Conversations On Why The Culture Is Rarely Wrong

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Keeps to the planet. I go by the name of
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Speaker 2 (00:02):
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Speaker 1 (00:47):
Watch up and welcome back to another episode of No
Senners Podcast with your hosts Now fuck that with your
load glasses Malone?

Speaker 3 (01:00):
Do where is everybody?

Speaker 1 (01:04):
H You should see your blind you can see all
your blind marks on your screen.

Speaker 4 (01:09):
Yeah, so I think it's because the lights behind me
or something. I don't know it's And then it's like
when I move back and it focuses on me, like
it kind of goes away.

Speaker 3 (01:17):
Mm hmm.

Speaker 4 (01:20):
I've been I've been trying to figure out about that
for quite some time. Probably defaced this situation in a
different direction.

Speaker 3 (01:26):
Yeah, it's just that time.

Speaker 1 (01:28):
Yeah, No, I'm not mad at the idea that works.

Speaker 4 (01:34):
It's not another They also sell cotton candy there. Well,
there's nothing really special about that. But what if you
sold rock candy and it came in a little, you know, container,
like like if you was, you know, buying a crack
rock single.

Speaker 3 (01:50):
I like that a lot. M I Just the way
I see it is like.

Speaker 1 (02:04):
If we're asking people to spend their money, you know
what I'm saying on hip hop? I mean like in
the eighties it was different, Like like the only way
you can get street urban culture out of Compton, right
was when NWA came to town. Yes, fast forward, you know,

(02:27):
forty forty years. They just got so much access to it.
So the concert is more about social currency than actual culture.
I mean, just being the place that everybody says, this
is the cool place to be. I've heard kids reference that. Now, Oh,
this is where everybody was at. I mean, that's the
place to be, even if they didn't fit there.

Speaker 3 (02:49):
Like so, and that's.

Speaker 4 (02:55):
Like you see fans at concerts spend more time. Everyone's
looking at their phone, filming the fact that they're there,
and no one gives a flying fuck about the show.

Speaker 1 (03:03):
No, no, And you almost can't be mad because social
media created this thought of it all. You know what
I'm saying you You almost you can't be upset because
it's like social media makes everybody a star in their
own right. So if you're not making content that caters,

(03:25):
if you're not making content that caters to to the
audience so they can get engagement on their own posts,
then they won't really share it with you. That's why
a lot of the like the dance challenges are doing well.
You know what I'm saying, things that create engagement, Like

(03:47):
people would just make shit up just to have a
conversation going.

Speaker 3 (03:50):
They don't even give a damn if it's true.

Speaker 1 (03:53):
So I've been thinking about that as I'm about to
start rolling out all of this new music and I've
been passing it to all of my homeboys, from Kendrick
to Problem to everybody. It's like, Yo, the experience needs
to be very like you have to immerse yourself in
that experience. You have to immerse yourself in it, you

(04:14):
know, I mean you have to allow excuse me, other people
to immerse themselves in that experience. So like, like this
video I'm doing for this song I'm about to put out,
it was an idea about a court case, right, Like
I needed to make it real, Like I have to
take it from just being entertainment and then making it

(04:35):
real life.

Speaker 3 (04:36):
And it's a few different ways to make it real life. Right.

Speaker 1 (04:41):
But then so that's the video, right, But then you know,
even setting it up that needs to work with the
actual video, right, So the pre roll out to the
actual single in the video being released, right, you have
to set it up to where you know, I mean,
it caters to that it needs to be again, you
have to make it to where people that want to

(05:02):
support your shit can immerse themselves in it.

Speaker 3 (05:05):
And then even the.

Speaker 1 (05:06):
Posts Brod, I like, because this idea, like for this
video is like about a court case. Like even the
party I'm gonna do after or the live event I'm
gonna do after is more or less like a party
that's rooted in the same thing. Like it's all the way,
it's all the way, and I think it needs to
be all of the way. I mean, I think it

(05:30):
needs to be all the way, and I think it
needs to be all of the way. I don't think
we really got much of a choice. No Ceilings Live
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(05:51):
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Speaker 3 (05:59):
Here.

Speaker 1 (06:00):
We do this stream and support the No Sentners podcast.
Look below, no fresh episode this week. I think I
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one something that's deep, some stuff being on my mind.
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(06:22):
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Speaker 3 (06:23):
You can check it out on Apple Podcasts.

Speaker 1 (06:25):
iHeart podcasts, anywhere you keep your podcasts or get your
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to get going with this shit.

Speaker 3 (06:38):
Shout out to the whole lunch table fast. What's the deal?

Speaker 1 (06:41):
No cut squish, Nick klip Monette, what's heading a tree?

Speaker 3 (06:44):
Watch that my low? Everybody down the arin?

Speaker 1 (06:48):
What's up? What's your definition of culture? I got you?
Lex Derek's heading him? My definition of culture. Culture is
just lifestyle, right, It's the way a group of people live.
Culture is a lot more rooted in location than everything else.

Speaker 3 (07:05):
What up there? But that's the same conversation, right, It's like.

Speaker 1 (07:14):
People want the whole thing, you know what I mean,
They want the whole thing, Like.

Speaker 3 (07:22):
They want you to really entertain them.

Speaker 1 (07:26):
People are demanding, you know, they're demanding full experience for
their money.

Speaker 3 (07:31):
So it's either whatever. It's either.

Speaker 1 (07:36):
Give us a full immersed like let allow us to
immerse ourselves completely into this cultural thing that you that
you're selling us whatever this perspective and culture is, or
it's something that's gonna just benefit us, right where like
somebody can post it on their Instagram and get comments
and likes, because that's all it really is people want

(07:58):
their own engagement. They don't just want to be a
part of your engagement. Now they have to maintain their
own platforms complete with their own engagement.

Speaker 3 (08:07):
So it's like you have to see it all the
way through.

Speaker 4 (08:14):
You have to for the latter, and people like to,
I think be part of either the first or the few.

Speaker 3 (08:20):
You know.

Speaker 4 (08:20):
That's why I mean like there's a limited number of
seats of a concert, That's why I think people posted
they're there.

Speaker 3 (08:25):
If it was.

Speaker 4 (08:28):
The grocery store would be quite such an event, you know.
And people like being the first endo a thing always well.

Speaker 1 (08:38):
So as an artist, I can't really speak for other
artists for me, but as an artist, right, it's like
a big thing to me is making sure people that
support me look good or look relevant. Like a lot
of the things I want to achieve as an artist
is because I want people who support me to feel
like their God got it all sure, you know what

(09:02):
I mean.

Speaker 3 (09:02):
Like now, I don't know if that makes me unique.

Speaker 1 (09:05):
And I also have a hard time with using the
word fan I don't think anybody's a fanatic of glasses alone.
That just sounds asaline and I guess because I'm not
a fanatic of somebody. I was telling Manny today, like
we're talking about Kanye, and Kanye was talking. He was
complaining because he felt like no blacks labs were speaking
up on his behalf, you know, with his children, you

(09:28):
know what I mean, saying his children were being indoctrinated
by this white woman and his culture and and nobody
speaking up. And he said something to the effect at
the end of the tweet was like, he said something
to the effect of like, oh, well, I bet you
people feel like I had this comment or I knew

(09:51):
this was going to happen. And Manny was saying, how
did he know this was going to happen? And I'm like,
because the woman you were saying with your dream woman
was already indoctrinated the same way like she she didn't
really value morality, That wasn't her cornerstone of value, you
know what I mean, Or whatever her morality is. You
knew it was different than than how we grew up.

(10:14):
You grew up anywhere like me. So it's like, what
type of mother did you think Kim Kardashian was going
to be? You know, did you not think that she
was gonna have her kids online? No? Did you not
think her kids were? And again, like I don't quite
know everything. He knows that's their father, you know what

(10:35):
I'm saying. So, but you know what, which part of
this is there's nothing that's happened so far that has
left my expectations on the type of parent you know,
Kim Kardashian is you know what I'm saying, Like, I
don't quite know, you know what I mean, Like, what

(10:55):
exactly did you thought was gonna happen?

Speaker 3 (10:58):
And I don't And I don't know enough to see
why he's.

Speaker 1 (11:01):
Complaining just yet, Like I think they posted a picture
of his oldist. She was like, I think the auntie
posted the picture and said, oh, you know, she looks grown.
And it's like she didn't look grown. She looked like
a little kid, you know, maybe with makeup on. But
I mean, it's send him over the top. But that's
why I think some of it is disingenuous, you know

(11:23):
what I mean. And that's the thing about I like
about the lunch table, Pete, and I like about talking
to you, like, you know me pretty decent, you know
what I mean. You have a good idea of who
I am, and you know most of the things that
I do are genuine, even if I'm not able to
carry him out. When I'm saying it, I think I'm
going to be able to do it. Or if I
speak it, I really believe it, right, even if you

(11:46):
had to correct me at times or give me more
detail or anything, like, I genuinely believe it. So, no
matter which platform, since I got into this business, ninety
nine point nine percent of the times, you know what
I'm saying, ninety nine point nine percent of the times,

(12:06):
everything is genuine.

Speaker 4 (12:09):
Sure.

Speaker 1 (12:10):
Yeah, So it's like I just genuinely think it's a
lot of disingenuous thoughts to what he's saying. I think
he's he does things to sway the general public to
want to be on the side. It's like he again,
he's a marketing savant, but sometimes you can see right
through the dumb shit.

Speaker 4 (12:31):
Yeah, he seems kind of to me. I mean, just
like your typical arsenal with a fire extinguisher.

Speaker 3 (12:41):
Arson with a fire extinguish it. That's funny.

Speaker 4 (12:44):
I mean he goes and starts fires and then comes
down with a superman k pulls out the fire he started.

Speaker 1 (12:51):
Yeah, and I don't The scariest part is to believe
he genuinely believes the shit he could be talking about.
I mean, that scares the fuck out of me, Like,
what if he really didn't believe this is the kind
of mother she was going to be?

Speaker 4 (13:11):
Oh, I mean compared to what.

Speaker 3 (13:15):
M I don't know. I genuinely just don't know what
to say.

Speaker 1 (13:23):
I don't know, but I I don't know, man, I
just don't quite know what he feels like. I don't know,
And I guess that's what I didn't really care about
the earliest albums is like I felt like they were
just generic and straight through.

Speaker 3 (13:40):
I think they were. I think they.

Speaker 1 (13:42):
Were scientifically executed to matter to people.

Speaker 3 (13:47):
But you know what I mean, Like, I don't know.

Speaker 4 (13:53):
I think it's kind of Back then, he was more
I feel like, preoccupied with the musical part, and then
is kind of rapping so that he could be the
guy with his name on the thing, you know what
I mean. I don't think he was necessarily preoccupied that
much with as he is now. I think he transitioned

(14:13):
out of being like I'm going to showcase my ability
to create music, and then I'm going to showcase my
genius world perspective into manifestations in various ways and outputs,
because it's not even it's about music much anymore, as
so much as assists this avant garde outside the box thinking,

(14:38):
you know, showcase he's perpetually involved in.

Speaker 1 (14:45):
And I guess that's the point, like flushing an idea
genuinely in no so when I'm doing it, I almost
have to be able to get into the character right.
I almost have to be able to get into the
character right, Like I'm stuck having to get into the character.

(15:06):
So like being you know, on the dawn of probably
like some of my greatest stuff in hip hop is
like damn like I had to Not only I used.

Speaker 3 (15:17):
To always say an adhd shout out to Lex from
that community, but.

Speaker 1 (15:24):
I used to always say, like hip hop is we.
And I realized that in twenty fifteen. For sure, even
before I completely understood what hip hop was at a
basic level, I always knew it was we. But even
now more in twenty twenty five, I understand the responsibilities
more than ever. Of week I was, I did the

(15:44):
community Monday with Pun and Ad and I was just
telling them, like just talking to him and reinforcing to him,
you know, like reinforcing to them like, man, this is
your role.

Speaker 4 (15:55):
Same thing with.

Speaker 1 (15:58):
I was telling t Real. I'm like I was speaking
to both of them. I'm like, this is your role.
You know what I'm saying, This is your role. This
is your role. I mean, this is your like you
have to. So I think that's why artists like Tupac
is so Artists like Tupac are so great, Artists like Snoop,

(16:20):
they represent a great movement, you know what I mean.
And they understand we like ice Q to me, was
supreme at understanding we. Sure, I mean years year, you
know what I mean, he always understood week. So like
taking this and then making it WE but then really
embodying WE in every aspect culturally, you know what I'm saying,

(16:43):
Like that we And you know when I say culturally,
I'm speaking specifically on street arimon culture from Los Angeles,
you know what I mean.

Speaker 3 (16:50):
But then they do have connecting points.

Speaker 1 (16:53):
Right at at connect they do have connecting points, you know,
ghet or to get it's certain things that's gonna be
the same in the ghetto of Queens and the ghetto
of Memphis is going to be certain things.

Speaker 3 (17:06):
Sure, So.

Speaker 1 (17:10):
I'm telling this tear from a man's perspective, How would
you feel? How would I feel about what? Know, you're
a man, how would you feel if you couldn't see her,
have her say your kid's life? That would just never
happen to me, Like that's the point of being an
outlaw teer, Like that just wouldn't happen to me, you
know what I'm saying. Like I'd be in prison, That'd

(17:31):
be the only way I would be away from my kids,
or in the morgue, you.

Speaker 3 (17:35):
Know what I'm saying.

Speaker 1 (17:36):
It's just not the Law's not gonna tell me how
I'm gonna do my thing. That's just not gonna happen.
So it just depends on you know, what kind of
person you are. So again I'm not here to judge.
I don't know how you parents, you know what I mean.
And I don't know how she you know, mothers, Like
I don't know how she parents.

Speaker 3 (17:58):
You know what I'm saying. I don't know.

Speaker 1 (18:00):
Like shit, again, he's bringing a private conversation publicly, you know,
for you know, marketing branding himself.

Speaker 3 (18:09):
Right, It's like I don't quite know what's.

Speaker 1 (18:12):
Going on behind the scenes, and I have no idea,
But I'll tell you this much I looked at that
picture and I didn't think much of it. I mean
I didn't think much of it. Well, Ms Tea is
not fair to say help, because my help was do
not marry this poor ass woman. Don't marry this woman

(18:36):
who is mora really low. I mean, that's the help.
Once you do it, you got to help yourself, listen,
Miss Tia. Like my mom, when I was in high school,
I started to sell drugs, right, that was the thing.

Speaker 3 (18:49):
I sold drugs.

Speaker 1 (18:51):
My mom tried to hit me with her car. She
busts my mouth wide open. She did everything in her
power to make sure that I didn't sell drugs.

Speaker 3 (19:00):
My dad.

Speaker 1 (19:01):
I hid it from my dad every time I probably
went to jail for selling PCP, probably somewhere six to
eight times. You know what I'm saying, six to eight times, right.
I've never called my mother or father from jail, never,
not one time, because I knew they did not want

(19:22):
me selling drugs. I knew they did not want me
selling drugs. You can't cry wolf when everybody told you
do not get with this woman. Every last person said,
do not get with this woman. Even the reasons he
wanted the woman were probably not great reasons to want

(19:45):
a woman, even comparing him comparing the woman of his dreams,
he said, to this white woman who was like morally
all over the place and had a bunch of you know,
rumors and gossip out on her, said that the things
that was motivating him were just weird, Like why would

(20:06):
you select the woman based off of those things? Did
you see her sex tape? And you know with Ray
jam was like, this is the right woman? You feel me?
Did you like? What about Kim Kardashian pre you getting
with her? May Cus think to himself, this is who
I want to marry and have children with.

Speaker 4 (20:27):
I think that and of itself is like the Kanye
experience in the microcosm. It is it's extremely narcissistic, and
he doesn't understand clearly the separation between the idea of
an image and the practical implementation of the idea behind

(20:49):
it in real life.

Speaker 1 (20:51):
I would love to think what was the things going
to his mind that made him look at her and said, man,
this is the woman of my dreams.

Speaker 4 (21:00):
I don't think he thought about it like that. I
think he thought this woman solidifies the image of my
dreams for himself.

Speaker 1 (21:12):
See, but I don't even think that. It's like, it's
one thing that and you know what, this is an
issue I do have with the world. It's crazy. I
was on the Sign of yesterday listening to rocket Man
and just realize rocket Man.

Speaker 3 (21:26):
Is about drugs. Oh yeah, right, and.

Speaker 1 (21:32):
Where this is the scariest thing, right. Kanye represents this
generation of people that genuinely are just motivated by things
that the public say is cool, like the mainstream public, Like,
it's no way you feel me.

Speaker 3 (21:54):
You look at you look at.

Speaker 1 (21:57):
Him and especially where she was at and thought to youself, Hey,
this is the woman of my dreams. This is my wife.

Speaker 3 (22:06):
Like that's like if you saw a porn star.

Speaker 1 (22:15):
I don't know.

Speaker 3 (22:19):
Shout out to Joe Yea. He was blinded by the
money and fame.

Speaker 1 (22:23):
His father was a black panther, so it's no way
he kept his morals and values from his parents. Wasn't blinded, bro,
this was his thoughts before that. He said as a teenager,
as a young young teenager, he had Marilyn Monroe posters
on his wall. It's not money and fame blinding him.

(22:44):
He liked her, But I think he liked her and
wanted her for every wrong reason.

Speaker 3 (22:50):
That you want a woman.

Speaker 4 (22:52):
He wants to be an icon. He wants to be
a icon. He's preoccupied with just pure how big and
how bright can the star be and everything else. I
don't think he realizes he has to live a daily
life in between all those iconic moments.

Speaker 1 (23:15):
And that's where I think I give him the most
credit as a as a talent. For me as a talent, right,
It's like he understood what it took to get in position.
He's one of the greater people to ever come through
this space that we call hip hop and really know what.

Speaker 3 (23:35):
It takes to get there.

Speaker 1 (23:37):
Like he knew the type of woman that would make
him more popular, he knew the type of music he
needed to get black people behind him, he knew the
things he needed to say. Everything about him is planned.
He knew exactly what needed to happen.

Speaker 4 (23:54):
I mean, look at even from to take Marilyn Monroe's example,
the two best baseball players of that era by far,
Ted Williams, thank you about.

Speaker 1 (24:08):
The Snaka King. Know we've been working walking this whole time.
He wait till the halftime show then just talking about
bringing me into something else. That's what I've been saying though.

Speaker 3 (24:18):
Good leading.

Speaker 1 (24:19):
Huh, that's not something else you just asked, he what's happening?

Speaker 4 (24:25):
I like that strategic crescendo that you applied to.

Speaker 3 (24:30):
Fuckhole.

Speaker 1 (24:31):
I'm sorry, I'm late, you guys. You know he ain't
sorry late. He was in here the whole time. Yeah business,
But instead he was like, I ain't gona miss it.
I'm just pop in when I want to pop in.

Speaker 4 (24:42):
It.

Speaker 3 (24:42):
Thas man looking sharp though, look at me as a
bad picture, don't they?

Speaker 4 (24:47):
Man?

Speaker 3 (24:48):
It's terrible.

Speaker 4 (24:49):
But I think fifty sixty years later, how much more
iconic is Joe demag Jo than Ted Williams for baseball
players that are virtually eye to eye, And the difference
was one of them was tied up with Marion Morroe.

Speaker 3 (25:05):
Thebauchery. Yeah no again.

Speaker 1 (25:12):
I think these are the conversations about, you know where
kind of culture keeps you grounded. You know what I'm saying.
I think these are the things that keep you grounded.
The street irving culture keeps you grounded because it's no
way possible you was thinking about that when you decided
to when Couz decided to turn that woman into a housewife,

(25:37):
that is none of nothing about being black nothing about
street irving culture. Nothing about that for me, has anything.
I think he understood what it takes, like you said,
to be a pop icon, and he knew that the
pop icons that he really looked up to, this is
the way they did their things.

Speaker 4 (26:00):
Yeah, he comes off the magnitudinal spike and transition of
you know, pre and posts Beyonce, jay Z and he
probably got a little over el I'm gonna find the
next most famous chicken. She's gonna be even more I
wanna say, controversialists, but like more, you know, conversationally.

Speaker 1 (26:28):
Shout out to d and the Shah Man was love
chump Dog. What up y'all told us to deal?

Speaker 3 (26:37):
I don't know.

Speaker 1 (26:40):
Again, Like I said, I think I believe in hip
hop in another way than most people, even some of
the greater and more successful talents that have came through.
I think I believe in it in a different way.
I think I genuinely believe in street urban culture in
a much more unique way way. And I think some

(27:03):
people it's funny because we talked about post Malone.

Speaker 3 (27:08):
We talked about that and not.

Speaker 1 (27:11):
Just sad baby the dude, you're wrong, you sign that
song of fisetto because we talked about people who use
hip hop to move their themselves into these gigantic pop spaces.

Speaker 3 (27:23):
Mm hm, you know what I'm saying, but I don't know.
You said you use hip hop like a stepping stone. Yeah.

Speaker 4 (27:32):
I think that's very clearly what we're dealing with in
this case.

Speaker 1 (27:41):
So now, but no, he trying to kick the stepping
stone over so nobody else can step on it.

Speaker 3 (27:48):
That's what I don't like. That's what bothers me.

Speaker 1 (27:51):
It's like, I'll be investing in it, don't wait till
you that made your business. Now, the next generation of kids,
you don't want them to invest in Nation struggle because
you for sure ain't signing nothing from the street.

Speaker 3 (28:04):
Nothing.

Speaker 1 (28:05):
You ain't signing nothing from the street. Cause not signing
nothing from the street. He not signing nothing like that.
The closest he got to signing something from the street,
Cauz was like push your tea and pushing t was
already a platinum BAC at that point, you know what
I mean, Which I don't know. But it's funny because
he's been complaining this whole time about the kind of

(28:25):
people around, and it's like, you got a bunch of
people around that's just like you. Yeah, you know, you know,
like itself. That's why you really don't like hisself. And
that's what I'm starting to believe, very true. Yeah, and
that's what.

Speaker 3 (28:39):
I'm starting to believe.

Speaker 1 (28:40):
My late topics is Okay, Yeah, I think it's no consideration.

Speaker 4 (28:51):
You deprived the audience of twenty six minutes of this insight.

Speaker 1 (28:57):
Yeah, you're right, huh, I'm so sorry. Yeah, anyway, but
I don't know, I don't know, I don't know. He
was talking so much shit about people, but I mean,
this conversation wasn't really about ya.

Speaker 3 (29:18):
It just went there based off of that.

Speaker 1 (29:19):
But the point I was saying initially before we made
this right turn down this dark alley, is that's what
I do think works for him as as a as
a brand. He goes all the way through that motherfucker
does not stop. I think it only works for us

(29:41):
because as a black hip hop culture, we just say
we don't give a fuck no more. Whatever he do
he do, we don't go up against him. We just
be like, whatever, dude.

Speaker 3 (29:51):
I mean.

Speaker 1 (29:52):
But that's but that's how outside of maybe somebody punching
him in the face and him having a squabble as friends.
That's really the only thing it should We shouldn't be
trying to silence him. We shouldn't try to silence an artist.
But that's why I said, that's why it works for him.
You know, I don't know if that's why I don't
think this is I don't know. I think if we
try to silence him, it'll just be an explosure or

(30:14):
implosion with him. But since we don't, he just freed.
Just like a firecracker, he just blasting where he won't well,
I think he should be able to m That's why
I said it works for him. I don't know, man,
I think if you came from the culture and tried
to do what he do, it wouldn't work. But the
culture will step up and really have some words because

(30:36):
you come from the culture. He come from the street
urban culture. Since he doesn't. That's the difference. That's why
it works. Would be tripping about him.

Speaker 3 (30:44):
That's why it works for him.

Speaker 1 (30:47):
It's funny, No culd, I have no cured like shout
out to the homie No culd that Nigga said, I'm crying,
he said, g to your point, we yeay might be
the most me fan me first man in hip hop history. Yeah,
that's true, that's true. Shout out the dog walk. Why

(31:10):
does he need violence on him?

Speaker 4 (31:12):
Not?

Speaker 3 (31:12):
Y'all gotta stop thinking a fight is violent.

Speaker 1 (31:16):
That's that scares me sometimes about this new age of thought,
like fight don't always mean violentce somebody need to kick
your ass.

Speaker 3 (31:23):
Sometimes you need to be disciplined.

Speaker 1 (31:25):
Sometimes you need to know there's consequences that can come
with offending people. What happened with violence? Yeah, it's like love.
I get it is violence and is really laming dictionary.
But culturally speaking, everything is not just violence. Violence is
going too far. That ship is like a discipline.

Speaker 4 (31:44):
That's that's my issue with like that. We're in a
generation where we're on the other side of established case law,
you know. So like like my dad's generation talks about
getting fights into Yeah, you could get in the scuffle.

Speaker 1 (32:02):
Joe, that's not years ago. Now. Fight does not lead
to lead all, dearity, where do y'all come from?

Speaker 3 (32:07):
No, it don't either.

Speaker 1 (32:09):
Y'all haven't been in the fights that y'all talking about
places y'all not familiar with.

Speaker 3 (32:12):
Every fight does not lead in the lead.

Speaker 1 (32:14):
The community ain't into that disposition, you know what I'm
saying that it's not.

Speaker 4 (32:19):
Just statistically true. I mean like the number of Yeah,
it's way more for yourselves versus number of severe assaults
or not one to one.

Speaker 1 (32:27):
Yeah, they're not close. It's not every fight leads to it.
Sometimes you gotta just y'all gotta stop being so fucking
scary and so timid. Every fight doesn't lead to that.
I think that's Kanye's biggest problem is nobody punched him.

Speaker 3 (32:41):
In his fucking mouth.

Speaker 1 (32:44):
Like he can say anything, He can say what he
wants about this person. The reason I don't just say
anything I want to say is because I have to
decide if this is worth defending, like which level it's like,
it's okay he can't say what he want to say
and it shouldn't be against the law. But that don't
mean no body jay Z should punch him in his
fucking face. That's really what should happened. Don't fuck his money,

(33:06):
whoop his ass? He need ass whooping. A ass whooping
might really set him back straight. Yeah, but he might
turn around sue for sure, you got right. You need
a poor motherfucker hit him in his face.

Speaker 3 (33:22):
He might soon shout out the dibord bag photography.

Speaker 1 (33:27):
I've learned a lie from getting punched me too, and
and and that's it's one of the greatest teachers. You
know what I'm saying. But y'all gotta stop. But and
and and dog walk forgive me dog I know you disagree,
but this is sometimes why, like I have to know
what's better and not listen to y'all. Y'all, y'all are

(33:49):
way too scary and ridiculous. You know what I mean.
When it comes to some things that humans need, you
can't just say what you want to say and don't
think you go get your ass whipped. That's okay, It's okay.
Somebody should whip Kanye as that's the one thing street
urban culture should agree with all of us say. Kanye

(34:13):
needs to get his ass whooped. That's okay. I'm not
saying we need to let people jump on him. I'm
not saying we need to five or six of them
saying that. I'm not saying you're scary dogs. I'm saying
scared of something happening to him. He'll be okay. But
I'm telling you, like, that's how you really decide how
you're going to proceed when you know the consequence that
comes with it. Right, now Kanye does all of this,

(34:35):
it feels like, Okay, I have money, there's no consequence, right.
And it started simple. He started defending the people that
gave him the money.

Speaker 4 (34:44):
Right, And a lot of this does reek of femininity
in the way that it's being presented and all of that,
and that does have to do with a life of consequences.

Speaker 1 (35:01):
Shout out to Joe ge. Tupac thought he could just
throw hands as well.

Speaker 3 (35:04):
You know the result.

Speaker 1 (35:05):
No, Tupac and friends beat the ship. Seven people beat
the ship out of somebody. They was lining him up
with kicks in the face. If that man would have
went over there and started a fight and they fought
head up, he wouldn't have shot his motherfucking ass. But
that's different though, He's not different. No, he started off
saying that Tupac had hands. We're not saying Kanye got hands. No,

(35:25):
he said he could just throw hands as well.

Speaker 5 (35:27):
No, get out of him participation that, but that he's
talking about the specific incident that that that's.

Speaker 3 (35:37):
Responsible for him dying.

Speaker 1 (35:39):
It was nine people that kicked the ship out of
him with hard bottomed shoes walking through a fucking casino yeah,
them niggas was getting shot.

Speaker 3 (35:46):
They okay, yeah, you know what I'm saying.

Speaker 1 (35:49):
Shout out to Phanto, what's up, hey boy, welcome back
to the nuns table. There are people who get punched
on the end up with brain damage. It's a tight rope, glasses,
It's okay, but you should know that.

Speaker 4 (36:00):
This is the point.

Speaker 1 (36:01):
Yes, you could before you were talking, this would happens.
It gets your ass, will.

Speaker 4 (36:08):
Suck the consequences out of the room.

Speaker 1 (36:10):
Shut out to I am miss Tia. It's not scary.
You can't just punch on grown people and think nothing
coming after that. Miss ta out and punched on a
lot of grown people and if some come behind it,
that's fine too, But you can't be that.

Speaker 4 (36:23):
All that aside from a cost benefit of analysis in
the macro, there needs to be a consciousness of the
risk that your own behavior has no you know, responsibility
to to to your own to to the people that
you're behaving at, you know what I mean. Like the

(36:45):
few times where somebody might come back and do something
that cost is outweighed in my opinion, by the complete
and total disregard for personal conduct now that people have
because they know the cost is So that's my issue

(37:05):
with like, you know, if you clock somebody at a bar,
now you're probably getting arrested. You probably gotta you know,
you might get sue all the rest of it. The
cost of intervening on something that used to be a
low cost, it's not very high cost. So not the
only people that do get into fights are fucking maniacs.

Speaker 3 (37:23):
So no, I disagree that they have to be maniacs.

Speaker 4 (37:28):
I'm just listening the one percent of people that are
willing to take on that cost. I say you're a maniac.
It's like a relative to like it used to be,
fifty percent of people might be willing to do something,
Now one percent are because you know, I'm gonna get suit,
I'm gonna go to jail. Most people don't want to
do that. So to say I don't give a fuck
suit going to jail, it's a very narrow strip of

(37:48):
the population that.

Speaker 1 (37:50):
The economics has to play with. That shout out to KWA.
Majority of folks give yill. Now, that's why nobody fights.
Didn't go right to gun play. It's way more fights
than y'all think it's happening. I think those be those
kind of reckless talking points because you looking online, I
see fights all the time. I rarely see shooting. I

(38:11):
see fighting. I see fights down there once a month. Somehow,
you don't really see shooting, you know what I'm saying,
It's not as often as you think. And I think
that's his issue. I think Kanye or not just him,
but it's a lot of rappers who be jawjacking. It's
a lot of people who be jaw jacking and don't
put themselves in a position to be accountable for what
they saying. You gotta say what you want to say.

(38:33):
Like one thing I pride myself in, I'll say what
I want to say about a motherfucking be right in
the room with that motherfucker. But that's also why, like
I said, when I was arguing with Coach a couple
of streams agoing, I was telling him there is nothing
that I said that I wouldn't say to Drake. Now again,
that's not I'm saying like I wouldn't. I never called

(38:54):
the man out his name on Twitter like I ain't.
Never was like a bitch ass nigga. Never If I say, man,
that's some sucking shit, you going to the legal system,
cause the nigga, dish you and you sewing. I was
tell him that to his face. If I say, man,
you lost that battle, you got smoke, nigga, he's a
dead aut. I would say that to his face. If
I say whatever I'm saying, I would say it to
his face. And this is a nigga that's okay with fighting,

(39:16):
you know what I mean. That's that's with fighting. I
still just don't go around saying shit because I can.
I don't go around back when he's a bitch ass nigga, ain't.
I don't do all that. If I think you're a
bitch ass nigga, I'm just gonna fire on you in
that way show you. I'm not finna call you out
your name. I just don't talk like that. We're gonna
fight if that's the case. So that's what I'm telling Coach.

(39:37):
I know when it is disrespect because, like you said,
I would have no problem if if if somebody came
on this No Salious podcast telling them exactly what I'm saying.
You know, I mean talking what exactly I'm saying, like
saying exactly what I'm saying, like all read all my tweets,

(40:01):
like anything I ever said about a rapper or Drake
or anybody else. I said to them right there, I
don't think it would be a fight. Now, that's not
to say that person couldn't get upset and so in person,
Oh yeah, it's not. But I don't want it to
not say it's not a fight because he's some kind
of not he's that nigga's a man. So I'm saying

(40:21):
I wouldn't feel like I offended him. And if he'd
be like, man, I didn't get smoked, Like that's a
difference of opinion. If he say, man, gee, you putting
up dead ass. Man, I'm teasing your fans. Y'all lost
a battle. He know what I'm doing, because know what's
up with me. But again, it's like, even if I'm
explaining to him why he's not hip hop, are you
gonna he want to fight me over that? Nigga? You

(40:42):
disrespect me?

Speaker 3 (40:42):
You saying I'm not hip hop?

Speaker 1 (40:43):
Fuck No, I don't give two fus about that ship.
I don't think you'll fight anybody over anything. I think
you have to turn into something else of disrespect. I'm
sure he would fight motherfucker over disrespect me. He a man,
got a Penish. So I'm sure he'll fight a man
over disrespected him. But I'm saying that's what I'm telling, coach.
I'm sure I haven't because I'm the type of person

(41:04):
I'm not gonna say something like when I'm saying that Kanye.
Even Kanye is a little bit more heightened specifically, but
I still wouldn't. I don't think there's nothing I said
because period, you feel me that I wouldn't say to him,
I would cuts him out.

Speaker 3 (41:20):
We probably I actually want to fight.

Speaker 1 (41:21):
I actually would want to fight him because you know
why how somebody you support so much and they just
hurting your feelings here, coach, if you listen here about
to fall off the fence to fight. No, for sure,
I want to fight Kanye. Yeah. I don't want to
hurt Kanye, not like I want to put him in
the hospital, Like I don't want to destroying, but I

(41:44):
really want to punch him, like beat his ass for
tough love. Yeah, like you got us look at crazy
and stuff. What is you doing? Why are you doing
this shit?

Speaker 4 (41:51):
Bro?

Speaker 1 (41:51):
Stop being so fucking selfish because think about us, Think
about tie, cause you got tied over there. You know,
these people writing his checks why would you do that?
You know what I mean? He being a bad homie.
He go out to everybody every day, go out to
somebody sick, and it's like, you feel me, like, cuz,
what the fuck? Where's the weed? How is this about you?

(42:14):
Cause you are fucking Kanye Wes Cuz fuck you already
got you you out of shoe as popular as Geordan
because you can't even wo fuck nigga shit, that's funny,
Like fuck man, you know what I mean. So I
would want to fight him because he's in my top
five cousin. I love this nigga. I would want to

(42:36):
punch his ass, you know what I mean? I would.
You know that hurts my feelings, but not like I'm
mad I want to hurt him, But I really want
to punch cuz it shot out the dog walker. He
don't owe nobody nothing really, that's true. But I do
feel like he owe me dog and that may not
be right. This is the emotional side of it, and

(42:57):
I could admit it so just so you can notice
the difference. This is the emotional side. I disagree with
all that he has gotten in life. He owes something
it may not need nothing, Yeah, but he owes society something, appreciation,
you know, beating something, all that. I mean, owe something,
even if you respect them people in real life. He

(43:19):
doesn't owe anybody anything, but neither do I. I don't
owe you nothing but these fucking hands, you motherfucker.

Speaker 3 (43:26):
Why no, I will respect until you disrespect me.

Speaker 1 (43:31):
I just really want to punch. Like we could just
take a little squab in the backyard, like even he
might win. You never know, like we be talking shit,
put hands on the nigga, But at least I feel
better about the ship you talking.

Speaker 3 (43:45):
I need to see because I need to see.

Speaker 1 (43:48):
You gotta show me, bro, you talking way too high power,
because you gotta.

Speaker 3 (43:51):
Show me we're trapad for this one.

Speaker 1 (43:53):
No ready, man, that nigga got show me cause you
talking way too high power. There's way too many bitch
ass niggas coming out your wealth punk ass niggas, all
this coming out your mouth. Cuz I need to see.

Speaker 3 (44:11):
We're going to Japan next week, Pete.

Speaker 1 (44:14):
See. Yeah, I need to see because I need to see.
I need to see. I need to see because I
need to know you better handle yourself because all this
high power shit, you jaw jackie, Because I need to
see show me. Can we step out here, because I
got about ninety seconds for you, because real quick, that's
all I need to get. Because once I get the
ninety seconds, then I'm gonna know right off the rip.

(44:35):
Gim me right off the back, like like the Homi
four extras just came home, right off the back, because
I'm gonna know right where you at with it. I
need to know where you at with it because if
I still don't, cuz he like, why did you do that?

Speaker 3 (44:47):
Ah? I quit? This is gonna be on TMZ that
you put an offer out the fighting.

Speaker 1 (44:56):
I definitely want to fight. Yeah, I say this is
gonna be on my other fucking feelings. You got me
looking crazy and bought all these goddamn CDs to spend money,
your motherfucking acts up here making us look crazy, and
ship wear this fucking kool club clan out talking about
you pissing.

Speaker 3 (45:12):
Off these people the whole fucking minute of some time.

Speaker 1 (45:15):
You just talk bad about different black people wearing a
ku Cluz clan outfit. Yeah, I need the slide cut
tip tips for cut hands and tips.

Speaker 4 (45:25):
That's fair, that's fair.

Speaker 3 (45:28):
Don't hit him in the jar man, I'm for sure.

Speaker 1 (45:31):
No I just slapped that job. You know, I ain't
gonna slap him slap like I slap him in a
bad jall come, but like I wouldn't try to because
I don't want to hurt him as much as I
want him to know. You need to say this knowing kind.
They don't just go from zero to death because he
talking about some and and don't try to send your
goons to kill me. No, they need to send one.

Speaker 3 (45:52):
Person to whoop your fucking ass.

Speaker 1 (45:54):
That's what I'm saying. You ain't said that. And the
thing when that cool clus pointing at the camera talk
on some you know, don't try to send nobody to
kill me.

Speaker 3 (46:03):
He really think he liked that? Huh man?

Speaker 1 (46:05):
I swear to God and he might be and I
just don't know fee me. But what I am saying
is I need to see. That's the one thing about
l A Street ever culture. When I first came out
rapping niggas was like, yeah, glasses, niggas had to see
niggas found out real fast. It's gonna go that way
every time. I'm okay with that, you know what I mean.

(46:29):
But a fight ain't gonna hurt that nigga. Man, and
I agree you right, it's a simple fight. And and
and it be at least a fame with a nigga
that ain't gonna try to really hurt him. If it's me,
I'm not really gonna try to hurt him. I'm just
gonna punch him cuz what you out here doing? Like
and if he do any of that, oh man, well

(46:49):
why is we fighting? Cuz that's why you shouldn't be talking.
See that that changes it now when you gonna talk
to him hitting him, that's how I fight, you know,
because that's a different level of a fight. Yeah, that's
how I fight. I don't fight, man, I don't fight mad.
I don't get mad. I'm not finna do all that.
Some people could take that, you know, and talking down
disrespect you, I'm not. I'm not gonna. I'm gonna be

(47:12):
explaining him why why would you marry this bitch? And
now you mad at us?

Speaker 3 (47:15):
Oh, he ain't gonna call your shots?

Speaker 1 (47:17):
No, I'm not. I'm not.

Speaker 4 (47:19):
I'm not talking about Mohammad Ali.

Speaker 1 (47:21):
Yeah you know, I'm just telling this motherfucker as you
got us out here looking bad, because you need to
stop doing this so punk ass ship. Then if he
talks ship. I don't got nothing else to say, because
at this point, you took some punches to be able
to say that.

Speaker 3 (47:33):
Yeah, but he didn't take your good shots though.

Speaker 1 (47:35):
No no, but because I wouldn't hear kinde past then no,
no task because he gonna feel everything I throw. But
it's just like, you know what, and it's not fair.
But I do feel like he olways to represent her
that they're going for hip hop culture.

Speaker 3 (47:49):
Who his ass?

Speaker 1 (47:54):
That's how we got whoopings in syllable. Oh god.

Speaker 3 (47:58):
Yo.

Speaker 1 (48:00):
Not to do this shit, mother fuck up.

Speaker 3 (48:06):
Fact.

Speaker 1 (48:06):
You know what I'm saying, And I think that's all
you need. You know what I'm saying, like not to
hurting nobody. Shit. I don't want nobody to hurt Kanye
bro like and I know a lot of people that
get mad at me. Bro.

Speaker 3 (48:17):
I don't even want him to be in a hospital.
You feel me, I agree that.

Speaker 1 (48:22):
I don't know. Dad, Dan said, I'm projecting my personal feelings.
I think I feel like this for all of hip hop. Dn.
I think me and hip hop are in agreement that
this is how we feel. He said, for sure, you
know what I mean. But now I was saying this

(48:44):
to say that. I think culturally we have to take
the whole that's the whole thing. I think people want
a full experience, and I think you know the people
out there that the public endears themselves to our people
at this point that are looking to give them a
full experience. Now, once you get to the top of
the mountain is different. But until you get to the

(49:05):
top of the mountain, they'll take a full experience without
even people that's good at making music the longest it's experienced,
people supporting it. Long as they believe you about the
shit you say you about, they gonna support you. They
don't even Like I was telling Coach that day, he
was telling me, like post the fuckers don't know what's
good music. Who the fuck got tied to know you work?

(49:28):
If a motherfucker work as a fucking pharmacist, what the
fuck do you know about music? All he know is
what he like or don't like. And that could be
a bunch of messages shout out to Don dub name
another free black billionaire that never compromised to get to

(49:49):
that level.

Speaker 3 (49:49):
That's calling out the bullshit.

Speaker 1 (49:51):
He what do you mean he didn't he of course
he compromised he talking about the people that paid him,
everybody that paid him, Don, that would be the compromise
he was. He was them people favorite friend until his
deal was up. What do you mean, what do you
mean shout out to Dan? I didn't say that Dan.

(50:13):
I can't jump that way. But I think because he
acts like he is, he should be in trouble. Of
course he compromised Dan. That's the biggest Don, that's the
biggest problem. That's my whole issue is the Wait a minute, nigga,
You was these niggas favorite partner in the world. You
love these niggas. You never said none of this shit
when you were signed to the label. You were signed
to these people for He was signing UMG through death
Jam for years, since two thousand and three, all the

(50:35):
way to twenty twenty one. What are you talking about?
He did it deal with the data's knowing who they was.
He did it deal with everybody knowing who they was.

Speaker 3 (50:43):
But he said name of Vin here. That didn't compromise.

Speaker 1 (50:46):
Yeah, name another free Byron Allen. Again, everybody is gonna
have to do business Byron Allen with.

Speaker 4 (50:52):
Other people if they were to made a found Yeah.

Speaker 1 (50:55):
No, he's doing the Weather State. He owns the weather
He's the comedian, the black that's comedian. He about the
weather station's fighting with cable TV because they won't to
let them get some stations.

Speaker 3 (51:06):
Gotcha, He's fighting them guys right now Byron Allen.

Speaker 1 (51:10):
It's called being fake in industry. But look, I get
it that now. I don't know y'all know how many
records you had. I don't know how many people in
this industry. Is your friend as somebody who've been in
this industry even now, you know, probably on the verge
of doing another deal right all this. Look, these people
are transparent. All these people transparent. You know who they are?

(51:33):
Even all these people names that y'all starting to hear, Lucian,
The people ain't really They're not like these people that
you think they are. Don't let the type of social
media fool you.

Speaker 4 (51:44):
Like.

Speaker 1 (51:44):
These are some people sitting back and all these niggas
was friends, all these people's friends, and it wasn't like
they did something. All these people do the same thing.
None of these people fake. Stunner Man ain't fake, Lucier
not fake, Elliot not fake. None of these people fake.

(52:05):
None of these people fake. None of these people fake.
All these people regular real people. You know, me and
you in business with him, So it's not like Kanye
played a role to get somewhere. That's who Kanye is.
He looked up into him until he thought he had
as much money to him, and then he still look
up to him. He's just mad right now. You don't
got a record deal. He ain't said one of these

(52:25):
things when he had a record deal. That has nothing
to do with fake. I mean, I don't I don't
know if he's faked for turning on the people he
made money with.

Speaker 3 (52:40):
I don't know, man.

Speaker 1 (52:41):
I think they just spent a lot of time gassing
people up and just making people get behind bullshit ass movements.
That's certain, you know what I'm saying. I just I
think alvanized. I think they understand how to galvanize the public, right,
they know how to more mobilize people. And then he

(53:01):
don't really have a real plfe that's the problem. He
doesn't really have a real life.

Speaker 4 (53:08):
He does.

Speaker 1 (53:10):
Real play.

Speaker 4 (53:12):
His real plight is the fact that he can't handle
being himself inside of his own head.

Speaker 1 (53:21):
Hold on Don Dave, so a nigga can't look behind
the curtain and change his strategy. Yes, shut out to
byron Ella. Don he been behind the curtain since two
thousand and four. He didn't say nothing until he wasn't
behind the curtains in twenty twenty two. Don, you're not
being honored, You're not like you know what, I get it.

(53:44):
Nigga genuinely want to be down with that dude, Like
he's a brilliant man. He in my top five. Shit,
I can't order, I can't say shit. But also I
ain't going for the bushit. You can still be in
my top five. And I talked shit about his motherfucking
dog ass Fuck that nigga, you bush it. Hell no,
you didn't look behind the curtains and change. He didn't
change no strategy. He just mad. This is the best thing. See,

(54:07):
he didn't have to do all this shit when he
was signed to the money. When he was signed to
the to the machine. The machine got enough money to
put you everywhere at once, let alone a nigga like
him doing some dope ass shit. They could put you
everywhere at once, and then you could exposed some dope
ass shit. You know what I'm saying. But at the
end of the day, he understands this is the only
way to get the same type of press. And really,

(54:30):
in this really crazy way, he's really showing you the
power that you could have as an independent artist.

Speaker 4 (54:38):
That's kind of right. I was about to sales, like,
is it that or is it that he isn't at
risk of, you know, getting a contract canceled, so now
he can say that for he wants.

Speaker 1 (54:51):
What's funny is it's like he never looked behind the curtains.
He didn't see what is it? What would he be
mad at? What could a dude be mad at? What
could you I was signed to a label again, this
is this would be my third or fourth record deal?
What the fuck could you be mad at? What could

(55:12):
you if you're a real hustler, bro, what the fuck
could you be mad at somebody else? Spending all that
money they give you twenty five percent?

Speaker 4 (55:21):
I mean he doesn't perceive risk appropriately.

Speaker 1 (55:25):
Like percent.

Speaker 3 (55:27):
You don't spend a dime, you go ten million to
do what you want to do. I like to know
the risk be of that deal.

Speaker 4 (55:34):
The risk is you don't know if his product is
going to make more money than it's worth you or
not as the money holder, and then when it does,
he thinks I got screwed because he doesn't understand before
it's been determined that it's worth it or it isn't,
there is risk, and risk has a premium price.

Speaker 3 (55:53):
Yeah, yeah, you're right, especially because of record contracts. You're right.

Speaker 4 (55:57):
Yeah, I mean even shoe contracts. How, I mean how
these shoes had this guy sold?

Speaker 1 (56:02):
You know, shout out, he's a lame. He's the only
child Sybil. Shout out to be bra. He said this music.
He's about controversy, you know what. Yes, but he's a
marketing savant, but he's not grounded. He's not rooted in

(56:23):
street ur been coaching. And that's the thing where it's
like you will throw us under the bus. God damn
oh y'all being mad if I wear this Nazi shirt,
But if y'all talk about fighting and shooting each other, nigga,
that is not what the Nazis did. The Bloods do
not do what the Nazis did. I get that. That's
a lazy take. Yes, people die at the hands, but

(56:44):
one group of individuals are in a fight, and.

Speaker 4 (56:49):
I hate that he you know where it's where he's
missing it. It's like the Nazis on their eastern front
fighting the Russians out of the concentration camp, in which
case none, They're just any other combatant.

Speaker 1 (57:07):
You know what's funny, Crazy shout out to be crazy.
He said he hates his own He always have. Charlamagne
said the same. He's been telling me that for years. Crazy,
and I fought him, and I think you're right.

Speaker 3 (57:17):
I think you're right.

Speaker 1 (57:19):
I cannot believe I'm saying Kanye West is like George Bush,
but I think he really does hate George.

Speaker 3 (57:30):
George Bush was genuinely like what the fuck? George Bush
look hurt the first one, the second one.

Speaker 1 (57:37):
The second one, he looked genuinely hurt when he was
like I remember seeing his face and I was like, oh,
that's real.

Speaker 4 (57:44):
I've heard from from people like that, are you know,
like think tankers that are way inside of his zone
that he was really bothered by that, Like personally.

Speaker 1 (57:55):
If you saw his face, he was like, I was like,
I think this motherfucker wouldn't.

Speaker 3 (58:03):
Have this you're talking about.

Speaker 1 (58:05):
So Kanye West on a telethon where he was raising
money with Michael Myers, the actor, and they were talking
about Katrina.

Speaker 4 (58:14):
This is around Katrina powers.

Speaker 1 (58:15):
Michael Myers, Yeah, I think that's h and Kanye was like,
George Bush doesn't care about black people, and it was
like I remember thinking, like, damn, that was some solid ship,
you know what I mean. George Bush ain't helping obviously,
I don't know about politics. Yeah, so it's a bunch
of politics and how the federal government helped state. Now again,

(58:37):
I don't know because I don't know the power. This
is more pete state that he knew about politics. But
I remember seeing George Bush face and I was like, damn,
he looked like he really was bothered that this motherfucker
said that that he don't like blacks. Yeah, And thinking

(58:58):
about it now, I think George Bush still be like
bitch ass.

Speaker 4 (59:02):
Now that's why he's friends so much with o'baf names.
Yeah what Michelle like cry out her shoulder and ship
like that.

Speaker 3 (59:15):
Shout out to tree.

Speaker 1 (59:16):
I think he hates that we don't act the way
white people act towards us, towards them. You know what,
I don't believe that because I think he just like
he said, he wants to be mean to white people.

Speaker 3 (59:27):
That's what he's.

Speaker 4 (59:27):
Says towards us, towards them, the way white people act
towards white people.

Speaker 1 (59:31):
He said, I think he hates that we as black
people don't act the way white people act towards us
towards them.

Speaker 5 (59:40):
So like with this, I don't believe that because Catastrophe apologized.

Speaker 1 (59:45):
I know he's always everything about loves white people. He
loves white people like everybody he talked about, he loves
white people.

Speaker 3 (59:55):
So he wants black people to love white people like
he do know he So this is what And I
don't think Tree is right.

Speaker 4 (01:00:01):
He wants white people to not like white people.

Speaker 1 (01:00:05):
He wants he wants black people to be racist towards
white people. That's what I said. Oh that's what he
was saying. He thinks he wants. But I don't believe
that Kanye loves white people. Kanye love white people. He's
genuinely loves white people. He loves white people. And for

(01:00:27):
years Charlotamagne told me, I'm like, man, this is Kanye West.
He can't be He was like glasses. His affinity for
white people is absolutely scary. It's a comfortability for him. No,
he just it's greatness. He only can see greatness at
the highest level in white people. And I mean, don't
be wrong. There are some pretty awesome, great white people
in America. I mean, Walt Disney is pretty great, Ralph

(01:00:49):
Warren is pretty great. Like, there are some great white people.
But it's just weird for us because it's like we've
been taught, especially like he's like almost a little older
than me. Like maybe by the year or two we
were taught to find black people. We had like we
ain't in the forties. We have some pretty dope brothers
to look up to. You, I mean, sh Niggas, Magic Johnson.

(01:01:11):
You know, you got some all kind of dope brothers,
you know, Malcolm X at that point, Martin Luther King.
It was a lot of dope brothers. And he was like,
I want to be Walt Disney, I want to be
Steve Jobs. I want to be in my dream woman
is Marilyn Monroe in the eighties, well, in Janet Jackson's eighties,
in Holly Berry's nineties.

Speaker 6 (01:01:33):
So there's any way to confirm how is the finest woman?
That statement, how is the how is the woman of
your dream? In the same era as Janet Jackson's eighties.

Speaker 4 (01:01:46):
Here's here's here. Here's my personal opinion on that statement.

Speaker 3 (01:01:50):
He took a dead woman up.

Speaker 1 (01:01:52):
I don't think he was.

Speaker 4 (01:01:55):
When he said it to be provocative. I don't think
that it was true.

Speaker 3 (01:01:59):
Oh that's true.

Speaker 4 (01:02:00):
I think he said it. You think it was true.

Speaker 1 (01:02:02):
He actually said he got his dream woman because she
was the modern day Maryland Monroe. No, he wasn't playing.
He's serious. So he just wanted a hole because that's
what Maryland was, and he got it.

Speaker 3 (01:02:17):
But I think he saw Marilyn Monroe listen.

Speaker 1 (01:02:21):
So there is a there is a there's a thing
specifically about him that I think he sees past these
general consistus things like the term hoole.

Speaker 3 (01:02:28):
Okay, but I don't think.

Speaker 1 (01:02:30):
He quite But I think because he's not as anchored
in street urban culture.

Speaker 3 (01:02:34):
Don't get me wrong. It's in Chicago, nigga.

Speaker 1 (01:02:37):
But his Chicago in it is like in Chicago is
like one of the blackest places.

Speaker 3 (01:02:41):
I mean, you've been in Chicago, nigga. It's like nigga.

Speaker 1 (01:02:44):
Chicago is like nigga, that's fuck soul, that shit blues, nigga.
It is black black. Yeah, Chicago like outer space black
like Chicago and Detroit. Yeah them ship's black. So but
also I think his mother and a professor, you know,
what I mean, raising him in different environments, trying to

(01:03:05):
keep his mind free so she could cultivate something special.
I lived on campus with his mom. He lived in
a like a suburb part they moved. You know, she
probably stayed on him with good programs, and you know
what I mean, like she was, she was on her ship.
And I think somewhere along the line, he just started
to see things in this very general sense, you know what,

(01:03:27):
like more like Malcolm, more like Martin Luther King. I
had a dream, you know what I mean, more like
he you know what I mean, And he had a
dream like and I think that's the creed of his life,
is like I had a dream. You feel me. So
it's like I get it. But Malcolm X died when

(01:03:48):
I've been to the mountaintop. It makes sense now since
you said, you know what I'm saying, And I think
that's what it is. I think he's always had this
thing where like white people like, it's one thing to
be raised. And forgive me for lack of better term,
for give me for a better term of saying white
people like. I hate that word because it can't it's

(01:04:08):
not about every person. It means that the ship weighing
down on our head. It's like he saw Walt Disney.

Speaker 3 (01:04:17):
Is fucking great, Steve Jobs is fucking great. You know
what I mean.

Speaker 1 (01:04:21):
These are some great men and.

Speaker 4 (01:04:24):
Some a little impolite that I'm projecting out of what
I think might be in his head. Sure, there's just
because of size and scope of markets and a lot
of capacities. I think he perceives there to be an
astrocis like because I remember watching something one time back

(01:04:44):
in the day where he said Michael Jackson was bigger
than Black.

Speaker 3 (01:04:47):
Right, yeah, all these same people.

Speaker 4 (01:04:50):
Yeah, well OJ wasn't big like Michael.

Speaker 3 (01:04:54):
Jackson, my dad and himself.

Speaker 1 (01:04:58):
Bigg is Michael Jackson biggas Jordan's in America movies.

Speaker 4 (01:05:05):
All the people that's social and transcendent.

Speaker 1 (01:05:07):
So all the people, all the people like my dad.
I think we're too young. JA was like a really
big big deal. Him and Jim Brown like way different
than we see it because I think we got the
version of O j we got is a little bit corny.
I mean, he was out there, but not like how
they saw him. He was like this, He was Michael

(01:05:29):
Jordan of his time. He was just over the top athlete,
running back from colleague proes. He went to sc right
and he's just like, so, I think it was like
this big deal.

Speaker 4 (01:05:40):
Yeah. To be honest with may, I think he perceives
there to be an asterisk of you know, like you're
a big deal for a black guy kind of kind
of thing. And he thinks, I want to be the
biggest period, you know, so, and I think that for

(01:06:01):
that reason, he goes, well, this is a from a networks,
who are the five for just people in the world,
those guys, I want to be richer to that or
whatever the fuck it might be. You know, like it's
preoccupied with that, you know what preoccupiers trying to transcend
any preconception in his own mind, of his own limitations
of perception by the public.

Speaker 3 (01:06:21):
And that's how his mom raised him. That's what I
was ready to say to you.

Speaker 1 (01:06:24):
And I don't know if she's wrong, Lord knows, I
have no right. I'm not even a parent, let alone
a parent of Donda West's level. Like it's a she's
another level of a parent. She another level of a
sister rest her. So she's a she's a top notch
type of person to raise this boy to think he
could be you know, whatever he wanted. And I think

(01:06:47):
you are supposed to raise your kid that way. I mean,
but you supposed to raise your kid also knowing that
they are black. And that's the balance.

Speaker 3 (01:06:57):
She didn't do.

Speaker 1 (01:06:58):
And I don't know if she didn't do the ballance.
I don't know if that's right, you know what I'm saying.
I don't know what's right. I think this is what
it looks like when it's not over instilled in you
that you're black.

Speaker 3 (01:07:07):
And I don't know if she's wrong, because maybe it
does limit.

Speaker 1 (01:07:10):
You, you know what I mean, Maybe it does, you.

Speaker 3 (01:07:12):
Know, like he has a disdain for blackness. Let's just
call it like that.

Speaker 1 (01:07:16):
Well, hold on, I'm glad we're having this conversation because
now y'all pushing my thought.

Speaker 3 (01:07:20):
I'm glad you said that.

Speaker 1 (01:07:21):
But it's also because black in America has been limited
this whole time. So I don't know.

Speaker 3 (01:07:26):
If that's the problem.

Speaker 4 (01:07:32):
I want to say that again, pot me. Yeah, I
think he has a what was the word he said
about He said equality? He said doesn't like black people
or something like that, Like, what was the word that
the king used?

Speaker 3 (01:07:46):
Disdain for black people?

Speaker 4 (01:07:48):
Yes, I think he has a disdain for the preconception
of of limitation that goes along with that. I don't
think he dislikes the community. I think he I think,
if anything, he's trying to separate himself from the greater perception.
In that regard, he wants to be if you want

(01:08:09):
to be Steve Jobs, Like, how many of those all
time are there for you know, in that level five ten?
I mean it's it's it's it's bigger than.

Speaker 1 (01:08:22):
You know.

Speaker 4 (01:08:22):
At that point, you're just a novelty act. And he
just kind of think wants to be that to me.
I mean, honestly, I don't know him from a hole
in the wall. I don't really follow what's going on.

Speaker 3 (01:08:32):
But but he has no love for the black culture.

Speaker 1 (01:08:35):
It seems like, well, because I think I think what
it is is, well, he has love for black art
for sure. I mean maybe not how because again black
culture is such a lazy term, the street urban culture,
let's use that then.

Speaker 3 (01:08:51):
No, because that's not his thing, you know what I mean.

Speaker 4 (01:08:57):
I think he might have probably pursued getting into a
different I mean, unless he's That's why I think his
whole thing is just self righteous fan, you know, Like
I think he if he really had, like that much
of an issue with black culture and his own identity,
he would have gone and been, you know, just a
pure fashion guy or gotten into gone to college and

(01:09:22):
tried to be like a violin player or an orchestra
conductor or some shit and do something completely different. Just
didn't just completely just go away as far as he
possibly could go, which I don't think he did.

Speaker 1 (01:09:36):
Shout out to DT, what up can y'all doing way
too much? YEA realized that there's another door he can't
get into. Yeah, all of us knew that.

Speaker 3 (01:09:44):
I knew that before I started walking in the room.

Speaker 1 (01:09:48):
Shout out to Lucky Lawrence from Chicago, tough combo for
blacks migrating. We always wanted to be included in their institutions.
That was truly the end of UH. That was truly
the ending of Black Wall Street is when they created integration.
But it also probably is the worst thing. Shout out
to Roughie and TV going hard she did. Kanye is

(01:10:10):
just laying he doesn't hate black people, he hates the
concept of being black.

Speaker 4 (01:10:14):
It's not that dissimilar to that.

Speaker 1 (01:10:17):
Shout out to be Brace sellout. Yeah, looking crazy, you
calling him uncle Rutgies. No, that's probably a push, not
Uncle Ruggies. Don Again, I think we're having the right conversation, right.

Speaker 3 (01:10:34):
It's like.

Speaker 4 (01:10:36):
I think you know what's like, there's a scene. No
one's gonna know this. I'm a total Seinfeld nerd. Well,
people might know that, but they're not going to know
this aspect of this particular part of Seinfeld. George Costanza
in the show was never viewed as a guy with
any character whatsoever in any way, shape or form. At
one point in time, he's dating a girl's got a
kid to have a birthday party, and at the birthday party,

(01:11:00):
something in the oven starts to burn, so their smokes
I think there's a fire. He throws all the kids
and old ladies out of the way to save himself.
He didn't hate everybody at the party. He just he's
He's just all about George.

Speaker 1 (01:11:15):
He wants to be the black version of everything white
and great name brand says, and that's what I don't think.
I think that's the I don't think he wants to
be the black version, wants to be white.

Speaker 4 (01:11:25):
I just think he wants to be the biggest and
he perceives the two or he perceives if not being
I don't think he perceives white to be the greatest.
He perceives there to be a connotative stigma with being,
like like you could be the greatest black person and
you're still, you know, not the greatest of all. I
think he's trying to just alienate himself from from that

(01:11:46):
and then so he's throwing out the baby with the
bath water.

Speaker 3 (01:11:48):
So to speak.

Speaker 1 (01:11:52):
He's more like Tom dub than Uncle Rutgies. I think
so yeah, I like that. I'm not mad at that.
Shut out to Kiki, welcome to the lunch table, welcome back.
I don't know why Glasses can't accept Kanye is just
a square and been square until he got some bread.
Hey man shout out to p hate speculating on how

(01:12:12):
a man feels. So I say he acts like the
guy that has been hurt or rejected by a woman
and takes it out on every man after as I
see he treats the coach or I'm crying. I'm not
mad at that. I'm not mad at that, and that
really could be, but you know it's funny. I think
that's him and Drake. I think Drake. I think Drake

(01:12:35):
has declared war on black women because like somewhere along
the line, the black women didn't see him in that light.
And as soon as he got in that light, he
was like, I'm fucking all of you bitches nothing, all
of y'all. Mouse, Yeah, I mean, I'm not feinna marry
none of y'all. I'm not finna get no baby stilling
of y'all. But it's punishment, and I think, you know what,

(01:12:55):
I'm not.

Speaker 4 (01:12:56):
Sugar Free said that. Sugar Free said that about himself
and his own words.

Speaker 1 (01:12:59):
Shout out to shout out the Kiki. Those are great
points together, you know what I mean. When you're thinking
about it, I think, but I've been saying this for
a while, right, I've been saying this for a while, Bro.
There is a group of modern people over the last
twenty five years that have came into this business and
declare war on the streets.

Speaker 3 (01:13:20):
True.

Speaker 1 (01:13:21):
Yeah, like they have like they are mad. It was
like they can never sit at the cool table, and
they like, now that I'm here, I'm finna get all
these niggas out the table. Like it's people, right, It's
people trying to It's people trying to get rid of
certain people off the streets like gang members. I agree

(01:13:43):
with you, right, that it's happening. And it's like they
declare war on the streets and here we are, and
that's what it seems like it's happening. And it's like
even Kanye like, I hate I hate street niggas in
y'all street niggas. Why why are you generalizing that? And

(01:14:04):
what do you mean y'all street niggas? Like when is that?
You know what I mean? He be like, fuck y'all
street niggas.

Speaker 3 (01:14:14):
What did he want to get beat up?

Speaker 1 (01:14:17):
Why niggas the streets didn't do nothing you, we didn't
take nothing from you. What the fuck is going on?
And I think that's the problem. And now you look
every day and certain fans of certain artists, right, they like, yeah,
y'all think y'all cool. Y'all think y'all cool. You know

(01:14:40):
what I'm saying, Like that shit really happening.

Speaker 4 (01:14:44):
Is it fair to say that this all ties up together?
And that he hates the fact the guys from the
street have the potential to damage his imation, his perception
at large from people.

Speaker 3 (01:15:04):
Nobody from the street was trying to damage.

Speaker 4 (01:15:08):
No, I don't mean they're trying to do it on purpose.
Just their simple existence in the way that they do
things threatens his great perception that he feels he is
due from the rest of the world.

Speaker 1 (01:15:21):
It makes sense, Pete, I'm not the credibility. I think
you're talking about the credibility of being like.

Speaker 4 (01:15:27):
These here making themselves look stupid. It makes me look
stupid because people see them and see me. So they
did like that whole thing. So I just hate them
all together. And everything they do, everything they stand for,
everything do, everything they stand for, reflects negatively on me,
my association and in that whole you know, Okay, I
literally think that his entire concept of a good day

(01:15:49):
or a bad day is how glorified versus not glorified
was I today?

Speaker 1 (01:15:56):
That's just kind of how I went to cornballs who
never had a voice in school. Now we know why
fucking cry oh man shout out to p He talks
about it in his early music in the constant reminding
he was the backpack polo wearing etcetera, etcetera. It's clearly

(01:16:20):
a chip on his shoulder, that is true. He do
be mad about that, and it's like.

Speaker 7 (01:16:26):
Yeah, yeah, yeah, ah, yeah.

Speaker 1 (01:16:39):
You know, what I'm struggling because I just thought about it.
His mom could have raised him, like my mom shout
out told Olivia Restaurer's soul. We could have moved to Lakewood,
and she moved us to Compton, to the Richland Forums
in Compton. The forums are like an affluent black It's
as affluent as you can get in Compton. They's still Compton,

(01:17:01):
still Compting, but it's as affluent as you can get
in Compting. And I remember my mom telling me this
at like four or five years old, and it's funny
because I was right at forty five.

Speaker 3 (01:17:11):
I remember my mom told me forty years ago.

Speaker 1 (01:17:12):
She was like, y'all couldn't moved yaut of law, but
I wanted y'all to have a black experience, right. That
was something I remember her saying to me at five
years old, like you know what I mean, And she
understood that I needed to see myself as a black man.
And I think some parents are raising their kids to

(01:17:33):
not see themselves as black men. I agree, and not like, oh,
I'm trying to sell out type of not seeing myself
as a black man, but like, no, you could do anything.

Speaker 3 (01:17:44):
You could go out and do anything, you know what
I mean.

Speaker 1 (01:17:47):
And I don't think Dnde's wrong, Like, I don't think
if that's how she did it.

Speaker 3 (01:17:51):
Again, I'm speculating. I don't think it's wrong.

Speaker 1 (01:17:54):
But then because blackness, like I always say, like being
humane Pete right is you're aspect and care for other humans.
Blackness is your same thing for other black people. So
like I could imagine think about it, right like, I
had all ap classes, my grades. If I would have
grew up in Lakewood, I would have probably had this

(01:18:16):
weird look towards black people, like, oh, we could all
make it. I made it. I'm black versus like being
a gang banger, right like. And it's weird because I
never growing up. I didn't really want to be a
gang banger or I didn't even think about it like that.
It wasn't nothing.

Speaker 3 (01:18:30):
That's just the homies. That's where I grew up at.

Speaker 1 (01:18:33):
But I understand why God pushed me through that path
because it made me have a different thing for other brothers.
I realized everybody mother wasn't like my mother, every like
my homeboy. Some of my homeboy moms was on drugs.
Some of my homeboy dads was in prison, you know
what I mean, And it shaped their mind different. And
I was always you know, I was always conscious and

(01:18:57):
sober enough to see everything, and I was never scared
to ask questions. And I realized that everybody didn't have
the same even though we all grew up houses next
to each other. My dad lived in wives one hundred
and seventeenth Street, my mom lived in the Forums. All
of our experiences were different, and I could see how
theirs was way more painful, everything way more painful. And

(01:19:21):
I was like, that's why I stand up so hard
for the streets. Like when Sherry or certain people say that,
and I'm like, y'ah, I'm not having that. You can't
tell me because I saw this with niggas. I saw
the world beat them down. I saw the world beat them.
I saw the world beating my homeway Moto dawn rested.
So I saw it. I saw my own eyes. I
remember my mom fed him, you know what I mean,

(01:19:42):
because Sue was going through what she was going through.

Speaker 3 (01:19:46):
He had it harder than me, He had it harder
than I did. But don't you think he's old enough
to not have his mom influence If it's going the
wrong way, like it's negative, you know, connotation, but I don't.

Speaker 1 (01:19:59):
I don't think.

Speaker 3 (01:20:01):
I don't think it's negative.

Speaker 1 (01:20:03):
You know what I'm saying. I don't think it's negative
what Kanye was going had going on, even even right now.
I don't think it's negative. I think he doesn't quite
understand how it's like, you have the.

Speaker 3 (01:20:16):
Thing about hip hop negative feedback though.

Speaker 1 (01:20:19):
Yeah, but he can also conflate that with people misunderstanding
his messaging by.

Speaker 3 (01:20:25):
Standing on with his mom raised him to.

Speaker 1 (01:20:28):
Be well again because he's pursuing his own greatness. Blackness
is pursuing our greatness, and it ain't aspirational. It's not like,
oh I did it so that that now every black
person can see me doing it. My mom raised me like, no,
you help niggas, You help people. So his mom wasn't.

(01:20:52):
I don't know because Donda is that's not my brother.
Donda didn't raise me.

Speaker 3 (01:20:56):
But his actions, he's not helping niggas well.

Speaker 1 (01:20:58):
Yes, he's helped a lot of needs help to niggas,
for sure, but I'm saying he has to understand he
represents us. I don't think it's negative or positive. It's
offending me because I want him to represent other poor
black people. But maybe that's not his representation. Maybe he
represents I don't know who he represents. I think Kanye

(01:21:20):
just represent Kanye. But I think hip hop consistently is
the voice of poor people in those communities. So you
have to represent.

Speaker 3 (01:21:29):
It, give a voice to it.

Speaker 1 (01:21:31):
And so when you're doing stuff that you know gonna
affect somebody's grandmother, and when you're putting on a cluekluts
Klan and you know you doing this, I think you
kind of losing, you know what I mean, the plot.
But that may not also be his plot. That may
not also be his dilemma. That ain't what he owned. Now.

Speaker 3 (01:21:50):
I don't gotta like.

Speaker 1 (01:21:51):
It, but I still don't think we should Oh he
should be ignored and we should kick him out, or
you know again, I don't think that's the point.

Speaker 4 (01:22:00):
You know.

Speaker 3 (01:22:00):
What I'm saying is that makes sense.

Speaker 1 (01:22:01):
I think his mom wasn't wrong, Like he understands what
Disney is great ort Disney is a great person. I
didn't even know who the fuck Walt Disney was. It's
a fucking TV show in a fucking movie or a
film company or or a channel. I mean, he actually
knew the motherfucker that inspired the channel. You know what
I mean, Like I've only oddly, I've only looked up

(01:22:23):
to great black people my whole life. I have never
looked up to a great white man until I got grown.

Speaker 3 (01:22:32):
Where the god.

Speaker 1 (01:22:32):
Pete, I never had one white person I looked up
to until I got grown.

Speaker 4 (01:22:37):
One't happy to have broken that streak.

Speaker 3 (01:22:39):
For you, true pet because you're definitely one of those
white people.

Speaker 1 (01:22:43):
But I'm saying, like, Nigga, I am a magic I'm
a Showtime baby. The coolest white man was pat Riley
my life, Eddie Murphy, feel me, Martiny du King, Malcolm
x x clan n WA, feel me my dad, my mom.

Speaker 3 (01:23:00):
Come on, man, you make me feel old. Man? Stop stop?

Speaker 4 (01:23:05):
You didn't think that Kirk was the coolest guy in
the NBA?

Speaker 3 (01:23:09):
Yeah, bridge of his glass.

Speaker 1 (01:23:14):
Feels looking showtime. So you get what I'm saying, Like,
I grew up looking up only two black people. The
first white man I ever have respect for that wasn't
around like because it was black people.

Speaker 3 (01:23:27):
Because you know, white people with black people they go
to they apart. Who wasn't the way there? Who was it?

Speaker 1 (01:23:33):
The first? I want to hear this when Larry Bird retired.
It was Larry Bird, yeah, because I was like.

Speaker 4 (01:23:39):
When he retired, yeah, bird was over.

Speaker 1 (01:23:43):
Either back was bad. His back was bad.

Speaker 3 (01:23:46):
You feel me. I was like, man, that was a
good thing.

Speaker 1 (01:23:48):
Like you know, you can start the size up competing
and you like they was competing, and it's like, damn,
I'm gonna miss this cracker. Larry Bird was the first
white man I ever them there in Hollywood, all the
rich Larry Bird was it no yet? Because I saw
movie with some white people, like I remember seeing Robin
Williams playing popa niggas Popeye. I was Williams was.

Speaker 3 (01:24:11):
I grew up with pop I.

Speaker 1 (01:24:12):
Didn't understand acting nigga. That was poppy. So every white
person Kelly from Breaking, but it was Kelly from breaking
their movie. They're not real people. Okay, they're not real people.
Larry Bird is. In the early nineties, I knew Larry
Bird was a real man. He wasn't necessarily one that
was around brothers. I mean that that's not kind of

(01:24:33):
how I saw him. He's the first white man. And
then as I got older, my brain could understand whiteness
a little different. And then I didn't even make it
the same as black mans. I realized were playing two
different games. Kanye. Don't feel like we playing two different games. Kanye,
feel like we're playing one game. At least that's what
I think he's doing. I feel like we're playing two

(01:24:54):
different games. My job is to go out and be
the greatest black man I could be, Not to be
the greatest man I can.

Speaker 3 (01:25:01):
There is no room, and a lot of people who
know me get mad at this.

Speaker 1 (01:25:05):
I can't. I have to go out and be the
greatest black man I could be. I could never just
be a man impossible. So if I do one thing
to shame black people, like as a whole, and I
know it's a shame like Nigga, that I might as
well not even do that. And I think Yay is
not going out to be the greatest black man. I
think Yay is going out to be the greatest Yay

(01:25:25):
he could be. I need to be the greatest glasses
I could be within the confines of being a excellent
black man or black.

Speaker 4 (01:25:34):
Man word right there? Yeah that Kanye, that's like his
number one trigger word cones.

Speaker 1 (01:25:44):
Yeah, but and I'm not mad at that. But I'm
actually so forgive me. And maybe this is wrong. I'm
actually happy with black confines I never needed. I never needed,
I don't need. What's with no white person? Who the
fuck needs all of that? Now? Listen, I'm not mad

(01:26:05):
at no brother who feels like they need it, but man,
I don't need no billions of fuck. I mean we
had this conversation. What I told you, If I made
a million dollars a year, I'm good. I could take
care of everybody need to take care of. I can
help everybody whatever. I ain't never needed more than a
million dollars a year, so I really never thought to myself,
I have to sacrifice no blackness to get there.

Speaker 3 (01:26:27):
Zero.

Speaker 4 (01:26:28):
What's weird to me not the idea of who thinks
you can you would need all that or even want it,
but who thinks you can even get all that?

Speaker 1 (01:26:37):
You're like, you make a billion dollars.

Speaker 4 (01:26:39):
I just think who right now is equally probably the
most Who are the two most simultaneously loved and hated
people in the country right now? You couldn't find people
by headcount that are hated by more individuals today than
Donald Trump and Elon musk.

Speaker 1 (01:26:58):
Yea.

Speaker 3 (01:27:00):
Even now, I don't look up to either one of them.

Speaker 4 (01:27:05):
I'm not saying looking up to them. I'm just saying
the idea that, like everyone, I'm gonna be bigger than black.
Everyone's gonna love me. I'm gonna be like Elon Musk.
You mean, the guy that fifty million people want to
kill tomorrow.

Speaker 3 (01:27:19):
Yeah, I don't know.

Speaker 1 (01:27:21):
I don't know. That's funny, but that's the point. I
never looked up to white people until probably, like my brain.
Could you know, like I said, Larry Bird was the
first white person like man that that was all right,
white boy. I mean, and I'm reflecting back to the
Lakers playing in the eighties.

Speaker 3 (01:27:38):
They said Larry Bird after like a nigga though he
be talking shit. He talking about the white boys and shit.

Speaker 1 (01:27:44):
I know.

Speaker 3 (01:27:45):
But I tell you one thing.

Speaker 1 (01:27:46):
It's like so I would think he grew up like us,
like I would have thought he grew up in blackness.

Speaker 3 (01:27:52):
Like I don't want to be the greatest man I
could be.

Speaker 1 (01:27:54):
If I had to be the greatest man, I could
be and have a billion dollars, or be the greatest
black man I could be and have tien million, I'd have.

Speaker 3 (01:28:00):
Ten million dollars.

Speaker 1 (01:28:03):
Nothing about me wants to be the greatest man I
could be if it means I can't be black if
I gotta sell out any ounce of blackness, You know
what I mean, if I gotta sell any ounce of
if they tell me glasses, man, I'm gonna make you.
I'ma make you have one hundred million dollars. But you
can't say you as a Crypt, ain't gonna happen. Ain't

(01:28:25):
gonna happen.

Speaker 3 (01:28:27):
I gotta show people that came up the way I
came up. We could get here. That's it.

Speaker 1 (01:28:35):
That's that, and that's that was the biggest thing. I
think my mom wanted me to understand. If they said,
right now, they said, man, you gotta say never was
a Crypt. You gotta this song cripping never.

Speaker 3 (01:28:47):
No shirt.

Speaker 1 (01:28:49):
Every crypt need to know you not stuck when you
grew up. How we grow up. That's that's important stuff.
Every blood gotta know, every blood gotta know. Nigga, we
could do it this way. We could be proud of
where we come from. We could do whatever we gotta do.
We could do it the same way anybody else do it.
We don't got to be ashamed. I mean, we could

(01:29:11):
do it just how we do it. That's what I
be so proud of Snoop about or any of them dudes. Like,
that's what I love about hip hop. I love when
I watch Law and Order, like and I told Ice
t this. I love when that screen pop up. It
don't say Tracy Morrow, Let's say Ice Tea. It's a
street name. I love that. That's the streetest thing you

(01:29:33):
can do. It's his nick street name, Ice Tea. Well,
Snoop do something it Olet me be like, yay, we
have Snoop Dogg. Here Snoop Dogg from Lung Beach. And
he was talking on the Olympics and he was like yeah,
cuz I was like, He's like that remind me the
Home of Death, see, because I was like, yes, that's
what this hip hop shit is all about. I love

(01:29:55):
when jay Z is able to tell people you know
what I mean, Oh yeah, I used to sell drugs.

Speaker 3 (01:30:00):
Look look where I got it.

Speaker 1 (01:30:01):
Because everybody who had these harsh experiences have to realize
they could have a life outside of this because some
of us we grew up. That's the first and simplest
way we see being successful. For me right there, that's it.
It's crazy. We go through these super chests, diamondbacks, photography.

(01:30:22):
Thank you for the five dollars. What's the funny shit
you've seen while working in the music industry aside from
Drake's l I know that's probably number one question. That
wasn't even that, uh, the funniest thing I saw in
the music industry stunner Man telling me Erica Badu was
like a witch. I wanted to get an Erica Badu.

(01:30:46):
I seen her at the MTV Awards, and I mean
I had never seen her before. Like she was just
the lady that sing all a little like the little
weird old lady. Not weird. Don't forgive me bad terms
that you said nothing. She was like she was like
a like a like a like a like a neo
soul person before neo saw was really a thing.

Speaker 4 (01:31:05):
She's like alternative to the biggest.

Speaker 1 (01:31:08):
Yeah, she was just like this black and but when
this motherfucker walked by, this motherfucker was the thickest thing
in the world. Boy, she don't look thick on TV.
I can see why Nigga stops showering fucking with her.
I can see why you feel me. This motherfuckerick. This
motherfucker put together like this mother she put together for real,

(01:31:33):
so I'm like, Nigga, I'm I'm about to go shoot
my shot. He's like, gee, what you what you got
going on? I'm gonna go get an airbody look out
this motherfucker. Like, I'm finna go run, Nigga, what she's
not turn bitch a crib from w give me something funny,
like what's happening with me? And he was like, nah,
chill man. I was like, no, I'm finna go get
out of be right back. He's like, nah, chill man.

(01:31:53):
I was like wow. He was like, man, she a witch?
And I'm like, what you mean she a witch? He's like, no, Nigga,
Like she's really like a witch. I'm like a witch?

Speaker 3 (01:32:01):
Like what he like?

Speaker 1 (01:32:02):
Like a witch?

Speaker 3 (01:32:02):
Nigga?

Speaker 1 (01:32:03):
And I looked at him. He looked at me and
it was like serious. I was like, holy Ship.

Speaker 4 (01:32:11):
Orleans to play the witch card? Huh you got your
to be like from New Orleans.

Speaker 1 (01:32:17):
I don't know. I didn't get up and don't do nothing.
That was the funny. It's funny now, but that was
the funniest.

Speaker 3 (01:32:21):
Like what happened? Like, did you go get her? What happened? Nigga?

Speaker 1 (01:32:28):
The look in his face, it was like real concern
and I was like this nigga is serious. Feel me.

Speaker 3 (01:32:35):
I was like, you know what I passed.

Speaker 1 (01:32:36):
And we know how you feel about witches in the hood.
Don't go by that house. Shout out to Nick, thank
you for the five dollars. I'm gonna keep saying that.
Kim K Putty and a couple billing definitely change your perspective. Yeah,
We'll see. Shout out to k Wait, thank you for
the twenty dollars. My boy Yay literally said he's the

(01:32:59):
closest thing to God living irony. Oh okay Yay literally said,
is this k with a girl or a god? So
the Kwa Yay literally said he's the closest thing to
God living irony. Is his far from grace, is close
to the story of Satan. I agree, he doesn't even

(01:33:20):
realize it. I was just telling somebody that I'm like, man,
when he was talking, he was saying something to somebody
and I was like, I tweeted and I was like,
why does this feel like the serpent talking to Eve
and the Garden of Ed Like it was so much true,
but it was like this one deceptive fact and I
was like, damn, that made me why did that make
me think of that? Him tweeting that to that person,

(01:33:41):
and then she's kit saying that's crazy Yay.

Speaker 3 (01:33:44):
Creates storms and gets mad.

Speaker 1 (01:33:46):
He doesn't have an umbrella saying thing he said anti
black is a choice.

Speaker 3 (01:33:51):
He just said the same thing.

Speaker 1 (01:33:52):
He starts firing, then run with the water holes, complaining,
set out to Nick, thank you for the five dollars?

Speaker 3 (01:33:58):
West Coast over every body? Yeah that part? What's love bro.

Speaker 4 (01:34:07):
Y'all?

Speaker 1 (01:34:07):
I don't know, man, I do not know.

Speaker 3 (01:34:12):
Yeah, air was cold. It was cold. Shout out to Beijing.

Speaker 1 (01:34:19):
Ain't funniest thing in the music industry was watching Glasses
Malone not being able to get off the young money
bench fucking bench warmer.

Speaker 3 (01:34:26):
That's not quite how I went.

Speaker 4 (01:34:28):
What's the story?

Speaker 1 (01:34:29):
Well, so, so what happens is, so there's a bunch
of Drake fans, right, they just discovered hip hop in
two thousand and like fourteen. They don't know, like you know,
so they like there's people who feel like huh, yeah,
they don't He's like a baby. They don't know. So
they don't realize I had two hit records. They don't
realize that's not what happened. They don't realize that. They

(01:34:51):
feel like, oh, Glasses just be talking about Drake or
like I'm jealous. But again, if you're gonna look at
all my tweets, you can see I always support the
dude and be in this corner until he battled my friend,
and that's different.

Speaker 3 (01:35:04):
Now I'm rival with my partner. But they don't understand.

Speaker 1 (01:35:06):
So in their mind they're like Glasses didn't even versus
me not knowing, they not realizing. I just didn't know
how to make no music, Like I just didn't know how,
Like I know how to make the art, but I
don't know.

Speaker 3 (01:35:16):
What records were.

Speaker 1 (01:35:16):
Like I was a crip. I was a doe e
motherfuck up.

Speaker 3 (01:35:19):
Now it ain't close close.

Speaker 1 (01:35:24):
But I always give a lot of credit to stunner
man in them because they tried their best. I just
didn't know nothing. They chose me because I was really
that nigga for real. It's just levels, like I was
really that nigga for real. So you think they chose
you because it's that nigga in the streets, or chose
you because you was gonna become that nigga rapping. Well,

(01:35:45):
I think so they understood street urban culture, right, So
it's the level of authenticity that I provide that you
couldn't get out of ninety nine percent of the artists
in the music business history. So everybody knew that genuinely
I was who I was supposed to be in the streets.
And I had a hit record like I came with
this Akon song certified like I had it. So they

(01:36:06):
was like, yeah, that's good. But when it was time
for them to make me a record, the West Coast
was kind of transitioning. Remember they had kind of kicked
everybody out that they didn't really give a lot of
new people's shots. After Tupac died, the producers wasn't really
working with a new batch of artists. I don't think
they thought they could get them deals like battle Cat.
Battle Cat took on the East Sides, but that's a

(01:36:28):
snoop group. Warren didn't produce anything for anybody else. Quick
didn't produce anything for anybody else. You know, the people
who are supposed to produce the next wave of artists,
they kind of checked out. Why maybe they couldn't get
them signed or whatnot. So when I came into business,
remember I came in like really by myself, like I

(01:36:49):
was just like this street nigga, you know what I mean,
straight up, Like, I was just this that's it. So
when I'm signing the cash money, we get a hit
record like Tump made it for me too.

Speaker 3 (01:37:00):
Did what you know about that?

Speaker 1 (01:37:01):
For Ti Tump who did good life for Kanye West
and can't tell me nothing. Tump is like a monster.
So again it was like it was a big deal.
So when it was time to make the next record,
I didn't know nothing about making no records though, So
I made a living and I don't have to work
a job, no regular job, no more. I'm make enough

(01:37:22):
money to pay bills. But you know, when it comes
to actually going on to be the greatest, you have
to know a lot about music. Like when Drake came
to cast Money, he knew more about records. I just
now know what he knows about records. That's how he
was already ahead of making records, like he knew it.
His team was trump tight, you know what I mean.

(01:37:43):
Forty was like a wizard. Them niggas was cold. They
studied us, remember they studied black music. But he had
a team though, right, yeah, yeah, I had a team
toop on My boy quit so the one who would
have knew Guido, he moved to Atlanta. The dude who
did my first project, my boy kind of got tied
chasing this hip hop dream, had a family and moved
to Atlanta. I mean, so I came by myself. My pool,

(01:38:06):
didn't know nothing about no motherfucking records. I mean, nobody
around us knew about records. And then cash Money signing me,
you know what I mean. I'm a West Coast artist.
It's a different task culturally. So I remember when I
asked you one question was like I don't need South
Beach when I got my own beach.

Speaker 3 (01:38:23):
Yeah, I remember when I asked you that.

Speaker 1 (01:38:24):
That was a big thing. Everybody wanted me to fear me,
and I'm like, people always want to blame cash Money.

Speaker 3 (01:38:30):
I'm like, Nigga, they did outstanding. They were like great.

Speaker 1 (01:38:35):
I mean so I think, And so a lot of
Drake fans feel like like, oh, they feel like that's
a di to me.

Speaker 3 (01:38:41):
But again, Drake is like a Nickelodeon kid.

Speaker 1 (01:38:44):
Man. I'm really from the Marianna trenches, not like them
regular trenches these niggas times. I'm from really the Marianna trenches.
I've been in the deepest, darkest places doing the thing
for real, and I'm here. I mean, I'm able to
do this for a living. So it's like that was
the biggest thing to me. So when they talk shit,
I just laugh because they don't know. I mean, they
just start listening to music the other day. They don't think.

(01:39:06):
I tell you one thing. They don't think. If Birdman
changed my life, and you know street niggas, bird Man
changed my life, you think for two seconds bird Man
couldn't call me and tell me, hey, man, start making
fun of that nigga, and I wouldn't. So you got
to ask yourself. Lil Wayne could call me right now,
say man, don't make fun of that nigga. You don't
think I would. I'm gonna listen to them niggas. You
know why I ain't called me. That's the question you
should be asking yourself if this nigga is so, if

(01:39:29):
the nigga you like, it's so cool and he's so righteous,
and why niggas ain't telling glasses Hey, pipe down, bro?
How much you know percentage wise of the street urban
culture that actually came from, like you said, down and dirty,
that actually know what that really means? From birth, not

(01:39:49):
coming in when they was fifteen, not coming in where
they was twenty, but actually from birth. I mean, the
whole business is built off of that black music in general,
because I see, like I see a lot of people
come into communities at eight certain ages, and you come
in at twenty one to a neighborhood. Now you think

(01:40:10):
you're that neighborhood when you got somebody that was born
in that neighborhood. We was talking about that being the same.
I don't look at that as being the same. We
was talking about that the other day. I think that's
the mistake. So you know the mistake. I think hip
hop or street urman culture before the art gives up.

Speaker 3 (01:40:27):
They sell it to cheap. They sell it to cheap.
I agree. So it's like a question what.

Speaker 4 (01:40:37):
Like with regard to that and saying I'm just feel
like there's a separation maybe or I'm perceiving there to
be one where like you move into some to a
neighborhood and you kind of like a you're older and
you take on the personality of that specific neighborhood. But
I mean, how do you equate that, like as you're
saying it, you know, because I Anmber. My friends grew

(01:40:59):
up moving or all over the place, So like from
a lifestyle standpoint, there really wasn't much change. They might
have moved to this neighborhood from the county over or
whatever else, but it wasn't like they were vaulting up
and down throughout tax brackets. It was pretty much a
similar type of lifestyle. They just were here versus there,
because that's just how their families were where they were

(01:41:20):
growing up.

Speaker 3 (01:41:21):
So what's the question.

Speaker 4 (01:41:23):
So the question is like, does does that do you
view that differently versus like, say, like compared like a
Kanye West who like jump tries to vault into say
like street urban culture in that regard in his twenties,
and he didn't grow up that way. He just wasn't
from you know, the neighborhood he's talking about.

Speaker 1 (01:41:40):
You know, like I've thought a lot of times like
it's Kanye hip hop, right, because I already knew Drake
wasn't hip hop.

Speaker 3 (01:41:47):
Like I knew he because I had talked to him.

Speaker 1 (01:41:49):
I've listened to him talk a lot of times in
real life, Like I could already tell he was like
this different kind of kid.

Speaker 3 (01:41:55):
He was, like he's really a Jewish kid from Canada,
Like he's not like his father.

Speaker 1 (01:42:00):
He's a brother, but he didn't He's not culturally anything
like street urban culture.

Speaker 3 (01:42:05):
He really grew up culturally a Jewish man.

Speaker 1 (01:42:08):
So even talking to him, if you talk to because
just listen to him talk because you could tell like
he not cold, which and this is because.

Speaker 3 (01:42:14):
It's really just like a different kind of guy.

Speaker 1 (01:42:17):
Kanye was always hard for me to understand because Kanye
West is from Chicago, you know, and again, like blackness
in Chicago's it's just natural. It's it's hard pressed for
la nigga even imagine a Chicago where niggas ain't at
because when I go to Chicago, it's just niggas everywhere,
you know what I'm saying. So, but you know, you
take into account how his mom, you know what I mean.

(01:42:39):
She was a doctor, you know, she she was a
professor at a college. She put him through the best programs.
She went to a lot of good schools, you know,
art school. You know, he is definitely a privileged type
of kid, you know, from a black perspective. So I
just struggle to believe that he's not baptised the street

(01:43:00):
urban culture.

Speaker 3 (01:43:01):
Now it's not impossible. Again, I'm not sure. I don't know.
I don't know him. That's gonna lead to.

Speaker 1 (01:43:06):
My next question is when did he get into music
at what age? But the music ain't hip hop, Like
the artistic expression of street urban culture is what hip
hop is. It's the artistic expression. It's using music to
express street urban culture. I just can't believe that there's
a place in Chicago. And I could be wrong. I mean,

(01:43:31):
because I've heard from both sides, Like some people who
love Kanye try to lie, but then the other people
are like, yeah, g he did grow.

Speaker 3 (01:43:36):
Up in the suburb, but he ran with these people.
So I just don't know enough.

Speaker 1 (01:43:39):
But some of it just don't seem rooted in blackness,
you know what I mean. And I think it's just
I think it's the book of Yay. Like I don't
think Ye represents blackness as much as Yay represents ya
does it? So no, so pt your point. It's like,

(01:44:03):
even if you move around in Los Angeles, shout out
to everybody who moved around in Los Angeles. You might've
lived in the a Trade, you might have moved to
the Great Streets, you might have moved to the form dogs,
of counting. You might have moved around, but culturally they're
going to be pretty much.

Speaker 4 (01:44:18):
Grew up in Fresno than you live in North Las
Vegas now you in south central LA.

Speaker 1 (01:44:21):
But even that, they're still kind of all the same.
If you live close to people without something, sure, that's that's.

Speaker 4 (01:44:29):
Kind of what I'm at.

Speaker 1 (01:44:31):
But I don't think Yay's thing is I think he
grew up with something, So like we have those in Courson,
like Da.

Speaker 3 (01:44:42):
Like Delamo.

Speaker 1 (01:44:43):
Yeah right, Delamo is like a suburb that's close to Compton,
but it's a suburb. But them dudes be baptized at
Street or been coaching. So like, I need to get
more information with the Chicago hummies about where it's at
because I'm thinking, like, in my mind, I want to
believe he grew up in a Carson. I don't know,
I have zero ideas, but I think the reality is, uh, Pete,

(01:45:08):
I think he grew up in Cerritos.

Speaker 4 (01:45:11):
Who say, yeah, I think he was further out than Carson.

Speaker 3 (01:45:14):
Here in California. No, No pete, Chicago.

Speaker 1 (01:45:18):
Okay, Srito Soritos is.

Speaker 4 (01:45:21):
Like I think he grew up in Belmont Shores, Long Beach.

Speaker 1 (01:45:28):
But I think sure, But I'm saying I think the
problem is it is like like if you grew up
in Crito's and your mom puts you through good schools
and you see some people like you might be fifteen
minutes from where street urban culture comes from, but you
but I think he's five minutes away from street urban culture.

Speaker 4 (01:45:45):
Yeah, when you're growing up, you're not going those five minutes.
You're not going anywhere.

Speaker 3 (01:45:50):
So I think that's the thing.

Speaker 1 (01:45:52):
But do people talk he did anybody hear from people
that grew up with him? And do they talk about
him growing up? Yeah, they knew it making music. They
would say he'd be at a party or something. Not
they didn't go to high school with him or nothing.
That's what I'm saying, Like the people grow you know
where he went to high school, junior high things like that,
Like where's those friends at That's that's a couple of

(01:46:13):
the dudes. But it's just different, Okay, yay, Yeah, is
a unique product. I think he was raised to be
the greatest man he could be, not necessarily the greatest
black man he could be. That's what it feels like.
Or he decided on his own, like you know what,
fuck being black. I'm Finela gonna be the greatest Kanye.

(01:46:34):
I'm not black, I'm Kanye.

Speaker 4 (01:46:36):
Okay, he seems like, and you get this around academics
and academic circles or whatever, some scenarios he was told
he's a little too special a few too many times.

Speaker 3 (01:46:52):
Shout out to Royal Jenkins glasses. I'm from Chicago.

Speaker 1 (01:46:56):
Kanye older than me, and he came out of Oakland
or suburb about the Chicago. I know that, but I'm
trying to figure out how far is Oakland from where
the south side of Chicago.

Speaker 4 (01:47:05):
They're like, and not mileage wise, but culturally wise.

Speaker 3 (01:47:08):
Yeah, culturally wise, how far is it?

Speaker 1 (01:47:10):
Like like like in La right, like we all from
the East Side, we all grew up. Don grew up
in Compton. I grew up in Compton the wise, like
like you know, I to take you over there, Lynnwood,
Long Beach. All of that hit between the seventeen and
all of that is where street urban culture comes from.

Speaker 3 (01:47:27):
Right between the motherfucking one ten.

Speaker 1 (01:47:29):
Hell, between the four five and the seventeen for that matter,
is where street urban culture out in La right, but
then their suburbs right close to them that people still
you know, everybody go to school together.

Speaker 3 (01:47:41):
In Paramount, it can get street urban culture.

Speaker 1 (01:47:43):
Paaramount is a little suburb of necessarily, but it's still
very much street urban culture. You go to the next
city over from Pearamount, you in Lakewood. Lakewood is still
kind of close in, but Lakewood ain't street urban culture.

Speaker 3 (01:47:57):
Oh it's not.

Speaker 1 (01:47:58):
Hell no, but it's close enough to where it could
be a little bit Bellflower a little further, but it
kind of still could kind of be so Ritos it
ain't at all.

Speaker 4 (01:48:08):
Wow, Yeah, Sorito's in like downy, you're stretching it pretty thin.

Speaker 1 (01:48:12):
You don't have none of that kind of stuff there,
not really, because there's opportunities, there's things that you can
have access to. You you're going to Okay, you're going
to start seeing other successful people that don't just come
from streetlight.

Speaker 3 (01:48:25):
You're going to see their success. How about that? Like,
so you know what I mean?

Speaker 1 (01:48:29):
Is it still urban there? Shout out to shout out yes,
Disney populated. Shout out to Beijing. Hip hop was birth
in the party room, down the streets. It was birth
in the party room and the projects, not just any party.
Stop trying to take that out of its poor party.
It's not rich party. If it was, if it was
a rich party, they have a fucking band. They're not
two broke fucking vinyls. Dog. This is your problem. I

(01:48:50):
know you won't access to everything, but just listen.

Speaker 4 (01:48:54):
I think the line, so to speak, is like where
you grew up is selling drugs the opportunity for a
come up or the opportunity for a come down.

Speaker 1 (01:49:12):
So so this is the weird part, right, It's like,
this is something to really help you, right, Like in Compton,
ninety percent, let's say ninety it's probably ninety nine, but
ninety percent of successful things you gonna see, things that
you will want come from people doing the wrong things.

(01:49:32):
Is that fair to say, Pete, Like when you go
through Comptent or something, or you go through let's say,
like the Jungles, ninety percent of the cool shit to have,
the things you will want come from people doing the
wrong things to get them.

Speaker 4 (01:49:45):
Yeah, that's probably fair. Even people who have the same
amount of money as the other person in those environments
are stowing it away. You're not going you're seeing it.
It's probably not it's probably kind of.

Speaker 1 (01:49:57):
Nefarious, okay. Right, And then so it's like great, point.
Shout out to Marcus Mitchell who makes a great point.
What about View Park wins your heels for la street
am culture. That's a great point. Like the overhels, right,
but the overheels is right next to it, right, so
you right here next to street aurbriculture. You go to
school with everybody from street urban culture. Right. But then

(01:50:20):
your parents people got some money, so you still kind
of be baptized, your baptizing the culture, even if you
don't the tree shades the community. The overheels are probably
really the most dangerous sixties and shut out to all
the ag homes. They'd be mad if I said this,
But like them, niggas are the worst because they got
something to prove. Same thing with the Dilamo niggas, like

(01:50:42):
when you go to jail with the one nine zers.
They was always the worst niggas because they was always
trying to prove a point. I mean, so they were
always over the top. They were on game bang too hard,
over the top. But here's the thing, so this is
how it looks. And Compton and watch wats ninety for
sure nine nine percent everything you would want to have.

(01:51:03):
Somebody doing the wrong thing got it right. Because it's
the only thing you associate with success if it's not
on TV. The best cars, d boys, pimps, gang bangers,
the best, the best, everything, best, closed, best all that.
That's what you see and you don't know nothing else.
You disadvantages. Now you move over to let's let's slide

(01:51:23):
down between the one oh five and the ninety one.
So you started watching Compton Linnwood, that's how you see.

Speaker 3 (01:51:29):
You get to Linwood.

Speaker 1 (01:51:31):
Maybe it's like ninety percent because now some people that's
starting to have stuff. You move over to Downy Paaramount
probably a lot closer to sixty percent. Now you're starting
to see regular people that work a regular career or
have a good career have some cool stuff that you
will want. So you see there's options still about fifty
to fifty sixty percent.

Speaker 3 (01:51:50):
People do get better too in those areas. Yeah. So
remember I grew up in Compton and watch my mom
put me in Pairamun.

Speaker 1 (01:51:56):
Because they had ap classes. Okay, so that's only ten
minutes from Compton. Oh it's only ten minutes.

Speaker 3 (01:52:01):
Think about it.

Speaker 1 (01:52:02):
The exit from my neighborhood right when Imperial Courts and
the seven is at is Womington. The next exit is
Long Beacht. The next exit is Garfield. That school is
off Garfield. Oh okay, but it's it's a world away.
So Paramount, you know, Paramount and Downey you know, I
mean Downey start having some really nice shit. Downey is

(01:52:23):
like Mexican Beverly Hills. I mean that, like, they'll have
some shit. So you get you the more you move east, right,
you start seeing regular people have things worth having. So
you realize that these things are obtainable by doing this,
by doing something good, not doing well, doing something because
you don't think nothing is good or bad. You don't
think of the d boys bad and wise. You don't

(01:52:45):
really that nigga just havn't it. I mean you start
to realize it to age where you realize. You get
to an age we're like, oh yeah, this is bad. Yeah,
But by then you way deep.

Speaker 3 (01:52:55):
Yeah. I mean you just.

Speaker 1 (01:52:57):
Kind of know it's against the law. But again, growing
up around here, the law never ooo your life. That's
what I'm saying. You can change to do whatever you want
to any time. Lords you didn't get stuck in prison
the rest of your life. Well, again, you you're trying
to be successful, so you you feel like your options
is limited because there's only as far as you can see.
How about that, Pete, does that make sense? Your options
as far as you can see for most humans?

Speaker 3 (01:53:19):
Is that agree?

Speaker 1 (01:53:20):
That fair lunch table? Your option is different as far
as you can see.

Speaker 3 (01:53:23):
I agree?

Speaker 1 (01:53:25):
Right, So you move there, boom, you move further east.
Now you over here in Paramount. Now it's about sixty
forty sixty percent of people doing the wrong things got
the coolest shit. But there is forty percent of people
doing some regular shit that got some all right shit.
You move further west. Now you're in Lakewood. Now, Lakewood
is seventy thirty thirty percent of the people doing the

(01:53:49):
wrong thing got some cool shit. Seventy percent is people
doing the right thing.

Speaker 3 (01:53:52):
That's in Lakewood. Just in Lakewood. Yeah, the place I
ain't that.

Speaker 1 (01:53:56):
The place they got a fence around the store and
stuff which target or something like that. No, okay, that's Paramount, Yeah,
something about it. Right, So Lakewood is like the seventy
thirty seventy percent of the people doing the right things,
by eyes have the coolest shit. Only thirty percent. You
get the bellflower, it's pretty much ninety ten, eighty twenty

(01:54:18):
ninety ten. Most people that got the coolest shit doing
something that's legal. You can see it. You can see
what they do. It's gonna be obvious. They got the
coolest shit. And ten twenty percent of people gonna be
doing bullshit. Shout out to my homeboys from seven oh
six hustlers, Like it's gonna be ten percent. The rest
of the people got some cool shit. You get the Soritos.

(01:54:38):
I don't even know if people doing the wrong thing
in Toritos. Like there's really no place to go in
Critos where people is doing the wrong thing.

Speaker 3 (01:54:47):
I mean, everybody got nice shit and they all do
some cool shit. How far Cerritos from Watsa Compton.

Speaker 1 (01:54:55):
Fifteen fucking minutes, it's straight up to You could take
the one five with no traffic.

Speaker 3 (01:55:02):
What is it Pete.

Speaker 4 (01:55:03):
Stick's exits with no traffic. It's very cool.

Speaker 1 (01:55:06):
Fifteen minutes.

Speaker 4 (01:55:07):
It's it's basically just about the six oh five interchange
about them that's Norwalk but is right there off six
oh five.

Speaker 1 (01:55:13):
They got a mall there, how about that? Yeah, you
get to Lakewood and Toritos, there's malls there.

Speaker 4 (01:55:19):
They have a studio.

Speaker 1 (01:55:21):
When it was down there Stignal Hills. So where my
studio was at was in Signalhood. That's Long Beach, but
that's this particular roped off area that's not about Lakewood
going because I thought I used to go through Lakewood
Lakewood Boulevard Street, Okay, So Hill is like you ain't
supposed to be there as a nigga. They q you
like the police like that's how much that's all suburb Okay,

(01:55:43):
So that's different. So that's my point. I'm saying, that's
how you size up success and what you think you
can see and be and do you know what I'm saying.
So that's what I'm saying is like that's what makes
street urban culture is when you feel like the wrong
because all you know is the wrong thing is a
way to have something.

Speaker 3 (01:56:02):
That's what it's all about.

Speaker 1 (01:56:03):
So if you go up in Watts Compton, man, what
every car whatever you want, the wrong fuck is doing?
The bullet hut got it? It revived me myself. Walked
through the blocks of this nice neighborhood. Yeah, go ahead,

(01:56:24):
I think it's a nice day. You want to.

Speaker 3 (01:56:29):
So it's like it's like it's like you know what
I mean, It's like that's the trick.

Speaker 1 (01:56:35):
So that's why I'm saying, when you've been trying to
explain this to people, shout out to Royal Jenkins, Yes
that is ain't Lakewood where that changed snatch with death
ron or Land there and say yes, yes, yes, that's
where that fight happened at. So that's where everybody from
the east side would go to the mall. Like so
everybody from the west side of the One Team right,
the Hoovers, the neighborhoods, the gangsters day mall was the

(01:56:58):
Fox Hills Mall are mall on the east side. When
you're on this side of the one ten, right, that's
Long Beach, that's Compton, that's Watts, that's Lynnwood, the Lakewood mall.
So you would go to this mall to go spend
some money or look to get in a fight because
everybody different would be there.

Speaker 3 (01:57:18):
So it's tricky, man, It's it's hell of tricky. This
is tricky.

Speaker 1 (01:57:24):
It really is Long Beasts too, so it's like it's
like different what I mean.

Speaker 3 (01:57:29):
So, but that's my point. That's what street urban culture is.

Speaker 1 (01:57:32):
Street urban culture is densely populated, crime written communities. The
culture that comes from that. Now that culture can keep
going somewhere. It's in Paramount guess what they got ship too.
It's in bell it's in Lakewood a little bit. It's
in Bellflower a little bit, but it's not in Curritos.

(01:57:54):
There is no street urban culture in Toritos.

Speaker 3 (01:57:57):
Well that's heavy.

Speaker 1 (01:57:58):
There is none. And with cultures there in ci Ritos,
it's just mainstream America suburbia. Okay, they got a mall
wright and smack. There's not even a big place. It's
a mall, bunch of really nice houses. No, none of that.
Your urban culture inside the mall. Urban is densely populated.

(01:58:18):
So it's a disney populated place. It's very much it's
disney populated. But even in urban.

Speaker 4 (01:58:24):
There are in the parking lot of Torito's College.

Speaker 3 (01:58:28):
It's close, you go get that's close, you gonna get
to the streets.

Speaker 1 (01:58:31):
Yeah, that's and that's because it's right there by Norwalk that.

Speaker 4 (01:58:38):
Their sports pull a lot of athletes in from other
parts of the county. And you never know, junior college
athletes are a different breed.

Speaker 1 (01:58:48):
Yeah, they couldn't come from some yeah ship, we.

Speaker 3 (01:58:55):
Didn't ran this motherfucker out. I forget uh all seriousness.

Speaker 1 (01:59:00):
When you're dropping that new album I did used to
bump your shit back in twenty and ten. I'm gonna
drop a new song. You gonna be mad at me though.
You ain't gonna want to see this video, but I'm
having fun. Just gonna be mad, but yeah again. This
is No Seilings Live the Lunch Hour every Monday, Wednesday
and Friday at noon Pacific Standard time right here on
Digital Soapbox. Click that thumbs up button. If you're on Twitter,

(01:59:24):
retweet this link. If you're on Facebook, share this post,
Tell a friend to tell a friend. Yesh. We do
the stream to support the No Sillings podcast, look below
and link in the description. If you're on Twitter, it
don't matter. Head over to Apple or iHeart Podcast. Check
out the No Sellings podcast. It's dope, executive produced by
Charlomagne to God, the Black Effect Podcast Network, and iHeart Also,

(01:59:47):
while we're talking about it, see King Hold those hats
right there. Head over to www dot dogcryptstore dot com
and grab a hat. Smirk something, some music or something.
Fuck with your peopils, man, it's been cool. Question this
season really walked forty dogs off least through South Central

(02:00:09):
in the nineties season from where from families talking about
Season from Inglewood? If it's Season from Inglewood, I could
see it. Yeah, I can't help it. Forgive me, bro,
It's like they make it too easy. It's like you've
been looking for people to be mad at your content
forever what I mean? So, but it's dope. The song

(02:00:30):
come out on a look like the sixth of May realistically,
the video and everything, so it's gonna be really good.
And I'm gonna drop a single every two to three weeks,
so it's gonna be interesting. Yeah. I never thought about that.
One day, we're gonna have to expand on that. That
that's really what it is. When wrong is right, that's
when you know you in the ghetto.

Speaker 3 (02:00:49):
Yeah you said that before. Though we're wrong is right,
We're socially wrong is right? Yeah you said that before.
It's all right.

Speaker 1 (02:00:56):
We're out here, but looking out for tuning in to
the Note 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 not Hard Radio.

Speaker 3 (02:01:14):
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