Conversations On Hip Hop & The Top 40

In this episode of No Ceilings, Glasses Malone and the crew kick things off with a hilarious yet frustrating story about his chaotic experience with a Memphis realtor that led him to cancel a real estate deal altogether. From there, the conversation expands into a deep dive on the current state of hip-hop—analyzing its position on the charts, the influence of international markets, and the complex relationship between culture, poverty, and creativity. The hosts discuss the growing impact of globalization on music, the rise of cross-cultural collaborations, and the ongoing challenge of preserving authenticity within hip-hop’s global reach. Rate, subscribe, comment and share.

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Glasses Malone - “Banned From VladTV”

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Episode Transcript

Speaker 1 (00:01):
What's up?

Speaker 2 (00:02):
And welcome back to another episode of No Sealer's Podcast
with your hosts Now fuck that with your load, Glasses, Malone.

Speaker 3 (00:14):
Pete Dog was the deal?

Speaker 4 (00:19):
No deal? No deal?

Speaker 1 (00:21):
What happened with Memphis?

Speaker 4 (00:24):
I know we'll see. I don't have a clear picture tomorrow.

Speaker 1 (00:28):
That's funny though, right.

Speaker 4 (00:30):
I'm a little bit. Did I tell you the story
about how I got an with the bitch the realtor
and killed the deal?

Speaker 1 (00:36):
No? No, this is all new news. Share please, this
is funny.

Speaker 4 (00:41):
I don't want to get in any kind of trouble
for how I talk about the realtor. But the realtor
was the name? Huh?

Speaker 1 (00:53):
Just don't say her name.

Speaker 4 (00:54):
I look, you can get a hot ass take, or
you can get a safe ass take. Which one do
you want?

Speaker 1 (01:00):
At ouch?

Speaker 4 (01:04):
Ouch, guys, I need you to I'm gonna preface this
by saying, Glasses, you have gotten some negative feedback from
some people. I do not know how influential those people
may or may not be in the past regarding my
takes on times about certain groups of people. Okay, this
is going to be one of those takes. All right,

(01:28):
all right, you want it, you fucking got it. I said,
it's lazy ass bitch realtor, can't do ship, can't do
shit right, couldn't do shit right from the beginning. Has
just got married like last year or this year, because
she got like on one web profile, it's like blank Smith,

(01:52):
then it's blank Neil, then it's blank Neil hyphen Smith.
She can't get her fucking name straight. I go to
the place for your rich showing I don't live in
the city. She lives in the city. She's right there.
The city's tiny, it's not a big place. I get there.
She doesn't have the doors open. She had never even
fucking been there. I'm sitting out side on a street

(02:13):
corner getting the block spun two three times on me
in South Memphis because while the fuck's this dude out
there just posted at this place on a corner.

Speaker 1 (02:26):
Like you open the shop saw.

Speaker 4 (02:28):
I'm there for about an hour and twenty minutes and
I never get in. I saw half the property, not
the whole property. So I said, all right, well I
want to I'll make an offer on it from what
I saw. I'm assuming the other two are the same
as the two I saw. The issue then, is I
need an extended period of time to get back there

(02:50):
to get it expected, and I need to see it myself.
So we go back and forth to jostle with the
seller or whatever and get this extended period, which I
only needed the extended period. Why because she couldn't get
the fucking doors open. So I go back and she
knows I'm coming back like week after next. From that time,

(03:11):
I tell her to advance the day and.

Speaker 1 (03:13):
The time I'm flying in town.

Speaker 4 (03:16):
I'm fly in from across the country again. Sure, I
show up there with my inspector, whom I paid already,
and the doors aren't open.

Speaker 1 (03:23):
Again. Why you just didn't kick the doors open?

Speaker 4 (03:29):
I don't. You can't kick that ship open like those
like safety iron doors, and there's more doors, plus I
gotta pay for it. I'm kicking in my own fucking doors.

Speaker 1 (03:38):
Where's she at though she there? Who the fuck knows
wasn't there?

Speaker 4 (03:43):
She never shows, She just sad emails and ship. So
then I get super pissed. I said, you can't get
the doors on, gona kill the deal, fucking So she's
she's tossed me back in. That's sorry. Fine, So I said,
I want this ship, I want these doors open. I'll
call the property measure company again the first time. I'm

(04:04):
gtting out there for over an hour. This bitch sends
me a screenshot with the phone number of the of
the company, and like twenty minutes of waiting that she'd
been on hold. I email her or I text her whatever.
She sits me back. I haven't heard back.

Speaker 3 (04:20):
Da da da da.

Speaker 4 (04:21):
I'm like, I gotta do this shit myself. So I'm
in the hotel room. I'm like, how the I'm like,
I text her, what's the name of this fucking company?
What's their address? Hours go by at this point I'm
in the I'm walking to my car to go to
her office or her house. So as I'm thinking, I
can wait a minute, she said me to the screenshot.

(04:42):
I pull the number up. I call it. It's the
general number. It's not the it's not a specific number.
It's just the general company call center number. But I
get the company name. I get another number. I get
an address. Within thirteen minutes for me leaving the hotel room,
I am in the office of the guy who runs
all of relations for landlords bing. I get him there.

(05:08):
He calls the people personally. I get his personal email
and all the rest is ship. So the next day
I get the doors life unlocked. All the while, this
idiot bitch is sending me emails like she's trying to
send me these email updates that she's getting from this
guy named Taylor who runs the division.

Speaker 5 (05:29):
Her the handle business, Taylor Handle Business.

Speaker 4 (05:35):
He did a fine job, so he's the only reason
she's even getting the emails she's getting from this guy
is because I asked to have her c seed for
legal purposes, and then she's forwarding me emails. I got
her c seed on, acting like she's on top of
the ball crazy. It was insane.

Speaker 1 (05:58):
Then I leave.

Speaker 4 (06:01):
I have a new inspection. This is inspection number two.
This is after visit number two. I talked to her,
I said, are the utilities on? Yes, the utilities are on? Okay,
I have the inspector. She's a lazy bitch. She's a

(06:23):
lazy bitch. Bear in mind, this is her job. She's
getting paid, right, She's getting paid for the shit. So
Friday before last or something like that, I'm not getting paid.
I'm paying. She's getting paid money that one could argue
is mine. So the inspector goes there, does the whole inspection,

(06:45):
doesn't contact me. I get the inspection paperwork done, meaning
when you paid and get the paperwork, that's it. There's
no other talk. That's six hundred bucks. He says. I
couldn't do all the inspection because the electric wasn't on,
the gas wasn't on, and the water wasn't it. Yeah,
after the bitch told me they were all on. So

(07:07):
then I get pissed. I send an EMI said, look,
we either gonna drop the price and keep the day,
and I mean to drop the price a lot, or
we can drop the price half that much and push
the day back. Additionally, there's an extra thousand dollars you
want in a contract dendm addendum. In either option that's out.
You're getting no money on top of your legal minimum,

(07:28):
so you can forget that, or this deal's debt. She
emails me, that's my standard thing. I put it in
an all contract. I email her back. You're lazy, you're incompetent,
and you have failed to be proactive at any opportunity
throughout this process. I will not pay you a nickel
or this deal dies here.

Speaker 1 (07:47):
And now.

Speaker 4 (07:48):
She gets on the phone. I never hadn't want to
talk to me like that. This is so beneath me.
I I have a track record. You can see my
track record run in your mouth and all is bullshit.
She's toughed herself out like Fraser on the ropes, and
I go, all right, you done? Then killed the deal

(08:09):
and give me my fucking money back. She triest it,
then run some scams saying that I didn't have my
LLC register. I send her the registration documents that were
done the day before the contract was signed, because why
the fuck else when I signed a contract without the
ship being done. Then she sends a release thing. She
doesn't send it to the company's suposed to give me
the money back on the deadline, so I have to

(08:30):
go do that. I get all the money back, and
blah blah blah, blahlah blah blah. So, without getting too
far into what I really want to say about her,
that's what happened, and the deal died. And then after that,
just for fun, because she's so competent and has a
track record, and shoot your mouth off. After fucking up
over and over and over and over again, she sends

(08:51):
me a sales contract for a different property and a
different buyer by accident, and since you an email later
saying disregard, to which I replied in one word, incompetent.
So I killed the deal over her not getting a
thousand dollars.

Speaker 2 (09:12):
Okay, but so now did you? So what happened? So
what are you waiting for?

Speaker 4 (09:17):
Then the next day I got some other deals in place,
So I got an inspection on a new property tomorrow.
So we're gonna see how that goes.

Speaker 1 (09:25):
Okay, Scenaria.

Speaker 4 (09:28):
North Side?

Speaker 3 (09:30):
Is that better?

Speaker 1 (09:32):
No, it's part no siblings.

Speaker 2 (09:39):
Lasses Malone got my brother Peter Boss in the house
going through hell. This time, we got King over here
with us, and we got Sega over here. Man, I've
been wanting to talk to you, dog.

Speaker 4 (09:56):
Why the hell would you want to talk to me?

Speaker 3 (09:58):
Well?

Speaker 2 (09:59):
Really for your business white Man's advice with his business
in America.

Speaker 4 (10:04):
Why don't you tuned into the first segment you realized
that's not going very well?

Speaker 1 (10:10):
I disagree.

Speaker 2 (10:11):
I think when you had new businesses every seven I
think I think you just don't play.

Speaker 1 (10:17):
You just don't play, you know what I mean, especially
with people that's not your frieze.

Speaker 4 (10:20):
It's a famous rapper from Memphis once put out an
album entitled Mister Don't Play mister.

Speaker 1 (10:27):
Don't play a.

Speaker 2 (10:31):
So last week Billboard released a statement. I know I'm
imagining it's Billboard, but the statement was released that rap
for the first time in thirty five years, failed to
chart in the top forty on the Hot one hundred
Billboard charts. The singles, only the singles, and it's sent

(10:54):
off a title wave through social media, and you get
all of the bullshit conversations about, oh my god. You know,
the first thing is rap is not as good. The

(11:15):
second thing is obviously the owls. Oh ever, since our
boy lost the battle, even though he put out twenty
something songs, thirty something songs this year that many Yeah,
he put out an whole album and a bunch of singles, damn.
And so you get all of these ridiculous theories of

(11:36):
what's wrong now to get into the top forty on
the Hot one hundred charts. Major labels most likely ninety
nine point nine percent of the time major labels are involved,
because that is a thing where fuck just the money.
You need a staff of people doing the same thing

(11:57):
at the same time, understanding that things need to be
done at the same time, Like, you know, you could
start a record in la and if it take too
long in the build and by the time it builds
up to number one in LA, then you start trying
to work it in Ohio. It could be falling out
of contention in LA like it ran its course, So
it takes a staff.

Speaker 1 (12:19):
So it's not just money.

Speaker 2 (12:21):
Like a buddy of mine's had a bunch of money
chasing the record and they couldn't. They probably spent two
three four million dollars trying to get the record into
the top forty independently and couldn't break the top eighty.
So if you look like at the top forty, now
would it be mostly major record labels everyone?

Speaker 4 (12:39):
Are those problems that are unique to that genre?

Speaker 1 (12:41):
Yeah?

Speaker 2 (12:42):
Because top forty is officially a pop hit record. Yeah,
that's pop radio. If a song is playing, if a
song is trying to top forty, it's playing on pop radio.
Right For the most part, there are a couple songs
that a chart that start high because everybody's streaming them.
But if a song had any legs in the top forty,

(13:03):
it's because it's playing at pop radio. Rap songs break
down into three panels. Like rap songs when it comes
to radio, what's the three panels? Pop radio, rhythmic radio,
urban radio.

Speaker 1 (13:17):
Okay, so.

Speaker 2 (13:20):
Different radio stations report to different panels. They say, we're
gonna play We're gonna be urban radio stations. We're gonna
cater to to black music where densely populated community music.
Like to be number one at at urban panel, it
used to be right around five thousand spins, to be

(13:43):
number one somewhere between thirty five hundred and five thousand
a week, yes, damn to be at rhythmic radio, it'll
be somewhere between seventy five hundred and eighty five hundreds
even more. Yes, So this is like, let's say I
don't know, but let's say it's I can google it
and give you the exact answer, which is pretty neat today.

(14:05):
Let's see AI.

Speaker 3 (14:09):
But I kind of understand because when you listen to
the radio, they will play the same song almost a
couple of times an hour.

Speaker 1 (14:15):
That's why it's called programming. You know what I'm saying.

Speaker 2 (14:19):
Stations in the US report to the urban panel. Okay,
they're not giving it, so I have to look it up.
But urban format is a radio station. It's a style

(14:40):
of radio. So let's say it's one hundred radio stations
that focus on the urban, the urban format of radio.
Let's say in rhythmic, there's two hundred radio stations that
report to rhythmic format of radio.

Speaker 1 (14:55):
And then there's pop radio.

Speaker 2 (14:58):
Kiss at film a song at Kiss FM because it
has let's say it has five hundred radio stations, right,
this is the stations that play music for mainstream America.
It could be as much as fifteen thousand spins. So
like the number one song in the country, if it's
on radio station's performing a rap song, it could be

(15:20):
getting spin somewhere between twenty and twenty five thousand times
a week.

Speaker 3 (15:25):
So here's my question, because the way that you know,
rapping stuff fill out the top forty, do you think
they'll still keep the rap hip hop category?

Speaker 1 (15:35):
Well, that's that's there, so that's always there, a hip.

Speaker 2 (15:39):
Hop and R and B, so they'll always keep that category,
but they won't to let the rap go back over
in the pop.

Speaker 1 (15:44):
Well, it will go back over there.

Speaker 2 (15:46):
So what really happened is they entered they created a
new rule called recurrent. The recurrent rule, they say the
goal of it was to be able to introduce new
records into the top forty. So if a song had
been there long enough, and it was If it's twenty

(16:08):
five weeks and it was below twenty five, they'll say, okay,
we'll put this on recurring, so it'll come off the
top forty chart, even though it's still playing amongst the
top forty radios, the top forty songs, but it won't
be on the chart anymore. For example, like Luther Luther.

(16:29):
If not for that rule, Luther would still probably be
between thirty and forty, but because it's below that after
so many weeks, thirty weeks or something, it was like
thirty seven, they said, okay, we'll take this out, put
this on recurring. It's still a play on radio, but
it won't be on the chart. So there are two
rap songs that will still be in the top forty,

(16:52):
but because of the recurring rule, they take them out.
And then they pushed out that kind of information without
update people on the rule change that was recent. But
if you're in the top twenty five, you're safe only
for so long.

Speaker 6 (17:07):
The recurrent ve you gotta move up right, If you
keep moving down, yeah.

Speaker 2 (17:11):
You gotta go, you gotta keep but if you start
going down too fast.

Speaker 6 (17:15):
Down, here's the recurrent Crazy.

Speaker 2 (17:19):
Billboard Hot one hundred recurrent rules dictates when songs are
removed from the chart. In October twenty twenty five, the
rules were updated to remove songs faster by setting new thresholds.
A song is removed if it falls below number five
after seventy eight weeks.

Speaker 1 (17:36):
So that means if it was on the.

Speaker 2 (17:37):
Chart for seventy eight weeks and it was number five,
but then on a seventy ninth week it was six six,
they take it.

Speaker 1 (17:43):
Off the chart.

Speaker 2 (17:44):
Wow, not even the top number ten after fifty two weeks.
So if it's been on the chart for fifty two
weeks and falls left eleven, they take it off the
chart completely. Okay, twenty five after twenty six weeks. So
if it's twenty six weeks and it falls to number

(18:04):
twenty six, they take it off the chart.

Speaker 1 (18:06):
Wow, fifty after twenty weeks.

Speaker 2 (18:11):
The change aims to increase chart turnover and make space
for newer hits, addressing the congestion caused by long lasting
songs popular on streaming services.

Speaker 1 (18:22):
How that goes? How do you feel about that? Honestly?

Speaker 6 (18:26):
Right?

Speaker 3 (18:27):
Because it's like a double sword to be just hear
what you said, right?

Speaker 2 (18:31):
I mean I'm sure they're trying to give radio some
leadway because streaming being kicking ass. Songs are charting because
of streaming and radio they're lasting.

Speaker 1 (18:45):
So a song could chart high because of streaming.

Speaker 2 (18:47):
Like let's say a song like Not Like Us debuts
number one, and because it's you know, we're all tuned
into this battle, so the songs are being marketed to
us and then we all go jamming. Right now, it's
roughly the equivalent of let's say one hundred and.

Speaker 1 (19:04):
Fifty million streams, right, or let's say it's one hundred.
Let's say it's fifteen million streams.

Speaker 2 (19:11):
That'll push a song one hundred, like fifty million streams,
or push a song to number one to stay in America.
So then right, so it's at number one. Let's say
the first week number was. I could figure out the
official number. But don't that mess with like first week
being in the top forty. Don't that add like money
to people? Like ain't that a value the artist is
to be in the top forty?

Speaker 1 (19:32):
Officially?

Speaker 6 (19:33):
Yes, value, but you got to now you got to
stay there, you know what I'm saying.

Speaker 2 (19:36):
First week, Kendrick Lamars Not Like Us achieved seventy million
streams US streams first week number one, right, So it's
seventy million streams in seven days, right or less? Because
that's ten millions. Waity, it didn't come out on the
It didn't come out. I mean it might have came
out on the Friday. I just don't remember. So that's

(19:58):
the equivalent, right, So one hundred the seventy minion streams
is the equivalent of him selling gold in the first week.
So it debuts number one. That's before radio truly gets involved. Okay,
I say what you're saying, Yeah, that's just because the
whole world was interested in this back and forth and
that was doing the marketing.

Speaker 1 (20:17):
It was on the news.

Speaker 3 (20:18):
So you're saying, like, as soon as this release date
was on, it streaming it before radios could even put
it in the program.

Speaker 1 (20:24):
Yes, okay, So.

Speaker 2 (20:25):
Seventy million streams divided by one hundred and fifty because
one hundred and fifty streams in America.

Speaker 3 (20:31):
Okay, one sees a play.

Speaker 2 (20:34):
Rixty six thousand buys how much four hundred four hundred
and sixty six thousand, So roughly it was in the
first week.

Speaker 1 (20:41):
Half almost half.

Speaker 2 (20:42):
The So now that song, right, that song. That song
right comes out right and boom. Now it shows an interest,
it shows its performing. So now it's goes to radio
and say, hey, you already see this number. This song
is gold in the first week, you guys should play
this song. And really was like, you know what, we're

(21:02):
gonna play this song.

Speaker 1 (21:03):
So then now they playing.

Speaker 2 (21:05):
So now it was number one for the second week
because streaming and now radio's planning it. And then it's
number one for the third week because streaming. How they
track radio plays, they have a thing called soundscin it's
like they all met a out of their tag like
a thumb print.

Speaker 3 (21:22):
So every time the radio station play a song, it's
like a thumb print. Okay, because I was always curious
how they tracked that.

Speaker 2 (21:29):
Yeah, they have it, put a fingerprint on a song,
and it's like a computer, like just.

Speaker 1 (21:33):
A computer monitors the time. Okay.

Speaker 2 (21:36):
So I say that to say, like, that's one of
those times right where streaming we're all involved to know
something is happening, and then we could go stream the
song and then radio took over and then it was playing.

Speaker 1 (21:49):
For weeks and weeks and weeks and weeks. So it's
stayed high on the charts.

Speaker 2 (21:54):
So I say that to say what I want to
tell Pete is I think there's a conscious effort for
regul labels.

Speaker 1 (22:05):
This is their doing.

Speaker 2 (22:06):
It feels like they're doing like record labels have kind
of most corporations in America are going international. Me and
Malcolm was talking about this, Me and Milchael May's Little
bro where all of these English actors were coming to
get these roles about black people in America. Story there
was a huge influx like the guy that played you know,

(22:30):
Freeway Rick or Franklin, Saint and Snowfall, right Like, there's
a ton of English. There's a real black English invasion
happening when it comes to black stories in America. Look
at the NBA, A lot of the talent, right Giannis,
they're overseas. You know, it seems like white American dollars, right,

(22:54):
American dollars are going international. And I think that's what
was happening with the Lake. You know, it's a worldly market.
You know, I'm sure there's tons of more opportunities. You know,
if you can get an artist from a Korean artist
with K pop or or afrobeasts, artists from Nigeria, you

(23:16):
know what I mean, there's an international value to it,
but I can't help but believe part of it is
very much. Yeah, nigga, you niggas ain't in demand like nigga.
We can replace you niggas at the job of a hat.
That's the question you want to ask, Peter.

Speaker 3 (23:31):
Is that true?

Speaker 2 (23:32):
No, No, that's not what I want to ask Pete.
I want what I wanted to ask Pete is what's
going on with international? Is it the Internet that's making
the business world shrink to where like American corporate.

Speaker 4 (23:44):
Dollars, or it's making it to expand like like a
universe engineered. What's happening with the NBA. The NBA is
heeraging domestic viewership and values being bullied by the Pacific
rim market and Europe. That's why you see the NFL
going down. That's brilliant setting up all these football games
in Germany. They have like a whole series of NFL

(24:04):
games in Europe because in order to maintain growth trajectory,
they have to be able to expand their markets. You you
don't have burricanes of consumerism.

Speaker 2 (24:14):
So so, Pete, at that point, would you believe there's
a connection like to people in Europe because like let's say,
afrobeats artists is closer to Europe, is there more of
a connection because a lot of those Nigerian artists are
people that move to England.

Speaker 1 (24:34):
You know, they are moving to the UK, not that many.

Speaker 4 (24:38):
I mean, like, if that were the case, there's more
people moving to Europe in the Middle East to be
making Middle East to music.

Speaker 1 (24:45):
So then what's really going on with corporate dollars going international?
Is it all growth?

Speaker 4 (24:51):
They need to Yeah, they need to expand. Yeah, they
need to maintain a growth curve, because that's why you
see like people paying these insane amounts of money for
like people's catalog IP You know, I don't understand how
the hell they're worth that much. But in order if
you buy you know, Bruce Springsteen's shit for two hundred

(25:14):
million dollars, He's seventy five years to die tomorrow, You're
not going to gain that back ten years from now
in a depleted US interest index. You have to be
able to expand that out to a global consumption in
order to make that work. And the same is true
with anything else.

Speaker 2 (25:32):
And so I guess what I'm hearing is you saying
that we just have to are we too, Like, are
we not as interested in and stuff anymore?

Speaker 1 (25:40):
Is that what you're saying?

Speaker 4 (25:42):
In some degree yeah and some degree yeah, But also
you have to pair that in there. Look at the
paradigm that they're using. They're using the tech model of globalization.
Companies got really, really, really wealthy because you could essentially
like all right, let's say like Microsoft, for example, in
the night through Now, okay, we could sell you know,

(26:05):
Windows ninety eight CDs around the US or whatever the hell,
but there's nothing really stopping us from once you were
able to download it from the cloud, you know, the
whole world. Most of that tech money comes from global
consumption and global business applications. So they see, oh wow,
I thought that my company was really was really worthwhile

(26:26):
at two billion dollars. That company's got three trillion dollars
in market cap. How are they doing it? Oh, they're
doing it that way. Well, we should do it that
way because they have trillions and we have billions, and
I don't like billions anymore. Billions aren't cool anymore.

Speaker 3 (26:38):
Trillions are cool.

Speaker 2 (26:43):
So does the hip hop into business, the hip hop
independent business? Is it time to pursue international thing?

Speaker 4 (26:56):
That's a different question, there's what.

Speaker 2 (27:01):
Because I had a crazy idea, right I thought about
that one time, moving to South Africa, like shipping my
low Rider over there, moving to South Africa and then
making all my music from South Africa and driving my
low Ride around South Africa. Almost like the whole marketing
becomes a fish out of water. Sure well, like I'm
living my life as this cryp in South Africa. Like

(27:24):
I remember we was looking at the house of Pete.
I think I was showing you back at that time
they had the condos for seventy thousand that was on
the beach, and I was like, man, that became when
I figured out marketing. This is right after two park
months died.

Speaker 1 (27:37):
Around that time.

Speaker 2 (27:38):
I was like, man, if I moved to South Africa,
I could ship the low Ride over that, I could
put the studio. I know how to run all the equipment.
I could just make my whole premise. Here's this cryp
living in South Africa, you know, and then shooting videos
going out on dates with South African girls and no
riders in South Africa and you just living like a

(27:59):
cryp in South Africa.

Speaker 1 (28:01):
And I just thought the paradigm if you see that visually.

Speaker 2 (28:06):
You know, some nigga wearing dickies and chucks and ship
here in South Africa posted up eating at the spot with.

Speaker 6 (28:11):
A blue rag and yeah that's a visual, you.

Speaker 3 (28:14):
Know what I mean?

Speaker 1 (28:14):
I feel like, you know.

Speaker 2 (28:18):
So where the corporations where they're like, you know, we
need new audiences for me is like I need new
stories right like this, Like I.

Speaker 1 (28:28):
Remember we was gonna shoot the video for tour.

Speaker 2 (28:30):
I remember he was talking about going to Jerusalem, like
I found a low rider close to Jerusalem and we
was gonna have a house party with a bunch of.

Speaker 1 (28:40):
Strippers from Israel. What what what? What? What? What's the
proper terming.

Speaker 4 (28:43):
Out strip strippers?

Speaker 2 (28:46):
No, no, not strippers, but it's a name for people
in Israel, not Arabic Hebrew.

Speaker 1 (28:51):
We's gonna have a bunch of Hebrew.

Speaker 4 (28:52):
Stripper, I was, I was trying to say a stripper and.

Speaker 2 (28:56):
Yeah, but it was like a stripping like the like
the like the like prostitute was illegal, but we had
actually to get a bunch of strippers. So we was
gonna go to Jerusalem have a stripper party, the low
rider parking the.

Speaker 1 (29:10):
Driveway, dipping around the low rider like it's illegal.

Speaker 6 (29:13):
Like we criffing and thugging executed.

Speaker 1 (29:16):
I got a question for you.

Speaker 4 (29:18):
Mos fucking talk.

Speaker 2 (29:20):
Do you think do you think the record labels feel
like they don't need black people to sell hip hop
anymore worldwide?

Speaker 3 (29:28):
No?

Speaker 2 (29:28):
I thought at one time they thought they can get
that off, but last year pretty much put it into
that thug Yeah, okay, But so I think the labels
are just like Peace saying, I think they're expanding markets.
They're like, we're growing new audiences because they already have
tons of catalog.

Speaker 1 (29:43):
So how do they push hip hop to the world
without the blacks in America?

Speaker 2 (29:48):
They do so they're not trying to push, They're pushing
whatever product they're selling. And if you're like Peter saying,
a growth curve right, like.

Speaker 1 (29:59):
A NFL is pretty much tapped out in America.

Speaker 3 (30:02):
They need more stadiums, so they gotta give more cities.

Speaker 1 (30:05):
Well, you need more people.

Speaker 2 (30:08):
People to market to, so to be stadiums, Like if
you put a game over here, now you can get
fans of the NA, but that's a whole stadium. That's
a stadium of fans that's like real tangible. Because TV
only reaches so many people, they already got that.

Speaker 1 (30:24):
They need to This is what I'm saying.

Speaker 3 (30:26):
They need to fill more stadiums.

Speaker 4 (30:28):
No, remember if they try to reverse engineer that process
thirty years ago. Remember like the massive corporate artificial push
to make like soccer in the MLS like really popular
in the US never really took. That's because it's the
largest GDP, it's the most robust, can concentrated market in
the world.

Speaker 1 (30:43):
They want in with America. Yeah, so that's why they
put the soccer stuff over here.

Speaker 2 (30:50):
Yeah, so what he's so, it's not necessarily the stadiums, Like,
I don't think they're talking about quite taking the game
global needs new cars, like teams. I think they're oh know,
they're talking about putting the NFL teams over in Europe.
I know, but they's just talk. That's a long way
away because you know, I mean just the sheer flight.
But what they're trying to do is gain audiences everywhere.

(31:12):
I mean, you can look at the Dodgers. Shit, we
just won the World Series with two guys that are
Japanese guys, and now it's like they were showing the
Dodgers World Series on the news. It was like the
middle of the night or some shit like like three
and four in the morning. It's a whole fucking bar
full of Japanese people watching the Dodgers play.

Speaker 4 (31:32):
That's That's why, if we're being honest, the most valuable
person to the League of the NBA of the twenty
first century was not Lebron James or Cook Bryant was yellming.

Speaker 1 (31:43):
Sure yeah, China, Yeah, billions and billions of people.

Speaker 4 (31:47):
Their market carries this league on its back.

Speaker 1 (31:50):
Yeah.

Speaker 2 (31:53):
So that at which place does the independent hip hop
artists start to look and say, hey, you know what,
maybe these stories are tired.

Speaker 4 (32:02):
M h you're you're you're getting into I thought we
were going to do a topic similar to this like
a few months ago. So I wrote out this whole
thesis on this topic, which is now in my storage
unit in Miami, probably stoked and humid mold. But it
was hip hop is on hospice or hip hop is

(32:24):
in hospice, and the historical time frame ARC is not favorable.
It's it's similar to like rock and metal music's ARC
where it kind of just got it's it's separated out.

Speaker 1 (32:42):
No longer the bail of tree music.

Speaker 4 (32:44):
Now they're just doing country music with a little more tempo,
but there is no rock genre anymore to speak.

Speaker 2 (32:51):
Of, really, not in not in mainstream pop radio. Yeah,
it's very much is.

Speaker 7 (32:56):
Niched h So hip hop Hi, it's heights, I think
because the same thing happened at a little older It's
hard to be rebellious when you see your parents at
the concert.

Speaker 1 (33:12):
M m.

Speaker 4 (33:16):
Yes, a demographic of consumption, it is.

Speaker 1 (33:20):
And that's where hip hop is at now.

Speaker 2 (33:22):
Yeahposed to be a concert with somebody nineteen, So whatever
edge you felt kind of might go out the door.

Speaker 4 (33:30):
And that's why R and B and country don't have
those arcs, because they're not rebellious in nature in the
same way they're they're much more like consistent, closer to
what it was about, you know. They're more about like love.
They're more about some feelings and stuff like that and

(33:52):
and and not about uh more mature.

Speaker 1 (33:57):
Hip hop is all about it, rebellious in it.

Speaker 4 (34:01):
And the other not timeless in history, but timeless in
the human life.

Speaker 1 (34:05):
Sure, sure, And to me that's part of it too.

Speaker 2 (34:10):
Whereas like it might have ran its course as the
bell of the ball right where it's like, you know,
there's okay, cool, But as far as the independent artists like.

Speaker 1 (34:22):
My thing also is.

Speaker 2 (34:25):
Every day people like poverty is special. Poverty and broke
can be the same, but they're not always the same.
And everybody in poverty is broke when everybody broke ain't
in poverty.

Speaker 3 (34:39):
Poverty is like.

Speaker 2 (34:40):
Something you take pride in as odd as it sound,
like you okay with not having something, so you developed
this way of life, right, and then it breeds culture.

Speaker 3 (34:50):
Right.

Speaker 2 (34:50):
It's like you know, you don't get spaghetti if people
don't try to just make it work.

Speaker 1 (34:56):
And people like, you know what, fuck that.

Speaker 2 (34:57):
I'm not eating this old ass fucking vest with old tomatoes.
I'm not putting this shit together and put it over
this cheap starchy pasta suffitue.

Speaker 1 (35:05):
Blah blah blah.

Speaker 2 (35:05):
No, I'm going to figure out how to get some
money and eat chicken whatever it is they eat in fally.

Speaker 1 (35:14):
Chicken whatever whatever the flies chicken dishes. Right, They're like,
I'm not fucking this is your this is the question
to you.

Speaker 4 (35:23):
Well, I was just saying, you know what I think
you need to do. Look at like Jermaine dupri twenty
plus years ago, or did he when they would have
like like maybe like like one twelve or Jacket. There's
some of those like R and B groups, you know
in the hooks of the rap songs, right, you just
got to swap them out for K pop.

Speaker 2 (35:44):
I've been I told them, I told him, I said
brought that before, but no, I said that to him before. Yeah,
but we passed that because right, that's the point of
like I realized, there's a.

Speaker 1 (35:54):
Soda that's not go Ahead fifteen.

Speaker 2 (35:58):
So that's like the song with Everlast that sounds like
a country song, like that's going where the industry is going,
right country? Me and people just talking about that, like
it is going k pop, it is going country, it is.

Speaker 1 (36:11):
Going afro beats.

Speaker 2 (36:12):
So it's like, if you want to go with you say,
it's going right, if you want to go where that going,
that goes away from hip hop though, right, or you
gotta find the mean way to go, find the medium.

Speaker 1 (36:27):
But it's not necessary. But I agree it's not healthy.

Speaker 2 (36:32):
I remember being a fan of the Fat Boys when
I was younger, and then they did this song with
the Beast Boys called Whiteout, and I hated that song.

Speaker 1 (36:39):
You still hate it to this day.

Speaker 3 (36:40):
Right now.

Speaker 1 (36:41):
I can't stand that song. That's like rock this way.
I hate that song.

Speaker 2 (36:45):
I love when hip hop takes rock and it makes
their thing. But when rappers rap over rock is fucking
it's only a handcasser.

Speaker 1 (36:59):
Fire.

Speaker 3 (37:00):
You said, rap over rocks whack, Okay.

Speaker 4 (37:03):
Because it's so rhythm oriented and there's no rhythm there exactly.

Speaker 1 (37:08):
Rock is very funny like that. So like rock box
is the ship, or tricky is the ship or.

Speaker 2 (37:17):
I get though, no, no, no, because that's different thing
taking the the van hated break. Right, So when they
took the break of rock and then they structure it
a little closer to hip hop's natural order, it will
still have the rock field, but you may hip hop
out of it versus rock this way, where they're rapping

(37:39):
over a rock song.

Speaker 3 (37:42):
Yeah, so it could get really tricky.

Speaker 4 (37:45):
It has as much rhythm as Big Ruba.

Speaker 3 (37:48):
There you go.

Speaker 1 (37:49):
You can get tricky trying to cross genre, you know
what I mean?

Speaker 2 (37:54):
Music like hip hop is pure, Like you could take
any genre and make hip hop. But this is another
thing when you just take that genre and then you
start rapping over that genre, Like hip hop is still
in the break of a song, so you gotta take
the break and organize the break to.

Speaker 1 (38:11):
Feel hip hop. But if you just rap over the
fucking instrumental, that shit could be a fucking headache.

Speaker 4 (38:20):
Our R and B and infuse that into rock either
or else you have an age fundraiser song.

Speaker 3 (38:26):
Oh my god, Pete, you need to go back on
the circuit.

Speaker 2 (38:30):
So like so when you go with a major label,
if you want a major label, you see where they're going.
They're going country, they're going afrobeast, they're going k pop.
So if you want to sell something to them and
you want them to work something, hey this is where
we're going, you have.

Speaker 3 (38:45):
To collaborate with one of those piece.

Speaker 2 (38:47):
Just like at one time when all the pop artists
was putting rappers on their song, they was like, hey,
this is where we're going right here, you want to
put ODV on the phone, right So by rappers.

Speaker 3 (38:56):
Got put worldly people on they songs.

Speaker 4 (38:58):
Bring a Jamaican dance hall into head and direct. They'll
bring them money.

Speaker 5 (39:01):
You know worldly, I guess international international, that's what American like,
you know back original country music, Like that's what I'm
saying that one song for one ten Like I'm listen
thinking about that Chevy commercial and then putting ever last
song in him playing the guitar.

Speaker 2 (39:18):
I'm not even trying to cross genres. I'm just trying
to make the best hip hop song out of the idea.
And then I was like, this is the closest person
I know that can capture that energy, right, which is
ever Last? Who is a hip hop person that you
know that knows how to kind of dabble in soft
rock and country like this kind of element, this outlaw

(39:38):
element that allows him to do it. So then he'll
plan on the song and singing the hook and then
the choir like that's hip hop to me.

Speaker 1 (39:46):
I'm making hip hop.

Speaker 2 (39:47):
But the origin of the song is fucking Bob Sieger,
and Bob Singer is soft rock kind of country like
this bridge. So that's a song that I know we're
gonna be able to make a play and sell to
the labels, and the labels can push it right, right,
and then you have this album and you make it
work like that. But you don't want to try to
do that ship, you know what I'm saying. That ship

(40:08):
could get really fucking funky. You will end up with
a wipeout real fast. And it could be a song
that performs well, but it could be like a career killer.

Speaker 3 (40:20):
Give me an example of a career killer. Somebody doing
that wipe out, wipe out. You think it's a career killer,
really man, not just you personally, you think it fun
their whole career up.

Speaker 2 (40:33):
Listen, people hate a nigga that sell out once you
start to sell out the ship.

Speaker 3 (40:41):
And that looked that was a sellout doing that doing Yeah,
they look bad. So how come DMC then look like
a sellout doing walk Walk this Way?

Speaker 2 (40:49):
They pulled it off, though the kind of looked at
them kind of remember this is a right around the
end of their career.

Speaker 1 (40:57):
When it Walked this Way come.

Speaker 2 (40:58):
Out like it was like that's in the middle of
their career, I think. But it just went over the
top and it was all just starting on the way down.
But they wasn't done on it. No, not done to
Walk this Way came out because I think that might
have been their best one that might have been there.

Speaker 1 (41:14):
Mostly success, yeah, more successful one, I think on what
most successcuse me? Most successful?

Speaker 2 (41:21):
Rock this Way came out in eighty six, the summer
of eighty seven. Let's sears ll cu J, Bigger and deafer.
You tell me what it looked like.

Speaker 1 (41:30):
Who took over.

Speaker 2 (41:33):
Remember run DMC and you of age to know, so
you saw they all kind of to me came from
the same tree. But then how the lell and depth
keep growing and lel just kept getting bigger and bigger.
Remember so LL came out with Radio in eighty four, right,
and then eighty seven, here's bigger and deaferent like then
he takes off. He's a double Platum superstar. He's the

(41:54):
He pretty much took what run DMC was rocking all
the way to that point. What And don't get me wrong,
run DMC put out more records after that, took el
took it, got cracking, yeah, cracking yeah, and got cracking.
So I think running, I think walked this white could
have had a funny effect on their career.

Speaker 1 (42:18):
Not their age, No, because Brundon l end up going
to crack what happened with ll co J, BUTL thing he.

Speaker 3 (42:25):
Was also young too, that was one of the things.
He was a young dude.

Speaker 2 (42:28):
I think that's how we kind of make sense of it.
But I don't really think he got nothing to do
with that because LL end up just being the nigga
the whole time for the rest for.

Speaker 1 (42:36):
The next down there.

Speaker 3 (42:38):
But the niggas came the way he can't the way
he came out, I ain't to say though, but he
came off gagster at first, like.

Speaker 1 (42:46):
I'm gonna do what I do he was.

Speaker 6 (42:48):
The lady came out by radio still came and it wasn't.

Speaker 1 (42:55):
Quite what that other ship was.

Speaker 2 (42:59):
Look not selling out in hip hop, especially when people
think of you as the streets and Rundy and See
got thought of as the streets like it could have
a funny effect. And I think so that's the trick,
right even with the business is like do you want
to go the way the business is going? Do I

(43:21):
really want to go put this Korean singer on this song?
Maybe I could call Teddy Riley and tell Teddy Riley
make me something. Didn't put a Korean singer.

Speaker 6 (43:28):
But if that person singing Korean gott to execute it.

Speaker 1 (43:32):
Imagine if some niggas, some Chriss playing that like you
know what I'm saying, Like, but be funny if.

Speaker 3 (43:41):
You put the Korean on that, though, are you really
going for criss to listen to it? Are you just
going for the main no facts?

Speaker 2 (43:47):
I think you can have a smash hit record, but
you also could be kind of condemning your Yeah, they go.

Speaker 1 (43:53):
Clown you and stuff for shure. No, but I'm saying
you could be kicking the foundation. From the front of
your brain. What I'm saying you could be kicking the founder.
There's no question. So okay, Pete, what do you do
independently if you're not trying to go to the sway?

Speaker 2 (44:08):
What about the idea I'm saying is like, like if
we would have went to Israel and we had Hebrew strippers,
and like if you saw that visually, like we rolling
around Jerusalem in a low rider, and then we got
Hebrew strippers at the house shaking and shit, you just
throwing throwing.

Speaker 1 (44:29):
What's what they call the money Israel cars or something.

Speaker 3 (44:34):
You might have something if you go through those countries
and then do features with the people from those countries shekels.

Speaker 2 (44:42):
You're just throwing shekels on the Hebrew strippers. It would
probably be Trump just crazy.

Speaker 3 (44:50):
You should go to other countries in that country, but
you should be over there, but not features Like features
is cool, but like fish out of water stories, let's
just say, but you'll be right over there though.

Speaker 6 (45:02):
You just gotta get up.

Speaker 3 (45:04):
He's living that hip hop world over Therecause what is
that like? You know what I'm saying, that's a story
in this being their hip hop draking.

Speaker 6 (45:12):
Now you're taking their culture and kind of like you.

Speaker 1 (45:15):
Don't take their culture, you just live it a culture.
You bring this culture there, Okay.

Speaker 2 (45:21):
Right if you in the UK and you got a
low rider, you got Dicky jacketson Chucks and ship you
posted up, you got a blue band Danna, you had
all the little tea spots zipping tea in their hip
hop hip hop you want a thing and you rapping
and you getting off of you right there on that
crosswalk where the Beatles was that cuzin you just kicking.

Speaker 1 (45:41):
You just look like a fish out of water. I think, okay,
we have to can see a couple of things about
It's like.

Speaker 3 (45:47):
Burdoor dude that goes around the country doing what you do.

Speaker 1 (45:50):
No but imagine that.

Speaker 2 (45:51):
But if hip hop is very much the culture artistically expressed,
the last thing left I think people, Okay, the reason
I brought up where you're growing with it. Poverty created
the culture right right, the pride, the fucked up English,
but still the ability to communicate create a slang right,
not being able to finance a brand new car. You
fixed the old car that created that low rider. The

(46:14):
way we eat is bad fucked up food, you know
what I mean. All of it is based off of
being okay with circumstances, not pursuing, you know, the American standard,
but actually making what you have work.

Speaker 6 (46:27):
Right.

Speaker 1 (46:28):
So, if hip hop is very much the culture, the
one thing you can abandon is culture.

Speaker 2 (46:35):
Right, But if you saw everything already, if you showed
America everything, like let's say, when it comes to West
Coast or Los Angeles street, are in culture southern California
or West Coast because it's the same in Washington and
in Portland, in San Diego and Arizona.

Speaker 3 (46:50):
Right, we're not.

Speaker 1 (46:51):
We're not just bragging like you guys are. Well you
are because you gots just right. But you just got
you got the two cocky down here.

Speaker 3 (47:00):
We don't have that, you know.

Speaker 2 (47:01):
I mean, that's also probably why you're not as popular. Yeah,
because it's a it's a level of brashness to be poor.

Speaker 3 (47:10):
Yeah, you have to be.

Speaker 1 (47:13):
You're right, don't have to say that. I have to
say you're right.

Speaker 2 (47:16):
That might be it too, got to be a certain
poorness will give you that cond Eric. Yeah, you know, broo,
that's culture.

Speaker 3 (47:23):
That's the key. That's I think that's the key to be.

Speaker 1 (47:25):
This confident in your circumstance.

Speaker 3 (47:27):
Yeah, I think that's yeah, you're right right.

Speaker 2 (47:29):
So, but if we showed everything on the West right,
because Tacoma, Los Angeles, Phoenix, sag shit, Yeah, like crips
and bloods. Nigga's been around in all of these places
forty years now. Yeah, so I'm a little longer, so
I'm a little short, but forty plus years, nigga. What
can I show a nigga in Ohio about cripping when
there's cripts there.

Speaker 1 (47:48):
He's twenty one years old. He grew up with cryps
his whole life.

Speaker 2 (47:51):
He don't get two fucks. Christ has started in Los
Angeles and went through Phoenix and then to Denver and
Tacoma and all. He don't fucking care. He up with
crips's whole life. Nigga, What makes your la cripping different
than the niggas from cleaning? That's cripping nothing. It's been
his whole life. So if I show him cripping, you

(48:11):
can walk outside his front door and see that. Not
in nineteen ninety two, when snooping came out. You couldn't
see that outside every door in the Miracle. That wasn't
outside of every door. In Memphis, there wasn't crips quite yet.
There wasn't crips in Houston like that outside the front door.

Speaker 3 (48:29):
But the funny thing was, I remember that time, purr,
because I knew up in Washington that was everybody's goal
to come down to LA.

Speaker 1 (48:37):
And connect with and connect with each other. Well you know,
couse it was sixties and want to connect, you go
to their hood, they says.

Speaker 3 (48:44):
Tried to get me to come down here, And I
used to look at them niggas like I'll be the
one killed as an innocent bystander because I don't know
how because.

Speaker 1 (48:51):
You're trying to connect.

Speaker 2 (48:53):
Like the thing about these organizations that you connect, And
what I'm saying is what can I show a nigga
in Pitsburgh.

Speaker 1 (49:00):
They didn't have Christs and Pittsburgh now since nineteen ninety.

Speaker 3 (49:03):
So I understand what you're saying now, Like you're right,
they came down here to look at what was LA.

Speaker 2 (49:07):
Like no hip hop showed them. So it was only
in a handful of places outside of Los Angeles, outside
of the West. Now it's in every fucking city. They
don't need you to show them crippt They can go
to motherfucking YouTube and see Chriss everywhere.

Speaker 1 (49:27):
If Dad Chris outside the house, it is Christ right there.

Speaker 3 (49:30):
You niggas showed us chrippin in Washington.

Speaker 1 (49:34):
But that's not the point.

Speaker 3 (49:35):
You niggas came up there. But I'm saying that. But
they're flour colors and shit.

Speaker 1 (49:39):
But I'm saying that's not the point. What I'm saying
to you is the only thing to do with the culture.

Speaker 3 (49:44):
Now.

Speaker 1 (49:45):
Yeah, no, I understand what you're saying. Fashion crippin ain't crippin,
ain't violence.

Speaker 4 (49:50):
I think you're you're juxtaposing the symptom for the disease
in that regard. I think in the nineties those guys
took the exported cool. Yeah, happened to be crips, right,
Whatever they were was gonna be.

Speaker 1 (50:08):
What what was cool?

Speaker 4 (50:09):
They exported cool.

Speaker 2 (50:11):
I'm not disagreed, but I'm saying we still say the
same thing. We're not even just opposing it, like right,
it's just the same thing. But I'm saying the only
thing left.

Speaker 1 (50:21):
It's cripping. Somewhere where there's no crips, But.

Speaker 3 (50:25):
Isn't there like so called crip gangs across this whole
world and stuff in different place They like, well, we
know not here, but their version of.

Speaker 2 (50:35):
You know, ain't no crips in Jerusalem? And then how
tough would that be if I connected with Jerusalem crips?

Speaker 1 (50:47):
I could see it so like I'm only thinking fish
out of water.

Speaker 2 (50:51):
If you if you're a trap rapper, you got to
take your brick over there to motherfucking Greece to open
up and trapping grease your brick over you don't move
it around and ship a trap rap if you're going
to have to take the culture to unfamiliar places and
then show everybody something that they haven't sought.

Speaker 3 (51:14):
You know why he could say that so easily because
he does no drugs. He does have to worry about
taking no drugs over there with him. Whatsoever takes some pay. Hey,
I'm thinking to myself, like, damn, I can't put the
need to get some They killing motherfuckers for that ship.

Speaker 1 (51:32):
Well that's the ship.

Speaker 2 (51:33):
That's the ship where you you got a wee spot
in a place that you ain't supposed to have no
fucking weed.

Speaker 3 (51:39):
That is the ship.

Speaker 2 (51:42):
We would have we would have got us fucked up
in nineteen eighty eight. That would put you in prison.

Speaker 3 (51:48):
Guess what.

Speaker 2 (51:49):
That's how it is in these places now, if you
got pairs of weed, you're going matter of fact, George Young, right,
the dude they made the movie Blow About, went to
prison the first time for weed.

Speaker 1 (52:04):
Now you can get caught with toms and weed. They
just like whatever, it's not cool.

Speaker 3 (52:09):
No more.

Speaker 1 (52:11):
Like the outlaw part of it is cool.

Speaker 2 (52:14):
There ain't no fucking outlaw here. Everybody got crips. Every town,
Salt Lake City shut out to the og and homies.

Speaker 1 (52:21):
It's crips. Shout out to the homies from Donna. I mean,
shout out tomies from Donna.

Speaker 3 (52:26):
It's crips. Everywhere.

Speaker 1 (52:28):
It's cripson.

Speaker 3 (52:28):
Portland doesn't have cris but that's like what state doesn't.

Speaker 4 (52:34):
You can't try to make something that people have already
seen before new again. It's already old, so.

Speaker 1 (52:41):
So you don't make it new, but you put it
in places where it's never been.

Speaker 3 (52:44):
It's not.

Speaker 4 (52:45):
It doesn't need to physically be there. It wasn't physically
there in the suburbs they consumed, but.

Speaker 2 (52:51):
That's not the point like, that's what would make it
appealing visually. Okay, prime example, Pete, imagine you and Beverly
Hills and then it's a crip gang. They naked ship down,
they do it, all kinds of unsavory outlaw activities to

(53:14):
come up.

Speaker 1 (53:16):
That ship would be on the fucking news. Who the
fuck out of Beverly Hills? Creep? Do you know how
talked about that? That crypt gang would be.

Speaker 4 (53:26):
Yeah, Hely Hills translating into consumption.

Speaker 2 (53:30):
You, nothing is gonna translate in consumption, That's what translatingto
because consumption is there is no more consumption. Like right now,
I saw a song a buddy of mines made a
song called he made a song about Downy, Welcome to
the d.

Speaker 1 (53:45):
I'm a player for you. Hold on, let me play
for you.

Speaker 3 (53:47):
So where the where the other crips that grew up
in poverty, respect those crips that grew up in Beverly Hills.

Speaker 1 (53:53):
No, but that's the point. Part of the reason six'
nine snitch nine got so.

Speaker 2 (53:58):
Big it is because niggas saw him and was like
that nigga ain't no, blood but he had real bloods behind.

Speaker 6 (54:05):
You mm.

Speaker 1 (54:06):
Hmm he was such a contrast to the normal look
of a.

Speaker 2 (54:10):
Blood the thing visually is you need a, Contrast you
need something that makes it special and unique because you
can't be nothing else but the.

Speaker 1 (54:20):
Culture that's. It the culture is the. Culture listen to
this Song the Only jins did.

Speaker 8 (54:27):
This Sign, California welcome to The, California, California california St.

Speaker 6 (55:01):
It was still just.

Speaker 4 (55:06):
That song twenty five years, old and everybody.

Speaker 3 (55:15):
The point is.

Speaker 1 (55:16):
Right it's because it's about fucking downy you.

Speaker 4 (55:19):
Know it's not because it sounds like it's twenty five years.

Speaker 3 (55:21):
Old huh why downy? Throw that sounds like a like
A b side down there a nice place or something.

Speaker 4 (55:28):
From a compilation out of nineteen ninety.

Speaker 6 (55:30):
Eight it's like, saying so, ritos that's.

Speaker 1 (55:33):
Why like people don't know that that place hash like
this thugging like they wouldn't get.

Speaker 6 (55:46):
It you wouldn't.

Speaker 2 (55:47):
Guess so What i'm, saying because What i'm Telling pete is,
this you can't abandon culture and hip.

Speaker 1 (55:52):
Hop it doesn't.

Speaker 4 (55:53):
Exist but but hip hop is always about the next new.

Speaker 1 (55:58):
Thing there is no next new.

Speaker 4 (56:00):
Thing that's the.

Speaker 2 (56:02):
Problem gotta be something so but but it's a problem is, like,
well you're just. Dead now they have you buy your new.
Shoe you're, Dead so now you have to think past the, Problem.

Speaker 1 (56:11):
Pete it's about.

Speaker 4 (56:13):
Creativity it's not about.

Speaker 2 (56:15):
There's no more creativity because poverty every day is dying
across the. COUNTRY i was not it is they're making people, Broke.
Pete niggas don't even know how to dress fashionably without.
Money the brokens, People pete are going to get. Designer
remember back in the, Day, pete you old enough to,

(56:35):
remember niggas had.

Speaker 1 (56:37):
On t shirts of bowls and rebot classics In New.

Speaker 4 (56:40):
Orleans, yeah that's because the second album.

Speaker 3 (56:44):
Was the end of that.

Speaker 4 (56:47):
Singing around the albums.

Speaker 2 (56:49):
No Big, timers four hundred degrees bg they still did.
That they was rich niggas that dressed the way everybody
poor could.

Speaker 4 (56:57):
Jets and then young money got rid of.

Speaker 1 (56:59):
That, yes young money got rid of.

Speaker 2 (57:01):
It but then Young money also became the pop of
the birth of the pop version of rap. Okay so
then it wasn't With drake And, nikki it wasn't about
culture any. Longer it was about the fact that this
person could pass in every walk of.

Speaker 4 (57:20):
Life, well it's like Saying gucci, mane isn't it about
culture because he's about designer.

Speaker 1 (57:23):
Shit he wasn't at. First his name Is gucci, man
nobody cared about that when they thought About. Gucci the
most he had that was A gucci. Belt he had
A t shirt on and some jeans if she had
A t shirt on at. All so you get What i'm.

Speaker 2 (57:40):
Saying it's like he is, Right like the problem is
all the tricks are exposed and it's hard to develop.
Poverty like, again poverty is a fleeing thing In america right.
Now they break everything up and niggas be. Broke that's at.
Best so you think that's what's kind of with the
the blog computer. Age did it took the poverty that's

(58:02):
a way out of hip?

Speaker 3 (58:03):
HOP i don't.

Speaker 1 (58:04):
KNOW i don't think it.

Speaker 2 (58:04):
Was just that's part of it because it kind of
that's fair forgive. Me it kind of gentrified the, culture, okay,
yeah right to where everybody starts talking the, same everybody
uses the term, ops everybody uses all these, drills everybody
uses the exact terminology, culturally, right so then now it gentrifies.

Speaker 1 (58:25):
It it's not, special it's not unique to a region of. Land,
no longer than a fucking month or. Two BUT i
remember only like rich people had.

Speaker 3 (58:34):
Computers the, kids you, know poor kids didn't even have
computers and things like. That oh, now well we're not
talking about, Now i'm talking about in the beginning of
how all this. Started, yeah we just seeing the project
of that.

Speaker 4 (58:45):
Switch, yeah do you feel culturally that thirty years, ago
people just bluntly, speaking like like, younger inner city poor
people were more willing to take a chance out and
possibly be like that shit was. Stupid and now there's
an obsession with fitting.

Speaker 3 (59:06):
In, YEAH i agree with.

Speaker 1 (59:08):
That that could be part of The that could be
part of The.

Speaker 3 (59:10):
Internet in my age, group we tried to stick out
instead of fitting.

Speaker 4 (59:13):
IN i think the concept of like A dj screw
would be hard to imagine, today like like like you'd
get made fun of for two days for just playing
your shit on slow motion and that'd be the end of.
It and like little insular cultures from one city to
another have a harder time because they don't live in

(59:35):
A like you, say The internet means there's no more,
vacuums so you can't get robustly popular locally as easily.
Anymore to the point where you had critical mass by
the time you left. Town now everything is a, homogenized
large scale you know what do you call?

Speaker 1 (59:53):
It?

Speaker 4 (59:53):
Incubator so unless everyone thinks it's amazing from coast to
coast north southeast, west.

Speaker 1 (01:00:00):
Then it makes, it which then makes it. Mainstream, yeah
which means it's not hip.

Speaker 2 (01:00:05):
Hop so to, me the only thing That i'm guessing
that you can entertain with because we are in a branding,
area right and you see everything before you hear. It,
yeah there's only a handful of stories. Left one of
them is a fish out of water store and.

Speaker 4 (01:00:24):
The other one's.

Speaker 2 (01:00:25):
CAREER i can't help but think you have to take
your show on the. ROAD i agree with see this
is the road no more pete Like america ain't the.

Speaker 1 (01:00:33):
Road.

Speaker 3 (01:00:33):
NO i agree with you got to take it on
the road somewhere. ELSE i agree with that there's.

Speaker 4 (01:00:38):
An interesting kind of relationship with just to just to
use it as a fillilar example you're talking about like
kpop for, example they're Like orlando boy bands re entering
the marketplace.

Speaker 1 (01:00:54):
Here but it's only cool because It's.

Speaker 2 (01:00:58):
Korean, sure it's like It's korean people SINGING r and
b mm. Hmm like that ship look crazy and then
The korean people dancing it cool though it's only cool
because really you're a racist piece of. Ship like it's
like If niggas was doing, that it wouldn't be. Cool

(01:01:20):
it would be something you. Use but now that's like
it was a like like a little people's boy. Band,
mhm that would probably be.

Speaker 1 (01:01:32):
Big, yeah like that that was.

Speaker 4 (01:01:38):
Like rock and, roll and then it gets real popular
In london and then all These london bands come back
to The United states and do quintuple, Platinum like.

Speaker 1 (01:01:47):
That's how about The.

Speaker 2 (01:01:48):
Beatles The beatles ain't even that fucking good to be
what they. DO i agree with you can't funk. With
queen is way better than the Fucking, Beatles Like beatles
is more, mental And i'm, like, bro the music gotta sound.
GOOD i don't give a fuck if you experiment with,
bullshit it gotta sound. Good queen sounds fucking. Great yeah,

(01:02:09):
so but But i'm. Singing But, pete you said you.

Speaker 3 (01:02:13):
Disagree with.

Speaker 4 (01:02:15):
With queens sounding better than The.

Speaker 3 (01:02:16):
Beatles, queen do you think The beatles sound better Than?

Speaker 4 (01:02:21):
Queen?

Speaker 3 (01:02:22):
Yeah h which singer sounds better than? Him the lead? Singer,
oh it's not a better.

Speaker 4 (01:02:27):
Singer one of them is incredibly. Dynamic there's a lot
more sound happening symphonically With. Queen there's The, beatles but
The beatles music is better. Written that shit.

Speaker 2 (01:02:39):
SUCKS i Think beatles is, more like you, say more more. Skeletons.
Queen queen is more fuller and.

Speaker 4 (01:02:47):
Stuff but MORE i like Later beatles more than like
the Early beatles Early.

Speaker 2 (01:02:51):
Beats but you just said it, Though pete right, there
like The english rock Band, Invasion, Yeah british rock Band.

Speaker 1 (01:02:57):
Invasion it was, like, okay we can do, too and
then we were. All america was all. Fascinated here's the.
Thing they look like us right.

Speaker 4 (01:03:06):
Here here's where something similar to like what's happening with
like the chips market with THE us And china and
that trade war barrier they're trying to like navigate around with.
That there's an advantage to THE us Allowing china to
steal shit or whatever the fuck they're gonna do so
that they can be rampant in their marketplace in opposed

(01:03:29):
to blockading it. Off and then they do their own
thing and now you can't get into their marketplace on
the short, side and stamps it's better not to have
your ship. Stolen on the long, term maybe not so.
Much and that's hip hop did a great job of
establishing barriers of entry on the production, side not the listener,

(01:03:52):
side but the product the creator. Side so it's it
would be challenging in THE us market for a national
invasion to come in through hip hop because it's become
so identity.

Speaker 1 (01:04:04):
Barrier one of the few Things america got.

Speaker 4 (01:04:07):
Right, yeah but did?

Speaker 2 (01:04:10):
It And i'm racist and, Prejudices, WELL i, mean it's
not about. Race it was just he's, right like everybody.
Else just let everybody else in and this, thing you,
know like while it did, grow but it just became
everybody could have their own, market nip, hop just.

Speaker 1 (01:04:25):
Everybody this was a motherfucking Big asian.

Speaker 4 (01:04:29):
Rappers my, POINT i am a big after the invasion, Happened.

Speaker 1 (01:04:35):
Roig English british.

Speaker 2 (01:04:39):
Rapper you talk about from another, Country Now queen is
From queen is a rock, Band beatles is a rock.

Speaker 1 (01:04:45):
Band they're From.

Speaker 4 (01:04:46):
England well think about.

Speaker 6 (01:04:48):
This Just.

Speaker 1 (01:04:50):
Wam wham is From.

Speaker 4 (01:04:52):
England, Yeah Rolling, stones Led, zeppelin tell. Them but but
what happened with? That The british invasion rock made rock
and roll more popular in THE, us AND us rock
bands sold more because of. It that HELPED us rock.

Speaker 3 (01:05:13):
Bands so he's saying the biggest artists are not From, america.

Speaker 4 (01:05:20):
And for that time In space And, them.

Speaker 3 (01:05:23):
You're saying it's a regular. Thing the biggest artists are
not From.

Speaker 2 (01:05:26):
America we talk about The beatles like they're the best
thing in, rock like even p saying that them, motherfuckers.

Speaker 4 (01:05:36):
Well Like elvis put up, numbers they came in to
put up bigger.

Speaker 2 (01:05:39):
Numbers and now guess what it ain't a nigga in
the space where a deal FROM r AND B. England,
okay guess what, now the ain't no BLACK r AND
b singers getting no. Budgets that's, Crazy, Adale Sam, smith.

Speaker 1 (01:05:55):
That's the NEW r AND. B this What i'm, Trying
that's What i'm.

Speaker 2 (01:05:57):
Saying, okay after you let white people in pete from,
more we see nigga's for sure gonna get put. Out
he's gonna be, like wait a, minute because you, know like.

Speaker 1 (01:06:05):
The biggest artist sound a LITTLE i tell you here it.

Speaker 3 (01:06:08):
Comes it's gonna.

Speaker 1 (01:06:10):
Something about the white Prophesized england.

Speaker 2 (01:06:13):
Prophesized, no they got a lot of soul compared to
the average white person In.

Speaker 1 (01:06:18):
America like fat, people.

Speaker 4 (01:06:23):
They're Not they're not stigmatized for. Copying you think it's all.
Stigmas there's not a social stigma In. England THE w
word doesn't exist In. England put it that, way oh,
white mm, hmm that's.

Speaker 1 (01:06:39):
Fair what about hal Of? Notes hal The notes past.

Speaker 4 (01:06:43):
Novelty he was. Fired they're the eminem of their era.

Speaker 1 (01:06:48):
Novels i'm might have to agree with you though.

Speaker 3 (01:06:57):
You stopped. It that aw.

Speaker 2 (01:07:00):
Man good looking out for tuning in to The No sellers.
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