you gotta it's

(55:16):
not just about oh I just want a nostalgia of
your hits. It's like, well, you making me think now,
like I don't want to do that. And he was like,
that's why a lot of people was upset. But I
think a lot of people just have been, for lack
of a better term, they just been on snooze, like
they've been in the loop, like they just been you know,

(55:36):
and the matrix kind of stuck like the same music
has been being put out and the same everything. It's
another guy that I watched. His name is doctor Sirius.
I think he used to work with DJ Quick back
in the day, and he talked about how they make
music nowadays versus back in the day when Earth went
and fired, I was real music being made and it

(55:59):
wasn't just these little machines on there. You're pressing the
button and it was real instruments and how you stuck
it up. They just stuck.

Speaker 4 (56:06):
So now you got somebody your song you just came
out with yesterday.

Speaker 3 (56:12):
And that's what he's saying. Now people have to you know,
because when I listened to uh Euphoria that first part
one night, I was I was up late watching the Wood,
and you know that scene on the Wood, the last
scene when they getting married, that's where they play uh
my latest inspiration. I looked up and I was like,
is that Euphoria? So I actually want to go listen

(56:34):
to the full song? And I was like, and I
love it. I love it.

Speaker 1 (56:39):
And then for you, when you got to that level,
it would take you back into black music.

Speaker 5 (56:46):
I didn't know, like like I didn't know Summer Breeze
by Quick was uh was Jamaine Jae.

Speaker 4 (56:53):
I didn't know.

Speaker 5 (56:54):
I didn't know Jamaine jack I ain't gonna lie. I
didn't know he was as hard as he that don't
you uh something? You know that I love you or
something whatever? That ship is Summer Breeze sample. I love
that Jamaine Jackson song.

Speaker 3 (57:08):
Yeah, but that's being able to catch that sample. Because
I was getting my hair done and I was she
was playing a song that Kerick was doing push ups
in the park too, and I was like, wait, yes.

Speaker 7 (57:23):
For this song.

Speaker 3 (57:23):
I said, what's the song called? I looked it up
and I was like, it's crazy. If you really listened
to when people make a complete song and re listen
to it, it's like you can catch those and then
you go back and get that's my ship.

Speaker 6 (57:35):
Y'all want a real l A fact that will fuck
you up? You know?

Speaker 7 (57:39):
The very first Ferrari just Bosa was ordered by Jamaine Jackson.
He couldn't pay for it, so Young Street nigga out
of l A. Who was that body he paid for it? Wow,
jam Ye because he couldn't.

Speaker 3 (57:57):
Give that's crazy.

Speaker 1 (58:03):
Shout out to that nigga. Hey, that's the only nigga
we need to be talking to. That's a nigga. We're
talking to nigga. You had the first test of rosa nigga.
That's some hove ship. So again, hip hop hip hop
started as street urban culture built on top of black music, right,

(58:29):
and then we show that we can make any music
into street urban culture.

Speaker 2 (58:36):
And and so the way we hear sound is not true.

Speaker 1 (58:42):
Right again, it is if it's not us as professionals.
That's one thing for the fans, but us in the business. Right,
we have to remember that, Leon Haywood, that's not about
West Coast, you know, don't fight the feeling one stop,
you know, one way like it's about building on black music.

(59:07):
It's about building on music. So again, to keep regurgitating
hip hop or what you think the West Coast sound like,
that's not West Coast hip hop. That's an emulation of
West Coast hip hop or what you think it is.
If you're making the West Coast sound, you are not
making West Coast hip hop. You're emulating something that niggas

(59:28):
did before you. That's called biting. West Coast hip hop
is built off of Black music. It's taking the cultural,
the street urban cultural elements of West Coast lifestyle and
displaying it sonically, that's your job. Doesn't mean you have
to make things that sound like doctor fucking Dre. Because

(59:53):
Battlecat don't sound like Doctor Dre. Quick didn't sound like
doctor Dre. Warren didn't sound like like Doctor Dre. Slip
didn't sound like Doctor Dre. Rick Rock didn't sound like
Doctor Dre. DJ Pooh didn't sound like Doctor Dre. You
have to care about black music, not hip hop. Black music. Now,

(01:00:18):
there is some hip hop that is black music, but
all hip hop is not that. There's a lot of
other shit in hip hop, but focus on what this
thing is built off of. And we could extend a
run that was getted to us by somebody sacrificing, sacrificing
to me. Kendrick's sacrifice a lot for everything Kendrick got

(01:00:42):
for preserving hip hop. He's going to go down in
history and the biggest moment is going to be slaughtering
this nigga like a pig.

Speaker 3 (01:00:51):
Do you remember a long time ago, maybe like it
had to be like five to seven years ago, you
would talk about how Adele was seeing so music basically,
and she was selling so many records, But why couldn't
like a jazz and Sullivan do the same thing. I
remember you was studying that. It was like Adele's basically
singing soul music. What do you think that was that
you ever figured that out?

Speaker 1 (01:01:13):
White people that can half ast got sold. It's like
an anomaly. They're like unicorns.

Speaker 5 (01:01:19):
Like that white girl I showed on my Instant story
of the day she walking, that's the whole had the
whole energy like like a niggive.

Speaker 1 (01:01:28):
You feel me because whause white women with black attributes
are like unicorns, like, oh my god, So they don't
necess like like I always say, Jill Scott could sing
Adele ass under the table. Everybody that listened to this
podcast who knows both would try to argue Jill Scott,
she got to dance. They want her to move around,

(01:01:51):
she got to make it festive. If you put a
microphone across from Jill Scott and Adele, Jill Scott will
sing adell ass under the table.

Speaker 2 (01:01:59):
But you don't know that because.

Speaker 1 (01:02:00):
For black singers, for black singers like Beyonce, this motherfucker
got to do woutine in high heels where close that's
entirely too tight. She can't just come up there like
a deal with a dress on, or like Susan Boyle
and just sing and that's enough.

Speaker 2 (01:02:17):
They're gonna be like you black, you could sing wooty dude,
look at lu.

Speaker 1 (01:02:24):
If it's about talent, Luther Vandross would have outsold everybody
in the business man.

Speaker 4 (01:02:30):
He was struggling to go.

Speaker 5 (01:02:31):
Maybe when I watched that ship, he was like, man,
I can't hit the pop charts like they not.

Speaker 4 (01:02:35):
He wasn't feeling it.

Speaker 3 (01:02:37):
And that's crazy because Luther van like what he like.

Speaker 4 (01:02:41):
Man, they just they I don't really like being like,
I don't mind. He's like, I'm gonna feed my people.

Speaker 5 (01:02:46):
They I'm grateful for me, Like Luther Vandros, they're not
putting this into me. They're not doing that. They the budget.
He's like, man, that's Luther Man.

Speaker 2 (01:03:00):
I don't know if we can tell you the white people,
you know, your.

Speaker 3 (01:03:04):
Big guy.

Speaker 4 (01:03:06):
Nigga want to grab me in the nineties, I think,
how do you think thou was?

Speaker 3 (01:03:12):
It?

Speaker 6 (01:03:13):
Was it?

Speaker 3 (01:03:13):
How I pushed through? Was that it?

Speaker 6 (01:03:15):
Yes?

Speaker 2 (01:03:15):
I was a What's the most underrated thing is how yeah?

Speaker 1 (01:03:22):
So so Turner has been parry over the last twenty years,
like he was just some abusive drug addict, drunk musician.
This nigga actually played the first sound that became rock guitar.
He's credited with making the first rock song. People don't
know this. I Turner was a genius with music. So

(01:03:44):
that's why Tina's dealt with him all of these years.

Speaker 2 (01:03:47):
He was a fucking animal, you know what I mean.

Speaker 1 (01:03:50):
So she left and became a rock star because Ike
is originally a rock star.

Speaker 2 (01:03:56):
So again it's it's it's I get it.

Speaker 1 (01:04:02):
Him and his old lady fuck cool. I ain't getting
into that. I'm just saying.

Speaker 3 (01:04:08):
We have to like had to be something. He was
instrumental like it was. Besides that, I knew.

Speaker 2 (01:04:18):
They have reduced his life into that like Joe Jackson. Yeah,
he just whooped ass.

Speaker 4 (01:04:26):
You look mean. One thing about the niggas, they didn't
look like they was mean.

Speaker 2 (01:04:30):
Not not not not not not. He's the original LeVar Ball.

Speaker 4 (01:04:35):
Exact.

Speaker 3 (01:04:36):
That's guys. They had their hair pressed and jack and
heels and they was talking great.

Speaker 4 (01:04:45):
Seventies.

Speaker 3 (01:04:46):
That's seventies.

Speaker 1 (01:04:46):
Look, So there is no that's my point is coast.
There is no West Coast sum right, It's it's just
not and we have to let go of that turn.
You gotta let go emulating other people music. You got
to get back to the culture.

Speaker 3 (01:05:02):
And you know, I would love for Beyonce to do
a rock album because I kind of felt like Damn
by Kendrick was kind of rocky. But I would love
I want to hear more rock. I want to hear
more because that's a that's a story that we don't
really get to hear our see. And people don't know
about Tina Turner or Rick James or you know, those

(01:05:25):
only two I really know for real, I don't even know.

Speaker 6 (01:05:30):
I never heard he was a rock artist. I'm Clinton.

Speaker 2 (01:05:40):
Delli started off as a rock group.

Speaker 6 (01:05:43):
As a rock band, rock, psychedelic rock.

Speaker 3 (01:05:48):
Because I think that's I think that's something that I
hate that that was wiped away and people think rock
is just not ours because I like that style in
fashion too, that rock style, like that when.

Speaker 7 (01:06:00):
They start throwing like Barry Barry Hendricks.

Speaker 2 (01:06:11):
Little Richard at the beginning.

Speaker 3 (01:06:12):
Do you really think that they would have succeeded with
trying to whitewash hip hop? Do you really think if
this didn't happen, Yeah.

Speaker 1 (01:06:26):
Jack Harlow shout out to shout out to Drama Lake
the homies, Bro, I'm not talking about Jack.

Speaker 2 (01:06:31):
I hate that I have to say this. I don't
want you.

Speaker 3 (01:06:36):
Say that because because they it's like post malone, Jack Carlo.
They come over here to get their hit, but then
they leave, so they they is the only one who stayed.

Speaker 2 (01:06:47):
No, Jack stayed too.

Speaker 3 (01:06:49):
Mm hmm.

Speaker 1 (01:06:51):
So again, it's not white people that's the problem whitewashing it.
It's culture. It's washing the flavor out of it. Didn't
it just starting.

Speaker 2 (01:07:01):
Hard like how they did rock, were rock, heavy metal,
like it just started being everything without no soul ball.

Speaker 4 (01:07:17):
I never understood how people get I was like, I
can't get into that.

Speaker 1 (01:07:21):
Angry ass white people. I don't know why they quite
angry and ship, but they was angry.

Speaker 3 (01:07:27):
So Travis is really talented though he could play them drums.

Speaker 1 (01:07:30):
Hell, whoa they got something? That's really a lot of
them dudes is dope. They're not bad or nothing. I'm
just saying how it can't be not one nigga.

Speaker 2 (01:07:40):
And some ship that niggas started.

Speaker 1 (01:07:44):
It ain't a nigga. I don't even remember the last
black rock star. The last black rock star, I think.

Speaker 2 (01:07:50):
He was white.

Speaker 1 (01:07:51):
The tall dude, No, the dude with the not leny,
but the dude with the hat.

Speaker 6 (01:07:59):
You're talking about over work that he was in the
group slash slash.

Speaker 2 (01:08:06):
M hmmm, I think slashing YouTube or slash in one.

Speaker 7 (01:08:10):
Of those girls members Guns and Roses.

Speaker 4 (01:08:18):
Yeah, yeah, actually Rose right exactly. My chemistry teacher is
just like that nigga.

Speaker 1 (01:08:26):
So it's like we look at country. We look at country.
It ain't a brother in the space, like they trying
to make you boozy. But I'm not even by shout
out to your boozy, I'm not. I'm looking at it
crazy because he's sang tipsy cool. I'm looking at rock
and roll. There's not a brother in the space. I'm
looking at jazz. None of the brothers got big budgets.

(01:08:47):
The fucking fucking terrorst probably budget is one hundred dollars.
Don't lie the holy parbaty. They probably like, we got
one hundred dollars for you to make this album. Taid,
Wait a minute, that ain't what y'all giving Kenny about.

Speaker 3 (01:09:00):
I was just about to say, people think jazz and
they automatically think Kenny.

Speaker 2 (01:09:03):
G a nigga playing the saxophone over pop music.

Speaker 3 (01:09:07):
And I'm gonna tell you if it wasn't for Papa
Uncle Tony and Deshaun. I probably would Kenny G.

Speaker 6 (01:09:13):
Two.

Speaker 5 (01:09:14):
Sure, Now, you used to see that nigga every time
it was a war coming up, it was that nigga
video popping up.

Speaker 2 (01:09:23):
So and then he made this ship cool. Kenny G.
Ain't no never met out to Kenny G. But I
ain't never met no white man. They called himself.

Speaker 1 (01:09:31):
Nigga says weird like you did that ship, So we
thought you was a nigga, Kenny G.

Speaker 4 (01:09:40):
And they know how to mark that player.

Speaker 2 (01:09:43):
You do not look like a Kenny G. KG. Do
not look like a nigga named Kenny G.

Speaker 3 (01:09:47):
But he had to add the g.

Speaker 4 (01:09:50):
He had to make a hell of jazz g.

Speaker 6 (01:09:52):
Man, you have to make your hell a gangster nigga.

Speaker 2 (01:09:57):
That farm flowing got that perm like, yeah, Kenny G.
Like a player like Michael Ny ain't no player that nigga.

Speaker 6 (01:10:06):
Got the name like a player as cool as Miles.

Speaker 2 (01:10:13):
Miles Dame. That nigga names so hard.

Speaker 6 (01:10:18):
For sure.

Speaker 1 (01:10:26):
Yeah, but looking out for tuning into the Note Sellers podcast.
Please do us a favorite, subscribe rate Commonist Share. This
episode was recorded right here on the West coast of
the U.

Speaker 3 (01:10:39):
S A.

Speaker 1 (01:10:39):
They produced about The Black Effect podcast network and now
hard Radio.

Speaker 2 (01:10:44):
Yeah.