June 3, 2025 • 49 mins
In this episode, Glasses Malone opens up about the emotional highs and lows of trading, shedding light on the discipline and mindset it requires. The conversation expands to explore the intersection of marketing and music, offering an honest look at the uphill climb faced by independent artists. They examine how branding, storytelling, and authenticity play a critical role in connecting with audiences—and how the tension between being real and being marketable can weigh heavily on creators. From navigating digital platforms to delivering both entertainment and education, this episode unpacks the complexity of modern artistry and the escapism often demanded by today’s listeners.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
WA's up and welcome back to another episode of No
Salis Podcast with your hosts Now fuck that with your
low glasses, Malone, Pete dog, that's is Malone?
Speaker 2 (00:17):
How are things a.
Speaker 3 (00:23):
Little?
Speaker 1 (00:25):
I had a long last week. Man, it's not necessarily
starting on stronger this week. I had alone last week, relatable,
very tell me what happened.
Speaker 2 (00:42):
I've had to self diagnose.
Speaker 4 (00:45):
With a very uncomfortable disorder, and I might as well
just make a public proclamation of it, since we've already started.
Speaker 2 (00:55):
Apparently after suffering.
Speaker 4 (01:00):
Substantial losses and option trades a couple of weeks ago,
now I have suffering from what is at least what
I have decided to coin the term as psycho financial sclerosis,
meaning it's where I now no longer trust my capacity
(01:20):
to read the short term markets to the extent that
I am scared shitless of making any trades whatsoever.
Speaker 2 (01:27):
So affully. It's humiliating.
Speaker 4 (01:29):
It's the erectile dysfunction of traders, oh man. But I've
always promised the audience that I would be open and
honest with them, So there you have it.
Speaker 1 (01:46):
Last week for me, the puff trial has pretty much
shown me how alone I am in the business, how
alone I am in blackness and how alone I am
(02:07):
when it comes to integrity. Sure, I had an idea
to do this song off the melody for rocket Man
off Elton John Huh, nothing, go for it where I
wanted to make a song right where I wanted to
(02:29):
make a song, and it was about three different or
four different rockets taken off from Earth, and the rockets
would be named after different styles of drugs, like opioids,
like all the makeups of these drugs, and it's like
I'm the last person on Earth.
Speaker 3 (02:53):
Right because like I'm the only person sober.
Speaker 1 (02:57):
And I had another idea to do another song where
I used the melody from Hotel California and the piano
and it's like I'm surrounded like by zombies, like everybody's
possessed by different spirits. Yeah you know what I mean, spirits,
Like everybody's drinking so they getting possessed by spirits and
I'm kind of the only person still walking around not possessed.
Speaker 4 (03:20):
Didn't the song Hotel California sound like or was it
about like a rehab clinic.
Speaker 3 (03:27):
A Hotel California.
Speaker 1 (03:29):
I guess it could give off the vibe, but no
at least not from how like I interpret the writing.
It was talking about being a prisoner of the different
styles of drugs. Like the initial verse is about marijuana. True, No,
so she lit up her candle and she showed me
the way, so there were voices down the cord or
(03:53):
the second verse is about either cocaine or crack.
Speaker 2 (03:58):
At that point kind of probably have been co.
Speaker 1 (04:01):
Yeah, right, And then the third verse is about heroin.
They stab it with, they still be nice, but they
just can't kill the bees. It's like they gather for
the feast. Sure they stab with, they still nice, but
they just can't kill the beest. And so it's somewhat
like that. But I thought about that making that last
week and even coming into this week, like I've had
(04:27):
to hear so much slander about Game, the gang, the rapper,
and how people are saying they don't want to give
him credit as a rapper because of they don't like
how he markets himself or as they like to call it,
his antics.
Speaker 2 (04:44):
Okay, and what antics?
Speaker 1 (04:50):
I don't know, you would have to ask them. I
don't really keep up with stuff that. I don't really
you know, I don't keep up with stuff if it's
not interesting me. Yeah, so I wouldn't know. But people
didn't like that, and they were saying that to me,
but it made me think, like, you wouldn't really Game
(05:12):
wouldn't have relevance without his marketing. Like I think the
general fan would like to believe that they are so
smart right that they are able to to figure out
what's a good song and what's not a good song.
I don't think they truly realized how much marketing goes
(05:35):
into what they like or what they purchase, how much
social currency is into what they like or what they purchase.
So they have this natural attitude about it, like, oh,
if he didn't do this, I would like him more,
(05:56):
and it's like, no, you would just forget about him.
Speaker 3 (06:00):
Yeah. You know.
Speaker 1 (06:02):
Game is somebody who had a triumphant success on his
first album, tons of top forty songs, probably four or
five four for sure.
Speaker 3 (06:14):
Hated to love it.
Speaker 1 (06:16):
I think Dreams was top forty, and I think How
We Do was top forty.
Speaker 3 (06:20):
Yeah, yeah, you know.
Speaker 1 (06:22):
I mean then he had other songs that did well
and it was in a great time, and then the
next album Why It did go platinum, it didn't have
top forty songs. It was off how good he was
marketed in his brand, and he was in the conflict
with the unit that kept marketing him.
Speaker 3 (06:40):
That would be marketing, that would be anti was a
top forty song.
Speaker 4 (06:44):
No damn, they played the living shit out of that
song on LA Radio Christ in Heaven. They must have
gotten paid. I couldn't even count how much money they
were paying. Felly failed to play the Christ for sake,
and hell.
Speaker 2 (06:56):
Out of that.
Speaker 1 (06:57):
Trust me, if they was playing it, they ain't got
nothing to do with Felly fail. But again, Chuck's brand.
It was a good record, but it wasn't quite what
the first records were.
Speaker 3 (07:07):
Yeah. I like that record.
Speaker 4 (07:08):
I actually liked that record a little bit more. There's
some cool songs on there.
Speaker 1 (07:11):
Sure, I think it could be probably, I mean, I
don't think that's the point. But I was explaining to
them right that, I was explaining to them that, uh
that you know, that was all of this is you know,
we're talking about twenty years ago. Yeah, and since then
you're talking about, Chuck hasn't had a lot of success
(07:34):
at creating.
Speaker 3 (07:37):
Chart topping singles. Yeah. Remember the singles is what market.
Speaker 1 (07:41):
You, you know, unless you could figure out another way
and Chuck has figured out a really you know, Chuck
the Game has figured out a really great way to
keep himself, you know, branded in the public's eye. Even
if his last really big records, you know, one Blood,
I think it was top eighty or seventy. I mean,
(08:02):
even with all of that, his relevance might feel like
somebody who hasn't had a record in ten years versus
somebody who may have not had a record in twenty years.
Speaker 3 (08:12):
Sure, And.
Speaker 1 (08:17):
I'm watching Push a T who just released, you know,
he just started to market the Clips project, and they're
talking about UMG and def Jam dropping them because of
a song, which I think is marketing. I think it's
a little bit more.
Speaker 3 (08:34):
Cap to that. Not like I don't want to.
Speaker 1 (08:37):
Mess with Push the T's marketing, but I think it's
a little bit more to that. But I understand why,
and I'm struggling so hard. I'm struggling so hard to
get down with it. Like I remember when Tupac Must Die,
(08:59):
I reached out to new to different people to try
to create marketing things, you know, stories, if marketing is
just storytelling, like I've reached out to I've created different
stories and got the people involved that may have bigger
brands than me, but the story itself was going to
be the star and not able to make it happen.
(09:21):
So even now, like as I'm on the verge of
releasing a song which I was supposed to release on
the tenth, but it's probably gonna go back until you know,
third week of June, right because like my my, my,
my meta account, my Instagram account, I can't advertise from it,
(09:42):
Like my YouTube, like Tupac once died, there's six million views,
that's no advertisement, that's no publicity. Right, Kanye should have
never married that bitch did five million views, and that's
no advertising, no publicity. Sure, And when marketing makes up
eighty percent of your streams, you know what I mean?
(10:02):
You looking at these numbers, and I've took in debate
that people can keep up and they don't need social
currency to enjoy good product. It's just wrong, that's just wrong.
Speaker 3 (10:17):
Yeah.
Speaker 2 (10:18):
I think there's a parallel between.
Speaker 4 (10:21):
Rap music or music industry, you know, wraps a little
bit different than other genres in this regard, and like
sports and two different sports in two different ways a
little bit. But like sometimes you can see like an
artist gets on the right label or with the right
producer or whatever.
Speaker 2 (10:40):
And you hear the expression system quarterback.
Speaker 4 (10:43):
Yeah, you see when they leave that label if they're
a good quarterback or if they were a quarterback and
a good system.
Speaker 2 (10:53):
And then sometimes you also see on.
Speaker 4 (10:55):
The flip side, from a basketball standpoint, certain artists that
are great players at Rutger but aren't efficient within the
system of an NBA scheme.
Speaker 1 (11:09):
I'm not mad at that comparative. You know, no siblings
gl up in this thing. Got my brother Peter, Boss,
We'll get into it. That's a great point. And I
think people doubt how many of these artists, most of
these artists are system quarterbacks.
Speaker 4 (11:30):
Yeah, and I'm not trying to take anything away from
a game, but no, Yeah, it occurred to me when
we were talking about him, just because Dre and fifty
like that, that that was a well oiled machine at
a special.
Speaker 2 (11:45):
Time, you know.
Speaker 1 (11:47):
But again, I think he's one of those quarterbacks who
probably can perform outside of the system. Now, it's a
difference when.
Speaker 3 (11:55):
It like, yeah, yeah.
Speaker 1 (12:01):
You got the best running back and the best receiver
in the game. You know what I mean with Dre
and fifty and the game is quarterbacking. You know what
I mean, Shit, I mean coaching and shit, you got
a thousand things. But for him to maintain this relevance
for twenty years without having those things, that game is
relevant today. Like you're going to ask a lot of
(12:23):
people to be heard of the game, and they're like,
y'all heard of him and his records. You know again,
it's probably his last top forty record was twenty years ago.
You know what I'm saying, that's saying a lot, because
that's that's saying a lot.
Speaker 3 (12:38):
It's all branding for him.
Speaker 1 (12:40):
The product ain't necessarily you know, as far as the
singles are walking the dogs. People don't get me wrong,
people talk about how well his albums are constructed. For sure,
I'll hear those conversations, but you know, to not have
a thing that spread you, you know, throughout Humanity, which
is one song, it's pretty immaguling what he's been to do.
Speaker 3 (13:00):
It's been a maculate And so.
Speaker 1 (13:02):
Then it becomes if you prefer how he markets himself,
like I was saying, when people say, oh, it's antics,
and I'm like, trust me, you couldn't sniff out the
genuine article because you might name somebody else and that
person ain't the genuine article.
Speaker 3 (13:17):
They just market themselves different.
Speaker 1 (13:21):
But I realized how much marketing matters when you put
out great product and it's still culturally heavy, but then
you can see the societal merit around it, which is
the views, the counts, and it's light. Like I said,
two pac months died being a prime example of something
that was culturally dense.
Speaker 3 (13:42):
I mean, it was coarse, it was.
Speaker 1 (13:44):
It was a talk, but again without YouTube, you know,
making me a part of their marketing or for lack
of better terms, as everybody say, put me in their
algorithm with YouTube, turning down my advertisement campaign and not
wanting to advertise my record, without hiring a publicist to
(14:05):
guide the story, just pure promotion and quality product. You're
talking about five or six million plays on the video.
Speaker 2 (14:13):
Yeah, And that to me was kind of the Ruger
Park example.
Speaker 4 (14:16):
It was a stand on its own two feet talent
that the league didn't necessarily want to embrace at that time.
Speaker 3 (14:24):
Well if again, if it would have came out through
a label.
Speaker 4 (14:27):
Yeah, but that's part of the league to me, though,
you know what I mean, how many other people wouldn't
really want to do that?
Speaker 2 (14:33):
Yeah?
Speaker 1 (14:34):
Yeah, Yeah, I just feel like if you're going to
play play to win, don't play for the stat Sure,
So if I got less credit, like I would rather
have ten points to assist eight rebounds and a steal
(14:59):
and a block in the championship ring, then average thirty
points for a team that's barely getting in the playoffs. Yeah,
some people don't like that. They rather have the the
you know, I'd rather be Genobly than Carmelo. Not get it,
(15:23):
you know, you play this to me to win. I
played to win. Everther people may play it for stat line.
I played to win. So I had to concede how
much marketing matters. Like and I'm listening to the audience
who you know, who are being marketed to. They're telling me, no,
it don't matter, we you know will and it's like, no,
(15:43):
it does, Like I'm sure those.
Speaker 2 (15:45):
Are people who are already there, you know. So I
think there's that aspect of it too.
Speaker 4 (15:54):
But you can look back over the last however many
decades you know, in the space and see who's the
product of a you know, marketing success versus you know,
to find out later ultimately like oh fans rejected them
(16:16):
later or they didn't carry all the steam or whatever.
They weren't necessarily authentically what they were marketed to be
in the moment, and that's not uncommon at all.
Speaker 1 (16:28):
Yeah, when you break it down though, into storytelling, when
you break it down into what it is, it definitely
makes it simple. It's not easy still, but it's simple.
But again, a company of ten like Blue Division Records,
(16:52):
trying to emulate a building of a one thousand, like
let's say, you know, UMG and Santa Monica. Hmm, it's different.
That requires a different level of focus. But I am
impressed with what Push it.
Speaker 3 (17:08):
T is doing.
Speaker 1 (17:08):
I won't lie like I mean, Clips are a platinum
group though, so it's not quite They're not quite Glasses Malone, you.
Speaker 3 (17:15):
Know what I mean.
Speaker 1 (17:16):
But I am impressed with how he's been able to
galvanize people based off of ideas. And I'm watching him
kind of play at his own extent, like excuse me,
not at his own extent, play to his own play
the way he wants to play. Yeah, the extent and
how he wants to play. That's what I'm looking for.
(17:38):
He's doing it his way. Like I know when he
announced that rock Nation thing, he wanted to I wanted,
he wanted Jay z in that picture. Why he didn't
get it as different, but he still moved forward anyway.
Even watching them generate many stories out of a GQ article,
you know, GQ has to be you know, impressed because
they're getting more coverage on an article when it comes
(18:00):
to hip hop, more than they have in a long time.
And again it was something that top was telling me
shout out to top Dog to dou Dog, president of
the TD. Outside of reminding me, like glasses, you know
what to do? You got this right, he also was
saying how you need to use more lifestyles and just
(18:20):
hip hop. And I've been complaining to my homeboys that
hip hop is getting stale, Like people feel like they're
way more familiar with street urban culture than they really are.
It's a lot of people like I have different people
arguing with me all the time about something that I
know they have no idea what it is. Like if
I have to argue with people, why gun are told
(18:43):
that's just crazy, that's just insane.
Speaker 3 (18:49):
I'm arguing people.
Speaker 1 (18:50):
They be like, well, you know, my OG is like, bro,
you don't have og like a OG if you have
to be from the streets to have an OG like
your father is not your o G.
Speaker 3 (19:01):
Your uncle is not your old G unless.
Speaker 2 (19:03):
You from grandpa. What's the difference.
Speaker 1 (19:06):
Well, so, you know, figuring out how to cross cross
into other lifestyles and bring new people to create excitement,
that's something I need to focus on as well.
Speaker 2 (19:27):
Yeah, I'm.
Speaker 4 (19:29):
It is interesting, like that dilemma you know, stale through ignorance.
You know, it's how do you how do you convince
(19:50):
an audience of the principle you know, famous adage, the
more you know, the more you know, you don't know
m h. I, yes, you don't know enough to know,
you don't know enough. Yeah, it's just a weird place
to It's a weird place to occupy.
Speaker 3 (20:15):
Man, I'll be.
Speaker 1 (20:18):
Too much of my heart and soul is in this shit.
And it wasn't like that at first, but somebody heart
and soul got to be into it for it to
reach its potential. So like TLC, heart and soul didn't
have to be into it as much as Dallas Austin
or Jamaane du Prix or Pebbles or Babyface like everybody else,
(20:41):
heart and soul has to be into it. But because
as an independent like your heart and soul needs to
be into it. You gotta live, breathe, eat, and shit it.
And that's just where I'm at. So like even preparing
to release the song this week, right, it's like I
(21:01):
can't advertise still on my Instagram.
Speaker 3 (21:04):
I can't release the song. I can't release the song.
Speaker 4 (21:10):
And when you're from being able to do advertising by
meta three sixty like all this.
Speaker 1 (21:16):
It's malfunctioning. My Facebook page got hacked. Geez, so I
lost one hundred thousand, you know followers I had on
Facebook on my band page, and I guess they were
trying to hack my Instagram.
Speaker 3 (21:34):
So whatever happened when I disconnected.
Speaker 1 (21:36):
It, it made it malfunction. So now when I try
to boost the post, it kind of gives me this
funky you know, check back later this feature. You know,
it's not it's not like I'm being reprimanded. It's just
a malfunction.
Speaker 2 (21:53):
We're the hackers, Canadian.
Speaker 3 (21:58):
I think they were like Indian.
Speaker 2 (22:01):
It was Toronto based though Indians.
Speaker 3 (22:03):
Possibly they were putting up a Indian.
Speaker 2 (22:06):
Porn interesting, so link to that again.
Speaker 1 (22:12):
Oh no, they snatched my page and I still never
got my page back.
Speaker 2 (22:16):
Jesus. That fucking sucks, my God.
Speaker 1 (22:20):
But worse than that, right, So you lose one hundred
and five thousand. Uh man, I've been through so much
shit over these last fifteen years. Remember, somebody stole my
whole hard drive, so that was like ten years.
Speaker 3 (22:32):
Worth of songs.
Speaker 1 (22:34):
So that was like songs from twenty ten to two
thoy and eighteen.
Speaker 4 (22:38):
That's the initial reason why I stopped doing comedy. I
had an LG phone, I had all my material saved
on it and the hard drive and the phone crashed,
so I couldn't even pull it off if I took
it to a specialist.
Speaker 3 (22:50):
Right.
Speaker 2 (22:51):
So that's a miserable fucking experience.
Speaker 3 (22:54):
I love all that music, right, and then.
Speaker 1 (23:01):
I lost all that music, And somehow I put myself
back together, and I put two protamus die together, you
know what I mean, in the face of all adversity, right,
and I can't advertise, But I also let people it's
not that far as my fault because I knew better.
(23:22):
I had been studying long enough to know better. When
they rejected my ads on YouTube, I should have called top.
I should have called top of a top. They rejected
my ads. Can you plug me in with YouTube? I
need to be able to advertise because I already knew
what advertise was worth, and I should have reached out
(23:43):
to Madi, who was my home girl that does publicity
like because I had Greg. But at this time it
was just funny and I needed everything. But again I knew.
I didn't know quite in two thousand, nineteen twenty what
I know now, but I knew enough. I knew the
fundamentals that I needed them even before I still why
(24:05):
I needed them.
Speaker 3 (24:06):
I knew I needed them, and.
Speaker 1 (24:11):
Watching a product go out and make history on its own,
but when you look back, it's like you get a
thousand comments like, man, this song should have way more
views than this. Sure so and now like I had
to postpone my show last year to this year, right,
(24:34):
but like having to do it myself is the biggest problem,
you know what I mean? You have to do You
have to market the shit, like you have to market it,
like like you know, you're not looking at things that
are doing that well without marketing. It just feels like it.
We would like to believe so bad that sixty million
(24:56):
people just are aware of content and it's just happening.
Speaker 4 (25:00):
I think the audience needs to appreciate also, like how
hard it is to make an honest dollar in that
industry because we've done shows talking about how the songs
now basically turned into advertisements for you know, commerce of
the stuff either be it merged, be it concerts, be
(25:21):
it whatever the hell. I imagine if Coca Cola had
to run commercials for their commercials.
Speaker 3 (25:30):
And that's what it feels like one of the biggest
things coming into.
Speaker 1 (25:34):
This, this stream, this brilliant stream of consciousness I'm having,
and these records I've created, the first one coming out
you know next, and how I figured out how to
turn it back into well.
Speaker 3 (25:47):
Really, it's worth more money than a single ever was before.
You know, if if.
Speaker 1 (25:56):
A single was worth three dollars you know, in this heyday,
and it's worth I don't know, fifty cent now, Like
I've created something where the single now is worth I
(26:20):
don't know, a lot of money, way more money than
it was and its heyday. I kept telling Trap this
was the best time to be in the record business.
I said, we just have to figure out how like
this is the first time in life we don't have
to get a distributor to deliver our product. We don't
need to get best buys or one stop to buy
(26:42):
our product, right, and we don't got to get distribution
to try to carry it. We don't have to go
through Young g Like the product is in everybody's hand.
Speaker 3 (26:53):
Yeah, Like that's unbeatable. The product is in your hand.
Speaker 1 (26:59):
All I had to do was figure out where how
to get more money out of one song than what
streaming that's want to pay me. And I figured that out.
But that's why it's also important, right to have marketing
tools set up, like this is the time now to
(27:20):
reach more impressions, more eyeballs than I ever reached before.
I'm in the safest space when it comes to the
product itself, Like I know how to make the product
in my sleep. It's contagious no matter what you know, Right,
it's contagious no matter what.
Speaker 3 (27:38):
I have the right story behind it.
Speaker 1 (27:42):
Now it's about time to make sure the story is
delivered to the highest level.
Speaker 3 (27:49):
To really capture the imagination.
Speaker 1 (27:51):
I guess what I'm asking God for is for the
most part, pede is like forgiveness.
Speaker 3 (27:57):
Like I've never this whole time. I never wanted to.
Speaker 1 (27:59):
Take advantage of people's ignorance, but people have put me
in a situation to where it's like they feel like
they know everything already, and I know they don't fucking know.
Speaker 3 (28:10):
I know they don't fucking know.
Speaker 4 (28:16):
Well, yeah, ignorance is an opportunity to learn, So you'll
have to learn them.
Speaker 3 (28:25):
Well I know them, that's the problem.
Speaker 1 (28:27):
And it's like, they're not going to let me just
be authentic one hundred and seventeen percent.
Speaker 3 (28:35):
Yeah, they're just not and that sucks. That sucks, cause
that fucking sucks. You know.
Speaker 1 (28:48):
They they're they're going to make me entertain Like the
reality is so entertaining, right, the authenticity is so entertaining,
But because they feel like they have access to it,
they don't care about the depth that brings the authenticity there.
It's like if you hear three people rapping about being
(29:09):
a crypt and somebody's telling you, hey, no, like, yeah,
we wear a navy, Yeah we beef with other cryps. Like,
you get the first crypt saying I hate bloods, we
wear blue, and you get the second crypt saying I
hate bloods, we wear blue and this.
Speaker 3 (29:29):
Is how we dance.
Speaker 1 (29:30):
And then you get a crypt saying, well, we really
have relationship with bloods uniquely, right, the nuance of it, right,
it's not as bad as you think you know, it's
really about brothers, fellowshipping and bonding, and if you're doing
it right, it's very diplomatic, or it would be a war.
Like the nuance of it all, it's like, nah, I'm cool.
(29:53):
I liked it better when it was just blue versus red.
Speaker 2 (29:58):
Well, that's the challenge was straddling the entertainment industry versus
the education industry. Yeah, I mean you're still in the
entertainment you know, vertical so as they say, and uh,
(30:21):
you see, you're kind of like Russell Crowe in that
spiteful scene after like the first fight in the coliseum
where he kills everybody and scorns the crowd, who's all happy?
Are you not entertained? Are you not entertained?
Speaker 4 (30:41):
Here?
Speaker 2 (30:43):
Is this reality entertaining enough for you?
Speaker 1 (30:47):
But it's like, man, it's like they're gonna bring out
like it just feels so deceptive.
Speaker 4 (31:08):
Most of these people want to be deceived. I mean
really like most of the fans, and by most I
mean all minus a statistically insignificant peace.
Speaker 2 (31:26):
This is a scapist This is not a how to manual.
Speaker 4 (31:31):
You know, people want to enter into this world of
yours temporarily, superficially digestibly, and.
Speaker 2 (31:49):
They don't necessarily.
Speaker 4 (31:53):
Feel that they need to be burdened by those types
of details to enjoy a momentary reprieve from auditing inventory
of wholesale bottles of orange juice.
Speaker 3 (32:07):
All day long. You know. So they want the zoo, Yeah, they.
Speaker 2 (32:18):
Want the zoo.
Speaker 4 (32:19):
They don't want to necessarily understand the dynamics of why
sometimes the lions scuffle within their own pods on route
to the Wilderbeast. They just want to see a little
bit of blood. They don't want to get it on
their shirt. They want to go home. It's the same
at the zoo as it was in the coliseum, as
(32:41):
it is on hip hop records and even country.
Speaker 3 (32:43):
Rap tunes, even country red some.
Speaker 4 (32:51):
But it is an interesting earlier I was reading something
that mentioned says law Jean Baptiste say say why, and
that supply creates demand and the more available that you
make something, rather than the price going up, as you
(33:12):
bring the price down and accessibility expands, use cases for
that expand and the demand goes up. And that's kind
of what's happening now as music's digitalized to cloud streaming
from you know, individual retail singles and albums people have
(33:36):
been able to listen to it. You can listen to
more music because you have more ability to listen to
music throughout the day on your phone versus only being
in your car or in front of a CD player
or whatever else you have access to.
Speaker 2 (33:49):
More so your listenability increases.
Speaker 4 (33:52):
The ability to turn listenability into consumerism has increased. So
all those things are true, which bears out that this
is the most valuable time for you to ever generate
high numbers.
Speaker 2 (34:07):
Because of all that's attached to those numbers.
Speaker 3 (34:13):
Okay, so.
Speaker 1 (34:17):
Nuance is not a sellable thing, or nuance is not
you know what, not sellable?
Speaker 3 (34:24):
Gimme it's not. It's not as in demand.
Speaker 4 (34:30):
Yeah, it's that's a to me, that's a supplemental that's
a niche. Yeah, less less than a primary drama is
always in demand. Nuance is only in demand too. Like
authenticity attracts and begets authenticity. So as authentic as you
(34:53):
are in the pantheon of rappers by percentile, say you're
in like the ninety ninth, the same is true on
the consumer side. Authenticity is going to attract authenticity, so
it's going to be the ninety ninth percentile of authentic,
of authentic fans and listeners.
Speaker 2 (35:12):
That are going to appreciate your authenticity.
Speaker 3 (35:18):
What percentages that? Again?
Speaker 1 (35:21):
One that makes sense though, because no lie, Like the
hardest thing is when you dope. And it's like the
dopest people who everybody celebrate is like, yo, you dope. Yeah,
Like when people are saying to me like, yo, you dope,
Like I hear that all the time, Like Snoop is
(35:42):
telling me you're dope, yeah, and Drey is like, yo,
you dope, Like jay Z You're dope.
Speaker 3 (35:49):
And it's like then why, like what am I? Well?
Speaker 1 (35:55):
How don't your fans know it? But I think that's
the one percent to create are the one percent who
value nuance versus the fans who value just drama.
Speaker 4 (36:08):
Yeah, and your fans like their die hard index score
is through the ceiling, whereas most other artists fans die
hard index score is just you know, until the glass
is empty. So there's that also, I think what's really
separated historically certain rappers whose like.
Speaker 2 (36:29):
Voices live on is they have a great ability to
bring in.
Speaker 4 (36:33):
The masses with the catchy hook, with the simple content,
with whatever else, and then be able to leave these
leaflets of nuanced death kind of peppered throughout so that
it doesn't necessarily overwhelm or distract, you know, the casual listener,
but the engaged listener is able to pick up on
(36:55):
it and really really appreciate that, and they hold them
down really tough and serve as like a base for
a broader, you know, audience. It's kind of attached to them.
Speaker 3 (37:09):
Hm hmm.
Speaker 1 (37:11):
So you're saying the ninety nine percent can only really
digest obtutes.
Speaker 2 (37:17):
Yeah, they're really only looking for you know, blue simple.
Speaker 3 (37:23):
Wed Yeah, because they have their own life.
Speaker 4 (37:27):
Yeah, and they just know that's different and exciting. And
I mean most people. I mean this is true with
like basketball highlights. People want to see the dunks. They
don't necessarily want to see the whole game, let alone
the whiteboard break down of the pick and roll. They
(37:47):
want the dunk, they want the behind the back pass.
Speaker 3 (37:54):
Hmmm.
Speaker 1 (37:58):
But how do you create that today in a street
urban culture that has been overly exposed.
Speaker 3 (38:06):
At least part of it.
Speaker 2 (38:08):
Sure, sure that that's the million dollar question.
Speaker 4 (38:13):
I mean, the how do you engage the blissfully ignorance?
Speaker 2 (38:20):
How do you.
Speaker 4 (38:24):
I mean that that that that I think is the
inherent challenge. You either give people exactly you know, what
do they want? What are people consuming? Give them that
and then tether quality content to it like a trojan
horse of authenticity, or you know, to me, that's that's
(38:46):
kind of how it how it looks.
Speaker 2 (38:47):
I mean, you see, like in like movies.
Speaker 4 (38:49):
Now, there's some movies that have depth, there are, but
a lot of them, you know, are kind of like
the ones that do have some depth, they have avail
it and just simple easy entertainment, you know what I mean, Like,
like what was the movie like like get Out for example,
(39:10):
had a lot of depth to it, but at the
end of the day, it was kind of a scary
thriller movie that was you know, also if you just
didn't give a shit, had a simple plot line with suspense,
with surprise and blah blah blah blah blah.
Speaker 2 (39:22):
Like anything else you eat, pop cornwall watching, you know.
Speaker 3 (39:25):
Versus the movie Pig with Nicholas Cage.
Speaker 2 (39:29):
Not even familiar with it.
Speaker 1 (39:30):
Yeah, it's a hell of nuanced. It's like a story
about a truffle hunter. Somebody kidnaps a truffle hunter's pig
and he just goes to town trying to find his pig.
What's funny is, you know, the story is John Wick
(39:50):
without the violence. M okay, is John Wick without the violence.
He doesn't kick nobody. He gets his ass kicked once.
Everybody want to kill him because he wants the pig,
but he kills nobody.
Speaker 2 (40:06):
Sure, And that's I think.
Speaker 4 (40:14):
A critical observational difference between the exciting and the real.
In reality, that's how it's going to really go most
of the time. It's not going to go like John Wick.
But John Wick is going to sell God damn it,
and he's gonna sell big.
Speaker 1 (40:29):
You're right, because the pig did roughly, it did right
up under five million. Yeah, he shot him for like
three million and it did write up under five million,
sure versus john Wick, where obviously it's different, and I.
Speaker 4 (40:45):
Think there's probably some validity Like what like when you
see true crime stuff that does really well. Sure, it's
very bare bones, but what makes it could you know,
have numbers, is it's usually proximity. You know, it's it's
(41:12):
a crime that happened like in a suburban neighborhood next
to a house that looked just like yours, by a
neighbor who looked just like that guy right over there,
you know, so it kind of like brings an extra
element to it. I don't think that there's like major
market consumption for true crime. Guy goes into liquor store
on one hundred and third Street and shoots clerk, you
(41:34):
know what I mean.
Speaker 2 (41:35):
Most people aren't.
Speaker 4 (41:35):
Going to be confronted with that. So it's a little
bit too abstract. So if you're gonna be literal, you
need to be proximal, and if you're gonna be distant,
you need to be over the top.
Speaker 1 (41:51):
Say that one more time, say that, Say that last
couple of lines together.
Speaker 4 (41:55):
I think if you're going to be literal, you need
to be proximal to your con and if you're going
to be distant from your consumer, you need to be
over the top.
Speaker 3 (42:08):
So how does that relate when you talk about nuanced
versus our twos?
Speaker 4 (42:15):
To reach the obtuse consumer, you need to be sensationalized
or it needs to be about ship that's happening close
enough to them to where it gets their attention. You know,
like instead of making a track about you know, sirm
(42:36):
on Seventh Street, maybe it's flocking and Irvine.
Speaker 2 (42:42):
Mmm, you know, something like that. I would say.
Speaker 4 (42:45):
That's not to saye go do that, but that the
general prince ship.
Speaker 3 (42:49):
Sure all things included the.
Speaker 2 (42:54):
Daughter's home alone one night.
Speaker 4 (42:56):
Whatever thought the house was empty, she got it, she
came downstairs at the.
Speaker 2 (43:01):
Wrong time or whatever the fuck. That's those the kind
of shit that makes it on lifetime.
Speaker 4 (43:07):
And people watch because it's like, oh, man, that looks
like my house.
Speaker 3 (43:13):
Mm so then what oh?
Speaker 1 (43:19):
At first initially it was our tools. That's why Colors
is such a good movie. It's so our tools.
Speaker 4 (43:26):
Yeah, I mean, and Colors threw some bones to the
to the audience.
Speaker 2 (43:30):
And the opening scene real simple, what up?
Speaker 3 (43:34):
Blood boom?
Speaker 4 (43:36):
And in the last scene, after you get a little
bit of taste of this action, what are we gonna do?
We're gonna have a simul M sixteen machine gun showed
out in the front lawn. You know, probably doesn't happen
every day where a crew pulls up in a van
and knocks off twenty people in one house with bombs
(43:57):
and a machine gun showdown in the driveway.
Speaker 3 (43:59):
We don't have no, no, no, no.
Speaker 2 (44:03):
Well, believe what you want to believe.
Speaker 3 (44:11):
No. I've been saying that for a while that.
Speaker 1 (44:15):
Like a movie like Colors, does well from a marketing
perspective because it gives white most white people in America.
Speaker 3 (44:22):
This might be a big presidice or.
Speaker 2 (44:25):
We already did that with the painter of the car.
Speaker 3 (44:28):
Well, good point, good point.
Speaker 1 (44:30):
But I think they can see themselves as police, probably
especially a white police. So that's the appeal for marketing
goes right into the heart of you know, white America.
So when they tell the story about gang banging, what's
funny is the fucking the police story is nuanced through
(44:51):
and through, like that story got so many layers. The
relationship between somebody trying to prove a point and somebody
trying to survive its completely different. So if you look
at the relationship between Hodges and pag Man, right, it's deep. Yeah,
I mean even the relationship with peg Man and the
(45:11):
community itself is deep. You know what I mean, Hodges
in the community is really deep. But when they tell
the story that I'm trying to give nuance to its
surface is obtuse as fuck. It's like blood boom killing
and module scoop them guys up and then they screaming
(45:32):
at each other behind bars and yeah, and that's when.
Speaker 4 (45:36):
The music's playing to the song and there's like a
little bit of tail end credits for the opening and
all that kind of stuff that's closer to hip hop
records because it's three minutes, and we've talked about that
also at length. It's challenging to pack depth into ninety
seconds of lyrics versus a movie has ninety minutes of dialogue.
(46:00):
So there's gonna be some challenges there, or at least
some differences.
Speaker 1 (46:06):
I've been complaining that hip hop is definitely starting to
get too restricted for me, like as a storyteller, like
I need more space to I think I'm spending too
much time trying to get the audience to understand how
much gang bangers are just like them, versus taking an
advantage that that's like me showing people animals are just
like you. Sure, it probably wouldn't have the same if
(46:30):
you had a bear that you like. You come to
my house, Pete, and I got a bear, and my
bears house trained, Like my bear is sitting on the
couch and shit watching TV like a Russian Huh.
Speaker 2 (46:41):
Like a Russian bear? Sure have you ever seen those?
Like the YouTube videos Russian bears, They have them riding
bicycles and stuff like that.
Speaker 3 (46:48):
Oh yeah, yeah. Anyway, So I'm just thinking.
Speaker 4 (47:01):
And I think a lot of people too, like a
lot of the white suburban psychology.
Speaker 2 (47:09):
When I say it's escapist, like it really is. I mean, like.
Speaker 4 (47:13):
Scarface is real popular, and it's and it's in a
certain age range, but it's in the age range that
consumes hip hop a lot too.
Speaker 2 (47:19):
You know.
Speaker 4 (47:19):
They they they don't have that in them or they
aren't pressed to be in a position in life where
they would realistically make a decision like that, you know.
And there is a burden that goes along with expectations
and opportunity.
Speaker 2 (47:40):
The burden is don't squander it. The burden is cost.
Speaker 4 (47:44):
So there's a certain freedom when you don't have a
lot of cost or opportunity costs, you know too. And
a lot of people watch a lot of those movies
or listen to a lot of those records or whatever
like that because they're so constrained ain't to their own
you know, they're constrained to their own opportunities so much
that they long for the momentary fantasy of being unencumbered
(48:11):
so that you can go do whatever the hell you want.
Consequences be damned, And when the consequences, and you know
where you come from, the circumstances you're in or whatever
the cost is lower, you might do some shit, you know,
and that's why you see you know, different outcomes and
different you know, like tax brackets and whatnot like that.
Speaker 1 (48:35):
If you had to give a tip on how to
make money, what would be the philosophy?
Speaker 4 (48:41):
Watch everything I do and strategically do the opposite at
the exact moment of anything.
Speaker 3 (48:48):
That I do.
Speaker 1 (48:53):
They're looking out for tuning into the No Sellers podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA. It produced about the Black Effect Podcast
Network and iHeart Radio.
Speaker 3 (49:07):
Yeah.
WA's up and welcome back to another episode of No
Salis Podcast with your hosts Now fuck that with your
low glasses, Malone, Pete dog, that's is Malone?
Speaker 2 (00:17):
How are things a.
Speaker 3 (00:23):
Little?
Speaker 1 (00:25):
I had a long last week. Man, it's not necessarily
starting on stronger this week. I had alone last week, relatable,
very tell me what happened.
Speaker 2 (00:42):
I've had to self diagnose.
Speaker 4 (00:45):
With a very uncomfortable disorder, and I might as well
just make a public proclamation of it, since we've already started.
Speaker 2 (00:55):
Apparently after suffering.
Speaker 4 (01:00):
Substantial losses and option trades a couple of weeks ago,
now I have suffering from what is at least what
I have decided to coin the term as psycho financial sclerosis,
meaning it's where I now no longer trust my capacity
(01:20):
to read the short term markets to the extent that
I am scared shitless of making any trades whatsoever.
Speaker 2 (01:27):
So affully. It's humiliating.
Speaker 4 (01:29):
It's the erectile dysfunction of traders, oh man. But I've
always promised the audience that I would be open and
honest with them, So there you have it.
Speaker 1 (01:46):
Last week for me, the puff trial has pretty much
shown me how alone I am in the business, how
alone I am in blackness and how alone I am
(02:07):
when it comes to integrity. Sure, I had an idea
to do this song off the melody for rocket Man
off Elton John Huh, nothing, go for it where I
wanted to make a song right where I wanted to
(02:29):
make a song, and it was about three different or
four different rockets taken off from Earth, and the rockets
would be named after different styles of drugs, like opioids,
like all the makeups of these drugs, and it's like
I'm the last person on Earth.
Speaker 3 (02:53):
Right because like I'm the only person sober.
Speaker 1 (02:57):
And I had another idea to do another song where
I used the melody from Hotel California and the piano
and it's like I'm surrounded like by zombies, like everybody's
possessed by different spirits. Yeah you know what I mean, spirits,
Like everybody's drinking so they getting possessed by spirits and
I'm kind of the only person still walking around not possessed.
Speaker 4 (03:20):
Didn't the song Hotel California sound like or was it
about like a rehab clinic.
Speaker 3 (03:27):
A Hotel California.
Speaker 1 (03:29):
I guess it could give off the vibe, but no
at least not from how like I interpret the writing.
It was talking about being a prisoner of the different
styles of drugs. Like the initial verse is about marijuana. True, No,
so she lit up her candle and she showed me
the way, so there were voices down the cord or
(03:53):
the second verse is about either cocaine or crack.
Speaker 2 (03:58):
At that point kind of probably have been co.
Speaker 1 (04:01):
Yeah, right, And then the third verse is about heroin.
They stab it with, they still be nice, but they
just can't kill the bees. It's like they gather for
the feast. Sure they stab with, they still nice, but
they just can't kill the beest. And so it's somewhat
like that. But I thought about that making that last
week and even coming into this week, like I've had
(04:27):
to hear so much slander about Game, the gang, the rapper,
and how people are saying they don't want to give
him credit as a rapper because of they don't like
how he markets himself or as they like to call it,
his antics.
Speaker 2 (04:44):
Okay, and what antics?
Speaker 1 (04:50):
I don't know, you would have to ask them. I
don't really keep up with stuff that. I don't really
you know, I don't keep up with stuff if it's
not interesting me. Yeah, so I wouldn't know. But people
didn't like that, and they were saying that to me,
but it made me think, like, you wouldn't really Game
(05:12):
wouldn't have relevance without his marketing. Like I think the
general fan would like to believe that they are so
smart right that they are able to to figure out
what's a good song and what's not a good song.
I don't think they truly realized how much marketing goes
(05:35):
into what they like or what they purchase, how much
social currency is into what they like or what they purchase.
So they have this natural attitude about it, like, oh,
if he didn't do this, I would like him more,
(05:56):
and it's like, no, you would just forget about him.
Speaker 3 (06:00):
Yeah. You know.
Speaker 1 (06:02):
Game is somebody who had a triumphant success on his
first album, tons of top forty songs, probably four or
five four for sure.
Speaker 3 (06:14):
Hated to love it.
Speaker 1 (06:16):
I think Dreams was top forty, and I think How
We Do was top forty.
Speaker 3 (06:20):
Yeah, yeah, you know.
Speaker 1 (06:22):
I mean then he had other songs that did well
and it was in a great time, and then the
next album Why It did go platinum, it didn't have
top forty songs. It was off how good he was
marketed in his brand, and he was in the conflict
with the unit that kept marketing him.
Speaker 3 (06:40):
That would be marketing, that would be anti was a
top forty song.
Speaker 4 (06:44):
No damn, they played the living shit out of that
song on LA Radio Christ in Heaven. They must have
gotten paid. I couldn't even count how much money they
were paying. Felly failed to play the Christ for sake,
and hell.
Speaker 2 (06:56):
Out of that.
Speaker 1 (06:57):
Trust me, if they was playing it, they ain't got
nothing to do with Felly fail. But again, Chuck's brand.
It was a good record, but it wasn't quite what
the first records were.
Speaker 3 (07:07):
Yeah. I like that record.
Speaker 4 (07:08):
I actually liked that record a little bit more. There's
some cool songs on there.
Speaker 1 (07:11):
Sure, I think it could be probably, I mean, I
don't think that's the point. But I was explaining to
them right that, I was explaining to them that, uh
that you know, that was all of this is you know,
we're talking about twenty years ago. Yeah, and since then
you're talking about, Chuck hasn't had a lot of success
(07:34):
at creating.
Speaker 3 (07:37):
Chart topping singles. Yeah. Remember the singles is what market.
Speaker 1 (07:41):
You, you know, unless you could figure out another way
and Chuck has figured out a really you know, Chuck
the Game has figured out a really great way to
keep himself, you know, branded in the public's eye. Even
if his last really big records, you know, one Blood,
I think it was top eighty or seventy. I mean,
(08:02):
even with all of that, his relevance might feel like
somebody who hasn't had a record in ten years versus
somebody who may have not had a record in twenty years.
Speaker 3 (08:12):
Sure, And.
Speaker 1 (08:17):
I'm watching Push a T who just released, you know,
he just started to market the Clips project, and they're
talking about UMG and def Jam dropping them because of
a song, which I think is marketing. I think it's
a little bit more.
Speaker 3 (08:34):
Cap to that. Not like I don't want to.
Speaker 1 (08:37):
Mess with Push the T's marketing, but I think it's
a little bit more to that. But I understand why,
and I'm struggling so hard. I'm struggling so hard to
get down with it. Like I remember when Tupac Must Die,
(08:59):
I reached out to new to different people to try
to create marketing things, you know, stories, if marketing is
just storytelling, like I've reached out to I've created different
stories and got the people involved that may have bigger
brands than me, but the story itself was going to
be the star and not able to make it happen.
(09:21):
So even now, like as I'm on the verge of
releasing a song which I was supposed to release on
the tenth, but it's probably gonna go back until you know,
third week of June, right because like my my, my,
my meta account, my Instagram account, I can't advertise from it,
(09:42):
Like my YouTube, like Tupac once died, there's six million views,
that's no advertisement, that's no publicity. Right, Kanye should have
never married that bitch did five million views, and that's
no advertising, no publicity. Sure, And when marketing makes up
eighty percent of your streams, you know what I mean?
(10:02):
You looking at these numbers, and I've took in debate
that people can keep up and they don't need social
currency to enjoy good product. It's just wrong, that's just wrong.
Speaker 3 (10:17):
Yeah.
Speaker 2 (10:18):
I think there's a parallel between.
Speaker 4 (10:21):
Rap music or music industry, you know, wraps a little
bit different than other genres in this regard, and like
sports and two different sports in two different ways a
little bit. But like sometimes you can see like an
artist gets on the right label or with the right
producer or whatever.
Speaker 2 (10:40):
And you hear the expression system quarterback.
Speaker 4 (10:43):
Yeah, you see when they leave that label if they're
a good quarterback or if they were a quarterback and
a good system.
Speaker 2 (10:53):
And then sometimes you also see on.
Speaker 4 (10:55):
The flip side, from a basketball standpoint, certain artists that
are great players at Rutger but aren't efficient within the
system of an NBA scheme.
Speaker 1 (11:09):
I'm not mad at that comparative. You know, no siblings
gl up in this thing. Got my brother Peter, Boss,
We'll get into it. That's a great point. And I
think people doubt how many of these artists, most of
these artists are system quarterbacks.
Speaker 4 (11:30):
Yeah, and I'm not trying to take anything away from
a game, but no, Yeah, it occurred to me when
we were talking about him, just because Dre and fifty
like that, that that was a well oiled machine at
a special.
Speaker 2 (11:45):
Time, you know.
Speaker 1 (11:47):
But again, I think he's one of those quarterbacks who
probably can perform outside of the system. Now, it's a
difference when.
Speaker 3 (11:55):
It like, yeah, yeah.
Speaker 1 (12:01):
You got the best running back and the best receiver
in the game. You know what I mean with Dre
and fifty and the game is quarterbacking. You know what
I mean, Shit, I mean coaching and shit, you got
a thousand things. But for him to maintain this relevance
for twenty years without having those things, that game is
relevant today. Like you're going to ask a lot of
(12:23):
people to be heard of the game, and they're like,
y'all heard of him and his records. You know again,
it's probably his last top forty record was twenty years ago.
You know what I'm saying, that's saying a lot, because
that's that's saying a lot.
Speaker 3 (12:38):
It's all branding for him.
Speaker 1 (12:40):
The product ain't necessarily you know, as far as the
singles are walking the dogs. People don't get me wrong,
people talk about how well his albums are constructed. For sure,
I'll hear those conversations, but you know, to not have
a thing that spread you, you know, throughout Humanity, which
is one song, it's pretty immaguling what he's been to do.
Speaker 3 (13:00):
It's been a maculate And so.
Speaker 1 (13:02):
Then it becomes if you prefer how he markets himself,
like I was saying, when people say, oh, it's antics,
and I'm like, trust me, you couldn't sniff out the
genuine article because you might name somebody else and that
person ain't the genuine article.
Speaker 3 (13:17):
They just market themselves different.
Speaker 1 (13:21):
But I realized how much marketing matters when you put
out great product and it's still culturally heavy, but then
you can see the societal merit around it, which is
the views, the counts, and it's light. Like I said,
two pac months died being a prime example of something
that was culturally dense.
Speaker 3 (13:42):
I mean, it was coarse, it was.
Speaker 1 (13:44):
It was a talk, but again without YouTube, you know,
making me a part of their marketing or for lack
of better terms, as everybody say, put me in their
algorithm with YouTube, turning down my advertisement campaign and not
wanting to advertise my record, without hiring a publicist to
(14:05):
guide the story, just pure promotion and quality product. You're
talking about five or six million plays on the video.
Speaker 2 (14:13):
Yeah, And that to me was kind of the Ruger
Park example.
Speaker 4 (14:16):
It was a stand on its own two feet talent
that the league didn't necessarily want to embrace at that time.
Speaker 3 (14:24):
Well if again, if it would have came out through
a label.
Speaker 4 (14:27):
Yeah, but that's part of the league to me, though,
you know what I mean, how many other people wouldn't
really want to do that?
Speaker 2 (14:33):
Yeah?
Speaker 1 (14:34):
Yeah, Yeah, I just feel like if you're going to
play play to win, don't play for the stat Sure,
So if I got less credit, like I would rather
have ten points to assist eight rebounds and a steal
(14:59):
and a block in the championship ring, then average thirty
points for a team that's barely getting in the playoffs. Yeah,
some people don't like that. They rather have the the
you know, I'd rather be Genobly than Carmelo. Not get it,
(15:23):
you know, you play this to me to win. I
played to win. Everther people may play it for stat line.
I played to win. So I had to concede how
much marketing matters. Like and I'm listening to the audience
who you know, who are being marketed to. They're telling me, no,
it don't matter, we you know will and it's like, no,
(15:43):
it does, Like I'm sure those.
Speaker 2 (15:45):
Are people who are already there, you know. So I
think there's that aspect of it too.
Speaker 4 (15:54):
But you can look back over the last however many
decades you know, in the space and see who's the
product of a you know, marketing success versus you know,
to find out later ultimately like oh fans rejected them
(16:16):
later or they didn't carry all the steam or whatever.
They weren't necessarily authentically what they were marketed to be
in the moment, and that's not uncommon at all.
Speaker 1 (16:28):
Yeah, when you break it down though, into storytelling, when
you break it down into what it is, it definitely
makes it simple. It's not easy still, but it's simple.
But again, a company of ten like Blue Division Records,
(16:52):
trying to emulate a building of a one thousand, like
let's say, you know, UMG and Santa Monica. Hmm, it's different.
That requires a different level of focus. But I am
impressed with what Push it.
Speaker 3 (17:08):
T is doing.
Speaker 1 (17:08):
I won't lie like I mean, Clips are a platinum
group though, so it's not quite They're not quite Glasses Malone, you.
Speaker 3 (17:15):
Know what I mean.
Speaker 1 (17:16):
But I am impressed with how he's been able to
galvanize people based off of ideas. And I'm watching him
kind of play at his own extent, like excuse me,
not at his own extent, play to his own play
the way he wants to play. Yeah, the extent and
how he wants to play. That's what I'm looking for.
(17:38):
He's doing it his way. Like I know when he
announced that rock Nation thing, he wanted to I wanted,
he wanted Jay z in that picture. Why he didn't
get it as different, but he still moved forward anyway.
Even watching them generate many stories out of a GQ article,
you know, GQ has to be you know, impressed because
they're getting more coverage on an article when it comes
(18:00):
to hip hop, more than they have in a long time.
And again it was something that top was telling me
shout out to top Dog to dou Dog, president of
the TD. Outside of reminding me, like glasses, you know
what to do? You got this right, he also was
saying how you need to use more lifestyles and just
(18:20):
hip hop. And I've been complaining to my homeboys that
hip hop is getting stale, Like people feel like they're
way more familiar with street urban culture than they really are.
It's a lot of people like I have different people
arguing with me all the time about something that I
know they have no idea what it is. Like if
I have to argue with people, why gun are told
(18:43):
that's just crazy, that's just insane.
Speaker 3 (18:49):
I'm arguing people.
Speaker 1 (18:50):
They be like, well, you know, my OG is like, bro,
you don't have og like a OG if you have
to be from the streets to have an OG like
your father is not your o G.
Speaker 3 (19:01):
Your uncle is not your old G unless.
Speaker 2 (19:03):
You from grandpa. What's the difference.
Speaker 1 (19:06):
Well, so, you know, figuring out how to cross cross
into other lifestyles and bring new people to create excitement,
that's something I need to focus on as well.
Speaker 2 (19:27):
Yeah, I'm.
Speaker 4 (19:29):
It is interesting, like that dilemma you know, stale through ignorance.
You know, it's how do you how do you convince
(19:50):
an audience of the principle you know, famous adage, the
more you know, the more you know, you don't know
m h. I, yes, you don't know enough to know,
you don't know enough. Yeah, it's just a weird place
to It's a weird place to occupy.
Speaker 3 (20:15):
Man, I'll be.
Speaker 1 (20:18):
Too much of my heart and soul is in this shit.
And it wasn't like that at first, but somebody heart
and soul got to be into it for it to
reach its potential. So like TLC, heart and soul didn't
have to be into it as much as Dallas Austin
or Jamaane du Prix or Pebbles or Babyface like everybody else,
(20:41):
heart and soul has to be into it. But because
as an independent like your heart and soul needs to
be into it. You gotta live, breathe, eat, and shit it.
And that's just where I'm at. So like even preparing
to release the song this week, right, it's like I
(21:01):
can't advertise still on my Instagram.
Speaker 3 (21:04):
I can't release the song. I can't release the song.
Speaker 4 (21:10):
And when you're from being able to do advertising by
meta three sixty like all this.
Speaker 1 (21:16):
It's malfunctioning. My Facebook page got hacked. Geez, so I
lost one hundred thousand, you know followers I had on
Facebook on my band page, and I guess they were
trying to hack my Instagram.
Speaker 3 (21:34):
So whatever happened when I disconnected.
Speaker 1 (21:36):
It, it made it malfunction. So now when I try
to boost the post, it kind of gives me this
funky you know, check back later this feature. You know,
it's not it's not like I'm being reprimanded. It's just
a malfunction.
Speaker 2 (21:53):
We're the hackers, Canadian.
Speaker 3 (21:58):
I think they were like Indian.
Speaker 2 (22:01):
It was Toronto based though Indians.
Speaker 3 (22:03):
Possibly they were putting up a Indian.
Speaker 2 (22:06):
Porn interesting, so link to that again.
Speaker 1 (22:12):
Oh no, they snatched my page and I still never
got my page back.
Speaker 2 (22:16):
Jesus. That fucking sucks, my God.
Speaker 1 (22:20):
But worse than that, right, So you lose one hundred
and five thousand. Uh man, I've been through so much
shit over these last fifteen years. Remember, somebody stole my
whole hard drive, so that was like ten years.
Speaker 3 (22:32):
Worth of songs.
Speaker 1 (22:34):
So that was like songs from twenty ten to two
thoy and eighteen.
Speaker 4 (22:38):
That's the initial reason why I stopped doing comedy. I
had an LG phone, I had all my material saved
on it and the hard drive and the phone crashed,
so I couldn't even pull it off if I took
it to a specialist.
Speaker 3 (22:50):
Right.
Speaker 2 (22:51):
So that's a miserable fucking experience.
Speaker 3 (22:54):
I love all that music, right, and then.
Speaker 1 (23:01):
I lost all that music, And somehow I put myself
back together, and I put two protamus die together, you
know what I mean, in the face of all adversity, right,
and I can't advertise, But I also let people it's
not that far as my fault because I knew better.
(23:22):
I had been studying long enough to know better. When
they rejected my ads on YouTube, I should have called top.
I should have called top of a top. They rejected
my ads. Can you plug me in with YouTube? I
need to be able to advertise because I already knew
what advertise was worth, and I should have reached out
(23:43):
to Madi, who was my home girl that does publicity
like because I had Greg. But at this time it
was just funny and I needed everything. But again I knew.
I didn't know quite in two thousand, nineteen twenty what
I know now, but I knew enough. I knew the
fundamentals that I needed them even before I still why
(24:05):
I needed them.
Speaker 3 (24:06):
I knew I needed them, and.
Speaker 1 (24:11):
Watching a product go out and make history on its own,
but when you look back, it's like you get a
thousand comments like, man, this song should have way more
views than this. Sure so and now like I had
to postpone my show last year to this year, right,
(24:34):
but like having to do it myself is the biggest problem,
you know what I mean? You have to do You
have to market the shit, like you have to market it,
like like you know, you're not looking at things that
are doing that well without marketing. It just feels like it.
We would like to believe so bad that sixty million
(24:56):
people just are aware of content and it's just happening.
Speaker 4 (25:00):
I think the audience needs to appreciate also, like how
hard it is to make an honest dollar in that
industry because we've done shows talking about how the songs
now basically turned into advertisements for you know, commerce of
the stuff either be it merged, be it concerts, be
(25:21):
it whatever the hell. I imagine if Coca Cola had
to run commercials for their commercials.
Speaker 3 (25:30):
And that's what it feels like one of the biggest
things coming into.
Speaker 1 (25:34):
This, this stream, this brilliant stream of consciousness I'm having,
and these records I've created, the first one coming out
you know next, and how I figured out how to
turn it back into well.
Speaker 3 (25:47):
Really, it's worth more money than a single ever was before.
You know, if if.
Speaker 1 (25:56):
A single was worth three dollars you know, in this heyday,
and it's worth I don't know, fifty cent now, Like
I've created something where the single now is worth I
(26:20):
don't know, a lot of money, way more money than
it was and its heyday. I kept telling Trap this
was the best time to be in the record business.
I said, we just have to figure out how like
this is the first time in life we don't have
to get a distributor to deliver our product. We don't
need to get best buys or one stop to buy
(26:42):
our product, right, and we don't got to get distribution
to try to carry it. We don't have to go
through Young g Like the product is in everybody's hand.
Speaker 3 (26:53):
Yeah, Like that's unbeatable. The product is in your hand.
Speaker 1 (26:59):
All I had to do was figure out where how
to get more money out of one song than what
streaming that's want to pay me. And I figured that out.
But that's why it's also important, right to have marketing
tools set up, like this is the time now to
(27:20):
reach more impressions, more eyeballs than I ever reached before.
I'm in the safest space when it comes to the
product itself, Like I know how to make the product
in my sleep. It's contagious no matter what you know, Right,
it's contagious no matter what.
Speaker 3 (27:38):
I have the right story behind it.
Speaker 1 (27:42):
Now it's about time to make sure the story is
delivered to the highest level.
Speaker 3 (27:49):
To really capture the imagination.
Speaker 1 (27:51):
I guess what I'm asking God for is for the
most part, pede is like forgiveness.
Speaker 3 (27:57):
Like I've never this whole time. I never wanted to.
Speaker 1 (27:59):
Take advantage of people's ignorance, but people have put me
in a situation to where it's like they feel like
they know everything already, and I know they don't fucking know.
Speaker 3 (28:10):
I know they don't fucking know.
Speaker 4 (28:16):
Well, yeah, ignorance is an opportunity to learn, So you'll
have to learn them.
Speaker 3 (28:25):
Well I know them, that's the problem.
Speaker 1 (28:27):
And it's like, they're not going to let me just
be authentic one hundred and seventeen percent.
Speaker 3 (28:35):
Yeah, they're just not and that sucks. That sucks, cause
that fucking sucks. You know.
Speaker 1 (28:48):
They they're they're going to make me entertain Like the
reality is so entertaining, right, the authenticity is so entertaining,
But because they feel like they have access to it,
they don't care about the depth that brings the authenticity there.
It's like if you hear three people rapping about being
(29:09):
a crypt and somebody's telling you, hey, no, like, yeah,
we wear a navy, Yeah we beef with other cryps. Like,
you get the first crypt saying I hate bloods, we
wear blue, and you get the second crypt saying I
hate bloods, we wear blue and this.
Speaker 3 (29:29):
Is how we dance.
Speaker 1 (29:30):
And then you get a crypt saying, well, we really
have relationship with bloods uniquely, right, the nuance of it, right,
it's not as bad as you think you know, it's
really about brothers, fellowshipping and bonding, and if you're doing
it right, it's very diplomatic, or it would be a war.
Like the nuance of it all, it's like, nah, I'm cool.
(29:53):
I liked it better when it was just blue versus red.
Speaker 2 (29:58):
Well, that's the challenge was straddling the entertainment industry versus
the education industry. Yeah, I mean you're still in the
entertainment you know, vertical so as they say, and uh,
(30:21):
you see, you're kind of like Russell Crowe in that
spiteful scene after like the first fight in the coliseum
where he kills everybody and scorns the crowd, who's all happy?
Are you not entertained? Are you not entertained?
Speaker 4 (30:41):
Here?
Speaker 2 (30:43):
Is this reality entertaining enough for you?
Speaker 1 (30:47):
But it's like, man, it's like they're gonna bring out
like it just feels so deceptive.
Speaker 4 (31:08):
Most of these people want to be deceived. I mean
really like most of the fans, and by most I
mean all minus a statistically insignificant peace.
Speaker 2 (31:26):
This is a scapist This is not a how to manual.
Speaker 4 (31:31):
You know, people want to enter into this world of
yours temporarily, superficially digestibly, and.
Speaker 2 (31:49):
They don't necessarily.
Speaker 4 (31:53):
Feel that they need to be burdened by those types
of details to enjoy a momentary reprieve from auditing inventory
of wholesale bottles of orange juice.
Speaker 3 (32:07):
All day long. You know. So they want the zoo, Yeah, they.
Speaker 2 (32:18):
Want the zoo.
Speaker 4 (32:19):
They don't want to necessarily understand the dynamics of why
sometimes the lions scuffle within their own pods on route
to the Wilderbeast. They just want to see a little
bit of blood. They don't want to get it on
their shirt. They want to go home. It's the same
at the zoo as it was in the coliseum, as
(32:41):
it is on hip hop records and even country.
Speaker 3 (32:43):
Rap tunes, even country red some.
Speaker 4 (32:51):
But it is an interesting earlier I was reading something
that mentioned says law Jean Baptiste say say why, and
that supply creates demand and the more available that you
make something, rather than the price going up, as you
(33:12):
bring the price down and accessibility expands, use cases for
that expand and the demand goes up. And that's kind
of what's happening now as music's digitalized to cloud streaming
from you know, individual retail singles and albums people have
(33:36):
been able to listen to it. You can listen to
more music because you have more ability to listen to
music throughout the day on your phone versus only being
in your car or in front of a CD player
or whatever else you have access to.
Speaker 2 (33:49):
More so your listenability increases.
Speaker 4 (33:52):
The ability to turn listenability into consumerism has increased. So
all those things are true, which bears out that this
is the most valuable time for you to ever generate
high numbers.
Speaker 2 (34:07):
Because of all that's attached to those numbers.
Speaker 3 (34:13):
Okay, so.
Speaker 1 (34:17):
Nuance is not a sellable thing, or nuance is not
you know what, not sellable?
Speaker 3 (34:24):
Gimme it's not. It's not as in demand.
Speaker 4 (34:30):
Yeah, it's that's a to me, that's a supplemental that's
a niche. Yeah, less less than a primary drama is
always in demand. Nuance is only in demand too. Like
authenticity attracts and begets authenticity. So as authentic as you
(34:53):
are in the pantheon of rappers by percentile, say you're
in like the ninety ninth, the same is true on
the consumer side. Authenticity is going to attract authenticity, so
it's going to be the ninety ninth percentile of authentic,
of authentic fans and listeners.
Speaker 2 (35:12):
That are going to appreciate your authenticity.
Speaker 3 (35:18):
What percentages that? Again?
Speaker 1 (35:21):
One that makes sense though, because no lie, Like the
hardest thing is when you dope. And it's like the
dopest people who everybody celebrate is like, yo, you dope. Yeah,
Like when people are saying to me like, yo, you dope,
Like I hear that all the time, Like Snoop is
(35:42):
telling me you're dope, yeah, and Drey is like, yo,
you dope, Like jay Z You're dope.
Speaker 3 (35:49):
And it's like then why, like what am I? Well?
Speaker 1 (35:55):
How don't your fans know it? But I think that's
the one percent to create are the one percent who
value nuance versus the fans who value just drama.
Speaker 4 (36:08):
Yeah, and your fans like their die hard index score
is through the ceiling, whereas most other artists fans die
hard index score is just you know, until the glass
is empty. So there's that also, I think what's really
separated historically certain rappers whose like.
Speaker 2 (36:29):
Voices live on is they have a great ability to
bring in.
Speaker 4 (36:33):
The masses with the catchy hook, with the simple content,
with whatever else, and then be able to leave these
leaflets of nuanced death kind of peppered throughout so that
it doesn't necessarily overwhelm or distract, you know, the casual listener,
but the engaged listener is able to pick up on
(36:55):
it and really really appreciate that, and they hold them
down really tough and serve as like a base for
a broader, you know, audience. It's kind of attached to them.
Speaker 3 (37:09):
Hm hmm.
Speaker 1 (37:11):
So you're saying the ninety nine percent can only really
digest obtutes.
Speaker 2 (37:17):
Yeah, they're really only looking for you know, blue simple.
Speaker 3 (37:23):
Wed Yeah, because they have their own life.
Speaker 4 (37:27):
Yeah, and they just know that's different and exciting. And
I mean most people. I mean this is true with
like basketball highlights. People want to see the dunks. They
don't necessarily want to see the whole game, let alone
the whiteboard break down of the pick and roll. They
(37:47):
want the dunk, they want the behind the back pass.
Speaker 3 (37:54):
Hmmm.
Speaker 1 (37:58):
But how do you create that today in a street
urban culture that has been overly exposed.
Speaker 3 (38:06):
At least part of it.
Speaker 2 (38:08):
Sure, sure that that's the million dollar question.
Speaker 4 (38:13):
I mean, the how do you engage the blissfully ignorance?
Speaker 2 (38:20):
How do you.
Speaker 4 (38:24):
I mean that that that that I think is the
inherent challenge. You either give people exactly you know, what
do they want? What are people consuming? Give them that
and then tether quality content to it like a trojan
horse of authenticity, or you know, to me, that's that's
(38:46):
kind of how it how it looks.
Speaker 2 (38:47):
I mean, you see, like in like movies.
Speaker 4 (38:49):
Now, there's some movies that have depth, there are, but
a lot of them, you know, are kind of like
the ones that do have some depth, they have avail
it and just simple easy entertainment, you know what I mean, Like,
like what was the movie like like get Out for example,
(39:10):
had a lot of depth to it, but at the
end of the day, it was kind of a scary
thriller movie that was you know, also if you just
didn't give a shit, had a simple plot line with suspense,
with surprise and blah blah blah blah blah.
Speaker 2 (39:22):
Like anything else you eat, pop cornwall watching, you know.
Speaker 3 (39:25):
Versus the movie Pig with Nicholas Cage.
Speaker 2 (39:29):
Not even familiar with it.
Speaker 1 (39:30):
Yeah, it's a hell of nuanced. It's like a story
about a truffle hunter. Somebody kidnaps a truffle hunter's pig
and he just goes to town trying to find his pig.
What's funny is, you know, the story is John Wick
(39:50):
without the violence. M okay, is John Wick without the violence.
He doesn't kick nobody. He gets his ass kicked once.
Everybody want to kill him because he wants the pig,
but he kills nobody.
Speaker 2 (40:06):
Sure, And that's I think.
Speaker 4 (40:14):
A critical observational difference between the exciting and the real.
In reality, that's how it's going to really go most
of the time. It's not going to go like John Wick.
But John Wick is going to sell God damn it,
and he's gonna sell big.
Speaker 1 (40:29):
You're right, because the pig did roughly, it did right
up under five million. Yeah, he shot him for like
three million and it did write up under five million,
sure versus john Wick, where obviously it's different, and I.
Speaker 4 (40:45):
Think there's probably some validity Like what like when you
see true crime stuff that does really well. Sure, it's
very bare bones, but what makes it could you know,
have numbers, is it's usually proximity. You know, it's it's
(41:12):
a crime that happened like in a suburban neighborhood next
to a house that looked just like yours, by a
neighbor who looked just like that guy right over there,
you know, so it kind of like brings an extra
element to it. I don't think that there's like major
market consumption for true crime. Guy goes into liquor store
on one hundred and third Street and shoots clerk, you
(41:34):
know what I mean.
Speaker 2 (41:35):
Most people aren't.
Speaker 4 (41:35):
Going to be confronted with that. So it's a little
bit too abstract. So if you're gonna be literal, you
need to be proximal, and if you're gonna be distant,
you need to be over the top.
Speaker 1 (41:51):
Say that one more time, say that, Say that last
couple of lines together.
Speaker 4 (41:55):
I think if you're going to be literal, you need
to be proximal to your con and if you're going
to be distant from your consumer, you need to be
over the top.
Speaker 3 (42:08):
So how does that relate when you talk about nuanced
versus our twos?
Speaker 4 (42:15):
To reach the obtuse consumer, you need to be sensationalized
or it needs to be about ship that's happening close
enough to them to where it gets their attention. You know,
like instead of making a track about you know, sirm
(42:36):
on Seventh Street, maybe it's flocking and Irvine.
Speaker 2 (42:42):
Mmm, you know, something like that. I would say.
Speaker 4 (42:45):
That's not to saye go do that, but that the
general prince ship.
Speaker 3 (42:49):
Sure all things included the.
Speaker 2 (42:54):
Daughter's home alone one night.
Speaker 4 (42:56):
Whatever thought the house was empty, she got it, she
came downstairs at the.
Speaker 2 (43:01):
Wrong time or whatever the fuck. That's those the kind
of shit that makes it on lifetime.
Speaker 4 (43:07):
And people watch because it's like, oh, man, that looks
like my house.
Speaker 3 (43:13):
Mm so then what oh?
Speaker 1 (43:19):
At first initially it was our tools. That's why Colors
is such a good movie. It's so our tools.
Speaker 4 (43:26):
Yeah, I mean, and Colors threw some bones to the
to the audience.
Speaker 2 (43:30):
And the opening scene real simple, what up?
Speaker 3 (43:34):
Blood boom?
Speaker 4 (43:36):
And in the last scene, after you get a little
bit of taste of this action, what are we gonna do?
We're gonna have a simul M sixteen machine gun showed
out in the front lawn. You know, probably doesn't happen
every day where a crew pulls up in a van
and knocks off twenty people in one house with bombs
(43:57):
and a machine gun showdown in the driveway.
Speaker 3 (43:59):
We don't have no, no, no, no.
Speaker 2 (44:03):
Well, believe what you want to believe.
Speaker 3 (44:11):
No. I've been saying that for a while that.
Speaker 1 (44:15):
Like a movie like Colors, does well from a marketing
perspective because it gives white most white people in America.
Speaker 3 (44:22):
This might be a big presidice or.
Speaker 2 (44:25):
We already did that with the painter of the car.
Speaker 3 (44:28):
Well, good point, good point.
Speaker 1 (44:30):
But I think they can see themselves as police, probably
especially a white police. So that's the appeal for marketing
goes right into the heart of you know, white America.
So when they tell the story about gang banging, what's
funny is the fucking the police story is nuanced through
(44:51):
and through, like that story got so many layers. The
relationship between somebody trying to prove a point and somebody
trying to survive its completely different. So if you look
at the relationship between Hodges and pag Man, right, it's deep. Yeah,
I mean even the relationship with peg Man and the
(45:11):
community itself is deep. You know what I mean, Hodges
in the community is really deep. But when they tell
the story that I'm trying to give nuance to its
surface is obtuse as fuck. It's like blood boom killing
and module scoop them guys up and then they screaming
(45:32):
at each other behind bars and yeah, and that's when.
Speaker 4 (45:36):
The music's playing to the song and there's like a
little bit of tail end credits for the opening and
all that kind of stuff that's closer to hip hop
records because it's three minutes, and we've talked about that
also at length. It's challenging to pack depth into ninety
seconds of lyrics versus a movie has ninety minutes of dialogue.
(46:00):
So there's gonna be some challenges there, or at least
some differences.
Speaker 1 (46:06):
I've been complaining that hip hop is definitely starting to
get too restricted for me, like as a storyteller, like
I need more space to I think I'm spending too
much time trying to get the audience to understand how
much gang bangers are just like them, versus taking an
advantage that that's like me showing people animals are just
like you. Sure, it probably wouldn't have the same if
(46:30):
you had a bear that you like. You come to
my house, Pete, and I got a bear, and my
bears house trained, Like my bear is sitting on the
couch and shit watching TV like a Russian Huh.
Speaker 2 (46:41):
Like a Russian bear? Sure have you ever seen those?
Like the YouTube videos Russian bears, They have them riding
bicycles and stuff like that.
Speaker 3 (46:48):
Oh yeah, yeah. Anyway, So I'm just thinking.
Speaker 4 (47:01):
And I think a lot of people too, like a
lot of the white suburban psychology.
Speaker 2 (47:09):
When I say it's escapist, like it really is. I mean, like.
Speaker 4 (47:13):
Scarface is real popular, and it's and it's in a
certain age range, but it's in the age range that
consumes hip hop a lot too.
Speaker 2 (47:19):
You know.
Speaker 4 (47:19):
They they they don't have that in them or they
aren't pressed to be in a position in life where
they would realistically make a decision like that, you know.
And there is a burden that goes along with expectations
and opportunity.
Speaker 2 (47:40):
The burden is don't squander it. The burden is cost.
Speaker 4 (47:44):
So there's a certain freedom when you don't have a
lot of cost or opportunity costs, you know too. And
a lot of people watch a lot of those movies
or listen to a lot of those records or whatever
like that because they're so constrained ain't to their own
you know, they're constrained to their own opportunities so much
that they long for the momentary fantasy of being unencumbered
(48:11):
so that you can go do whatever the hell you want.
Consequences be damned, And when the consequences, and you know
where you come from, the circumstances you're in or whatever
the cost is lower, you might do some shit, you know,
and that's why you see you know, different outcomes and
different you know, like tax brackets and whatnot like that.
Speaker 1 (48:35):
If you had to give a tip on how to
make money, what would be the philosophy?
Speaker 4 (48:41):
Watch everything I do and strategically do the opposite at
the exact moment of anything.
Speaker 3 (48:48):
That I do.
Speaker 1 (48:53):
They're looking out for tuning into the No Sellers podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA. It produced about the Black Effect Podcast
Network and iHeart Radio.
Speaker 3 (49:07):
Yeah.
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