July 17, 2025 • 55 mins
Glasses Malone and Rose Gold Pete reflect on the emotional weight of navigating business relationships, the importance of trust, and the personal toll that often accompanies creative pursuits. They explore the demands of storytelling in music and film, the shifting values in a capitalist society, and how those shifts have shaped access and opportunity. The discussion also touches on the power of character development—both on screen and in real life—and the pursuit of possibility through migration. At its core, this episode is a meditation on integrity, resilience, and the evolving meaning of success.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealer's podcast with your hosts Now fuck that with your
load glasses, Malone?
Speaker 2 (00:15):
What's that name?
Speaker 3 (00:20):
Got me?
Speaker 2 (00:22):
What do you mean I got you?
Speaker 3 (00:26):
I don't know what to make of anything anymore?
Speaker 2 (00:29):
What you confused about.
Speaker 3 (00:32):
All?
Speaker 2 (00:32):
It?
Speaker 3 (00:33):
All?
Speaker 2 (00:33):
It?
Speaker 1 (00:37):
I don't even want to know what that means, because
I would imagine that means something crazy.
Speaker 3 (00:41):
No, No, I don't live a crazy live a crazy life.
Speaker 2 (00:45):
You don't live a crazy life.
Speaker 3 (00:46):
No. No, pretty simple, very very very simple. Just trying
to corral small, tiny little bits of money and just
you know, get a couple more of them. That's about
it about it?
Speaker 2 (01:03):
Low.
Speaker 3 (01:04):
Did you go out of town? Were you in Colorado
or something?
Speaker 2 (01:06):
I was in Denver?
Speaker 3 (01:08):
Gotcha? How'd that go?
Speaker 2 (01:11):
It was cool.
Speaker 1 (01:15):
I went out there Thursday because I had to do
some extra hustling for Friday, and then the concert was Saturday,
and I left Sunday morning at seven in the morning,
like La. So I left Thursday night on Frontier and
which the plane was two or three hours late, where
I had mechanical issues.
Speaker 3 (01:34):
I'm extremely familiar with that process, as you know.
Speaker 2 (01:37):
Yeah, I didn't know I'm sleeping on Frontier.
Speaker 3 (01:39):
I spent more time on the frontier than David Crockett.
Speaker 2 (01:44):
Yeah, fuck man, anyway.
Speaker 3 (01:47):
Under Daniel boone of aviation.
Speaker 2 (01:51):
So I leave out.
Speaker 1 (01:53):
I get there at night, I end up doing one
rap song for somebody, and then I go to the
hotel and I go to sleep. Friday, when I wake up,
I end up just getting a little extra sleep because
I've been stressed crazy, just been going through it. I
think yesterday, Coach, you know, made a lot of sense
(02:17):
to me. Like I've been dealing with a problem with
my business m hm, and it's threatening the ownership of
you know, a lot of my songs pretty much my
whole catalog, and it's been stressing me out over the
past two months, like beyond. But yesterday I went to
(02:42):
box with coach. With coach, will you know who does
the lunch hour?
Speaker 2 (02:46):
Sure?
Speaker 3 (02:47):
Sure, yeah awesome, And.
Speaker 1 (02:49):
Like it had me so stressed out, man, like all
my shoulders, my back being tense, Like I've just been
really going through it. And it's only because like somebody
I trust is at the hest that you know, somebody
I trust it is at the front of it, and
I feel like the way they're dealing with it is
just not cool. And it's like if you would think, like,
(03:17):
you know, people know I've made sacrifices on having children.
You know, part of the initial thing was I was
waiting to get married to have children. So it's not
as simple as I just was sacrificing music, sacrifice to
have a children make music. But people know that this
is my pride and joy, my music, my create you know,
my creative ensemble of songs. You feel me, it's my
(03:40):
pride and joy. So losing it, I would think somebody
who like I would trust, would be really you know,
they would understand why it would be so stressful. But
it's to the point where like you watch that person's
life go on and don't get me wrong, maybe you know,
still the person maybe still feels like like, uh, you know,
(04:05):
it's going to be okay.
Speaker 2 (04:06):
So it's like it's not a cool way.
Speaker 1 (04:11):
And then as I do more homework on a person,
like everything coming back has been horrible and still is
just going on with his life like it's all good,
like you know what I mean, Like he might make
a phone call, but he's at his job, he's with
his wife, he's on his kids game, he's you know,
(04:31):
celebrating his anniversaries, like this means that I won't make
any more money off of my catalog, you know what
I mean?
Speaker 2 (04:40):
And so to me, it's so serious.
Speaker 1 (04:43):
And if I was, you know, you know, managing an
artist and this was I couldn't even sleep without fixing it.
I couldn't do anything else without fixing it, especially if
it's somebody that I've known for twenty years, you know
what I mean, I be doing everything in my power
to protect that relationship and to make sure that this
(05:11):
person didn't lose everything. And I would still be talking
to this person all the time. I'd be talking to
this person so much that they would be more you know,
like confused, Like damn, you know you more affected than me,
you know what I mean. I'd be trying to soothe,
you know, Like if this was the Giants and it
was happening to them, I'd be talking to them every day,
(05:32):
like I'd be hitting them all day, like, hey, you
know what I made this car been thinking? Even if
I was helpless in this situation, we'd be helpless and
I'd be down for whatever you wanted to do.
Speaker 3 (05:44):
And can I ask, like what's the contractual? I mean
it has to be some for a contractual conflict the legal.
Speaker 2 (05:56):
So like, so I did a.
Speaker 1 (06:02):
It's a couple of companies that have been, you know,
licensing catalogs to sink to sink. You know, they've been
they've been licensing catalogs so they could sink them and
look for opportunities. So they advance you money based off
your future royalties and the goal is for them to
make you know, a lot of money and take into
a profit share with you because you have this amount
(06:25):
of songs and.
Speaker 3 (06:26):
They would like you're effectively borrowing out the equity in
the music, and they assume that the it's going to
earn itself back with appreciation at minimum.
Speaker 2 (06:39):
Yeah, you know what I mean. But the goal for
them is to make more money.
Speaker 1 (06:42):
And still brought it to me as this is somebody
that I'm friends with, and I'm thinking, I'm coming to
the realization that's probably not true.
Speaker 2 (06:52):
Like he knows the person, but you know, even the
person who.
Speaker 1 (06:56):
He met him through, right, was like I verified with
certain people and they're like, now this dude that's doing
the deal is very questionable.
Speaker 2 (07:04):
Like he's done some really questionable things.
Speaker 1 (07:06):
So it's put me in a situation where I have
to go behind and check everything and it's like everything
has been bad, and it got to the point to where,
you know, I was ready to do something, you know,
very glasses love thing from Seth.
Speaker 3 (07:20):
I wouldn't want to be the guy taking your catalog
from him.
Speaker 1 (07:23):
Yeah, and I'm on the verge of doing I was
on the verge yesterday of doing some very glasses love thing,
some things that shout out to my older homies that
I've been trained to do when people play with me,
sure you know what I mean, And I haven't seen
it in so long, like people trying to play with
(07:43):
me and thinking it's okay, and yeah, it's just been
a journey and it's been stressing me out. So yesterday
I was going in to box, you know, you know,
going to work out box those mans and it was
so stressful I couldn't even work. And that's how I know,
(08:03):
because I'm not like a stressful person. Even when I
was in Denver, there were times that I had a
headache because I'm like dog like, this is my everything.
And long story short, So I'm with coach, you know,
at training and he's talking to me and I got
the address to this location where the company is at sometimes,
(08:24):
and I knew nobody was there, so my immediate thing
was to go burn down this building, right saying it's
kind of in like Hollywood. But I was like, yeah,
I'll just go burn it down, you know, because I
can't get the person who who the deal was done
with on the phone let alone. I don't even know
who's financing that part of the deal for him, who's
(08:45):
putting up the money and still has gotten to the
place now where he's just not even talking to me.
Speaker 3 (08:52):
What's the name of this outfit?
Speaker 1 (08:57):
I don't quite know. I got to look at the contract.
I know that's weird because they his people.
Speaker 2 (09:00):
I don't know.
Speaker 3 (09:01):
I have had a some exposure to a similar business
model from a company called song Vest.
Speaker 2 (09:14):
You know it's not that though, Okay.
Speaker 1 (09:15):
That's got no selings live or look, excuse me, no seilings,
not live, no seilings lasses Lowe.
Speaker 2 (09:25):
The boss working through some stuff, so.
Speaker 1 (09:31):
Like it's to the point now where I barely like
still is barely gonna answer my cause you know what
I mean, Like his job is now so important that
he cannot talk to me. It's like, you know, forty
eight hours at this point, you know what I mean,
Like every promise has been broken and you know, from
(09:52):
the company, and there is really no effort to kind
of keep me cool. And normally that is usually a.
Speaker 2 (10:00):
Sign of disrespect, and it is a sign of disrespect.
I mean to me.
Speaker 1 (10:06):
Now, maybe in the regular world it's not a sign
of disrespect, but in my world, it's a sign of disrespect,
you know what I'm saying. So my immediate thing is
to do something to the man respect. I don't know
who the person is or what they look like, so
I can't find them. So the next thing is I
(10:29):
just go burn this house down and then they'll know
I'm not playing. So I got the address from a
buddy of minees that that we all know, and shout
out to him. He didn't know what I was gonna
plan to do, and lord knows, I would have never
told the police where I got the address from. Sure,
But as I'm going, as I'm about to walk out
(10:50):
the gym, no, coach Willis just started talking to me.
Speaker 2 (10:56):
And something he he said.
Speaker 1 (11:01):
I don't quite know what it was specifically, but when
I left the gym, I still was on the verge
of going right. I was going to get a gas can,
going to you know, do the thing, and right when
I got to the freeway, his words just kept.
Speaker 2 (11:20):
Going back and back over my head, dog like in
my ear, in my ear, in my ear. It was
like God's testing you, like you know, God is testing you.
Speaker 1 (11:37):
And the more I thought about it, I was explaining
to somebody that God has been testing me and I
know it. Like right, I went through the same thing
when I was about to put out white lighting in one.
Speaker 2 (11:54):
And like the CD was doing good.
Speaker 1 (11:58):
It was making noise, but it hadn't quite hit radio
to start kicking up dust like I think maybe one
station might have played it, and it was an opportunity
for me to make a play on five gallons of
PCP for sure, or people call it dust five gallons, right,
(12:18):
And that play would have bought me an extra ten
thousand dollars to survive, right because at that point, I'm
living in Lynnwood.
Speaker 2 (12:29):
Shout out to mister hood rest in peace. I'm living on.
Speaker 1 (12:32):
Lynwood Road, thirty three forty four Lynn Warld Road, right
at the corner of Lynwood Road and Long Beach Boulevard
when you get off the one on five freeway coming
from Los Angeles, and you exit on Long Beach Boulevard.
Speaker 2 (12:44):
You know that puts you on the side where you
have to go that would be south. You know what
I mean.
Speaker 3 (12:49):
I live right there, and you've missed out on some
good opportunities to Uh there's pimping money to be made.
Speaker 1 (12:58):
I'll tell you about that. But after this, I had
that opportunity too. But I would have picked up an
additional ten thousand dollars. At that time my rent was
four hundred and twenty five dollars. Ten thousand dollars goes
a long way. I would have been straight, you know,
for I don't know, you know, for a while, or
(13:18):
I would have got busted. And my problem with it,
and this is the point of sometimes being a crypt
and a well trained crip. Shout out to my older home.
He shout out to Pluck moun Shady and all the
guys that made me stand there for myself and realize
I could do shit to people and get away with it.
Speaker 2 (13:34):
Is now I.
Speaker 1 (13:35):
Think I can get away with everything. Sure, I think
I'm some kind of fucking criminal mastermind. And it's crazy
because I think the police is smart. If nothing else,
they have more time and resources. Even if they're even
if my SAT score is better than some of these
motherfuckers they have, Like I'm spending my whole day trying
to get away with doing a crime, stay alive, not
(13:57):
get ribbed, feel me, not get cheated, and they spend,
you know, and I still have to do the transactions
to make profit.
Speaker 2 (14:06):
They get paid all day to watch me.
Speaker 3 (14:09):
And even in the vacuum of one singular act, you
have to go twenty for twenty and they have to
go one for twenty.
Speaker 2 (14:18):
Yeah, you know, so.
Speaker 3 (14:20):
Like even that decks stacked enormously against you.
Speaker 2 (14:23):
Yes, So.
Speaker 1 (14:26):
I remember that happened, and I remember just thinking like, nah,
I can't do it. I don't even know how I
was gonna even pay my rent that month, or I
didn't pay my rent, I might have been a whole
month behind. But mister Hood used to try his best
to keep the owner together. The lady she was. She
was a cool lady too. I forgot her name. But
the manager of the apartment unit, mister Hood rest in peace.
(14:48):
You know, he would, mister Lewis Hood, he would do.
He would try his best to help me. He's seen
I was trying to get my life together. He saw
that I didn't want to sell drugs, and I was
trying to do this music thing and it was a
little energy, but it wasn't quite where it needed to be.
And that opportunity came and I was right on the
verge of doing it. And you know, part of the
(15:11):
reason I stopped selling drugs is because I realized that,
like I promised God that I wouldn't sell drugs if
God got me out of a situation where I was
about to go to prison. And it wasn't even a
serious prayer. I think I told you, yeah, and it
wasn't a serious prayer. But it happened, and the only
(15:31):
thing flowing in my mind was that promise. So I
was going to break that promise to I'm like, oh,
I gotta do it. Is one more time and I'll
be straight because I could see it was going to happen,
Like the opportunity was there and it was clicking and
all I needed was one more time. And I remember
turning it down, like, nah, man, I'm gonna hook you
(15:51):
up with somebody else. Oh I pay you, Noah, I
want nothing for me. I don't even I don't want
to get involved. I'm just making sure you accomplished what
you're trying to accomplish. But I'm I don't want a
profit from it.
Speaker 2 (16:01):
I'm cool.
Speaker 1 (16:02):
And I remember my brother was mad because he was
like me, you ain't trying to hustle, you know, y'all.
Speaker 2 (16:09):
I'm like, now, I'm gonna do something different. And that
was yesterday for me, and.
Speaker 3 (16:14):
It reminds me of one of my favorite probably not
released singles of the last several years in the hip
hop genre. Is that song Last Run by Yogatti.
Speaker 2 (16:26):
Oh, I never heard it.
Speaker 3 (16:27):
That's a great song, great, great song all the way around.
Speaker 2 (16:32):
And so.
Speaker 1 (16:35):
Yesterday Coach Wills talking to me, He's like, man, God
has something right around the corner for you. He's like, man,
I know this energy. And when he said it at
that time, I heard him. But I'm like, man, I'm
finish gonna burn his house down because I he was
a way with him. And you know, these motherfuckers gonna
know not to play with me. They're gonna have to
get on the phone with me. They got to fix
the shit, you know, period, blah blah blah. And I
(16:58):
got you, guys, man, I'm the freeway.
Speaker 3 (17:01):
I just take anything. Coach, Yeah, Coach absolutely you're putting
in all these things into the car.
Speaker 2 (17:08):
Yeah, no, no, I hear. I'm listening to it.
Speaker 1 (17:10):
But in my mind, I am so focused that I'm
gonna show these motherfuckers, you know what I mean, I'm
gonna show these motherfuckers, you know. Like and that kept
saying God has something right around the corner for you.
And when I was when I was right at the
freeway and kept saying God had something, and I just
turned around and went on. And I promised myself today
(17:37):
that I wouldn't stress. I promised myself today that I
wouldn't call still like I promised myself. And today is
the first day in a long time and a couple
of about five seven weeks that I haven't stressed. Sure's
(18:02):
And you know, I didn't call Steal. I didn't say
nothing to him. At this point, I'm probably not going
to call him anymore about it. But man, like, it
was definitely and I think I could have got away
with it. I know I could have got away with it. Yeah,
but that that that really kind of repositioned my soul.
(18:26):
I don't even know if I like it, because it
made me feel like I'm getting soft, you know what,
I'm saying, but it's been a journey man, and so
I was in Denver dealing with that. I came up
with some really great ideas in Denver for like TV
shows and those stuff. So you know, everything is straight
even today, Like I was writing for this film, shout
(18:49):
out Nebrasko, one of my partners out there in Memphis.
No going out there in November to shoot a film.
You know, I've sold synopsis. You know, I sold you know,
treatments before for films, three of them. But this is
like my first one that we're gonna shoot, and you know,
I'm I'm strapped in to go all the way for it,
(19:11):
you know what I mean. Paul's like, I'm strapped in
to go all the way with this.
Speaker 3 (19:16):
I hate, I hate to do it, but I have
to ask. Are there any nominal speaking roles for presumed
white characters in the film.
Speaker 1 (19:26):
One, Yes, okay, that's why I wrote you in. I
got a cool part for you. But I gotta I
need a I need I need an older white racist man.
It's not for you. This is one specific thing. I
got something for you that should be.
Speaker 3 (19:47):
Probably achievable in the Southern Tennessee, Northern Mississippi Greater Casting
Net Area.
Speaker 1 (19:55):
Yeah, but uh nah man, So I've been really flushing
out the characters again. Shout out to John Truby for
Anatomy of a Story. It's one of the best. If
you're a natural storyteller, you know, and I know they
you know, John Truby ain't writing us no check. But
if you're a natural storyteller and you really want to
put your storytelling on an assembly line as far as
(20:18):
for it to have depth, get Anatomy of a Story
by John Truby, you know what I mean, and go
through it. Take your time, keep reading it. I've read
it four times. I'm still reading it. I'm still ingesting it.
I wanted to be a part of my natural story
process from here on out, and especially as I moved
(20:39):
into this film realm, because it's like.
Speaker 2 (20:43):
I've had opportunities to do films.
Speaker 1 (20:46):
Over the last three or four or five six years,
but I am so dedicated to hip hop and finishing
what I started. You know, I went through all the
stuff to get into this position that I kind of
neglected that, but I realized those that thing is coming
to me because it's going to help finish what I started.
With hip hop, especially for like a masterful storyteller. You know,
(21:11):
if I could compliment myself like that, a masterful storyteller
as myself like right, I look at the difference between
Scarface and ice CTE. To me, who are the two
best storytellers in hip hop? They have some of the
greatest and most widely known stories in the history of
hip hop, you know what I mean, Scarface in songs
(21:34):
like in songs for Scarface, it would be mind playing tricks.
I've seen a man die like he has some incredible
stories that everybody in hip hop knows what happened, you know,
this year on the weekend. And then ice Cube, right,
everybody knows what happens with the boys in the hood.
(21:56):
Everybody knows about the good day that ice Cube had.
You know, They're like phenomenal stories and their catalog is
built on incredible stories. And I definitely patterned myself, you know,
in hip hop as a rapper behind them. Naturally, I'm
a storyteller. I used to tell sell stories at my
middle school of Nintendo characters. So I never realized the
(22:21):
two would help each other. I never realized the two
would help each other. But and it's integral, and here
we are today. You know what I'm saying. We are
day late with the pod. We should have done it
Sunday when I first got back. But again, man, when
I got back, I was rapping, but I was still
in this really funky mood.
Speaker 3 (22:41):
Sure, not to mention, probably just miserably tired.
Speaker 2 (22:46):
Yeah, but I wasn't tired enough to where I couldn't
have did it. But I didn't. Actually, my big homie,
Big Cool from Bebop.
Speaker 1 (22:55):
Came by and he brought a hommy Pedro and a
couple homies and we end up talking possibly about doing
something with the del Phonics, one of the least singers
from the del Phonics, and that ended up taking about
four or five hours. So by the time that was done,
then I had to do some rapping, and so by
that time then I probably got tired because I ended
up sleeping twice Sunday, gotcha. So the time that I
(23:18):
would have came straight home, you know, from Denver and
we would have just did the pod, I end up
giving that time to Toronto to be cool and as
part of being a decent friend and a decent young
homie in his case, you know, being a decent young homie,
you know what I'm saying. Where As I've been doing
Ronald since I was probably nine, okay, and you know,
(23:41):
I'm I always had a lot of respect for him,
and he's a really creative dude in his music industry.
He's one of the guys that discovered you know, he
was on the early train with Black Youngster.
Speaker 2 (23:51):
Oh.
Speaker 1 (23:53):
He has a knack for what's happening when it comes
to street urban coaching. So you know, you make time
and Pedro, you know, they were rapping before me, so
you make time for people sometimes, you know, shout out
to everybody that listens to No Seilings podcasts forgive me
for this day late, but here it is, you know
what I mean. It's a day late, but we're right.
Speaker 3 (24:12):
Here and I'm ad dollars short, so we're perfectly and sync.
Speaker 2 (24:19):
Yeah. Yeah, So.
Speaker 1 (24:24):
At that point today I've just been writing, flushing out
the story a little bit more. You know this again,
this is the first this is the first synopsis or
or the treatment that I'm going to take the screenplay
in the strip. There alone going to shoot it. So
I'm excited about that and it is kind of it
(24:44):
is refreshing to kind of double down on stories. You
know what I mean to double down, and we will
use these new set of tools, use this new set
of tools that I got from a couple of books
in my approach, Like even writ in this film now
right It's dope, because I was inspired by the location.
(25:04):
Right Nebrasko and his partner bought the location in Memphis,
this preestinct, and I had to write the idea based
off location.
Speaker 2 (25:12):
I didn't want to move the camera lot.
Speaker 1 (25:14):
Shout out to Malcolm May's little bro he didn't, you know,
taught me a lot about multiple location shit. So I
was really careful with the first films that I wanted
to shoot were always, for the most part, single location shots.
I mean, they spent eighty five percent of the film
in one location. And it was one thing to get
the premise out, it was another thing to get the
(25:34):
synopsis out. I still wrote the synopsis. He expanded it
on the premise and wrote a synopsis. But now like
developing the story based off of my new attained knowledge
and skill set, and man, it's.
Speaker 2 (25:51):
Night and day difference, Pete, it's night and day difference.
Speaker 3 (25:57):
What do you notice this from? Like what you the
final product to be like, what like certain details that
translate onto film or that you would anticipate would where
do you see like those differences being like at their greatest.
Speaker 1 (26:16):
So like with Tupacmas Die Right, Obviously this is hard
to compare because that's a five to six minute video
and this is a ninety plus minute feature. One of
the biggest things is so character development and relations, gotcha, Like,
(26:37):
that's a big thing today, as I've been spilling out
before I go to screenplay and script, character development and relations,
the web of characters.
Speaker 2 (26:49):
And how they.
Speaker 1 (26:52):
How they carry a story, like not necessarily the plot
carries the story. Like I was explaining to Chris today
about I was telling her about Toby films and she
felt she didn't like them because.
Speaker 2 (27:12):
They were.
Speaker 3 (27:15):
Filmed on cell phones.
Speaker 2 (27:16):
Yes, And.
Speaker 1 (27:20):
I explained to her it's more than that, and she
thought that was crazy. And I'm like, you know, have
you ever heard d Lo no Hoe? Right, there's a
ton of songs that are mixed like shit, But if
the song is compelling, it won't matter. It'll go into
the story itself and make the story even that much more.
Speaker 2 (27:39):
Interesting, like shatas Sure.
Speaker 1 (27:42):
Sure, And I was telling her that the issue with
most TOOB movies for people is the lack of story development.
Like they'll have a decent premise and plot, but the
web of characters is questionable. There's a lot of extra
characters that won't make sense. Even this like being inspired
(28:03):
by Rio Bravo to write this idea, right Real Bravo
is a movie that came out in the fifties and
I liked it and use it as just as inspiration
because it was all about a bunch of you know,
outlaws coming to to one location for one purpose, you know,
(28:23):
and like this again, that was my first John Wayne film,
so and only so it was one thing to write
a really good treatment, excuse me, a really good premise
and a really good synopsis that was simple, but to
flush it out, to put it in position for screenplay
and to put it in position for treatment. I could
have seen how if I didn't read John Truby's book,
(28:45):
it could have been a to B movie in a sense,
not like oh, it's on TOOB and it's not successful,
but in a sense that there could be way too
much extra slack, like the suit is not Taylor fit
for the featured time, Like every minute in a film
is valuable. Sure, Every every word of a story is valuable.
(29:07):
Every relationship that your main character has is valuable. Yeah,
so you have to truly use it, you know, correctly
to keep people engaged, especially if you don't have an
area many you know, especially if you don't have the
benefit of millions of dollars in marketing, especially if you
(29:28):
don't have the big screen.
Speaker 3 (29:32):
Yeah, yeah, no, to totally.
Speaker 2 (29:33):
I mean those.
Speaker 3 (29:36):
Types of and I think like the one relationship, I mean,
obviously it's like that you're alluding to, but yeah, for
the audience's sake, Like, the most important relationship that the
main character can have is the one that the film
fosters between him and the audience. You know, asked, like
you see like these patterns and movies where they'll go
(29:57):
out of their way to give a little bit of
background or a little bit of this or a little
bit of that with certain characters certain moments, so that
you can establish an empathy or a sympathy, some sort
of relationship between the viewer and the character.
Speaker 2 (30:13):
Yeah.
Speaker 1 (30:14):
And it's funny because I think I did a podcast
we talked about it before on this podcast where I
felt like I understood when people said Kendrick's music was
preachy at times. It was driven entirely too much by dialogue,
like the messaging was driven by dialogue. And it's also
(30:35):
why I said gn X was his best album. Not
only is it the best combination of records and him
in his most honorable and vulnerable space, right, it's also
the fact that everything is done in theme. Like people
don't realize when you hear that singer singing how Los
Angeles that is, People don't realize it's so many nuanced things,
(30:57):
titles that create a theme that he gives you. Hey,
this is la Unapologetically, I just smacked the shit out
of one of the biggest artists in history that thought
he could compete with me. And what I'm doing is
not to be questioned. I'm unapologetically that guy. And he
never had to say it, but through theme that was
(31:18):
present everything that he was brand wise and where he
was at in his life without ever saying it, which
kind of you know, it's lost to people. People a
lot of people don't catch the theme, you know, they
don't catch the messaging of the record because they're enjoying
the records and it's such a process from sowing a
(31:40):
song that again, he's not using narration or dialogue to
establish the theme at this point. The soundtrack of music
is the theme, the interludes, everything about it screams exactly
what he wanted to scream, and he just had his business.
And I think that's kind of the thing, which, you know,
(32:01):
storytelling at this level was like, I realize, if you
don't want your idea to come off preachy or condescending, right,
you have to kind of allow theme to guide the messaging,
not so much dialogue. Like if my story is based
around the conservative black man, like he should never have
to say I'm conservative. The theme of his existence, per
(32:26):
relationship with individuals in the film should give off he's
a conservative black man. You know, when you see him
and compare him to the to the to the ally,
it should say that. When you see him in compare
to the opponent, it should say that true. The the
(32:48):
the sheuer energy between them should say that without ever
having to say that. He shouldn't have to go on
a runt about being conservative and blah blah blah, and
it should never have it should it should.
Speaker 2 (32:59):
Be very minimal.
Speaker 1 (33:01):
Sure, no, definitely could be just something he's wearing on
his uniform. So I've been just developing a lot, man,
a lot. What else is going on? Everything going on
with all the how is the trading going?
Speaker 2 (33:21):
Eating shit at that?
Speaker 3 (33:22):
But I'm overperforming and everything else, so keeping the ship afloat.
So that's nice. But I continue to just get castrated
on a weekly basis, and that's unfreaking believable. I don't
even know how it's about bath we thought impossible. I'm
baffled by the numeric probability of that shortcoming. Truthfully, it's
(33:51):
it's something else. I did get some good news though,
because I was at a similar point a month ago,
almost exactly where I have gotten to my absolute wits
end with the people from Oklahoma with that oil deal.
(34:12):
And they were in southern California and I knew it,
and I was like, oh, man, I really want to
burn down all my social credit lines right now and
make sure that they feel me, because they got a
lot of balls taking my money and showing up in
my backyard like that. That's you're almost telling me to
do something to you, man. And they were in Palm Springs.
I was like, I can come down to ten from
(34:33):
the east or to west. He's sitting right right right,
my sweet spot, buddy, you wanted he's here like pick one.
It's like fucking pissed. But yesterday I did get good news.
One of my wells is officially up and running and
producing oil. So that is good.
Speaker 2 (34:50):
Amen.
Speaker 3 (34:51):
So the oh a couple pieces away.
Speaker 1 (34:54):
I remember you were telling me the story of how
your family ended up in California, mom's side. Sure, I
think it was right, how they ended up in Lynwood
and then how they moved to where your family is
at now.
Speaker 2 (35:07):
Yeah, look correct, Uh.
Speaker 3 (35:11):
They were in uh once, I was in Lynnwood, across
the street from where Lynwood High School is now.
Speaker 2 (35:17):
And that's your that's your that's your mom's side.
Speaker 3 (35:20):
Yeah, it's both my mom's side and the other the
other group over there was up in Hindton Park.
Speaker 1 (35:28):
And how did they end up near the beach. Initially
when it was cheap.
Speaker 3 (35:32):
There was nobody down there. I don't know how cheap
it was. It wasn't like it is now. They just
kind of kept They originally moved to Downey because the
houses were bigger. So there was a little neighborhood in
Downy that had like four tedescos in it, like in
twelve houses. They just dollars.
Speaker 2 (35:51):
And then.
Speaker 3 (35:54):
I think, honestly it had to do with I think
my aunt had allergies or something like that. So they're like,
you either go to the desert, you can go about
the water or something where it's not in that area
where it's like polony or something. Sure, So he was
down there, thought it was super boring. Orange County at
times is nineteen sixty one was still Orange County. A
(36:15):
lot of citrus grows the middle part of the county.
Old Santa Anna was there. Newport was tiny, a tiny
little working port. A couple thousand people live down there.
He thought it was just terribly boring. Couldn't wait to
get to work in the morning. That was it been
there ever since.
Speaker 1 (36:32):
How important is migration in the pursuit of opportunity? Like
I said, everything obviously, obviously I watch America move from
place to place.
Speaker 3 (36:44):
It's the most important thing. It's the second most important
thing behind pursuing knowledge. It's less important now because of
the nature of certain virtual opportunities, let's say, like be
it in certain software tech environments. You know, you can
do things like that. But it's the most important thing.
(37:07):
Even if you're in tech. I mean, it's not an accent.
It's not like there's it's not like the greater Silicon
Valley area from was it San Ramon and Santa Clara
to wherever happens to have something in the water and
monopolize all the genius tech brains in the world there. No,
(37:30):
I mean it started off with a little bit of
an ecosystem there and then all the money went there.
So that's where all the vcs are. So if you
want to have access to capital and access to the
relationships that will entrust you with capital, you might want
to go there. I mean, that's pretty true.
Speaker 1 (37:51):
And so that's what happened with Texas kind of over
the last ten years for people in California, especially black
people in California.
Speaker 3 (37:58):
Right, Yeah, I mean a lot of moos with Texas.
They've kind of moved everywhere, it seems. There's a lot
of Vegas, a lot of Arizona, a lot of Texas and Atlanta.
But Texas has a lot of growth and it's also
very balanced sheet friendly mean affordable, yeah, yeah, I'm yeah,
(38:21):
affordable on both sides of the ledger. It's cheaper to
live there and you can still get good wages. There
are other places where it's cheaper to live, like Memphis,
but you're gonna get paid pigeonshited money too.
Speaker 2 (38:32):
Mm.
Speaker 3 (38:34):
Like Oklahoma is a good place to probably look into
a certain opportunities there too, as far as migration.
Speaker 1 (38:42):
Yeah, what if you're what if you're not looking Okay,
what if the opportunity you can't see it yet? Like right,
if there's a location that I'm looking at right and
I'm like, the oportunity isn't there yet, but you know
for sure because this place is the prime place where
(39:05):
people with economics they have to go there. Like it's
only so long this place could exist without you know,
wealth showing up there to maximize you know again, to
pursue more wealth.
Speaker 3 (39:20):
Yeah, I mean that's sort of the you know, American
story in a nutshell. And depending on your time frame,
there's like visionary early and then there's opportunistic early. I like,
so if you're a visionary early, that means there's something
unique about this and I can make something happen, but
(39:41):
it doesn't exist yet, so you have the vision to
make it there. Opportunistic is holy crap, something's happening over
there and it's not oversaturated yet, so there's opportunity on
the back of somebody who had the vision that needs
the human capital, and I can go fill that need
right now at optimal value because you know, there's a
(40:04):
there's a demand shortage or a supply shortage.
Speaker 1 (40:06):
Rather mmm, so visionary versus opportunistic. So if I'm a
visionary yet, I know that because of the Internet right
there is it's definitely changed the landscape. But let's say
(40:26):
the vision is in real estate mhm. Location, Yeah, it
seems like a longer gamble because you're still waiting on
you would still be waiting on wealth to come fulfill
the vision.
Speaker 2 (40:41):
But you know, is inevitable.
Speaker 3 (40:45):
Yeah, uh, time is a serious component. Like let's look
at like for one, you know example, maybe some of
the you know, you're a lot of the audiences may
or might not have heard of I don't know. But
obviously California's tax structure is pretty cumbersome on business. It's
(41:08):
no secret.
Speaker 1 (41:10):
Moving a lot of films out of state, moving a
lot of everything out of state.
Speaker 3 (41:15):
There was one project that got underway, but they kind
of contracted their way into kaibashing it, so to speak,
to have a new port of La right down in
like Rosa Rito or something on the other side of
the Mexican border, and offshore everything down there at way cheaper,
put it on a train and send it out. Governor
(41:35):
of California basically said, We're going to put a state
tax on any product that comes in there that's so
high that you won't be able to do it.
Speaker 2 (41:43):
He took Trump's idea for California along.
Speaker 3 (41:46):
Sure, and I think that was Brown, I believe at
the time. Don't quote me, but anyway, the guy who
started building it was the visionary. Now his vision didn't work,
but had it worked and he put it together, and
then you know, you move down there because you have
(42:07):
a unique ability to launch some super automated arm in
that port that doesn't have union labor restrictions. You would
be the opportunistic party, as the other person was the visionary.
Speaker 2 (42:20):
MM So this idea, I'm pretty much a visionary at
this point.
Speaker 3 (42:27):
Probably you're a visionary kind of guy.
Speaker 2 (42:33):
This is deep.
Speaker 1 (42:34):
I gotta figure it out, man, because I know it's there,
Like I know when God is sending me the vision soul.
Even if I can't see everything that I'm supposed to,
I can receive the vision because I'm not drunk a
high or delusional or yeah, you gotta be a little
delusional to get the vision, for sure.
Speaker 3 (42:55):
A little bit, a little bit. But you anybody can
have a vision. You know, you have to be rooted
enough in reality to you know, work it through actually
being a worthwhile vision. Otherwise it's just, you know, just something.
Speaker 2 (43:17):
Let me ask you a question. I wanted to ask
you this. Well, it's not important.
Speaker 3 (43:25):
Shit, fire away. We've got sixteen minutes.
Speaker 1 (43:30):
You don't think you don't think capitalism right, You don't
think capitalism would be better.
Speaker 2 (43:35):
Off if it had a cap.
Speaker 3 (43:39):
No, I don't think growth would have a I watched
a great video. I should send it to you. This
guy on that wealthy on show that I like talked
about and there's a book by like my intellectual mentor
of sorts though he's just an author and doesn't know
that he's my mentor. Uh, wrote a book called Life
(44:00):
after Capitalism. This guy was talking about how we are
like capitalism no longer exists essentially in the framework as
how we understand it, you know, with productions, margins, reinvestment, growth,
like that whole thing we're that's no longer a thing.
Now now we're dealing with world banks, manipulated currency, quantitative easings,
(44:30):
you know, interest rates to support debt and overspending, and
artificial injections of capital to keep the whole thing from collapsing.
Speaker 2 (44:38):
Mm.
Speaker 3 (44:39):
So it's really not capitalists in any conventional real sense,
like value as we know it has been distorted beyond
the point of recognizability and we're just yeah, kind of
(45:01):
kind of a long for a ride what we can.
Speaker 2 (45:06):
So you mm hmm.
Speaker 3 (45:08):
But like even in like in a normal sense capitalism
had a cap then then you're cap and growth.
Speaker 2 (45:17):
And your cap growth.
Speaker 3 (45:19):
Yeah, everyone who's tried it, that's been the outcome. That's
been the outcome because most of the margins don't change
that much. The scale does.
Speaker 2 (45:35):
Mm hmm.
Speaker 3 (45:37):
And big visions cost big money.
Speaker 2 (45:43):
But do you think we lost something when McDonald's went
like this big?
Speaker 1 (45:48):
Like as like I watched the film The Founder, and
obviously it's a movie, so it don't have to be real.
But even the concept of saying, hey, if we stop
using real lifce cream and we use a powder mix, right,
we maximize profit and make you know, you don't see
the issue in that type of quality.
Speaker 3 (46:09):
I do but it's interesting. Like in the food world,
the cancer I don't think is McDonald's. McDonald's offering it's
pretty straightforward. You're getting something cheaper, and it's cheaper like
literally and proverbially.
Speaker 2 (46:27):
You know.
Speaker 3 (46:30):
The companies that I don't like. You said, there's only
like a couple of companies in all those chain restaurants
like Chili's and Red Lobster, all those things that give
you a sit down dining experience at a price that
a mom and pop restaurant can match, you know, normally, like,
but they've scaled out and their quality is shitty. So
(46:52):
now you're paying thirty five dollars to have a sit
down dinner that absolutely sucks. But they've driven all all
the small entrepreneurs out of the local marketplace.
Speaker 2 (47:05):
Kind of like what Best Buys did to the independent
record stores.
Speaker 3 (47:08):
Yeah, yeah, like that Best Biden come out and offer
a one penny CD that nobody could mash, but it
was shitty quality. That's kind of what McDonald's did to me.
It evolved in that.
Speaker 1 (47:21):
These others they changed their business right right then they
changed their business eventually went from making money off burgers
and fries to really having a different level of interest
in real estate. Sure, sure, so, But you don't think
that happens every time as you pursue profit, like you
(47:41):
have to start to foresake quality first.
Speaker 2 (47:44):
Maybe like in and out is.
Speaker 1 (47:45):
The closest you can get to going too far to
where you could keep some level of quality, you know,
but still have growth.
Speaker 3 (47:58):
In certain areas. That's true, And it's not like it's
there's not a whole lot of innovation in food, you know,
Like it's pretty much just how can you make how
can you produce a cheaper price per unit, or how
can you convince people that they should be happier with
this unit at this price? And I think they did
(48:19):
a little bit of both. I think they re established
consumer expectation. I just saw a picture. I don't know
if it's true or not. The internet's full of shit anyway,
that showed a big mac in like nineteen eighty eight.
It's like the size of my arm, and then this
one's like this big. You know, now it could fit
in the pall my hands tight. So they they've reduced
so much sense. It's probably true. It is true, So
(48:41):
there's that also, But at the same time, you look
at innovation and the capabilities of the cell phone or
technologies and computers or something, or production of cars or
production of houses. It's like not even that, Like I
(49:05):
think that it's we've lost the you know, fifty thousand
dollars home, but there's way more value in the two
hundred thousand dollars home than there used to be. I mean,
it's like packed with all sorts of energy. It's more
flame retard and the amount of like house fires is
down like a third percent generation over generations. So there's
(49:30):
there's a lot more quality out there in certain areas.
There's a lot more efficiency in others. And then in
things like hamburgers, is there just less meat?
Speaker 1 (49:41):
Is there really more efficiency in it? It just feels
like there's more efficiency in things that are like what's
the world I'm looking for? I always tell you it's
the killer of quality.
Speaker 3 (49:54):
Yeah, he's a convenience convenience, Like, I don't.
Speaker 1 (49:57):
Know if it's efficiency as much as it's convenient in
a lot of these in a lot of these departments.
Speaker 2 (50:03):
That's what it feels like.
Speaker 1 (50:04):
Yeah, like even a house now right, I agree with you,
Like it definitely is made to handle fired a lot different,
but it's also like a car. Like a car is
more efficient with gas, right it is. That's fact. It's
efficient with gas, but every other part of it is
a piece of shit, Like you're not built to last
(50:25):
like they like.
Speaker 3 (50:27):
Statistically, I don't think that's true. I think the miles
driven per major like repair has gone up a ton,
but the cost per repair has gone up a ton.
Speaker 2 (50:40):
But you know what I'm saying at that point.
Speaker 3 (50:42):
Yeah, there's certainly no style and appeal and the design
of any of the cars anymore.
Speaker 2 (50:49):
But even the complexity of how it rides, you know
what I mean, even the like like.
Speaker 1 (51:00):
I don't know, I don't know if I'm just being
an old man complaining or like, it's a real valid point.
Speaker 2 (51:05):
Where we're talking about the pursuit of.
Speaker 1 (51:08):
Efficiency, but really behind it, you know, behind the curtains,
Like it might look like a magic trick of efficiency
to the fans, you know, in the audience, but behind
the curtain, it's all the it's all convenience. It's all
the convenience of how you know, they could keep you
in bed with them, how they could keep you paying them,
(51:30):
you know, all of the above.
Speaker 3 (51:34):
Yeah, I don't know enough about old cars or old
cars when they were new, you know, to be able
to compare it to anything, because it matters.
Speaker 2 (51:44):
Old cars when they were new is a lot different
than old cars.
Speaker 3 (51:47):
Yeah, So like I don't really know. I mean, I've
had bad luck with cars and good luck with cars.
It's just then I imagine that's probably always been the case.
Speaker 1 (52:00):
So how do you how do you embrace how do
you embrace the convenience of life knowing that it kind
of knowing that it's kind of voided of quality. I
think what most people do is they just look around,
and that makes them feel okay, but they really only
look and left to right. They're not looking at time
(52:22):
and knows as another metric. You know what, I I
don't know a perspective. I don't think it's void of quality.
I think it's void of character.
Speaker 3 (52:36):
I think it's become so streamlined and efficient with mass
production that there is no more uniqueness, or uniqueness is
way watered down, you know, and and everything has become
extremely like monochromatic rhetorically.
Speaker 1 (52:54):
Speaking, like the NBA. Everybody wants to be the Golden
State Warriors. Everybody want to shoot threes.
Speaker 3 (53:00):
Everybody wants to run the same offense everybody wants to
have the same exact lineup, everything is the same.
Speaker 2 (53:09):
That's really done.
Speaker 1 (53:11):
That's where capitalism is now, maybe not before we were born,
when capitalism was all about creating something that didn't exist,
versus now it's a thousand people doing the exact same
thing in the pursuit and profit.
Speaker 3 (53:25):
That's another thing that this guy mentioned on this video,
and I'll send it to you if you want to
watch it. You can if you're not doing But he
was talking about and there's something that Jamaican Andre and
I get you about all the time is these private
equity firms that find a company that's struggling, and they
have no innovative answers at all. They just buy the
(53:47):
thing for X dollars, go through fire everybody that they
could possibly survive firing, cut every cost possibly could survive cutting,
and then, you know, tip the balance sheet briefly back
into the positive and sell the company, you know, and
(54:09):
then the company has to run in that really bare bones,
shitty way forever unless some unless Albert Einstein walks in
the door and splits the atom inside of that fucking company.
And that's a serious thing too. But I think also
people don't like now people are obsessed with security now,
(54:30):
like you look at every time there's an economic downturn, Now,
what do we get. We got fifty thousand laws that
day to make sure there's never an economic downturn again.
You know, whereas before it would happen companies go out
of business, new ones who coming people. Now it's like
you can't let such and such quarter business becuse people
will lose their jobs. They'll lose their jobs seventy years
ago for an hour and a half because somebody moved
(54:51):
into the building and needed workers, you know. So so
we've constrained things so much as we've turned into like
a desperately low end society on so many levels. And
that and people are leverage to the fucking gilts. So
you can't afford to be unemployed for ninety days or
you're totally fucked. So I get that too, because shit's
(55:14):
a way overpriced.
Speaker 1 (55:18):
Then, looking out for tuning into the No Senters podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA and produced about the Black Effect podcast network.
Speaker 2 (55:31):
And I heard radio Yeah,
Watch up and welcome back to another episode of No
Sealer's podcast with your hosts Now fuck that with your
load glasses, Malone?
Speaker 2 (00:15):
What's that name?
Speaker 3 (00:20):
Got me?
Speaker 2 (00:22):
What do you mean I got you?
Speaker 3 (00:26):
I don't know what to make of anything anymore?
Speaker 2 (00:29):
What you confused about.
Speaker 3 (00:32):
All?
Speaker 2 (00:32):
It?
Speaker 3 (00:33):
All?
Speaker 2 (00:33):
It?
Speaker 1 (00:37):
I don't even want to know what that means, because
I would imagine that means something crazy.
Speaker 3 (00:41):
No, No, I don't live a crazy live a crazy life.
Speaker 2 (00:45):
You don't live a crazy life.
Speaker 3 (00:46):
No. No, pretty simple, very very very simple. Just trying
to corral small, tiny little bits of money and just
you know, get a couple more of them. That's about
it about it?
Speaker 2 (01:03):
Low.
Speaker 3 (01:04):
Did you go out of town? Were you in Colorado
or something?
Speaker 2 (01:06):
I was in Denver?
Speaker 3 (01:08):
Gotcha? How'd that go?
Speaker 2 (01:11):
It was cool.
Speaker 1 (01:15):
I went out there Thursday because I had to do
some extra hustling for Friday, and then the concert was Saturday,
and I left Sunday morning at seven in the morning,
like La. So I left Thursday night on Frontier and
which the plane was two or three hours late, where
I had mechanical issues.
Speaker 3 (01:34):
I'm extremely familiar with that process, as you know.
Speaker 2 (01:37):
Yeah, I didn't know I'm sleeping on Frontier.
Speaker 3 (01:39):
I spent more time on the frontier than David Crockett.
Speaker 2 (01:44):
Yeah, fuck man, anyway.
Speaker 3 (01:47):
Under Daniel boone of aviation.
Speaker 2 (01:51):
So I leave out.
Speaker 1 (01:53):
I get there at night, I end up doing one
rap song for somebody, and then I go to the
hotel and I go to sleep. Friday, when I wake up,
I end up just getting a little extra sleep because
I've been stressed crazy, just been going through it. I
think yesterday, Coach, you know, made a lot of sense
(02:17):
to me. Like I've been dealing with a problem with
my business m hm, and it's threatening the ownership of
you know, a lot of my songs pretty much my
whole catalog, and it's been stressing me out over the
past two months, like beyond. But yesterday I went to
(02:42):
box with coach. With coach, will you know who does
the lunch hour?
Speaker 2 (02:46):
Sure?
Speaker 3 (02:47):
Sure, yeah awesome, And.
Speaker 1 (02:49):
Like it had me so stressed out, man, like all
my shoulders, my back being tense, Like I've just been
really going through it. And it's only because like somebody
I trust is at the hest that you know, somebody
I trust it is at the front of it, and
I feel like the way they're dealing with it is
just not cool. And it's like if you would think, like,
(03:17):
you know, people know I've made sacrifices on having children.
You know, part of the initial thing was I was
waiting to get married to have children. So it's not
as simple as I just was sacrificing music, sacrifice to
have a children make music. But people know that this
is my pride and joy, my music, my create you know,
my creative ensemble of songs. You feel me, it's my
(03:40):
pride and joy. So losing it, I would think somebody
who like I would trust, would be really you know,
they would understand why it would be so stressful. But
it's to the point where like you watch that person's
life go on and don't get me wrong, maybe you know,
still the person maybe still feels like like, uh, you know,
(04:05):
it's going to be okay.
Speaker 2 (04:06):
So it's like it's not a cool way.
Speaker 1 (04:11):
And then as I do more homework on a person,
like everything coming back has been horrible and still is
just going on with his life like it's all good,
like you know what I mean, Like he might make
a phone call, but he's at his job, he's with
his wife, he's on his kids game, he's you know,
(04:31):
celebrating his anniversaries, like this means that I won't make
any more money off of my catalog, you know what
I mean?
Speaker 2 (04:40):
And so to me, it's so serious.
Speaker 1 (04:43):
And if I was, you know, you know, managing an
artist and this was I couldn't even sleep without fixing it.
I couldn't do anything else without fixing it, especially if
it's somebody that I've known for twenty years, you know
what I mean, I be doing everything in my power
to protect that relationship and to make sure that this
(05:11):
person didn't lose everything. And I would still be talking
to this person all the time. I'd be talking to
this person so much that they would be more you know,
like confused, Like damn, you know you more affected than me,
you know what I mean. I'd be trying to soothe,
you know, Like if this was the Giants and it
was happening to them, I'd be talking to them every day,
(05:32):
like I'd be hitting them all day, like, hey, you
know what I made this car been thinking? Even if
I was helpless in this situation, we'd be helpless and
I'd be down for whatever you wanted to do.
Speaker 3 (05:44):
And can I ask, like what's the contractual? I mean
it has to be some for a contractual conflict the legal.
Speaker 2 (05:56):
So like, so I did a.
Speaker 1 (06:02):
It's a couple of companies that have been, you know,
licensing catalogs to sink to sink. You know, they've been
they've been licensing catalogs so they could sink them and
look for opportunities. So they advance you money based off
your future royalties and the goal is for them to
make you know, a lot of money and take into
a profit share with you because you have this amount
(06:25):
of songs and.
Speaker 3 (06:26):
They would like you're effectively borrowing out the equity in
the music, and they assume that the it's going to
earn itself back with appreciation at minimum.
Speaker 2 (06:39):
Yeah, you know what I mean. But the goal for
them is to make more money.
Speaker 1 (06:42):
And still brought it to me as this is somebody
that I'm friends with, and I'm thinking, I'm coming to
the realization that's probably not true.
Speaker 2 (06:52):
Like he knows the person, but you know, even the
person who.
Speaker 1 (06:56):
He met him through, right, was like I verified with
certain people and they're like, now this dude that's doing
the deal is very questionable.
Speaker 2 (07:04):
Like he's done some really questionable things.
Speaker 1 (07:06):
So it's put me in a situation where I have
to go behind and check everything and it's like everything
has been bad, and it got to the point to where,
you know, I was ready to do something, you know,
very glasses love thing from Seth.
Speaker 3 (07:20):
I wouldn't want to be the guy taking your catalog
from him.
Speaker 1 (07:23):
Yeah, and I'm on the verge of doing I was
on the verge yesterday of doing some very glasses love thing,
some things that shout out to my older homies that
I've been trained to do when people play with me,
sure you know what I mean, And I haven't seen
it in so long, like people trying to play with
(07:43):
me and thinking it's okay, and yeah, it's just been
a journey and it's been stressing me out. So yesterday
I was going in to box, you know, you know,
going to work out box those mans and it was
so stressful I couldn't even work. And that's how I know,
(08:03):
because I'm not like a stressful person. Even when I
was in Denver, there were times that I had a
headache because I'm like dog like, this is my everything.
And long story short, So I'm with coach, you know,
at training and he's talking to me and I got
the address to this location where the company is at sometimes,
(08:24):
and I knew nobody was there, so my immediate thing
was to go burn down this building, right saying it's
kind of in like Hollywood. But I was like, yeah,
I'll just go burn it down, you know, because I
can't get the person who who the deal was done
with on the phone let alone. I don't even know
who's financing that part of the deal for him, who's
(08:45):
putting up the money and still has gotten to the
place now where he's just not even talking to me.
Speaker 3 (08:52):
What's the name of this outfit?
Speaker 1 (08:57):
I don't quite know. I got to look at the contract.
I know that's weird because they his people.
Speaker 2 (09:00):
I don't know.
Speaker 3 (09:01):
I have had a some exposure to a similar business
model from a company called song Vest.
Speaker 2 (09:14):
You know it's not that though, Okay.
Speaker 1 (09:15):
That's got no selings live or look, excuse me, no seilings,
not live, no seilings lasses Lowe.
Speaker 2 (09:25):
The boss working through some stuff, so.
Speaker 1 (09:31):
Like it's to the point now where I barely like
still is barely gonna answer my cause you know what
I mean, Like his job is now so important that
he cannot talk to me. It's like, you know, forty
eight hours at this point, you know what I mean,
Like every promise has been broken and you know, from
(09:52):
the company, and there is really no effort to kind
of keep me cool. And normally that is usually a.
Speaker 2 (10:00):
Sign of disrespect, and it is a sign of disrespect.
I mean to me.
Speaker 1 (10:06):
Now, maybe in the regular world it's not a sign
of disrespect, but in my world, it's a sign of disrespect,
you know what I'm saying. So my immediate thing is
to do something to the man respect. I don't know
who the person is or what they look like, so
I can't find them. So the next thing is I
(10:29):
just go burn this house down and then they'll know
I'm not playing. So I got the address from a
buddy of minees that that we all know, and shout
out to him. He didn't know what I was gonna
plan to do, and lord knows, I would have never
told the police where I got the address from. Sure,
But as I'm going, as I'm about to walk out
(10:50):
the gym, no, coach Willis just started talking to me.
Speaker 2 (10:56):
And something he he said.
Speaker 1 (11:01):
I don't quite know what it was specifically, but when
I left the gym, I still was on the verge
of going right. I was going to get a gas can,
going to you know, do the thing, and right when
I got to the freeway, his words just kept.
Speaker 2 (11:20):
Going back and back over my head, dog like in
my ear, in my ear, in my ear. It was
like God's testing you, like you know, God is testing you.
Speaker 1 (11:37):
And the more I thought about it, I was explaining
to somebody that God has been testing me and I
know it. Like right, I went through the same thing
when I was about to put out white lighting in one.
Speaker 2 (11:54):
And like the CD was doing good.
Speaker 1 (11:58):
It was making noise, but it hadn't quite hit radio
to start kicking up dust like I think maybe one
station might have played it, and it was an opportunity
for me to make a play on five gallons of
PCP for sure, or people call it dust five gallons, right,
(12:18):
And that play would have bought me an extra ten
thousand dollars to survive, right because at that point, I'm
living in Lynnwood.
Speaker 2 (12:29):
Shout out to mister hood rest in peace. I'm living on.
Speaker 1 (12:32):
Lynwood Road, thirty three forty four Lynn Warld Road, right
at the corner of Lynwood Road and Long Beach Boulevard
when you get off the one on five freeway coming
from Los Angeles, and you exit on Long Beach Boulevard.
Speaker 2 (12:44):
You know that puts you on the side where you
have to go that would be south. You know what
I mean.
Speaker 3 (12:49):
I live right there, and you've missed out on some
good opportunities to Uh there's pimping money to be made.
Speaker 1 (12:58):
I'll tell you about that. But after this, I had
that opportunity too. But I would have picked up an
additional ten thousand dollars. At that time my rent was
four hundred and twenty five dollars. Ten thousand dollars goes
a long way. I would have been straight, you know,
for I don't know, you know, for a while, or
(13:18):
I would have got busted. And my problem with it,
and this is the point of sometimes being a crypt
and a well trained crip. Shout out to my older home.
He shout out to Pluck moun Shady and all the
guys that made me stand there for myself and realize
I could do shit to people and get away with it.
Speaker 2 (13:34):
Is now I.
Speaker 1 (13:35):
Think I can get away with everything. Sure, I think
I'm some kind of fucking criminal mastermind. And it's crazy
because I think the police is smart. If nothing else,
they have more time and resources. Even if they're even
if my SAT score is better than some of these
motherfuckers they have, Like I'm spending my whole day trying
to get away with doing a crime, stay alive, not
(13:57):
get ribbed, feel me, not get cheated, and they spend,
you know, and I still have to do the transactions
to make profit.
Speaker 2 (14:06):
They get paid all day to watch me.
Speaker 3 (14:09):
And even in the vacuum of one singular act, you
have to go twenty for twenty and they have to
go one for twenty.
Speaker 2 (14:18):
Yeah, you know, so.
Speaker 3 (14:20):
Like even that decks stacked enormously against you.
Speaker 2 (14:23):
Yes, So.
Speaker 1 (14:26):
I remember that happened, and I remember just thinking like, nah,
I can't do it. I don't even know how I
was gonna even pay my rent that month, or I
didn't pay my rent, I might have been a whole
month behind. But mister Hood used to try his best
to keep the owner together. The lady she was. She
was a cool lady too. I forgot her name. But
the manager of the apartment unit, mister Hood rest in peace.
(14:48):
You know, he would, mister Lewis Hood, he would do.
He would try his best to help me. He's seen
I was trying to get my life together. He saw
that I didn't want to sell drugs, and I was
trying to do this music thing and it was a
little energy, but it wasn't quite where it needed to be.
And that opportunity came and I was right on the
verge of doing it. And you know, part of the
(15:11):
reason I stopped selling drugs is because I realized that,
like I promised God that I wouldn't sell drugs if
God got me out of a situation where I was
about to go to prison. And it wasn't even a
serious prayer. I think I told you, yeah, and it
wasn't a serious prayer. But it happened, and the only
(15:31):
thing flowing in my mind was that promise. So I
was going to break that promise to I'm like, oh,
I gotta do it. Is one more time and I'll
be straight because I could see it was going to happen,
Like the opportunity was there and it was clicking and
all I needed was one more time. And I remember
turning it down, like, nah, man, I'm gonna hook you
(15:51):
up with somebody else. Oh I pay you, Noah, I
want nothing for me. I don't even I don't want
to get involved. I'm just making sure you accomplished what
you're trying to accomplish. But I'm I don't want a
profit from it.
Speaker 2 (16:01):
I'm cool.
Speaker 1 (16:02):
And I remember my brother was mad because he was
like me, you ain't trying to hustle, you know, y'all.
Speaker 2 (16:09):
I'm like, now, I'm gonna do something different. And that
was yesterday for me, and.
Speaker 3 (16:14):
It reminds me of one of my favorite probably not
released singles of the last several years in the hip
hop genre. Is that song Last Run by Yogatti.
Speaker 2 (16:26):
Oh, I never heard it.
Speaker 3 (16:27):
That's a great song, great, great song all the way around.
Speaker 2 (16:32):
And so.
Speaker 1 (16:35):
Yesterday Coach Wills talking to me, He's like, man, God
has something right around the corner for you. He's like, man,
I know this energy. And when he said it at
that time, I heard him. But I'm like, man, I'm
finish gonna burn his house down because I he was
a way with him. And you know, these motherfuckers gonna
know not to play with me. They're gonna have to
get on the phone with me. They got to fix
the shit, you know, period, blah blah blah. And I
(16:58):
got you, guys, man, I'm the freeway.
Speaker 3 (17:01):
I just take anything. Coach, Yeah, Coach absolutely you're putting
in all these things into the car.
Speaker 2 (17:08):
Yeah, no, no, I hear. I'm listening to it.
Speaker 1 (17:10):
But in my mind, I am so focused that I'm
gonna show these motherfuckers, you know what I mean, I'm
gonna show these motherfuckers, you know. Like and that kept
saying God has something right around the corner for you.
And when I was when I was right at the
freeway and kept saying God had something, and I just
turned around and went on. And I promised myself today
(17:37):
that I wouldn't stress. I promised myself today that I
wouldn't call still like I promised myself. And today is
the first day in a long time and a couple
of about five seven weeks that I haven't stressed. Sure's
(18:02):
And you know, I didn't call Steal. I didn't say
nothing to him. At this point, I'm probably not going
to call him anymore about it. But man, like, it
was definitely and I think I could have got away
with it. I know I could have got away with it. Yeah,
but that that that really kind of repositioned my soul.
(18:26):
I don't even know if I like it, because it
made me feel like I'm getting soft, you know what,
I'm saying, but it's been a journey man, and so
I was in Denver dealing with that. I came up
with some really great ideas in Denver for like TV
shows and those stuff. So you know, everything is straight
even today, Like I was writing for this film, shout
(18:49):
out Nebrasko, one of my partners out there in Memphis.
No going out there in November to shoot a film.
You know, I've sold synopsis. You know, I sold you know,
treatments before for films, three of them. But this is
like my first one that we're gonna shoot, and you know,
I'm I'm strapped in to go all the way for it,
(19:11):
you know what I mean. Paul's like, I'm strapped in
to go all the way with this.
Speaker 3 (19:16):
I hate, I hate to do it, but I have
to ask. Are there any nominal speaking roles for presumed
white characters in the film.
Speaker 1 (19:26):
One, Yes, okay, that's why I wrote you in. I
got a cool part for you. But I gotta I
need a I need I need an older white racist man.
It's not for you. This is one specific thing. I
got something for you that should be.
Speaker 3 (19:47):
Probably achievable in the Southern Tennessee, Northern Mississippi Greater Casting
Net Area.
Speaker 1 (19:55):
Yeah, but uh nah man, So I've been really flushing
out the characters again. Shout out to John Truby for
Anatomy of a Story. It's one of the best. If
you're a natural storyteller, you know, and I know they
you know, John Truby ain't writing us no check. But
if you're a natural storyteller and you really want to
put your storytelling on an assembly line as far as
(20:18):
for it to have depth, get Anatomy of a Story
by John Truby, you know what I mean, and go
through it. Take your time, keep reading it. I've read
it four times. I'm still reading it. I'm still ingesting it.
I wanted to be a part of my natural story
process from here on out, and especially as I moved
(20:39):
into this film realm, because it's like.
Speaker 2 (20:43):
I've had opportunities to do films.
Speaker 1 (20:46):
Over the last three or four or five six years,
but I am so dedicated to hip hop and finishing
what I started. You know, I went through all the
stuff to get into this position that I kind of
neglected that, but I realized those that thing is coming
to me because it's going to help finish what I started.
With hip hop, especially for like a masterful storyteller. You know,
(21:11):
if I could compliment myself like that, a masterful storyteller
as myself like right, I look at the difference between
Scarface and ice CTE. To me, who are the two
best storytellers in hip hop? They have some of the
greatest and most widely known stories in the history of
hip hop, you know what I mean, Scarface in songs
(21:34):
like in songs for Scarface, it would be mind playing tricks.
I've seen a man die like he has some incredible
stories that everybody in hip hop knows what happened, you know,
this year on the weekend. And then ice Cube, right,
everybody knows what happens with the boys in the hood.
(21:56):
Everybody knows about the good day that ice Cube had.
You know, They're like phenomenal stories and their catalog is
built on incredible stories. And I definitely patterned myself, you know,
in hip hop as a rapper behind them. Naturally, I'm
a storyteller. I used to tell sell stories at my
middle school of Nintendo characters. So I never realized the
(22:21):
two would help each other. I never realized the two
would help each other. But and it's integral, and here
we are today. You know what I'm saying. We are
day late with the pod. We should have done it
Sunday when I first got back. But again, man, when
I got back, I was rapping, but I was still
in this really funky mood.
Speaker 3 (22:41):
Sure, not to mention, probably just miserably tired.
Speaker 2 (22:46):
Yeah, but I wasn't tired enough to where I couldn't
have did it. But I didn't. Actually, my big homie,
Big Cool from Bebop.
Speaker 1 (22:55):
Came by and he brought a hommy Pedro and a
couple homies and we end up talking possibly about doing
something with the del Phonics, one of the least singers
from the del Phonics, and that ended up taking about
four or five hours. So by the time that was done,
then I had to do some rapping, and so by
that time then I probably got tired because I ended
up sleeping twice Sunday, gotcha. So the time that I
(23:18):
would have came straight home, you know, from Denver and
we would have just did the pod, I end up
giving that time to Toronto to be cool and as
part of being a decent friend and a decent young
homie in his case, you know, being a decent young homie,
you know what I'm saying. Where As I've been doing
Ronald since I was probably nine, okay, and you know,
(23:41):
I'm I always had a lot of respect for him,
and he's a really creative dude in his music industry.
He's one of the guys that discovered you know, he
was on the early train with Black Youngster.
Speaker 2 (23:51):
Oh.
Speaker 1 (23:53):
He has a knack for what's happening when it comes
to street urban coaching. So you know, you make time
and Pedro, you know, they were rapping before me, so
you make time for people sometimes, you know, shout out
to everybody that listens to No Seilings podcasts forgive me
for this day late, but here it is, you know
what I mean. It's a day late, but we're right.
Speaker 3 (24:12):
Here and I'm ad dollars short, so we're perfectly and sync.
Speaker 2 (24:19):
Yeah. Yeah, So.
Speaker 1 (24:24):
At that point today I've just been writing, flushing out
the story a little bit more. You know this again,
this is the first this is the first synopsis or
or the treatment that I'm going to take the screenplay
in the strip. There alone going to shoot it. So
I'm excited about that and it is kind of it
(24:44):
is refreshing to kind of double down on stories. You
know what I mean to double down, and we will
use these new set of tools, use this new set
of tools that I got from a couple of books
in my approach, Like even writ in this film now
right It's dope, because I was inspired by the location.
(25:04):
Right Nebrasko and his partner bought the location in Memphis,
this preestinct, and I had to write the idea based
off location.
Speaker 2 (25:12):
I didn't want to move the camera lot.
Speaker 1 (25:14):
Shout out to Malcolm May's little bro he didn't, you know,
taught me a lot about multiple location shit. So I
was really careful with the first films that I wanted
to shoot were always, for the most part, single location shots.
I mean, they spent eighty five percent of the film
in one location. And it was one thing to get
the premise out, it was another thing to get the
(25:34):
synopsis out. I still wrote the synopsis. He expanded it
on the premise and wrote a synopsis. But now like
developing the story based off of my new attained knowledge
and skill set, and man, it's.
Speaker 2 (25:51):
Night and day difference, Pete, it's night and day difference.
Speaker 3 (25:57):
What do you notice this from? Like what you the
final product to be like, what like certain details that
translate onto film or that you would anticipate would where
do you see like those differences being like at their greatest.
Speaker 1 (26:16):
So like with Tupacmas Die Right, Obviously this is hard
to compare because that's a five to six minute video
and this is a ninety plus minute feature. One of
the biggest things is so character development and relations, gotcha, Like,
(26:37):
that's a big thing today, as I've been spilling out
before I go to screenplay and script, character development and relations,
the web of characters.
Speaker 2 (26:49):
And how they.
Speaker 1 (26:52):
How they carry a story, like not necessarily the plot
carries the story. Like I was explaining to Chris today
about I was telling her about Toby films and she
felt she didn't like them because.
Speaker 2 (27:12):
They were.
Speaker 3 (27:15):
Filmed on cell phones.
Speaker 2 (27:16):
Yes, And.
Speaker 1 (27:20):
I explained to her it's more than that, and she
thought that was crazy. And I'm like, you know, have
you ever heard d Lo no Hoe? Right, there's a
ton of songs that are mixed like shit, But if
the song is compelling, it won't matter. It'll go into
the story itself and make the story even that much more.
Speaker 2 (27:39):
Interesting, like shatas Sure.
Speaker 1 (27:42):
Sure, And I was telling her that the issue with
most TOOB movies for people is the lack of story development.
Like they'll have a decent premise and plot, but the
web of characters is questionable. There's a lot of extra
characters that won't make sense. Even this like being inspired
(28:03):
by Rio Bravo to write this idea, right Real Bravo
is a movie that came out in the fifties and
I liked it and use it as just as inspiration
because it was all about a bunch of you know,
outlaws coming to to one location for one purpose, you know,
(28:23):
and like this again, that was my first John Wayne film,
so and only so it was one thing to write
a really good treatment, excuse me, a really good premise
and a really good synopsis that was simple, but to
flush it out, to put it in position for screenplay
and to put it in position for treatment. I could
have seen how if I didn't read John Truby's book,
(28:45):
it could have been a to B movie in a sense,
not like oh, it's on TOOB and it's not successful,
but in a sense that there could be way too
much extra slack, like the suit is not Taylor fit
for the featured time, Like every minute in a film
is valuable. Sure, Every every word of a story is valuable.
(29:07):
Every relationship that your main character has is valuable. Yeah,
so you have to truly use it, you know, correctly
to keep people engaged, especially if you don't have an
area many you know, especially if you don't have the
benefit of millions of dollars in marketing, especially if you
(29:28):
don't have the big screen.
Speaker 3 (29:32):
Yeah, yeah, no, to totally.
Speaker 2 (29:33):
I mean those.
Speaker 3 (29:36):
Types of and I think like the one relationship, I mean,
obviously it's like that you're alluding to, but yeah, for
the audience's sake, Like, the most important relationship that the
main character can have is the one that the film
fosters between him and the audience. You know, asked, like
you see like these patterns and movies where they'll go
(29:57):
out of their way to give a little bit of
background or a little bit of this or a little
bit of that with certain characters certain moments, so that
you can establish an empathy or a sympathy, some sort
of relationship between the viewer and the character.
Speaker 2 (30:13):
Yeah.
Speaker 1 (30:14):
And it's funny because I think I did a podcast
we talked about it before on this podcast where I
felt like I understood when people said Kendrick's music was
preachy at times. It was driven entirely too much by dialogue,
like the messaging was driven by dialogue. And it's also
(30:35):
why I said gn X was his best album. Not
only is it the best combination of records and him
in his most honorable and vulnerable space, right, it's also
the fact that everything is done in theme. Like people
don't realize when you hear that singer singing how Los
Angeles that is, People don't realize it's so many nuanced things,
(30:57):
titles that create a theme that he gives you. Hey,
this is la Unapologetically, I just smacked the shit out
of one of the biggest artists in history that thought
he could compete with me. And what I'm doing is
not to be questioned. I'm unapologetically that guy. And he
never had to say it, but through theme that was
(31:18):
present everything that he was brand wise and where he
was at in his life without ever saying it, which
kind of you know, it's lost to people. People a
lot of people don't catch the theme, you know, they
don't catch the messaging of the record because they're enjoying
the records and it's such a process from sowing a
(31:40):
song that again, he's not using narration or dialogue to
establish the theme at this point. The soundtrack of music
is the theme, the interludes, everything about it screams exactly
what he wanted to scream, and he just had his business.
And I think that's kind of the thing, which, you know,
(32:01):
storytelling at this level was like, I realize, if you
don't want your idea to come off preachy or condescending, right,
you have to kind of allow theme to guide the messaging,
not so much dialogue. Like if my story is based
around the conservative black man, like he should never have
to say I'm conservative. The theme of his existence, per
(32:26):
relationship with individuals in the film should give off he's
a conservative black man. You know, when you see him
and compare him to the to the to the ally,
it should say that. When you see him in compare
to the opponent, it should say that true. The the
(32:48):
the sheuer energy between them should say that without ever
having to say that. He shouldn't have to go on
a runt about being conservative and blah blah blah, and
it should never have it should it should.
Speaker 2 (32:59):
Be very minimal.
Speaker 1 (33:01):
Sure, no, definitely could be just something he's wearing on
his uniform. So I've been just developing a lot, man,
a lot. What else is going on? Everything going on
with all the how is the trading going?
Speaker 2 (33:21):
Eating shit at that?
Speaker 3 (33:22):
But I'm overperforming and everything else, so keeping the ship afloat.
So that's nice. But I continue to just get castrated
on a weekly basis, and that's unfreaking believable. I don't
even know how it's about bath we thought impossible. I'm
baffled by the numeric probability of that shortcoming. Truthfully, it's
(33:51):
it's something else. I did get some good news though,
because I was at a similar point a month ago,
almost exactly where I have gotten to my absolute wits
end with the people from Oklahoma with that oil deal.
(34:12):
And they were in southern California and I knew it,
and I was like, oh, man, I really want to
burn down all my social credit lines right now and
make sure that they feel me, because they got a
lot of balls taking my money and showing up in
my backyard like that. That's you're almost telling me to
do something to you, man. And they were in Palm Springs.
I was like, I can come down to ten from
(34:33):
the east or to west. He's sitting right right right,
my sweet spot, buddy, you wanted he's here like pick one.
It's like fucking pissed. But yesterday I did get good news.
One of my wells is officially up and running and
producing oil. So that is good.
Speaker 2 (34:50):
Amen.
Speaker 3 (34:51):
So the oh a couple pieces away.
Speaker 1 (34:54):
I remember you were telling me the story of how
your family ended up in California, mom's side. Sure, I
think it was right, how they ended up in Lynwood
and then how they moved to where your family is
at now.
Speaker 2 (35:07):
Yeah, look correct, Uh.
Speaker 3 (35:11):
They were in uh once, I was in Lynnwood, across
the street from where Lynwood High School is now.
Speaker 2 (35:17):
And that's your that's your that's your mom's side.
Speaker 3 (35:20):
Yeah, it's both my mom's side and the other the
other group over there was up in Hindton Park.
Speaker 1 (35:28):
And how did they end up near the beach. Initially
when it was cheap.
Speaker 3 (35:32):
There was nobody down there. I don't know how cheap
it was. It wasn't like it is now. They just
kind of kept They originally moved to Downey because the
houses were bigger. So there was a little neighborhood in
Downy that had like four tedescos in it, like in
twelve houses. They just dollars.
Speaker 2 (35:51):
And then.
Speaker 3 (35:54):
I think, honestly it had to do with I think
my aunt had allergies or something like that. So they're like,
you either go to the desert, you can go about
the water or something where it's not in that area
where it's like polony or something. Sure, So he was
down there, thought it was super boring. Orange County at
times is nineteen sixty one was still Orange County. A
(36:15):
lot of citrus grows the middle part of the county.
Old Santa Anna was there. Newport was tiny, a tiny
little working port. A couple thousand people live down there.
He thought it was just terribly boring. Couldn't wait to
get to work in the morning. That was it been
there ever since.
Speaker 1 (36:32):
How important is migration in the pursuit of opportunity? Like
I said, everything obviously, obviously I watch America move from
place to place.
Speaker 3 (36:44):
It's the most important thing. It's the second most important
thing behind pursuing knowledge. It's less important now because of
the nature of certain virtual opportunities, let's say, like be
it in certain software tech environments. You know, you can
do things like that. But it's the most important thing.
(37:07):
Even if you're in tech. I mean, it's not an accent.
It's not like there's it's not like the greater Silicon
Valley area from was it San Ramon and Santa Clara
to wherever happens to have something in the water and
monopolize all the genius tech brains in the world there. No,
(37:30):
I mean it started off with a little bit of
an ecosystem there and then all the money went there.
So that's where all the vcs are. So if you
want to have access to capital and access to the
relationships that will entrust you with capital, you might want
to go there. I mean, that's pretty true.
Speaker 1 (37:51):
And so that's what happened with Texas kind of over
the last ten years for people in California, especially black
people in California.
Speaker 3 (37:58):
Right, Yeah, I mean a lot of moos with Texas.
They've kind of moved everywhere, it seems. There's a lot
of Vegas, a lot of Arizona, a lot of Texas and Atlanta.
But Texas has a lot of growth and it's also
very balanced sheet friendly mean affordable, yeah, yeah, I'm yeah,
(38:21):
affordable on both sides of the ledger. It's cheaper to
live there and you can still get good wages. There
are other places where it's cheaper to live, like Memphis,
but you're gonna get paid pigeonshited money too.
Speaker 2 (38:32):
Mm.
Speaker 3 (38:34):
Like Oklahoma is a good place to probably look into
a certain opportunities there too, as far as migration.
Speaker 1 (38:42):
Yeah, what if you're what if you're not looking Okay,
what if the opportunity you can't see it yet? Like right,
if there's a location that I'm looking at right and
I'm like, the oportunity isn't there yet, but you know
for sure because this place is the prime place where
(39:05):
people with economics they have to go there. Like it's
only so long this place could exist without you know,
wealth showing up there to maximize you know again, to
pursue more wealth.
Speaker 3 (39:20):
Yeah, I mean that's sort of the you know, American
story in a nutshell. And depending on your time frame,
there's like visionary early and then there's opportunistic early. I like,
so if you're a visionary early, that means there's something
unique about this and I can make something happen, but
(39:41):
it doesn't exist yet, so you have the vision to
make it there. Opportunistic is holy crap, something's happening over
there and it's not oversaturated yet, so there's opportunity on
the back of somebody who had the vision that needs
the human capital, and I can go fill that need
right now at optimal value because you know, there's a
(40:04):
there's a demand shortage or a supply shortage.
Speaker 1 (40:06):
Rather mmm, so visionary versus opportunistic. So if I'm a
visionary yet, I know that because of the Internet right
there is it's definitely changed the landscape. But let's say
(40:26):
the vision is in real estate mhm. Location, Yeah, it
seems like a longer gamble because you're still waiting on
you would still be waiting on wealth to come fulfill
the vision.
Speaker 2 (40:41):
But you know, is inevitable.
Speaker 3 (40:45):
Yeah, uh, time is a serious component. Like let's look
at like for one, you know example, maybe some of
the you know, you're a lot of the audiences may
or might not have heard of I don't know. But
obviously California's tax structure is pretty cumbersome on business. It's
(41:08):
no secret.
Speaker 1 (41:10):
Moving a lot of films out of state, moving a
lot of everything out of state.
Speaker 3 (41:15):
There was one project that got underway, but they kind
of contracted their way into kaibashing it, so to speak,
to have a new port of La right down in
like Rosa Rito or something on the other side of
the Mexican border, and offshore everything down there at way cheaper,
put it on a train and send it out. Governor
(41:35):
of California basically said, We're going to put a state
tax on any product that comes in there that's so
high that you won't be able to do it.
Speaker 2 (41:43):
He took Trump's idea for California along.
Speaker 3 (41:46):
Sure, and I think that was Brown, I believe at
the time. Don't quote me, but anyway, the guy who
started building it was the visionary. Now his vision didn't work,
but had it worked and he put it together, and
then you know, you move down there because you have
(42:07):
a unique ability to launch some super automated arm in
that port that doesn't have union labor restrictions. You would
be the opportunistic party, as the other person was the visionary.
Speaker 2 (42:20):
MM So this idea, I'm pretty much a visionary at
this point.
Speaker 3 (42:27):
Probably you're a visionary kind of guy.
Speaker 2 (42:33):
This is deep.
Speaker 1 (42:34):
I gotta figure it out, man, because I know it's there,
Like I know when God is sending me the vision soul.
Even if I can't see everything that I'm supposed to,
I can receive the vision because I'm not drunk a
high or delusional or yeah, you gotta be a little
delusional to get the vision, for sure.
Speaker 3 (42:55):
A little bit, a little bit. But you anybody can
have a vision. You know, you have to be rooted
enough in reality to you know, work it through actually
being a worthwhile vision. Otherwise it's just, you know, just something.
Speaker 2 (43:17):
Let me ask you a question. I wanted to ask
you this. Well, it's not important.
Speaker 3 (43:25):
Shit, fire away. We've got sixteen minutes.
Speaker 1 (43:30):
You don't think you don't think capitalism right, You don't
think capitalism would be better.
Speaker 2 (43:35):
Off if it had a cap.
Speaker 3 (43:39):
No, I don't think growth would have a I watched
a great video. I should send it to you. This
guy on that wealthy on show that I like talked
about and there's a book by like my intellectual mentor
of sorts though he's just an author and doesn't know
that he's my mentor. Uh, wrote a book called Life
(44:00):
after Capitalism. This guy was talking about how we are
like capitalism no longer exists essentially in the framework as
how we understand it, you know, with productions, margins, reinvestment, growth,
like that whole thing we're that's no longer a thing.
Now now we're dealing with world banks, manipulated currency, quantitative easings,
(44:30):
you know, interest rates to support debt and overspending, and
artificial injections of capital to keep the whole thing from collapsing.
Speaker 2 (44:38):
Mm.
Speaker 3 (44:39):
So it's really not capitalists in any conventional real sense,
like value as we know it has been distorted beyond
the point of recognizability and we're just yeah, kind of
(45:01):
kind of a long for a ride what we can.
Speaker 2 (45:06):
So you mm hmm.
Speaker 3 (45:08):
But like even in like in a normal sense capitalism
had a cap then then you're cap and growth.
Speaker 2 (45:17):
And your cap growth.
Speaker 3 (45:19):
Yeah, everyone who's tried it, that's been the outcome. That's
been the outcome because most of the margins don't change
that much. The scale does.
Speaker 2 (45:35):
Mm hmm.
Speaker 3 (45:37):
And big visions cost big money.
Speaker 2 (45:43):
But do you think we lost something when McDonald's went
like this big?
Speaker 1 (45:48):
Like as like I watched the film The Founder, and
obviously it's a movie, so it don't have to be real.
But even the concept of saying, hey, if we stop
using real lifce cream and we use a powder mix, right,
we maximize profit and make you know, you don't see
the issue in that type of quality.
Speaker 3 (46:09):
I do but it's interesting. Like in the food world,
the cancer I don't think is McDonald's. McDonald's offering it's
pretty straightforward. You're getting something cheaper, and it's cheaper like
literally and proverbially.
Speaker 2 (46:27):
You know.
Speaker 3 (46:30):
The companies that I don't like. You said, there's only
like a couple of companies in all those chain restaurants
like Chili's and Red Lobster, all those things that give
you a sit down dining experience at a price that
a mom and pop restaurant can match, you know, normally, like,
but they've scaled out and their quality is shitty. So
(46:52):
now you're paying thirty five dollars to have a sit
down dinner that absolutely sucks. But they've driven all all
the small entrepreneurs out of the local marketplace.
Speaker 2 (47:05):
Kind of like what Best Buys did to the independent
record stores.
Speaker 3 (47:08):
Yeah, yeah, like that Best Biden come out and offer
a one penny CD that nobody could mash, but it
was shitty quality. That's kind of what McDonald's did to me.
It evolved in that.
Speaker 1 (47:21):
These others they changed their business right right then they
changed their business eventually went from making money off burgers
and fries to really having a different level of interest
in real estate. Sure, sure, so, But you don't think
that happens every time as you pursue profit, like you
(47:41):
have to start to foresake quality first.
Speaker 2 (47:44):
Maybe like in and out is.
Speaker 1 (47:45):
The closest you can get to going too far to
where you could keep some level of quality, you know,
but still have growth.
Speaker 3 (47:58):
In certain areas. That's true, And it's not like it's
there's not a whole lot of innovation in food, you know,
Like it's pretty much just how can you make how
can you produce a cheaper price per unit, or how
can you convince people that they should be happier with
this unit at this price? And I think they did
(48:19):
a little bit of both. I think they re established
consumer expectation. I just saw a picture. I don't know
if it's true or not. The internet's full of shit anyway,
that showed a big mac in like nineteen eighty eight.
It's like the size of my arm, and then this
one's like this big. You know, now it could fit
in the pall my hands tight. So they they've reduced
so much sense. It's probably true. It is true, So
(48:41):
there's that also, But at the same time, you look
at innovation and the capabilities of the cell phone or
technologies and computers or something, or production of cars or
production of houses. It's like not even that, Like I
(49:05):
think that it's we've lost the you know, fifty thousand
dollars home, but there's way more value in the two
hundred thousand dollars home than there used to be. I mean,
it's like packed with all sorts of energy. It's more
flame retard and the amount of like house fires is
down like a third percent generation over generations. So there's
(49:30):
there's a lot more quality out there in certain areas.
There's a lot more efficiency in others. And then in
things like hamburgers, is there just less meat?
Speaker 1 (49:41):
Is there really more efficiency in it? It just feels
like there's more efficiency in things that are like what's
the world I'm looking for? I always tell you it's
the killer of quality.
Speaker 3 (49:54):
Yeah, he's a convenience convenience, Like, I don't.
Speaker 1 (49:57):
Know if it's efficiency as much as it's convenient in
a lot of these in a lot of these departments.
Speaker 2 (50:03):
That's what it feels like.
Speaker 1 (50:04):
Yeah, like even a house now right, I agree with you,
Like it definitely is made to handle fired a lot different,
but it's also like a car. Like a car is
more efficient with gas, right it is. That's fact. It's
efficient with gas, but every other part of it is
a piece of shit, Like you're not built to last
(50:25):
like they like.
Speaker 3 (50:27):
Statistically, I don't think that's true. I think the miles
driven per major like repair has gone up a ton,
but the cost per repair has gone up a ton.
Speaker 2 (50:40):
But you know what I'm saying at that point.
Speaker 3 (50:42):
Yeah, there's certainly no style and appeal and the design
of any of the cars anymore.
Speaker 2 (50:49):
But even the complexity of how it rides, you know
what I mean, even the like like.
Speaker 1 (51:00):
I don't know, I don't know if I'm just being
an old man complaining or like, it's a real valid point.
Speaker 2 (51:05):
Where we're talking about the pursuit of.
Speaker 1 (51:08):
Efficiency, but really behind it, you know, behind the curtains,
Like it might look like a magic trick of efficiency
to the fans, you know, in the audience, but behind
the curtain, it's all the it's all convenience. It's all
the convenience of how you know, they could keep you
in bed with them, how they could keep you paying them,
(51:30):
you know, all of the above.
Speaker 3 (51:34):
Yeah, I don't know enough about old cars or old
cars when they were new, you know, to be able
to compare it to anything, because it matters.
Speaker 2 (51:44):
Old cars when they were new is a lot different
than old cars.
Speaker 3 (51:47):
Yeah, So like I don't really know. I mean, I've
had bad luck with cars and good luck with cars.
It's just then I imagine that's probably always been the case.
Speaker 1 (52:00):
So how do you how do you embrace how do
you embrace the convenience of life knowing that it kind
of knowing that it's kind of voided of quality. I
think what most people do is they just look around,
and that makes them feel okay, but they really only
look and left to right. They're not looking at time
(52:22):
and knows as another metric. You know what, I I
don't know a perspective. I don't think it's void of quality.
I think it's void of character.
Speaker 3 (52:36):
I think it's become so streamlined and efficient with mass
production that there is no more uniqueness, or uniqueness is
way watered down, you know, and and everything has become
extremely like monochromatic rhetorically.
Speaker 1 (52:54):
Speaking, like the NBA. Everybody wants to be the Golden
State Warriors. Everybody want to shoot threes.
Speaker 3 (53:00):
Everybody wants to run the same offense everybody wants to
have the same exact lineup, everything is the same.
Speaker 2 (53:09):
That's really done.
Speaker 1 (53:11):
That's where capitalism is now, maybe not before we were born,
when capitalism was all about creating something that didn't exist,
versus now it's a thousand people doing the exact same
thing in the pursuit and profit.
Speaker 3 (53:25):
That's another thing that this guy mentioned on this video,
and I'll send it to you if you want to
watch it. You can if you're not doing But he
was talking about and there's something that Jamaican Andre and
I get you about all the time is these private
equity firms that find a company that's struggling, and they
have no innovative answers at all. They just buy the
(53:47):
thing for X dollars, go through fire everybody that they
could possibly survive firing, cut every cost possibly could survive cutting,
and then, you know, tip the balance sheet briefly back
into the positive and sell the company, you know, and
(54:09):
then the company has to run in that really bare bones,
shitty way forever unless some unless Albert Einstein walks in
the door and splits the atom inside of that fucking company.
And that's a serious thing too. But I think also
people don't like now people are obsessed with security now,
(54:30):
like you look at every time there's an economic downturn, Now,
what do we get. We got fifty thousand laws that
day to make sure there's never an economic downturn again.
You know, whereas before it would happen companies go out
of business, new ones who coming people. Now it's like
you can't let such and such quarter business becuse people
will lose their jobs. They'll lose their jobs seventy years
ago for an hour and a half because somebody moved
(54:51):
into the building and needed workers, you know. So so
we've constrained things so much as we've turned into like
a desperately low end society on so many levels. And
that and people are leverage to the fucking gilts. So
you can't afford to be unemployed for ninety days or
you're totally fucked. So I get that too, because shit's
(55:14):
a way overpriced.
Speaker 1 (55:18):
Then, looking out for tuning into the No Senters podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA and produced about the Black Effect podcast network.
Speaker 2 (55:31):
And I heard radio Yeah,
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