Conversations On Why May 4th Should Be A Hip Hop Holiday

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealers Podcast with your hosts Now fuck that with your
low glasses Malone, because I had some crazy thoughts from yesterday,
but I just been going through this crazy shit for
the last twelve months.

Speaker 2 (00:20):
It's just been crazy.

Speaker 1 (00:22):
And it's funny because I forgot Kiki was coming with Sega, right,
So it's like, Dope, Dad, Kiki here, right, Kiki Lok
shout out to everybody who don't know with Kiki Lok
legendary West Coast foundation of gangster rap. Feel me somebody
important in my life since I've been a kid. You
know what I'm saying, Just all around talent, true blue

(00:42):
go look it up, do your homework.

Speaker 2 (00:43):
You know what I'm saying. But it's important because more
than anything, Mute that phone was that this is just yeah,
somebody that's foundational to me and hip hop that understood
it way before I understood it, and all of the above.
So I thought it was dope to have everybody here.

Speaker 1 (01:02):
So my little bro here, my big bro here, Tommy
Shagging here, my brother Saga, the whole team show.

Speaker 2 (01:06):
It's like dope, I told hid to come on today.

Speaker 1 (01:12):
I never usually have Head come on here, because I
don't really have too much shenanigans, Like I don't really
do shenanigans, like I really be thinking about the shit
I be saying. All my shit be in good faith,
even if people think I'm crazy, because it'd be in
good faith, Like I don't really.

Speaker 3 (01:25):
Why does the audience have to suffer them for all
these headless podcasts?

Speaker 1 (01:29):
Because Head got his own show and you can go
see Head shit on his show. So I really don't
try to have Head come over here be fucking up
all our craziness. But this was important, and I had
a great fucking idea.

Speaker 2 (01:44):
Yo, this is what I was saying here. May fourth
should be a day that hip hop celebrates forever. May
fourth is the day hip hop won its independence back.
May fourth is.

Speaker 1 (02:02):
A day when an invasion, like a tyrant invaded this
thing that we call hip hop. You know, fifteen years ago,
a tyrant, a foreign tyrant, invaded this thing that we
call hipposy. Sound crazy, I know it sounds bad, sound raggedy,
but it's truth. Pete a foreign a foreign person, not

(02:29):
foreign in land, but foreign and cultural experience foreign, and
was able to mask themselves and parade themselves around as
the culture.

Speaker 3 (02:39):
Right, huh, a northern imperialist.

Speaker 2 (02:44):
I'm not going to get the land.

Speaker 1 (02:45):
I'm just saying culturally unavailable because they have that same
culture up there.

Speaker 2 (02:48):
It's just he's not a part of that.

Speaker 1 (02:52):
Think about it, right, May fourth is today hip hop
won its independence back. It actually became a street even
elk again thanks.

Speaker 2 (03:01):
To the song not Like Us. That is the day
Not Like Us was released.

Speaker 1 (03:08):
And I think every May fourth we need to have
a celebration to celebrate hip hop fighting back and winning
its independence, no different than they did for the Revolutionary War.
This morning I woke up, it was a bunch of

(03:29):
people talking about a little brother, about dot Kop, about
Kendrick oh Man glasses. You know, he took his moment
to celebrate Drake as much, and I thought, as much
as the British. It's celebrated on the fourth of July.

Speaker 4 (03:43):
Yeah, I mean, you know what I'm saying, that's a
good that's a good take straight up.

Speaker 5 (03:47):
Right.

Speaker 2 (03:47):
It's like it's like, I mean, it's.

Speaker 4 (03:49):
A perversion of the victory. I mean it's like, okay,
so what then we're celebrating the chiefs. You know what
I mean there, it's just a way to try to
pervert or downplay the victory. Like I get you going.
But at the end of the day, bro, it's a victory.
However you want to paint it that makes you comfortable,
you celebrating Drake?

Speaker 5 (04:07):
Okay, cool? Right, cool, that's fine.

Speaker 1 (04:10):
So I was thinking here that we should turn that
into the first national holiday in hip hop.

Speaker 5 (04:18):
Don't they didn't. Didn't the white people give us one already?

Speaker 2 (04:21):
No?

Speaker 1 (04:21):
No, like, no, they don't. They try to celebrate. No,
they try to celebrate the day hip hop started with
a party.

Speaker 5 (04:28):
I feel like there's.

Speaker 3 (04:29):
Gonna get people from New York not terribly pleased with
this particular selection.

Speaker 5 (04:34):
I disagree.

Speaker 1 (04:37):
Hold up, yeah, we have somebody from New York, from Queens,
New York, my man Trap looming over the chat with
his presence and vocals right now, Trap, what do you think?

Speaker 3 (04:47):
Man?

Speaker 2 (04:48):
That's around when the wards was fought?

Speaker 6 (04:51):
Though, you know what I'm saying, Back in the days,
what was that the Civil War that was fought between
the North from the South and ship like that?

Speaker 5 (04:57):
Yeah, I mean so, I'm I mean, yeah, I guess
I wouldn't have no problem with that at all.

Speaker 6 (05:03):
You know, what I'm saying, hip hop's independence day.

Speaker 2 (05:09):
We need to figure out a dope name for it.

Speaker 5 (05:11):
So I don't have a name. Okay, So look this
is my question, right, Okay, what take So you're saying
hip hop when it's independence from what?

Speaker 2 (05:21):
From this foreign hierarchy? It's okay.

Speaker 5 (05:26):
So so.

Speaker 4 (05:29):
As an emulator, but not necessarily the truth cloth cut
from it. He knew cold knew what to do to
you know, advance and and you know, advance the business
and put it all together. You know how to manipulate
that well and present it and mimic it. But at
the same time, it wasn't of that. It's just like
somebody coming to your family or your hood or your

(05:50):
block saying, hey, they're looking at everything you do. They're like, oh,
this that's cool. That's cool too, that's cool, I'm gonna
do it. Oh look look I'm dressed like I'm like, y'all,
look I did too. And then but then the real
dude from the block comes out because he's talking tough,
just like them. So it's like, now you meet up
and just it's what the culture is gonna win every time.

Speaker 5 (06:11):
If you're not from there, no seling money, you grew
up in it.

Speaker 1 (06:16):
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(06:38):
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Speaker 3 (06:50):
What is It Pete and Network.

Speaker 1 (06:56):
Glomorate you feel me shout out to my boy, he said,
I agree, And I'm from South Bronx, the home of
hip hop the Bronx.

Speaker 5 (07:05):
So again, so you're saying that, you're saying that hip
hop was colonized.

Speaker 2 (07:11):
Yes, over the last fifteen years, and black.

Speaker 5 (07:15):
And black and culture took it back May fourth.

Speaker 2 (07:20):
And the street urban cultu urban culture took it. One
man street urban culture came and took it back.

Speaker 5 (07:26):
So what's the significance of May fourth from back in
the day you said fifteen years ago?

Speaker 2 (07:31):
No, No, May fourth last year.

Speaker 5 (07:33):
Oh got you twenty twenty four?

Speaker 3 (07:34):
Yeah, yeah, it was the day I thought you were
saying when you started that May fourth was the day
before like Drake's first shit dropped. No, so there had
been like this occupation for fifteen years from May fourth
of twenty ten or whatever the fuck until that ended.
But we're just talking about when it ended.

Speaker 2 (07:54):
No, No, May fourth is the day that not like
us dropped. Yeah, gotcha, and it stole it took it.

Speaker 1 (08:06):
Y'all gotta understand, this didn't happen for jazz, all right,
This didn't happen for jazz. We just lost jazz. There
was no fight to keep jazz. There was no fight
to keep rock and roll. Mhm, there was no fight
to kick this stuff. When when when these people came
and colonized the rest of this stuff? Shout out to

(08:26):
the people, because I'm not talking about y'all. Y'all did,
y'all liked it, and then y'all became it. You know,
you gotta invest in what's working, right, You gotta invest
in what's working. If you're in business, you gotta invest
in what's working. Hip Hop is the first genre of
all black music that decided to say we're going to

(08:49):
gate keep. Hm, I saw this white man, Frank.

Speaker 2 (08:55):
Stallan, Selvester Stallone's brother when now, mind you, Beyonce didn't get.

Speaker 5 (09:01):
Anything about to say the country because they was I mean,
she didn't get.

Speaker 2 (09:04):
Anything the countryward she won Best Country Album at the Grammys,
and Frank the Loan stood up and said that lady
is not living.

Speaker 1 (09:13):
A country experience. He named a bunch of other country
acts that happened to be white. I don't know if
it's that's why, but they were white and.

Speaker 2 (09:21):
Even said post Malone like, these people dedicate their whole
life to country.

Speaker 3 (09:26):
Which is funny because Frank's not a country guy, a
funny guy.

Speaker 5 (09:30):
Yeah right, So it's like I thought about that. I
was like, so I'm not crazy.

Speaker 2 (09:36):
Even Frank Stallone was like, you know, hey, you're not
from that culture. You are not from the culture.

Speaker 1 (09:45):
So even if somebody likes Frank who's outside of the
country culture can notice it.

Speaker 2 (09:50):
I'm not crazy.

Speaker 3 (09:52):
Culture perfect accuracy, it's just it's it's just rot with
That's that's one of the funnier I wasn't even aware
of that. That's that's one of the like most more
layered funny irony statements like real of the recent times.

Speaker 5 (10:14):
Like that.

Speaker 2 (10:15):
I can't knock that, you know.

Speaker 3 (10:17):
Like you really like from like Houston, like that part
of that culture area in Houston, like that's it's hard
to I mean, you gotta be out like farming in
the sticks to be more country culturally than like than Texas.
I mean ship.

Speaker 1 (10:33):
Shout out to doctor, thank you for the two dollars.
Y'all can celebrate on the West real good down south there.

Speaker 2 (10:38):
You need to get in on this.

Speaker 5 (10:40):
So do you think that so what happens when it
gets colonized again, it's gonna I don't think.

Speaker 2 (10:48):
It's going to happen.

Speaker 5 (10:49):
It's gonna happen again.

Speaker 4 (10:50):
I'm going to be not for a long while. It's
gonna be a minute. It's gonna be a minute. It's
gonna happen.

Speaker 2 (10:57):
You're gonna control.

Speaker 5 (10:58):
Now we just have.

Speaker 4 (10:58):
It's a different perspective of understanding what you have now.
What about to the next young generation?

Speaker 7 (11:06):
Do you think they're gonna be aware as much as
what we're aware about right now?

Speaker 1 (11:09):
I don't think so. And I'm gonna tell you why.
Me and Kiki was just talking about this off air.
Shout out to my og on the k Loco. Right, No,
it's not just that hip hop is in a weird space.
Because if we don't find out the independent business side
of this, it's gonna pass. It's gonna it's gonna die
off anyway, right, because the production company creates the opportunities

(11:32):
for the record labels, like they don't know what else
to do.

Speaker 2 (11:35):
They're going to sign whatever we're pushing.

Speaker 1 (11:37):
So they're gonna either sign whatever we're selling them, right,
or they're gonna try to get an identity identical version
of what we're selling.

Speaker 2 (11:46):
So when they missed on Snoop Dogg, they signed Warren
G def Jam.

Speaker 1 (11:52):
I mean, when people miss they go sign you know,
That's why regions get hot, That's why people think the
West has a chance.

Speaker 2 (11:59):
By the way, right, they feel like the West has
a chance. Like, well, Kendrick is popping, he has the sound,
and me and Kick was just talking about this.

Speaker 1 (12:06):
There is no West Coast sound. The West Coast what
you call sound is built off funk music. We just
adopted funk music. Their generation adopted funk music. But KEI
gi them listen to all kinds of the music too. Yeah, yeah,
I think it's fair to say that the party was
more active to funk and that became the foundation of
our hip hop.

Speaker 2 (12:24):
But that don't mean it's our sound. We have a
pace of life like it is always talks about.

Speaker 3 (12:30):
Though it's all derivatives, it is in the context of
hip hop.

Speaker 5 (12:34):
I think it does.

Speaker 4 (12:35):
I think that we do have a sound, though we
don't have the way that we put together those sounds
sound the way that we sound, yeah know, the way
we put together context because because even the G Funk didn't.

Speaker 5 (12:46):
Use it, it was fun.

Speaker 2 (12:50):
The way we use those, we don't really have a sound.

Speaker 3 (12:55):
We talk about regional VPNs.

Speaker 5 (12:57):
Where would you say that?

Speaker 7 (12:58):
Where would you say that you find the way they
use the G funk stuff somewhere else besides Detroit.

Speaker 2 (13:05):
Well, remember KEI can tell you firsthand they grew up
off EPM D. That was the ship. All my older
homies brag about EPMD and they was using.

Speaker 5 (13:12):
Funk, but they were using funk.

Speaker 4 (13:14):
When you take diamond D funk, it's a whole nother
it's funk, but it's just the sound of it.

Speaker 5 (13:20):
Articular history.

Speaker 4 (13:23):
One of you hunted the perspective which gives us the
West Coast sound.

Speaker 7 (13:26):
Because I mean, I mean I guess you can say
this in different eras in ages, because when I think
West Coast, I.

Speaker 3 (13:32):
Think them simps.

Speaker 7 (13:33):
I think that, like you said, in the sense because
of the era of where I started at in my
age group that boom boom, you feel me that that's
in a sense considered West Coast in my era. But
when you hear something else like that, you're not gonna
consider that what you're thinking.

Speaker 3 (13:49):
Bro, you creep shaking your head. I think you're shaking
your head at me because usually I'm the wrongest.

Speaker 5 (13:56):
I'm streaking because I have a real issue with this topic, right,
so you said I have a super issue with this topic.
I just Joe Budd. I was talking to Joe Budd
and his minions about this, and because I asked him,
I asked him, based on you know, what I've heard,
and the conversation I've had is pump it Up. Has
he ever heard pump it Up be considered a West

(14:17):
Coast record? He said, no, He's never heard that. It's
an interesting question. The reason why I asked that is
because anything that has tempo to it now, everybody automatically
assumes to this West Coast. I don't like that narrative
because that's never been the case. I wanted to know
when that pivot and when that shift happened. What defines
a song that's being quote unquote West Coast or sounding
West Coast? Is all based on funk, It's all based

(14:38):
on the bass guitar. If the bass line plays a
certain way at a certain tempo, that's considered West Coast
music because stereotypically and traditionally culturally, our music is based
on funk, which is or comes from the bass guitar itself.
So you can play other records that are the same
tempo but with censitizers in it, Like Bruno Mars uses

(15:02):
a lot of you know that that type of sound.
His songs are between one hundred and four and one
hundred and ten bpm, and those songs are not considered
quote unquote West Coast songs. Even a song called Uptown
Funk is not considered a West Coast song, and that
song is like I think one O seven if my
memory serves me correctly. So I hate that narrative. Like

(15:22):
even if you listen to Black Eyed Peas, Let's get
it started, it's a classic song, right, that's one hundred
and five bpm. That bassline, there's a strong bassline and
there's two of them, goes boom boom boom boom boom boom.
But the way it's played, people don't look at it
like it's West Coast. People look at it like a
pop record. So the reason why I say I have
an issue with that is because music with music around

(15:43):
one hundred and ten one hundred epm with a baseline
doesn't automatically make it a West Coast song like I
hate exactly. I agree.

Speaker 7 (15:51):
I would agree with that one hundred percent, though I
would not say that the bpm and bassline determines West Coast.

Speaker 6 (15:57):
Know.

Speaker 4 (15:57):
What I'm saying is it does based on how it played.
But the problem is that's for people that people are listening.
I'm not saying it does make it West Coast. I'm
saying to the percept, the reception and perception of human beings,
they perceive it to be a West Coast song. Rick
Flair Drip is not one hundred bpm and it has
an eight a eight base to it, but Metro made

(16:18):
it with trap sounds.

Speaker 3 (16:20):
Again on those like not like it's a corny example
because it's been used a million times like from another scenario.
It's like like the not all Muslims are terroristball terrorists
and Muslims kind of thing, you know, type of like
it's like not every time that.

Speaker 5 (16:35):
Song that j head has nothing to do with that
statement that was just made.

Speaker 3 (16:41):
It's like, I mean, it's just like not every time
West Coast every time.

Speaker 2 (16:47):
You know what I'm saying, but but that's not what
I'm saying what people keep saying. So what people.

Speaker 1 (16:55):
Keep saying sounds West Coast, that's not what's happening. Like again,
like he just who would you just say? That produced
key from New York? There are Whudini Larry Smith used
funk like this is a like this is a crap narrative.
Remember g thing is just Leon Haywood. I want to
do something freaky to you that's not really special to

(17:19):
us or nothing.

Speaker 2 (17:20):
That was just something that was happening.

Speaker 1 (17:23):
So a lot of the things that we're getting caught
up with on hip hop is what things sound like
but sound like it's really a lazy effort to identify something.
Shout out to my boy Low Diggs. He used to
always have this expression and I use it all the time.
To listen clinically is to listen and end right listen
and in right. That's the clinical definition of listening. To

(17:44):
listen and in to hear is to acknowledge sound. It's
without detail. So that's why when like you arguing with
a girl and she's not listening, she's hearing you, you're
gonna say something. She gonna say what sound like you said,
because she's telling you emotion what's happening. She's not taking
the detailed listening. So that's my point when I'm saying

(18:05):
when we keep saying West Coast hip hop, like West
Coast hip hop is not really we built a foundation
on funk, but it is not the complete foundation. The
tempo and pace of life is more important than actually
the genre we use. We can make the same thing
with blues, which is how you get MC eight and
Compass most morning records.

Speaker 2 (18:23):
We can make the same things with jazz, which is
how you get dubbed C you are the one of
different things. We can do the same thing with R
and B, which is how you get Doctor Dre and
a lot of the stuff they were doing early on.
It's not just funk, but I get it that people
start right there and say it sounds like something, but
that's only to the common person who don't understand. There
is nothing g funk about next episode. There's not even

(18:47):
a funk song.

Speaker 8 (18:48):
But you know what, though, check on the body gonna
you're gonna place. What sound sound like? What? Technically hip hop?
Nobody don't sound like we're on hip hop?

Speaker 5 (19:01):
African of.

Speaker 8 (19:03):
All them cats that hip hop. That's that's how it started. Yeah,
so ain't no rapper sounding like that?

Speaker 5 (19:09):
Sure, bro to touch on what Keith just said, just said, bro, like,
if you go back right, what's the song put your hands,
put your hands on mine to see. Yeahs runs Buster Runs,
that's ninety nine b pm. That has a strong base
based presence. But then one hundred bpm. If you go

(19:30):
to like Lauren Hill do wop, you know that's on
that thing, that's one hundred bpm too. Nobody ever said
that that sounded like a West Coast song, you know
what I'm saying. So, and that's and that's nothing sounds
like that ship So my, that's why I asked the
question when I was talking to Joe. It's like, when
did this shift? I think it's just a bunch of

(19:51):
motherfuckers who don't know what the fuck they're talking about exactly,
classifying ship like that's trap exactly. Like if you think
of trap music, wasn't even that slow DJ toom when
they created trap music. Trap music was between seventy five
and eighty eight bpm. It wasn't.

Speaker 4 (20:07):
It wasn't in the sixties, and shit like Bad and
Bougie would probably be quote unquote the biggest trap song ever,
and that's sixty four bpm.

Speaker 5 (20:15):
But when Tomping Them started that ship, that shit was
in the mid eighties, same tempo as New York backpack
hip hop.

Speaker 2 (20:20):
Yeah, and New York backpack hip hop can go as
high as one hundred and ninety nine.

Speaker 1 (20:24):
If you go to Cane, you can go to one
ten and one twenty. So the only thing I really
resonate when it comes to West Coast sound is what
Head talks about when he talks about pace of life.
That's the consistency, right, bpm is the consistency.

Speaker 8 (20:38):
Frequency the vibration.

Speaker 2 (20:39):
I was saying, I like that too. If you think
about it, right.

Speaker 9 (20:42):
It's like, does that would that be like considered vibe?
I hate that word too vibe, So like well, saying
something like that, but it's vibe is like dio like that.

Speaker 2 (20:55):
It would you consider that like the what is just
like vibration and frequency the mic?

Speaker 8 (21:03):
Because Uh, vibration and frequency got to do with the tempo.
So if you go to a party, you don't just
plan something that said one hundred ppm and then all
of a sudden drop down to forty or fifty just
on the fly. Yes, you're doing some type of special

(21:24):
set or something, but not as a party to keep
the energy of the party gonna erupt. They're gonna be
like what the hell?

Speaker 7 (21:32):
Yeah, So would y'all put genres in like situation by bpm?

Speaker 1 (21:37):
Then no, because you can't put jobs the question he said,
do you put genres by bpm?

Speaker 6 (21:45):
No?

Speaker 5 (21:45):
But I'm saying, I'm asking him to break that question down.
What do you mean by that?

Speaker 2 (21:48):
Before I say, can you define genres by how fast
the song?

Speaker 6 (21:52):
Is? No?

Speaker 4 (21:53):
No, what defines? But okay, so what defines? So is
there like an East Coast sound?

Speaker 2 (21:58):
You know what I mean?

Speaker 5 (21:59):
So there's no step to it. So we're saying, you're
saying that's right. So you're saying there's no sounds.

Speaker 7 (22:05):
But if you're saying that everything is defined by if
you're not saying that it's not defined by BPM, and
you're saying that West Coast music, well you're not saying
it's this because it's this BPM or it's this BPM.
And I'm saying for me, I would not say a
song is vibed or genre or anything by the BPM.

Speaker 1 (22:25):
If I say that, no, that's that's not what we
that's not what we Okay, So I'm saying the closest
you can get to consistency is that. But you got
to remember, right, pace of life matters, how fast people
are living their lives.

Speaker 2 (22:37):
But you can't. There's fast blue songs, there's slow blue.
So what you call DJ quicker West Coast artists, yes,
because he's from Compton.

Speaker 5 (22:45):
But would you say it has a West Coast sound?

Speaker 2 (22:49):
But but but that's a lazy No. I wouldn't say
that anymore because like I you say, you would say
more like it's generic.

Speaker 4 (22:56):
You would just more so say hey, let's let's let's
call it what it is. I mean, funk music. I'm
from the roots quin trying to quint.

Speaker 1 (23:04):
Essentially, he's the father of what you would call g
funk based off of what the sound is right. Taking
that clear song back in eighty eight, playing that baseline
over doing tonight is what the quintessential G funk song
sounds like. Are we saying G funk is West Coast
hip hop? Sure, if that's what you want to say,
But I'm telling you the problem is you won't miss headpoint.

Speaker 2 (23:24):
You won't call Bruno Mars G funk.

Speaker 1 (23:25):
No, you won't call a bust around using that seals
and cross sample to make put your hands G funk.

Speaker 2 (23:31):
You wouldn't make it. So it's not the fact.

Speaker 7 (23:33):
Because I feel like they're just taking aspects of G
funk to put into their day.

Speaker 2 (23:40):
But there is no aspect because it's only funk, right, elements,
so elements the element.

Speaker 4 (23:45):
But well, no, it's how it's how G funk uses funk.
They're taking the element the way that G funk is.
It's a little separate from just regular funk because G
funk gonna give you a whole nother, whole nother vibe.
They're taking the same, the same it's just a it's
just a tree. They're doing the same thing from G funk. Okay,
this is how they did funk hm hm instead of

(24:05):
doing it like this we're gonna do it like like
they did it and.

Speaker 5 (24:08):
The U and the you know display, that's what they think.

Speaker 10 (24:12):
It's real quick. I think the main I think the
main thing that's that's the difference between the Trump that
they're using. You know, what I'm saying is the different
different kicks, different trumps, different trump, different stands, use a
different And also we're saying, you know, West Coast, Sam,
what if that organ all the time on the home

(24:34):
or the or the guitar that use within the sis
y'all using the SAT.

Speaker 2 (24:38):
They don't use no other on all the coats. But
that's what I'm saying.

Speaker 1 (24:41):
That's but I'm telling y'all because but just listen, trap
y'all saying because we use more funk elements.

Speaker 2 (24:49):
That that makes it West Coast.

Speaker 5 (24:51):
I'm saying, how we use the funk elements makes it West, but.

Speaker 2 (24:55):
We don't use them any specific way that they only
keeping used one.

Speaker 5 (24:59):
Definitely do because we listen. It's like Kanye, the way
Kanye used his sound using.

Speaker 4 (25:05):
What we said, you're just using oldies. Kanye started out
using oldies. It was how he used them. It's made
that sound which is now Kanye Chicago sound. It is
what it is, but it's taking a gang of oldies music.
We can say, Okay, well that's not that's not is
uh this is so this is R and B because
you took.

Speaker 2 (25:24):
From listen, y'all are taking it's the same very it's
the same idea to something that's way way way denser.
I'm not saying much more dense than you could imagine. Again,
we're using the same elements that we didn't create. An
element like the lead existed. Like when you listen to

(25:45):
Leon Heywood, I want to be that he uses it
like nobody using like like like a DJ quick or
like what's his name? Battle from Battley? Who else use
is everybody?

Speaker 1 (26:02):
Larry Smith is the father of their style, right, so
they took Larry Smith and and ma it's not unique,
but they did the way they did it.

Speaker 5 (26:12):
They use storyline that was the West Coast.

Speaker 2 (26:16):
Y'are not heard else doing that.

Speaker 5 (26:19):
That's why it sounds cool when when I feel like
you know, they're.

Speaker 1 (26:22):
Telling you this is what Kiki just said. Ask them
about e PM. If you listen to E P, M D,
if you listen to all the other funks, you would
hear this thing.

Speaker 5 (26:32):
A lot of artists took the West Coast, saying.

Speaker 1 (26:34):
The norm that doesn't it's not the norm here. Don't
nobody everybody don't use okay list when we're talking, y'all
got because we're all talking at the same time, so
it's one mic, one fee.

Speaker 2 (26:46):
So what I'm saying to you is we didn't invent
the lead. We didn't invent that. That's a that's from
the funk You weren't as a funk music asset that
we took from funk music. So we all using out
the same pot of music. We're all using out the
same pot of music. We're all using got the same pot.

Speaker 3 (27:07):
A proportional that is so critical mass regionally that it
is not in other regions.

Speaker 1 (27:15):
But it's not even nobody else uses it but them.
It's not like Quick uses it. It's not like Warren
uses it. It's not like none of these people use it.

Speaker 2 (27:27):
Kigg didn't use it.

Speaker 3 (27:29):
Siren proof a point yesterday. There's not there's not a
big act that comes out of there other than.

Speaker 5 (27:34):
Like O T really, but.

Speaker 2 (27:38):
This is the problem is sometimes.

Speaker 1 (27:42):
This is gonna sound. That's the whole this is sound,
he said. Paul's clapp, you talking about how to go
from that. This is gonna sound more prejudice than I
wanted to sound, not to you, like like in race
related but just in music. Trust me, this is not
how everybody sounds Pete like this. This is more and
it's like if you hear it from this surface level,

(28:02):
then you think everybody sounds like this. We're all pulling
from one pot. The only music that I can remember
that had a mass movement that was created on the
West Coast from musicians with Sunshine pop. There is nothing else.
Everything else in hip hop is an interpolation of some
other genre.

Speaker 3 (28:19):
That's what I'm saying. It's all derivative.

Speaker 1 (28:21):
But what I'm telling you is everybody on the West
didn't use that same element of funk that Dre used.
The lead became popular for Dre, but that's not what
everybody else did. Battle Cat didn't usual lead. Battle Cat
don't have leads in the song. He plays the bass differently.
So again, so when we keep saying West Coast sound,
it's not really true. It's a lazy way of approaching

(28:44):
something that's way deeper.

Speaker 5 (28:46):
Exactly.

Speaker 2 (28:46):
That's what we're trying to say to y'all. It's way deeper.
So like when people say not like us sounds like
a West Coast song, why the fuck does that sound
like a West Coast song to you?

Speaker 5 (28:55):
You know why?

Speaker 2 (28:57):
Yes, But I'm saying again it's a lazy categorized.

Speaker 5 (29:05):
But also to G's point, I expect human beings to
be lazy, and I expect human because it's light because
I'm using a polite word lazy. Lazy is the polite
word I call people stupid.

Speaker 3 (29:21):
That's where you and I agree that.

Speaker 5 (29:22):
I don't like to say people are stupid because they're
not cable.

Speaker 3 (29:26):
But where's the line between nuance? And that's my question,
because where's the line then between nuanced and theme because
thematically there seems to be a general consensus of agreement
and nuance. It was always space separated.

Speaker 1 (29:43):
First off, Pete, we never used the term gangst the
rap that was not That's what everybody outside that didn't
know class sonically.

Speaker 3 (29:50):
I'm not even talking terminology.

Speaker 2 (29:52):
I'm telling you, but that's what I'm saying. We didn't
say that ever. Nobody said this is the West Coast
sound that made the music, So it was only from
how people needed to classify it that didn't know what
it was that's exact y'all was making music. He was like,
I'm making the New West Coast sound. Yeah no, he

(30:12):
did not.

Speaker 4 (30:13):
I think that when it when it developed and it
came out, it was like, this is what it is.
That's where I'm from. And that's not what stamped a sound.

Speaker 5 (30:21):
Like people who didn't know it provided a sound though
he didn't put so that's not that's not no, that
makes sounds in the.

Speaker 2 (30:31):
City revolutionary war. Bro, this is crazy. That's not what happened.
What you mean, that's not what happened, bro, Like I'm
gonna tell you the war so quick quick.

Speaker 1 (30:42):
Tonight is the first song that would be titled the
way or the sound that you would call g funk. Right,
taking the sample, replaying the bass, making the bass centerpiece
of the music, and then doing your tough rap whatever
you think a tough rap is, right Boom. They were
listening to Too Short shout out to play him. They

(31:04):
were listening to two shorts album that Don't Fight the Feeling? Right,
that became the first in New York. Right, what too Short,
Don't Fight the Feeling? I was kidding, Oh okay, so again, right,
but I'm saying that wouldn't be considered g funk, or
that wouldn't be considered none of this. So again, everybody's
pulling out of a funk pot. EPMD pulled out of

(31:26):
a funk pot. Houdini pulled out of a funk pot.
Have a song called five Minutes of funk that could
be a West Coast song?

Speaker 3 (31:32):
Yeah, sure, there's examples of that. What's his name? Like,
I just heard the song. It's actually a decent example,
Like Filthy Riches did a song off the old Little
John Trick Daddy track and it sounds seamless because because.

Speaker 2 (31:49):
We are not.

Speaker 1 (31:50):
First off, remember James Brown is coined as the creator
of funk. He's from Georgia, the people who got the
most props from funk. Right, it's probably Parliament in them, right,
George Clinton from New Jersey. Boosy is from Ohio, like
bro Dayton Roger and from Dayton Rogers happening from Dayton.

(32:10):
You feel me like, it is not simple, it's a
I get it. I get why the lazy fan likes
to say the West Coast sound, but there's nothing about
Leon Haywoods. I want to do something freaky to you
and then sampling that to say, hey, this is West Coast, like,
even if you hear the lead, it's because you don't

(32:30):
understand it comes from a group out of Ohio.

Speaker 5 (32:34):
So again, use the sound was what made it West Coast.

Speaker 2 (32:42):
It was always big. It was always big. That's why
they That's why Dre and them used it. It was
already black.

Speaker 5 (32:52):
I'm on f y, which is will I AM's AI.
It's probably the most powerful AI. Right. So I asked
it what makes a song sound West Coast? And it says,
Number one, funky bass lines. The groove is often driven
by funky, smooth bass lines that give it relaxed bounce.
Number two smooth R and B soulfulness. There's a blend

(33:12):
of hip hop with elements of R and B and soul.
Sometimes the use of melodic of melody to deliver the smoothness.
UH three laid back beats. The beats tend to be
uh the smooth. The beats tend to be smooth compared
to other beats like East Coast rap. Uh four synthesizers
and funky guitar riffs, five G funk elements, and six storytelling.

(33:36):
So that makes the whole West Coast sound.

Speaker 2 (33:41):
And think about this we didn't originate any of that
in hip hop space.

Speaker 3 (33:46):
That's not that's.

Speaker 4 (33:50):
It's like, now you're arguing, okay, well, since we didn't originate,
we didn't make the guitar.

Speaker 5 (33:54):
This can't be rapped. This is just guitar, right, nobody
I'm presenting to you.

Speaker 2 (34:03):
They're saying the base is the main melody of the song.
We're not the first ones in.

Speaker 5 (34:07):
Hip hop to do that, all right. I have a
question saying that you a producer, k you a producer?
If I told you that this is a producer to hold.

Speaker 3 (34:14):
On hypothetically, You're not hypothetical.

Speaker 5 (34:20):
I'm getting out. This is but from a producer standpoint,
if I told you to make me a trap beat, right,
how would you approach that? Where would you set the
metron though I'm setting it.

Speaker 4 (34:33):
I'm setting the metronome at one twenty, and then I'm
going getting a ways.

Speaker 5 (34:37):
I was just about to start with that's starting with anyways.
But that's what I'm saying. So it's like, but.

Speaker 7 (34:45):
How there exactly how you starts and from there it
really don't matter because now we're in the trap.

Speaker 5 (34:54):
Mind of my snare is.

Speaker 2 (34:55):
About to be light.

Speaker 5 (34:57):
My high hats are about to be light. They're about
to be sped up to.

Speaker 1 (35:03):
Which rolls us into this different conversation. Shout out to Dre,
Shout out to the whole lunch table. Appreciate y'all comment,
and thank y'all. It's cracking. I got a little bro
head here, got my big logo, Here, got my brother
Sega becuzz right here. Check it out, Dre says, malone.
Did you hear that ship? Hit maker said? And that's
my problem. This is why it goes back.

Speaker 2 (35:23):
To this point.

Speaker 1 (35:24):
So immediately when you start making trap, you're starting to
emulate what you think trap sounds like.

Speaker 5 (35:29):
I'll give you that it's not this because because.

Speaker 3 (35:35):
That's to acknowledge that it has a sound.

Speaker 2 (35:37):
But that's the problem. It doesn't have a sound.

Speaker 1 (35:40):
Pete that you're the vex. The fact that you're a
white person said that. You know what, this is the
exact problem, right, it's it's it.

Speaker 3 (35:54):
Has depends on how you look at it.

Speaker 2 (35:57):
No, it's not the solution, but that's the problem. And
this is why I'm saying saying. This is why May
fourth is so important, right, because it forced you to
stop fucking with other people's ship and emulating their ship
to make some dope shit. That's why May fourth is
important for the last sixteen seventeen years.

Speaker 3 (36:18):
So it's not extracting funk music leaving it where walking.

Speaker 2 (36:23):
Since the owl came out, the ow gotcha how came
out hit maker? I said he set the standard of
how you guys make hip hop producers. So you guys

(36:44):
said to make it to the top, I need to
make it sound like this. That's how you make fucking
pop music. That's not how you do this thing called
hip hop. Rick Rubin does not sound like Smith. Larry Smith,
don't sound like Marlly Mare. Marlly Mare.

Speaker 1 (37:05):
Even when Dre tried to do his best rendition of
Marlly More, it don't sound Dre didn't really hit until
he figured out something that he can be the first
and own.

Speaker 2 (37:15):
It looks like he creating in the space.

Speaker 3 (37:17):
It's not the whole thing we're talking about.

Speaker 1 (37:18):
No, because you keep saying the West Coast sound, Warren
g didn't win because he sounded like doctor Dre.

Speaker 7 (37:24):
You're not wrong, But in a sense of being a
in the sense of being a producer, we're looking to
try to get shit placed.

Speaker 2 (37:31):
So hell yeah, I gotta make a beat that sounds
like this person or this person or this.

Speaker 1 (37:35):
Person between industry, that's the difference between industry and hip hop.
If I shout out to my boy Trapped for that
difference between industry and hip hop, you're trying to be
in the industry, not make hip hop.

Speaker 2 (37:47):
Hip Hop is not about industry. That's the trick. It's
the reason why slip shit don't sound like Dre, Dre
shit don't sound like Warren, and Warren shit don't sound
like Quick.

Speaker 1 (37:55):
You can distinctively tell all the difference. Even though they
all could be inspired by funk, all their ship sounded
different because they wasn't trying to place fucking.

Speaker 3 (38:06):
Beats more similarity than they would have differences.

Speaker 5 (38:13):
They don't.

Speaker 2 (38:15):
Listen, they don't have similarities. They really don't. If you heard,
if you heard m C A ghetto took me under.
It does not sound like things.

Speaker 5 (38:24):
So the sound came from the.

Speaker 2 (38:27):
Sound is a lazy way of approaching making hip hop.

Speaker 1 (38:30):
Which is why the independence was one on May fourth,
so you niggas could stop making.

Speaker 2 (38:37):
Them sound beats, them dom sounding type beats. Stop doing that.
You actually gonna have to work your ass off and
figure out what the public fucking want to hear again.

Speaker 1 (38:50):
You actually gotta get back out there and do it.
Hit Makers sat down with Ray Daniels. Shout out to
Ray because I can't wait to say when it Shout
out to Bird. That's my brother to hit Makers, a
solid du.

Speaker 5 (38:59):
Bird, But on my show he hard I love.

Speaker 3 (39:06):
Crazy.

Speaker 2 (39:07):
That is hello dope, and he's a mos.

Speaker 5 (39:11):
You know what we're doing for the new school niggas
is a solid nigga was making a record, but this
is my problem.

Speaker 1 (39:18):
For years, he was able to look at what was
popping because the presence of that nigga looming over you,
that foreign invader to the culture, foreign invader because he's
outside of the culture. He had y'all motherfucker's handcuffed and
maybe some of y'all benefited as producers. Maybe some of
y'all benefited as producers, right because you was like, I

(39:40):
can give me a check if I make this beat
that sound like this, that is bullshit.

Speaker 2 (39:45):
And that's why hip hop is in the predicament. It's
in and it's been fucked up for the last fifteen
plus years.

Speaker 1 (39:51):
Because you niggas will not understand that this ain't about
a sound, nothing about two thousand and one is g
funk nothing. If you are a fucking producer in this space,
you are you're supposed to be trying to rewrite this ship.
You're supposed to be trying to to captivate the whole culture.

Speaker 2 (40:10):
Kept up?

Speaker 3 (40:10):
How many how many young producers they let it, they
let come in on some new show.

Speaker 5 (40:14):
It's not when you said, who is it's not. No,
That's what I'm saying.

Speaker 4 (40:19):
It's not gaatekeeping it's it's just the fact of the industry.
It's an industry. So the sound is the product? How
is it an industry thing? No, I'm saying like industrialized
and far as as far as industry, not just music industry.

Speaker 5 (40:30):
I'm okay, So this is my this is my problem.
I got with that the whole thing. Mhm, Well he
just said about they and not letting in and and
and then you y'all mentioned the word industry. Who's keeping
you from working with artists that you know? No, that's
what I'm saying. It's no one. Is what I'm saying
is the sound. It's the sound.

Speaker 4 (40:49):
I'm what I'm saying, is the sound that we're talking
about that you guys are saying, Hey, there is no sound.
This is what we're doing. The sound is the classification.
It's when it when Dre does it. Oh, the execs,
oh look this is selling. Okay, that's that's that West
Coast sound.

Speaker 5 (41:03):
I want that.

Speaker 4 (41:04):
Then they go in and then they get the producers
that can make that. That's where the sound comes. But
that's not what happened. That's not what happened.

Speaker 5 (41:10):
No, I'm just saying it.

Speaker 4 (41:12):
No, but that's what I'm but you're saying as far
as happening now right, No, that happened. That happened before. No,
I'm going to tell you they wanted the sound because
I mean, nobody, nobody, because Drake does g Unit have
a whole album full of West Coast records, the West
Coast sound.

Speaker 5 (41:26):
But I mean, I get it.

Speaker 4 (41:27):
It's they wanted that sound. They wanted Dre's sound. They
wanted that West Coast sound. Dre don't have a sound,
But I don't know, Bro, he has a sound. Dra
he has a sound, have a sound. He's not tied
to a sound, but he has a there is sounds
that dra Is know his sound.

Speaker 5 (41:47):
Bro, what do you mean?

Speaker 2 (41:48):
I'm telling you the truth.

Speaker 5 (41:50):
Sonic doesn't have a sound. Okay, what do you mean
by that?

Speaker 2 (41:54):
He doesn't have ray does everything based off the project?

Speaker 5 (41:59):
What is that? And what do you mean by you mean?

Speaker 4 (42:01):
I mean I'm talking about really dynamically seeing it for
the final men master Roger Way that it's already finalized master,
that full master that's going, that's gonna be christ and pristine.

Speaker 2 (42:12):
That's a dre master. That's a quality.

Speaker 1 (42:14):
That's not a sound the same straight out of compt
that sounds like Doggie Staff.

Speaker 2 (42:22):
You cannot see that. They're they're different, They're night and
day different.

Speaker 5 (42:25):
They're definitely different.

Speaker 2 (42:26):
But you still because his name said it, not because
you heard the beats. The problem so long.

Speaker 5 (42:35):
It has elements.

Speaker 2 (42:39):
Listen, it's no element that match in that makes that.

Speaker 5 (42:42):
Makes it makes sense? An element? Why you make this?
It's it's definitely a thread, for sure, there's something there.

Speaker 2 (42:50):
Thread there is the only thread.

Speaker 4 (42:55):
There's a thread there, there's a there's Okay, so you're
so okay, So you're saying that there's no sound, So
why is there a sound?

Speaker 2 (43:04):
It's a lazy way of digesting what's happening. Okay, So
what do I call it from?

Speaker 5 (43:09):
Okay? Now, now what do I call it what.

Speaker 1 (43:11):
What everybody sells on the West Coast is street urban
culture from the West Coast.

Speaker 5 (43:16):
Okay, that's the difference.

Speaker 2 (43:18):
This is why.

Speaker 8 (43:20):
You know what you're right. You're right about that, because
I was just thinking about earlier records, because don't know,
none of that music sound like No Twilight twenty two
that's West Coast.

Speaker 3 (43:31):
Yes, you know, or Egyptian Lover or that consolidation didn't
start to happen until the nineteen nineties, Pete.

Speaker 1 (43:38):
The problem is you started to people white. People started
to classify Pete.

Speaker 3 (43:43):
That's fine, but to tell you that, don't make that.

Speaker 1 (43:45):
Don't make it white, that make it identifiable to people
that don't know what's happening. When you don't know what's happening,
you label something, you call it gangster rap because that's
all you can make out of it. It's lazy, it's
intellectually lazy. And we don't have to be that way,
Like listen, the general public does. We don't have to
be that way. Us as the as the foundation of

(44:06):
this thing we call culture, and these record makers we
don't trap.

Speaker 5 (44:09):
We don't have to be that way. And when we
start talking like the fans, that's a problem.

Speaker 1 (44:14):
Imagine KT talking like me and he and the game
that Nigga can't imagine Luka Dancik's.

Speaker 2 (44:20):
Talking like he's playing. The problem is when you start
letting the public control how you play the game.

Speaker 5 (44:26):
What would you call gospel music?

Speaker 2 (44:30):
Here's a great point.

Speaker 5 (44:31):
What's the.

Speaker 8 (44:33):
Because you've seen because you can see gospel of any
type of music.

Speaker 2 (44:37):
And it'll be gospel.

Speaker 5 (44:40):
Kurt Franklin, So again, the culture drives music. They are
Gospel has a sound.

Speaker 1 (44:49):
The culture is the sound. Now there'll be people trying
to hold on and believe what is what it is.
But gospel is specifically about one person facts. If you
sing about that, now, maybe I don't know. Maybe if
you sing about the Virgin Mary, people might consider it gospel.

Speaker 2 (45:06):
I wouldn't.

Speaker 7 (45:09):
Because I mean, I mean, you can you consider you
consider the crag gospel in a sense.

Speaker 5 (45:13):
It's Christian rat but it's still gospel. That's crazy.

Speaker 2 (45:17):
You if you sung if you made a song about Luke,
I don't know if.

Speaker 5 (45:21):
I was gospel, that's crazy.

Speaker 2 (45:24):
You keep saying it's not the same, Pete, it's the same.

Speaker 1 (45:27):
You're trying to hold on is something that you really
have no fucking business holding on to I'm not trying.

Speaker 3 (45:31):
To hold because I'm literally just trying to see where
the line is.

Speaker 2 (45:37):
There is no line. This is not the United States.

Speaker 3 (45:43):
Prior to this that have addressed this from the complete
opposite end that you, that were driven by your opinion.

Speaker 5 (45:51):
My opinion is driven by culture. It's always been that opinion.

Speaker 1 (45:56):
How people hear what I'm saying is different than what
I'm saying people people, people are not listening to me.
They're hearing me because I never one time told you
the West Coast sound. The further I get into it,
I understand more than ever it's street urban culture. That's
why Larry Smith, who DENI could have five minutes of funk,
and then people still act like a funk song is
a West Coast song because they don't know the culture

(46:20):
drives this car we call hip hop.

Speaker 5 (46:24):
I still don't know what we call it now. So
now you're just saying hip.

Speaker 1 (46:27):
Hop, I'm saying you could call your niches g funk.
Now we can say what g funk sounds like. But
then when you try to restrict g funk to a region,
that becomes the problem.

Speaker 7 (46:37):
Okay, okay, because like you said, g funk arrived from
five different people coming from five different area.

Speaker 1 (46:44):
Well, g funk is a coin term. By shout out
to the big homie Hutch from a butlh Lah, he
coined the term. But the sound that people lay. So
the person who make it, you would don't. You wouldn't
even call most of his music g funk. If I
play you Hutch music, but outs that I get passed
black shit man, you wouldn't even understand what's happening.

Speaker 2 (47:02):
The most people that even Dre.

Speaker 1 (47:05):
Don't have a lot of G funk songs the way
you would imagine Kat would probably his sound would probably
be the closest thing people labeled the g funk, and
he far away from Hutch and Dre and all of them.
So what I'm telling Pete is it's not the sound.
The sound is the lazy way of identifying what's happening.
It's the again, listening is to listen in right. So

(47:27):
now we're having a conversation amongst all of us within
the culture. Even Pete, you're within the culture, you're baptized
in it. You within the culture. So now I'm telling
you you can't have an outside white man's perspective.

Speaker 2 (47:38):
No more.

Speaker 3 (47:41):
From the consecutive seconds.

Speaker 2 (47:49):
So what I'm saying to y'all is this right.

Speaker 1 (47:51):
What I'm saying is it's more about it's more about
culturally what's happening that determines the region, the culture of
what's happening, the way you talking, because they talked his way,
And for the last fifteen sixteen years, hip hop has
been pasteurized between the arrival of the net and the
arrival of the owl. The owl like like, shout out

(48:13):
to shout out to Cuz because he just said that,
shout out to Hitmaker, to Burr because he said that.
He said that they were all shooting that, Oh, this
is what you want to do, and it don't sound
like it sounded like the world because it's pop music.

Speaker 3 (48:27):
That I don't disagree with anything.

Speaker 2 (48:30):
No, that's and his point.

Speaker 3 (48:31):
I get it.

Speaker 2 (48:32):
I agree with him.

Speaker 1 (48:33):
But that's why to this point, that's why, to this point,
this is why May fourth, twenty twenty four should be
celebrated in hip hop forever, because that is the day
that somebody, single handling cut the head off of a
foreign invader, right, cut the head off of a foreign
invader and said, y'all gotta get back to fucking making

(48:57):
hip hop.

Speaker 3 (48:59):
I have a question. I agree with that star, right,
says Pete. Not Pete knowing who Philly is? Okay, Pete, Who's.

Speaker 5 (49:12):
I don't know me?

Speaker 3 (49:13):
That's it.

Speaker 2 (49:13):
That's the sarcastic ways. She was surprised that you knew
who that was? Oh, filthy, Yes.

Speaker 3 (49:19):
We just had a Super Bowl champion from Philadelphia yesterday.
My brain's not exactly that.

Speaker 2 (49:24):
She's surprised that you know who filthy is, and I,
Pete is not the traditional.

Speaker 3 (49:29):
I appreciate that I didn't know who because of the
because my brain's off Philadelphia. I didn't know what the
reference was.

Speaker 5 (49:38):
That was all that I was asking.

Speaker 1 (49:40):
So again I'm saying to y'all, right, it's like, that's
why May fourth becomes important. So why you're right if
you're trying to be in the industry, Yes, this might
be bad for you because you're a pop nigga. You
shouldn't be over here with us anyway, get your ass
over there. But if you really are the culture, there's
no more looming presence for sure of a colonizer. Right

(50:02):
who colonizes? Sound of a colonizer saying, Hey, this is
the bar of success. Somebody was asking me yesterday. But
what is Kendrick going to do tomorrow? I said, I
hope you don't put out another record for you pump motherfuckers.
I would finish my tour and ride off and tore
on my music and whatever else until.

Speaker 2 (50:19):
I felt I needed to wrap. I wouldn't be talking
to you niggas.

Speaker 1 (50:23):
Oh well, if he took out this person, if he
took out the owl, then he should take his place. No,
you need to find somebody else new to listen to.

Speaker 2 (50:33):
Hell is wrong with you.

Speaker 1 (50:34):
It's like you need one person to enjoy nigga. This
is the culture nigga. Ain't no one person bigger than
the program.

Speaker 2 (50:41):
Jay was doing.

Speaker 1 (50:42):
Fantastic his whole career, but it was always a new
nigga every year you could listen to next to him.
When you thought he had it in ninety six, here
come Pack again with all lies on me and NAIs
came with what it was written his commercial success, So
jay Z didn't have that by self. In ninety seven,
when Jay thought he was gonna have it Witholume one,
guess what, here go Biggie, here go puff Daddy with

(51:04):
a better album.

Speaker 2 (51:05):
Yeah yeah, puff Daddy. No way out it's better than
Volume one.

Speaker 5 (51:09):
It was a good time for music to you.

Speaker 2 (51:10):
Yeah, New York.

Speaker 5 (51:13):
He was putting out good records. But this is what
I'm saying. There was not one person you followed.

Speaker 1 (51:18):
They fucking sound so and I'm talking about probably the
most accomplished and successful hip hop artist ever in jay Z,
and nobody felt they needed to colonize his fucking sound.

Speaker 2 (51:30):
You didn't get the jay Z sound on the like beats.
How they be putting on YouTube.

Speaker 5 (51:35):
Saying them sound like beats, the tight beats, the Volume Ahead,
the Volume one type beats.

Speaker 2 (51:41):
You didn't have that. Guess So guess what because when
Volume one came out, guess what came out that year,
No Way Out, Life after Death, all kind of fly.

Speaker 1 (51:53):
Shit came out. Ninety seven, that happened. And guess what
the ninety eight when jay Z finally broke through and
he had Blue excuse me, he had re excuse me,
Volume two, Volume two came out. Jay Z Volume two
came out, he said, five millions, here come DMX. That
shit don't sound shiny like that ship. That shit to gutt.

Speaker 5 (52:10):
He dropped two albums, double triple platinum, back to back,
back to back.

Speaker 2 (52:16):
Here comes some nigga from New Orleans. Nobody knew who
that nigga? Manny Freshman, Who was this nigga?

Speaker 1 (52:21):
He got that Mardi Gras jazz shitting there, cracking and
they talking about backing ass up and high and all that.

Speaker 2 (52:27):
Guess what you couldn't sell No Volume two type beats
go fast forward. Guess what ninety nine? Oh you think
jay Z got it?

Speaker 4 (52:36):
Now?

Speaker 2 (52:36):
Jay Z got Volume three artists killing. Guess what here
come Doctor Drake with some shit that don't sound nothing
like the chronic right after that wasn't But y'all missing
the point. Guess what here com dog come with some
shit that don't sound nothing like jay Z. Listen to
what I'm saying.

Speaker 1 (52:51):
Focused, I'm telling you about the most accomplished and successful
hip hop artists in history, and I'm telling you how nobody.

Speaker 2 (52:57):
Had tight beats, real shit. You're not lying, bro. And
two thousand, when he comes out, he goes and deals
with Rick Rock and he makes the rock Life Familiar album.
Some nigga out of Saint Louis come up here and
he pronounced every e R what a U are? Herd
and herd? And that ship didn't become the sound and
then here come Emminem, this white man from Detroit.

Speaker 5 (53:15):
Every year that nigga came out, he nobody made the
album that sounds like his album.

Speaker 2 (53:22):
But all a sudden, sisters, fucking ol came all.

Speaker 1 (53:25):
You motherfuckers want to make your records to sound like
him because you think this what you gotta do.

Speaker 2 (53:29):
And that's the problem.

Speaker 3 (53:31):
That's fucking facts. I'm not gonna hold you.

Speaker 2 (53:34):
And that's what and that's what Bird said, and that's
what Bird says. And I'm glad that nigga did forgive me.

Speaker 1 (53:44):
You are a live brother. You're gonna make your money
in Australia. Getting your money, bro, it's cool, but you
needed to die in this space because I'm.

Speaker 2 (53:53):
Tired of you niggas making these tight beats. Where is
the hip hop? Where is the code you're in the music?

Speaker 1 (54:00):
You niggas making these tight beats, and that ship's embarrassing
tat y'all.

Speaker 5 (54:06):
Y'all followed somebody who don't even know who he is,
and y'all makeing y'all music sound like a nigga that.

Speaker 2 (54:10):
Don't even know who he is. He don't even know
who hisself is. Every week he wake up with a
new hairstyle of new braids. Niggain't never what breads in
it's life before before thirty four, and now y'all niggas
following him making music ain't got a bit.

Speaker 7 (54:23):
Niggas a bag man trying to get a bag, bro,
And that's all we were chasing.

Speaker 2 (54:27):
And that's the problem.

Speaker 6 (54:28):
That's it.

Speaker 2 (54:28):
Niggas the bad and it ain't never no real bag
in that. That's my stuff.

Speaker 1 (54:34):
That nigga had the dies and that's why May Fourth
need to be celebrated forever, even if this motherfucking don't last.

Speaker 2 (54:43):
Rock and rolls, nobody chops every fucking head off. Yeah
it economy, Nobody chopped Kenny g head off. Nobody protected
those cultural movements in the arts. Nobody protected them. Nobody
stood up and fought and decided that these.

Speaker 1 (54:58):
Things were not gonna be allowed. One motherfucker came for
hip hop. This motherfucker had it by the boss had
had had a nigga bird from Chicago.

Speaker 5 (55:10):
I don't have following him, Bro, Stop bringing burg up
because I'm just saying, like he said it, No, I
know that, but I'm just saying that's not the same thing, bro, Like, no,
it is the same head because everybody thought like that. No,

(55:31):
everybody does things like that.

Speaker 2 (55:33):
So now it's over.

Speaker 5 (55:35):
No it's not.

Speaker 2 (55:36):
Now you have nobody to follow.

Speaker 5 (55:38):
You can't get rid of ignorance.

Speaker 2 (55:40):
No, you can't get rid ignorant. But you know what,
you can't get rid of the motherfucker everybody following.

Speaker 5 (55:45):
No you can't. It's just gonna be a new motherfucker.

Speaker 2 (55:48):
Heads because it wasn't a motherfucker before this.

Speaker 5 (55:51):
No, listen, bro, stop trying to save everybody.

Speaker 2 (55:55):
Yes I can't.

Speaker 5 (55:56):
I don't think. I don't think why I'm here, No,
it's not. I'm here to doc for hip hop people.
Some people, some people are meant to go down with
the ship. You know what I'm saying, down with this motherfucker.

Speaker 2 (56:07):
Guess what I'm not.

Speaker 3 (56:09):
You know what they call that person. They call that
person the captains.

Speaker 5 (56:16):
Every now and listen, I can't say what I want
to say on this dream because I fuck it up,
fuck my ship up. But what I'm saying is everybody
is not meant to be a free thinker. Everybody's not
meant to traverse the shackles of whatever ideology that systemically
has been presented to them, like I'm not picking on Berg,

(56:38):
but Bird does what he does. He's hit maker, right,
he chases proverbial hits. Right, ain't perfect cool? Do that? Right?
But then you have other people who are risk takers.
You have other people who are trendsetters. Did Jermaine duprieze
of the world? Right?

Speaker 2 (56:55):
JD?

Speaker 5 (56:56):
To me is my goal? You top and everybody got
you know, they killed me for that. But he's my
number one? Why? Because JD never chased the sound. JD
has never and he there making all of the shit
and he will vocally produce because he's a producer. Right.
I don't expect Pete. Would you think? Do you think
Glasses is an elite MC?

Speaker 6 (57:17):
Yeah?

Speaker 4 (57:18):
From an MC standpoint, okay, I don't expect everybody to
be an e lead MC. Some niggas, I expect them
to be whatever they are.

Speaker 5 (57:25):
I'm not expecting every I'm not holding everybody to the
same esteem or standard that mustards at or Dot or
Jermaine Duprie or Timbling or none of these people. I'm
holding them to what they want to be. If you
want to be drive through cool, be a drive through.
If you want to be sitting down, if you want
to be five star dining cool, but all that like
trying to raise the bar on all these niggas that
don't want to be that, fuck them.

Speaker 1 (57:50):
Now kill them niggas. Now, all the niggas who don't
want to get down, lay down.

Speaker 3 (57:58):
And this is like a thing and like the.

Speaker 5 (58:02):
Gey, we can let them cook.

Speaker 1 (58:04):
Were all on the plantation, people on the plantations, because
right now you ain't white, you you with the coach.
We all on the plantation, Kiki, it's all of us
on the plantation. We all coming up playing.

Speaker 2 (58:13):
It's all. It's all six of.

Speaker 1 (58:15):
Us on the plantation. Were all six of us on
the planet. It's thirty of us on the plantation. Were
trying to make a plan to escape.

Speaker 8 (58:24):
Most of the work.

Speaker 2 (58:26):
He gotta don't work, all six of us trying to escape.
This is my thought.

Speaker 1 (58:32):
He had all six of us trying to escape. All
six of us trying to escape. It's thirty niggas on
the plantation. That's like, well, you know what masks say,
we shouldn't go nowhere. No, the thing is kill all
twenty four of them, motherfuckers. Now start with them before
you even get to the slaver. Start with them, for
you can get to the staving. Kill all twenty four

(58:55):
of the people. That's gonna tell, and then you kill
the masters. The problem is that we've been letting too
many motherfuckers exist. We've been letting too many motherfuckers exist
that ain't with the program. That's one thing that I
appreciate about game banging. If you ain't with the program, bro,
you're gonna get bumped off your bitch ass out of here.
It's way too much letting people just be cool and
shit and hip hop and oh you know what they're

(59:17):
just doing.

Speaker 2 (59:17):
No, you ain't doing shit. Kill his ass. Now.

Speaker 1 (59:21):
May fourth should be a lesson. That is how you
protect a fucking culture. Like that's how somebody's if they
don't think Beyonce.

Speaker 5 (59:32):
Is that was Charlotte He Finnah, join the stream. I'm
finish sitting the link, sitting the link.

Speaker 2 (59:37):
Kill that motherfucker.

Speaker 3 (59:38):
Now.

Speaker 2 (59:41):
That's why May fourth should be celebrated.

Speaker 3 (59:45):
That's why I agree on a thousand percent of that.
I think what's this is like? This is one of
those things. I mean, you can say it's bigger than
hip hop, but you could have strap it a similar
trend throughout like the entire economy by and large, you know,
like you have your innovators and then you have your copiers.

(01:00:06):
Usually the first guy goes down because there's that learning
curve where it's like the innovator's dilemma, so to speak.
And then the second guy comes in at the right
time and he makes all the money. He didn't come
with the idea. He just came at the other idea
that failed the second time at the right time, and
we saw that happen, and it's it's almost like this

(01:00:29):
moment was the moment that like a third operating system
was available at your cell phone store. Like I personally,
it's stupid and trivial. I think it's bullshit. In the
United States of America, I can't get an Android or
an Apple or I mean anything besides Android that those
are my only choices. I go to Hunt, I can
go to a thousand cell phone stores this country. I'm
getting two fucking types of apps period, you know. And
that's kind of what happened.

Speaker 5 (01:00:49):
You saw, like.

Speaker 3 (01:00:51):
We want safe, proven, proof of concept money, and that's
what this is. And that's kind of I think what
you were saying with like or head was staying with hitmaker,
Like you can step back and you can create a
new sound. It might work, it might not work. If
it works, you're the man. If it doesn't work, it's not.
Or you can say what's the hottest. I'm just gonna
do that and I'm gonna get that money.

Speaker 2 (01:01:12):
And that's what we have for And that's why niggas
who gonna sell out the movement killed them. Niggas now.

Speaker 1 (01:01:20):
Shout out to shout out to the only geno, Thank
you for that ten dollars had I left a body
in New Orleans for the right reasons, for the right reason.

Speaker 2 (01:01:32):
All I'm saying to y'all is this right.

Speaker 1 (01:01:34):
A lot of the ways we see the business, it's
based off of the last sixteen seventeen years. Sixteen seventeen years,
one person came, a foreign invasion happened, and they started
to try. They started to they colonize what was happening,
and then it made all of the music sound exactly
alike because people were pursuing, like he's saying, a check

(01:02:00):
or a bag. And this is what Head's point is.
It's like back in the day, you didn't pursue a bag.
You broke an artist. That's how you got your ship cracking.

Speaker 5 (01:02:08):
That was my point I was making to you when
you said, when niggas have the narrative that the industry
is keeping me out, No, they not break an artist.

Speaker 2 (01:02:18):
For a second.

Speaker 7 (01:02:19):
And here you got to understand that even at that
point in time, Bro, early on, UH labels was looking
for artists to sound like other artists.

Speaker 5 (01:02:26):
Why do you think niggas a look into a label.

Speaker 3 (01:02:28):
That's my ama.

Speaker 5 (01:02:30):
Everybody matter, right, this is the truth. Don't matter, And
I remember this, and this is the truth of the matter.

Speaker 6 (01:02:38):
Bro.

Speaker 5 (01:02:39):
When you when you I understand everybody's conditions. And God
has blessed us to be in a fortune situation, but
it hasn't always been like that. Me and Glasses by
ourselves when it got on a plane with no return ticket,
that's fact, you know what I'm saying.

Speaker 4 (01:02:52):
We didn't have money. We share hotel rooms. This nigga
had me on the whole stro in Oakland, in East Oakland,
we stayed in a hotel with nigga was.

Speaker 5 (01:03:01):
Bro. It was a nigga turning. It was a nigga
pressing a trick about his money in the hotel room
next door to us. But it's all facts. Nigga, We
don't have no nothing. I'm not speaking on I'm not
speaking from a place. I'm not speaking from a place
of privilege where I'm saying like, fuck the money, don't
chase the bag, and we all have life circumstances. Not

(01:03:21):
what I'm saying, but what I'm what g is saying,
and what I'm saying. If you want to be culturally potent,
that's that can't be at the forefront of your mind.
The forefront of your mind has to be I'm gonna
break an artists, or I'm gonna make history, or I'm
gonna take a risk, or I'm gonna do something that
knowing that's never been done before, or I'm gonna do
something extraordinary to the point where everybody's calling my phone
and I'm not looking for the adulation or the monetization

(01:03:43):
from somebody else. If you want to get industry, this
is not to you, bro, This is the indus. This
is to every artist. It's every artist that's watching this,
or any producers or anything like that. The industry is
not keeping you back. The white man is not holding
you down. Kendrick is not gate keeping it because he
didn't give you a retweet, or DJ is not holding
you back. Because you wasn't on to pop out or

(01:04:04):
none of that ship you want to matter, break up artists, it's.

Speaker 1 (01:04:09):
And so it just didn't got to a point to
where we let it really get here. And this is
what I'm saying, this is what may fourth is so important,
This is what so important because somebody took away something
that y'all use as a crutch for years.

Speaker 3 (01:04:26):
Had a quick question first for you guys in general,
like you talked about beforehand, like the for for lack
of a better word, we'll just say, the heisting of
preceding genres be it jazz, blues.

Speaker 5 (01:04:39):
Rock and roll, whatever.

Speaker 3 (01:04:41):
There's also been like I wouldn't say, like a time
frame where where like there was kind of sort of
organically a new sound that was created like within like
the broader I know, glasses, like the Turn, like the
broader community, quote unquote. But hip hop's it's been on
a pretty long run. It's it's close to fifty years. Like,

(01:05:04):
did do you guys foresee anything in the future where
like just culturally and like culturally and organically there could
just be like the roots of a of an entirely
new semi genre or whatever that could that could happen
that could kind of get in you know, wedget it's
its way into the into the space.

Speaker 5 (01:05:22):
I mean.

Speaker 2 (01:05:23):
So in other words, you're asking, do we see a
possible evolution, Yeah, like.

Speaker 3 (01:05:27):
A new genre popping up just on its own from
the from within the same culture that created almost in
sequence jazz, blues, rock, R and B hip hop, you know,
newstrated organically.

Speaker 2 (01:05:40):
You don't get techno.

Speaker 1 (01:05:41):
You don't get all the techno house are born out
of hip hop. So we got other genres that really
black people don't even really share in the space that
already were birthed out of hip hop, like technou like.

Speaker 3 (01:05:54):
Hip hop replaced a previous, like like full on replaced,
not like existed next.

Speaker 1 (01:05:59):
Hip ho didn't replace anything, right, it's everything still exists.
Hip Hop is just the thing that everybody wants to
do because it's the coolest thing to do. What's cool
is always gonna change. But you shouldn't really be doing
hip hop because it's cool anyway, like you.

Speaker 3 (01:06:15):
In the sense of as the cool thing in the
place at the time, like in that time and place,
you know what I mean.

Speaker 1 (01:06:21):
No, I agree, but that's what I'm saying you that
shouldn't be the reason a person is making music. Anyway,
you should do this because this is what you really
want to do. Hence, while we're telling the money can't
be the motivation, nobody's saying, be broke, but you gotta
really want this shit Like I hate where we while
I love where we at now, I hate where we're
at now because where we at now makes people dream lower.

Speaker 2 (01:06:42):
Hell was telling me a story this morning about he
did this news thing on Fox.

Speaker 5 (01:06:49):
Scare with me.

Speaker 1 (01:06:50):
I'm an collabor with y'all can check it out. But
he tells a story with me and Dot. We was
all on the tour bus right tech tour, and Kendrick
is like, man Glass, He's showing me these pictures, this
Corvette Corvett. Why look at him on the laptop and
he's like, man, I ain't gonna never be able to
get one of these. And I'm like, why, of course
you're gonna get one of these. They make thousands of
these motherfucker millions of motherfuckers on these cards because sometimes

(01:07:11):
where we come from, bro it seemed like these things
is far that we forget. This is math produced shit, right, somebody,
I'm telling my shout out to my Boxy Coach. Shout
out to Will that nigga was talking to me right now,
you're like glass, I was telling him, you almost have
to be deluded to be great to people like you
almost have to sound crazy.

Speaker 2 (01:07:28):
Shout out to Queen Lady Act she's in this chat.
I watched it.

Speaker 1 (01:07:32):
Lady take her career to another level, her obtain things,
make great records, and be proud of her accomplishment, and
then I watch other people try to tear it down
because she's proud of what she's accomplished. You have to
be deluded in this world to be great, bro, You
nobody can see the shit you seeing. Like like my
coach telling me right now, when I see shit, I

(01:07:53):
see it mathematically. My math go crazy so I can
make sense out of it. So when I'm telling him,
I'm like, you're gonna dream about something that thousands of
people make. Ferraris are mass produced. They not made by hand.
It ain't like it's one motherfucker making them. It's a
factory making them.

Speaker 2 (01:08:09):
Motherfuckers. How do you people be talking about dreaming about
shit that that thousands of people on niggas That means
it's thousands of ways.

Speaker 3 (01:08:18):
To see it.

Speaker 2 (01:08:20):
Because for sure all these motherfuckers ain't did the same
thing to get it.

Speaker 1 (01:08:25):
So what I'm saying to your point, Pete, is like,
we've already spawned that, but then there's a deluded thing
that has to happen. There's a delusion that has to happen,
and you have to allow yourself to be as great
as possible, and you do all the work to back
up what you're talking about, to learn how to be
what you are trying to be. My thing, when I
first got in this hip hop shit, I didn't know
what to do. I was just doing it because I could.

(01:08:48):
One day Kiki told me shout out to Kiki. He
told me said make glass. God gave you this for
me and other people. I thought the nigga was credible.
I would God give me something for the next nigga.
And ten years later I realized he was right. I
was like, oh, this it's not crazy because I didn't
give a fuck. Was that nigga told me said, man,
you was fine. He was gonna be fine no matter what.
It's other motherfuckers that ain't gonna be cool. So if

(01:09:09):
I set my expectations like I had them at that time,
where it was like, well, I'm making a living, I'm
taking care of myself. I'm straight, But then everybody else
is not straight. Little Jay get out of prison. He
don't got no job. He in prison again right now,
doing thirty years or whatever. Because I didn't look at
it for the opportunity that it is. Hip hop is
a different opportunity.

Speaker 2 (01:09:30):
This ain't no check.

Speaker 1 (01:09:32):
Ain't no check gonna take care of your family. That
just ain't a check, gonna take care of yourself, and
you can go, like I tell niggas, they'd be a glass.
I just want to make some money and take and
buy me a house. Go get a job, Go sell
some dope.

Speaker 2 (01:09:46):
If your only goal is to get in this thing
and make you some money and buy you a house,
ain't gonna sell some dope. Go get your job. Nigga
ain't got dated.

Speaker 5 (01:09:56):
I officially don't endorse with glasses alone.

Speaker 10 (01:10:02):
I'm not.

Speaker 4 (01:10:02):
I'm not telling you to do if you're that long.
I had an acting teacher tell me. He said, if
you want to be famous, go off the president. He said,
if you want to if you want to be rich,
go Robert Bank. Of course, it's an analogy. It's like
this ain't for that. This is for if you want
to be in acting, if you want.

Speaker 2 (01:10:20):
To take the bet.

Speaker 4 (01:10:22):
You know what I'm saying. This was like back way
back in the day. It's like, if you want to
be great, you have to really love this, you have
to go into this. And it's about many people.

Speaker 5 (01:10:31):
It's not about it.

Speaker 1 (01:10:32):
It's way been too many people making type beats, right,
type beats real life. There's way too many people for
the last fifteen plus ye're making tight beats.

Speaker 4 (01:10:47):
And Drake was making type music. At the end of
the day, nothing. He was making wonderful type music. And
I don't take that nothing awesome, but that's what That's
what the ultimate cause instances that when when you look
at it, he's making type music, looking at it saying, oh,
I can do that, I can do that, I can
do that. Let me go over here and say say slight.

(01:11:08):
Let me go over here and say slat, let me
go here and say slun okay, let me say let
me go over here and say we never sow.

Speaker 2 (01:11:14):
No fuck.

Speaker 1 (01:11:15):
We're talking being in an environment where they selling dope
out of abandoned house.

Speaker 2 (01:11:18):
Your has have no business making trap music. I'm tired
of niggas not respecting the culture of this ship. Respect
the culture of this ship.

Speaker 5 (01:11:26):
You're not gonna win that fight. G I know, but that.

Speaker 2 (01:11:31):
You may affect one person.

Speaker 5 (01:11:33):
I agree with you, but I hate Halloween. It's stupid
to me. That ain't gonna stop niggas from dressing up
like a power ranger.

Speaker 2 (01:11:40):
I'm not saying, but I also can't across the bow.

Speaker 3 (01:11:43):
What the fuck a power.

Speaker 6 (01:11:50):
You know what here?

Speaker 1 (01:11:52):
As much as you want to save everybody, you understand
you can't. But you gotta say the niggas that you can.
That's your job as a human. And I know you
hate this task, but that's the definition in.

Speaker 2 (01:12:03):
The verb of being a human. No no, no, with
you to care and to save humans.

Speaker 5 (01:12:10):
I do said, I pick and choose more the ones
that I saved, though I get know and you do it.

Speaker 1 (01:12:15):
That's better than where you started, facts and the house
the body is. I'm glad you have made it to
the next level to where.

Speaker 5 (01:12:23):
You at least like I have evolved. You've been You've
been only for years. So what I do is, you
know what I'm gonna do.

Speaker 4 (01:12:30):
I'm gonna call the fire department. I'm not gonna run
in the house I'll get a nigg out of the yard.
But I'm not running in the house the house on fire,
Champ like what you want me to do?

Speaker 2 (01:12:38):
But now and and I got it.

Speaker 5 (01:12:42):
I got you to do tomorrow. You know what I'm saying.

Speaker 2 (01:12:45):
I'm not saying cause certainly I agree with that, And
I'm not saying we.

Speaker 1 (01:12:50):
Just got to work one day at a time because
we got you making one call, because that's a good start.
But shout Out Too makes a great point. He said,
where do we go from here? That's the best part
about hip hop. Now, there's no way to know. You
actually got to really care about what's happening culturally, and
then you got to score the movement of somebody culturally.

(01:13:12):
You actually gotta make hip hop right. That's why the
last seventeen years has been miserable for me because I've
been listening to a bunch of pop music.

Speaker 2 (01:13:19):
Jay Cole, Shit be Poppy as Ill shout out the Cold.

Speaker 1 (01:13:22):
But I'm not saying not hip hop. Artist's not what
I'm saying. Cold don't get mad, but jo Shit been
the hell.

Speaker 5 (01:13:26):
Of poppy within a week, So you better be doing
Cold Cold.

Speaker 2 (01:13:33):
Know what I'm saying. You know, yeah, you know that, nigga. No,
I'm not tripping.

Speaker 1 (01:13:39):
I'm tired of niggas the last seventeen years trying to
make them forty type beats.

Speaker 2 (01:13:44):
The boy won the type beats. Now you don't have that.
Now you don't have that.

Speaker 1 (01:13:51):
Now you stuck figuring out how to score the movement
of some culture that you represent.

Speaker 5 (01:13:57):
Yeah, but what if they don't have culture to score?

Speaker 2 (01:14:00):
Gets your ass out the way.

Speaker 5 (01:14:02):
So you're saying they're occupying real estate that go that
is valuable real estate that can go to somebody who
actually you.

Speaker 3 (01:14:07):
Need to be imminent domained. There's that stupid empty lot
in the middle of the train track that's connecting City
A from City B. And somebody step in and say,
we're pulling this strip from you for the greater.

Speaker 5 (01:14:21):
Good no more. Yes, all right, cool, But then there's
just gonna be another another lot, and then another lot
and another lot that's blocking it.

Speaker 3 (01:14:30):
That's why that stupid high speed rail hasn't been built.

Speaker 2 (01:14:34):
Listen, it's not I mean imagine if God, imagine, if
DoD says, you know what, at the end of the day,
they gonna prop this nigga up, so I might as
well not kill him, or imagine in the revolutionary worlds,
Christmas addicts like, you know what, I'm not gonna fight
for this.

Speaker 1 (01:14:48):
They gonna like the English people that you don't fight
in that moment, thinking of what's gonna happen tomorrow, you
do have to be mindful. Imagine if Abraham Lincoln like, well,
you know what, they gonna slay these niggas tomorrow, I
might as well not free try my best to free them.

Speaker 5 (01:15:01):
Now.

Speaker 1 (01:15:02):
No, you gotta still do your big one. You don't
get the luxury of looking at ten years. But you
know what, in ten years I might be on crack,
So I can't make no money. Now what we got
we just stuck with this life.

Speaker 3 (01:15:16):
And in the greater scope of history, it's like you have,
like you know, your rail line that can't get built
or whatever else, and that eventually proceed precedes the invention
of the cargo plan and just fly over it faster,
cheaper anyway in time. So and that's kind of the
space where those things need to happen. It's like, look,
we've done this, it's max you self out. We need

(01:15:36):
to innovate some new experience that can then just overtake
that all.

Speaker 1 (01:15:41):
Tall No Silings Live the Lunch hour every Monday, Wednesday,
and Friday at noon specific pacifics. Then of the time
right here digital soapbots, click that thumbs up button. Se
me let everybody know you in the house. If you're
on Twitter, retweet this link on Facebook, share it. We
do this stream to support the No Selings pod. It's
a link below right there. Y'all can look below this

(01:16:04):
Subscribe to the No Sillans Podcast today, Man, got leave
a comment, let me know you subscribe today.

Speaker 2 (01:16:09):
Feel me. We do this to support that.

Speaker 1 (01:16:10):
You can listen to the No Senters podcast on Apple Podcasts,
iHeart Podcasts, anywhere you get your podcast from The No
Sentans Podcast Executive produced by Charlomagne to God, the Black
Effect Podcast Network, and iHeart and.

Speaker 2 (01:16:22):
We at this thing man. Much love of y'all.

Speaker 1 (01:16:27):
And looking out for tuning in to the No Sillans 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 a bout the Black Effect
Podcast Network and Notheart Radio.

Speaker 2 (01:16:41):
Yeah

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