Conversations Radio Needs To Hear

In this episode of No Ceilings, the crew dives into a wide-ranging conversation on food, culture, and the way media shapes how we see the world. They trade thoughts on culinary favorites, the unique vibe of Florida, and how movies influence regional identity and perception. The discussion moves into foodie culture and the evolution of radio’s role in discovering music, exploring how social media and shifting habits are redefining what it means to be a fan. Reflecting on generational changes and the challenges of staying relevant in a digital landscape, the crew considers what the future holds for radio and the culture it helped build.

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Episode Transcript

Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealer's Podcast with your hosts Now.

Speaker 2 (00:06):
Fuck that with your load glasses, Malone.

Speaker 3 (00:15):
I'll be down that way next next week.

Speaker 4 (00:18):
Nice, let me know, let me know.

Speaker 1 (00:19):
Okay, what kind of restaurants would you recommend to him?

Speaker 3 (00:24):
Guys?

Speaker 4 (00:24):
So what he likes to eat?

Speaker 3 (00:26):
Oh, I'm gonna find out. I'm gonna be hitting you
up for sure. Nice. That was just dry.

Speaker 2 (00:33):
You could have just went into your favorite type of food.

Speaker 3 (00:37):
You talking to you? Pete?

Speaker 2 (00:38):
No, No, who are you talking to you?

Speaker 3 (00:42):
Why are I going to my favorite type of food for?

Speaker 2 (00:44):
Because we were just having a common.

Speaker 5 (00:46):
I'maty here we go. Wow, are you talking about from yesterday?
What are you talking about the conversation we had yesterday?

Speaker 2 (00:55):
Okay? What conversation do we have?

Speaker 4 (00:57):
I don't know.

Speaker 5 (00:58):
I can't remember. I'm seeing now I'm getting old and shit, Pete.

Speaker 4 (01:02):
I think real quick?

Speaker 3 (01:04):
Yeah, pay me no mind? What's show am I on? Pete?

Speaker 4 (01:11):
I just popped into a window on a computer.

Speaker 3 (01:17):
Man, he's leading to something about fish, Pete.

Speaker 2 (01:22):
Why would this be a conversation about fish.

Speaker 3 (01:25):
I'm trying to figure out my favorite foods is? What
is my favorite foods.

Speaker 2 (01:28):
I don't Peter, is your your okay?

Speaker 1 (01:32):
So normally, cause when two people are going to meet
in the same town, Peter is a host of this town,
and he like, he'll take you out the food, and
I'm asking you what's your favorite food? So Pete could
figure out the best place to go. I couldn't heard
what he said, but some reason it is top secret.

Speaker 3 (01:53):
Oh well, yeah it was. But my thing is, I
didn't know you guys hosts like that, you know what
I'm saying.

Speaker 4 (01:58):
Like we're gentlemen.

Speaker 3 (01:59):
That's why I'm not used to that. Pete, Pete, I'm sorry.
I'm not used to that.

Speaker 5 (02:05):
You know.

Speaker 3 (02:06):
I'm used to say what's happening, what's going on?

Speaker 5 (02:08):
You know, not you know, had some you know, place
to eat, sit down, drinks, And I'm not used to
that kind of shit.

Speaker 4 (02:15):
I guess I tried doing that with Still didn't go
over so well.

Speaker 1 (02:25):
So you're not gonna tell him still what's your favorite
type of food so he can figure out the I'll let.

Speaker 5 (02:29):
Him know before this is over, because wherever you are
located in Florida, I'll think of something Florida that I
would like to try.

Speaker 2 (02:40):
Cool who comes to mind in Florida.

Speaker 3 (02:45):
Uh, nothing zero, No Cuban food Nah.

Speaker 2 (02:51):
What about trick Daddy's restaurant?

Speaker 3 (02:54):
Nah? The no you have one?

Speaker 1 (02:57):
So you don't know anything special you would like to
eat in Florida. Here's a better question. What have you
heard about Florida, especially like in that Miami area about
food period?

Speaker 5 (03:09):
When I was down there, nothing really, you know, caught
my attention like Ooh, I want to eat here or
eat that or try this.

Speaker 1 (03:18):
What about growing up? What do you remember hearing about
Florida or anything related to cities in Florida? What pop
things come to mind?

Speaker 5 (03:29):
Suh, bananas, keetas. There's nothing that comes to Florida like boats,
you know, ships, cruise lines. Nothing else in Florida like
comes to mind. Where I was like, Ooh, I want
to go to Florida.

Speaker 4 (03:46):
We have the elderly. Huh we have the elderly.

Speaker 3 (03:50):
Yeah.

Speaker 5 (03:51):
So what I'm saying, like he's trying to give me,
there's nothing really that like makes me want to say, Oh,
I have you know South Beach. Okay, let's say South Beach.
But I've been there and it wasn't like I thought.

Speaker 3 (04:03):
It was going to be.

Speaker 4 (04:05):
You know, it's not like it used to be.

Speaker 3 (04:06):
Yeah, you know what I'm saying. So it was like.

Speaker 4 (04:10):
Self pitched.

Speaker 1 (04:11):
So what about uh what about what movies do you
remember about Florida growing up?

Speaker 3 (04:18):
Well? Shit, uh TV shows. Let's say Miami Vice.

Speaker 5 (04:22):
Okay, I know that, Okay, but to me, but I
was looking at Miami Vice, that was like a knockoff
from a California life.

Speaker 2 (04:34):
Mmm.

Speaker 5 (04:37):
You know, so it wasn't something like, oh, it was
just about drugs and shit. Okay, so drugs go there
and end up in California, you know, shit like that.
I was thinking, like, it wasn't something like ooh, I
want to go down there and live that jet life
set life day. To me, it was like a bunch
of boys. Shit, it wasn't real to me, Like it wasn't.
It just wasn't real, sure, you know, yeah, just just

(05:03):
was it real?

Speaker 3 (05:04):
Now?

Speaker 5 (05:05):
La was different, you know what I'm saying. You know,
on the West Coast and things down in LA. You
could see, you know, different like a chicken and waffles places,
you know what I'm saying, Them kind of places you
have down the big donut hole, you know, with the
big donut You see those in movies and stuff and
even like ooh, Rosco's you know you see that in movies.

Speaker 2 (05:25):
What's the first movie you remember seeing Roscoe?

Speaker 3 (05:27):
Man?

Speaker 5 (05:28):
Fuck, I couldn't even tell you that. Don't even have
me lied to you.

Speaker 2 (05:33):
What's the first movie you remember seeing Randy's Big Donut?

Speaker 3 (05:35):
Then I think Carl Wash. Okay, I think it was
Carl Washed.

Speaker 4 (05:41):
I think it was the Colors.

Speaker 3 (05:43):
Huh.

Speaker 4 (05:44):
I think it was the interest scene to Colors.

Speaker 5 (05:47):
Carl Wash is really what made me become more interested
in LA is when I seen Carl Washed as a
kid in the seventh.

Speaker 1 (05:55):
That what specifically did you see in Carl Washed? That
was like, man, that's in LA and stuff?

Speaker 5 (06:00):
Oh the way that that the way that the different
people came together into that car wash. But you had
the different groups of people, the different groups of blacks
that all came to. You had the militant one, you
had the one that was like an Uncle Tom. Then
you had ones trying to be stars and stuff. And
to me, that's what LA was about. You know, everybody

(06:21):
trying to do different things, being stars, being this, and
they're all they're trying to hustle at the car wash.

Speaker 2 (06:29):
What about Los Angeles like sights.

Speaker 3 (06:32):
Sits, about Los Angeles sites growing.

Speaker 2 (06:34):
Up, because I didn't see Carl.

Speaker 5 (06:35):
Wash what movies that made me think of Los Angeles sites.

Speaker 3 (06:40):
It would probably be in the very beginning.

Speaker 5 (06:42):
I'll probably say it was the Bay Area that got
more play, you know than LA. Actually, you know, in
early seventies and stuff like that. Eighties, I think it
was more the Bay Area that they showed more with
the Golden gate Bridge and things like that, you know.

Speaker 3 (06:59):
Before then when the nineties came, that's where gangs came.

Speaker 5 (07:02):
They started doing more stuff in LA, sow more things
in LA.

Speaker 3 (07:06):
Then.

Speaker 2 (07:07):
I always say the Bay Area is the big brother
to black culture.

Speaker 5 (07:12):
But yeah, they used to show the Bay Area first,
like in the seventies, you know Street Mac, right, the
Mac and stuff like all that stuff. Yeah, it was
in it was like in San Francisco. You always seen
the hills.

Speaker 4 (07:22):
And yeah, the film was like the iconic district of
the West Coast. I feel like in that generation.

Speaker 3 (07:27):
Yeah, that's what it was when when I was growing up.

Speaker 5 (07:29):
Now, when the games coming, they started transferred towards LA
because of the game started putting an eye on LA
and that became you know the picture.

Speaker 2 (07:38):
So if Carl Washed kinda is the first film for me.

Speaker 5 (07:41):
Carl Washing is kind of like the first thing for
me that made me look at La, like on a
sunny day and you seen all the different crazy people
and stuff.

Speaker 3 (07:48):
I was like, yeah, that's La, you know.

Speaker 2 (07:51):
No sailings.

Speaker 1 (07:53):
Yeah, my brother people in the spot King is in
here ed the Florida trying to set him up and
have Pete taken to a delicious place to eat some food.
But obviously he's being difficult.

Speaker 3 (08:10):
Because there's really nothing, you know, in Florida.

Speaker 5 (08:14):
Like people got suggested to me like, hey man, we
know we got this place over here that's you know,
pretty good to eat.

Speaker 3 (08:19):
And I'd be like, okay, let's go over there and
try it, you know.

Speaker 5 (08:22):
But for me, I don't think Florida the like there's
places like Detroit or somewhere like that that have these
little dive bars because I'm a foodie and shit, so
I'd be looking at these little places that people wouldn't
even go to because they probably smoking a cigarette, dropping
ashes and they shit.

Speaker 3 (08:39):
I'd be looking at places like that that'd be having.

Speaker 4 (08:41):
Those are only places I eat it.

Speaker 3 (08:43):
Well, then we hit and That's what I'm saying. We
could you know, you act like you know me, I
don't have nothing to worry about.

Speaker 2 (08:50):
What the hell is a foodie.

Speaker 4 (08:54):
That's somebody who's singularly focused. And what's on the plate,
not the be honest or the selfie in front of
the sign out front. What's on the plate?

Speaker 3 (09:07):
I'll be on.

Speaker 5 (09:08):
I'll be on everybody that be eating at these places
on the internet.

Speaker 3 (09:11):
I'll beyond it. I followed the hey, I followed them religiously.

Speaker 5 (09:18):
They'd be having a big ass a lobster you know,
uh Burger's this big and stuff over there in the Baltimore.
They got a place of Baltimore that got lost, like
this big sandwich and stuff. Baltimore got a lot of
good places to eat.

Speaker 2 (09:36):
Based off the online, but it's based off social media.

Speaker 5 (09:39):
Well yeah, Accordia social media. I've been to you know,
I can't remember the place I've been to a Boston
I tried in Baltimore or Boston Baltimore.

Speaker 4 (09:46):
I mean, I think one thing you have to try,
and I haven't gone out of my way to get it,
but I just know it's a thing. There's a few
things in the seafood around down here that are like
uniquely South Florida one of them is stone crabs. That's
like the king of regional delicacy. But beyond that and
like more and so like in the black community, it's

(10:08):
like conk and like fried conk. There's like you pull
up like Google Maps and look over like Liberty City.
The amount of like places with the name conk in it,
there's got to be a dozen easily. And that's a
real big deal.

Speaker 3 (10:24):
Well, I just learned something new.

Speaker 2 (10:26):
Please explain it. Yeah, like this is you know what
conk is.

Speaker 3 (10:32):
I know what the conk haircut is, like a style
of a hairdoodle.

Speaker 4 (10:37):
Back in the days you see those giant big shells,
like they say, you put your ear to it. You
can hear the ocean the giant shells. That's a conk shell.
The conk is the you know, the and the meat
from the animal that lives inside of those you like.

Speaker 3 (10:52):
Like a snail, a slug. It's so much like that. Hey,
pe that what you're telling me like a good eat up.

Speaker 4 (11:03):
I'm gonna pull up a picture of a kunk.

Speaker 3 (11:05):
I don't think I want you to, Well, I want to.

Speaker 4 (11:08):
I want to see what it looks like. I don't
think it's like a snail.

Speaker 5 (11:11):
You got me scared of that area of Liberty City.

Speaker 4 (11:16):
The spot that I go eat at over there has
the best catfish I've ever had in my life.

Speaker 3 (11:20):
Oh, I'm there.

Speaker 4 (11:22):
It's right, and it's right in like where all the
it's like surrounded by a bunch of projects that are
like that have been vacated because they're going to rebuild them.
So it's just like in an ocean of empty buildings
over there.

Speaker 3 (11:33):
Oh that's my kind of spot.

Speaker 4 (11:35):
Foods right, yeah, and shout out to Eloise and Ernestine's.
They got the best food in the city in my opinion.

Speaker 3 (11:40):
Oh that's my spot then, yeah, we'll hit that up
for sure.

Speaker 5 (11:43):
Spots I like the spots where you don't even lock
your door because it means nothing.

Speaker 4 (11:52):
Exactly.

Speaker 3 (11:53):
You know, you just get out the car, go in,
pluck it. It means nothing. I like the those places.

Speaker 4 (12:01):
I wanted to hop out in one of those spots,
in one of the like empty projects and like Jerry
rig up like a crypto mining apparatus to like the
electrical circuit and see if I could just mine a
bunch of crypto remotely on free electricity for like a
year until someone found out about it.

Speaker 3 (12:18):
You probably could. Somebody else is probably up in there
living baby.

Speaker 4 (12:22):
Yeah, that's very true.

Speaker 3 (12:23):
Uh, dude, your area got a big homeless.

Speaker 4 (12:26):
Problem, not like on the West Coast.

Speaker 3 (12:31):
That's what that is.

Speaker 5 (12:34):
Oh hell no, oh fuck no, I don't want that, peete.

Speaker 4 (12:40):
Oh come on, man.

Speaker 3 (12:41):
Oh it looked like an eye balls and all in one.
Hell no. Oh man, Well.

Speaker 5 (12:48):
He showed me I don't want to, just like I
don't want no Rocky Mountain oysters.

Speaker 3 (12:54):
I don't want none of that either.

Speaker 4 (12:55):
Okay, man, why couldn't you pull them up a picture
of what it looks like when it's all pready fried glass.

Speaker 1 (13:01):
Yeah, he show me something wrong, You wondered him to
see that the creature.

Speaker 3 (13:09):
He tried to sneak one on me nights on the plate.

Speaker 5 (13:13):
Man, I'll stick with the catfish over there.

Speaker 4 (13:18):
I'll have to con I'll do it for the community.

Speaker 5 (13:20):
But I don't convince me. I don't convince me. I'm
bout the show. Don't convince me.

Speaker 2 (13:27):
I bought the show. That would have looked like Cookie
would have went for it.

Speaker 3 (13:29):
I don't know. Yeah, me scared without saying snails and slugs.

Speaker 1 (13:38):
So I was explaining to Joey right because We're on
the verge of finishing this one ten.

Speaker 3 (13:41):
Double album, right, I can't wait.

Speaker 1 (13:44):
It's a double album is really good, right, So we're
coming to the end and shout out to to Ray Daniels.
Ray Daniels did a podcast explaining how radio is being
undervalue you and people need to stop turning their back
on radio. To some degree, I think he said something

(14:06):
like that, so forgive me because I didn't actually hear
the correct words. So it kind of inspired Joey, and
Joey started asking me questions like man, why is we
just avoiding radio? And I'm like, man, radio is in
a weird position, like their business model was ant equated.

Speaker 2 (14:25):
It's like yeah, and he was like yeah.

Speaker 1 (14:30):
But I started to and then I started to explain
to him how radio works, you know, how they rank it.
Most people don't understand radio is a business of advertising, right.
They make their money advertising big audience, more people. They
could sell an advertise, you know, they could sell an
advertisement to a company because they have exposure to millions
of people. And I started explaining to him how they

(14:59):
ran radio stations right, how they guesstimate to a degree,
how many people are listening to a radio station. Roughly,
let's say there's a there's a company B. Company B
sends out monitors to different people all over the city
of Los Angeles. Let's say if it's four million people,
they send out forty monitors. Right, every monitor represents one

(15:23):
hundred thousand people.

Speaker 5 (15:24):
That stuff is really true, Yes, what they select the
Nielsen ratings and stuff like that's yes, yes, that was
like folklore.

Speaker 3 (15:31):
No, we was never that lucky to get a box.

Speaker 2 (15:34):
Yeah, yeah, no, no, it's very real.

Speaker 1 (15:37):
And so if twenty five million, if twenty five people
in Los Angeles is listening to Kiss FM, then they
estimate they guestimate that kiss FM has an audience a
two point five million. Now there's more stuff to it,
but that's pretty much the bulk of it. And then
how they rank a record, right, they call house phones,

(15:58):
and you know, it's like a survey they give to
people that listen to their station into test records.

Speaker 2 (16:04):
You know, hey, have you ever heard this song? On
the scale of one to five, how familiar is the song?

Speaker 1 (16:08):
And that's how they test records, and that determines how
much they play a record or to their belief that people,
you know, are into a record. So it's these very
adequated ideas. My dad made a great point to me.
My dad was born in nineteen forty seven. This year
he'll be seventy eight. Happy early birthday, good.

Speaker 2 (16:31):
Boy, Happy birthday, Early birthday, birthday.

Speaker 1 (16:34):
But he was saying in the fifties when he grew up, right,
he was the only person in his neighborhood that had
a television. Everybody would come to his house to watch
TV like families, and everybody had a radio. Everybody had
a radio, not a boombox, not like that. But even

(16:56):
you know, King, you're not anywhere close to my dad's age,
but you're remember when they had a transit.

Speaker 3 (17:01):
It was just am.

Speaker 5 (17:02):
It was just AM, not even the FM yet.

Speaker 1 (17:04):
Right, everybody had radio, so they consume their entertainment. This
is how they took their entertainment everywhere, or even got
their information.

Speaker 2 (17:13):
Sometimes they had to get a newspaper. Let's say, if it's.

Speaker 1 (17:19):
One hundred people, ninety had radio, ten had television. Today
it's the exact opposite. Nobody has a radio. Everybody walks
around with a television in their hand. Everybody ninety out
of the one hundred people have a television in their hand.

Speaker 2 (17:38):
Yeah, fast forward.

Speaker 3 (17:42):
Here we are.

Speaker 1 (17:44):
Radio is playing a different game because they're worried about losing, right,
They're worried about losing to all of their competitors. Right,
so when they finally play a record, they want to
play a record that has a story of says a
story and audience themselves. Right, So they're like, how many
streams does your song have? What is it doing on TikTok?

(18:07):
How many YouTube views? They're asking questions because they want
content that people are, you know, interested in already. But
I think that keeps them behind the eight ball. I
understand the thought. The thought loosely is, you know what,
if we're playing the song that's popping on TikTok, people
won't have to go look at TikTok. But the problem

(18:28):
is it's not true. People are going to look at
TikTok because they're looking at TikTok.

Speaker 3 (18:35):
Right.

Speaker 1 (18:38):
Radio is its own universe still in this time, and
it's a universe that's dying every day.

Speaker 2 (18:44):
Me in Head was just talking shout out to DJ head.

Speaker 1 (18:48):
Cars are being built without FMAM antennas, brand new cars.

Speaker 4 (18:55):
Yeah, they actually passed a law to like undo that
or something to because Ford was gonna build cars that
didn't even have like AM radio access, and then the
government passed a law to make them have to have
them in there for like safety purposes and for reasons

(19:16):
of like emergency and stuff like that. Various issues that
stem from that scenario.

Speaker 5 (19:23):
But now you're right like that, Yes, I thought the
cars would be the ones that saved the radio stations.

Speaker 1 (19:33):
And I'm telling you, everybody has been spoiled for years.
Radio is a spoiled business. Musicians have been spoiled because
that those generations. What's the what's the birth of the
boomer generations? The bird the boomer starts what year.

Speaker 4 (19:51):
Like forty five, forty five. Well, they all got knocked
up in forty five, so they all probably had the
kids in forty six.

Speaker 1 (20:00):
Baby Boomers a gen knocked out. Baby Boomers are the
generation born between nineteen forty six in nineteen sixty four.

Speaker 2 (20:07):
There you have it.

Speaker 5 (20:09):
Okay, So what's the next generation after Baby Boomers XX?
So I'm generation X.

Speaker 2 (20:14):
Yes, I'm at the last year of our generation.

Speaker 4 (20:19):
Well technically, oh wait, no, that's before boomers never mind. Yeah, yeah, you're.

Speaker 5 (20:22):
Right, yeah, because I was born sixty eight, so I'll
be a X generation.

Speaker 3 (20:28):
X Yeah, that's cool. That fits me perfect.

Speaker 4 (20:31):
Yeah, I agree.

Speaker 3 (20:33):
So I wanted to be racer X when it's be
racer anyway.

Speaker 2 (20:39):
So the solid generation is before the boomers.

Speaker 1 (20:42):
Yeah, okay, then it's the boomers, right, and then it's
Gen X, and then it's the millennials.

Speaker 3 (20:48):
So what's gen Z? What's this gen Z people.

Speaker 2 (20:51):
After the millennials?

Speaker 3 (20:52):
That's the people here now.

Speaker 4 (20:53):
The kids now, they're like twenty five now.

Speaker 3 (20:58):
The gend's are the kids now?

Speaker 4 (21:00):
Yeah? Gen Z just voted in its first presidential election
last year.

Speaker 5 (21:07):
I didn't know, you guys, I didn't know it was
really classified by names like that, the generations and stuff.

Speaker 3 (21:12):
That's crazy.

Speaker 4 (21:12):
Yeah, when you can't come up with a name like
baby boomers or millennials, they just give you a letter.

Speaker 3 (21:18):
Yeah, that's what I'm saying. It's like, what the fuck?

Speaker 4 (21:21):
Yeah, or the silent generation. It's crazy. Well that's the name.
Otherwise they would have been, you know, like generation to you.

Speaker 1 (21:32):
So what I was saying, I thought about radio radio
is in a really weird yet special position. Radio still
has an audience of people that grow up with them.
They still have power to move the needle. But as

(21:53):
long as they continue to follow, then they will start
to they're ostracizing themselves.

Speaker 4 (22:01):
Yeah. And also look, you have to look at like age,
demographic of consumers and consumer types and all that kind
of stuff.

Speaker 3 (22:10):
Yeah, how do they pull people from looking to listening.

Speaker 2 (22:15):
You can't.

Speaker 5 (22:16):
So you just got to keep your core audience and
just ride that out.

Speaker 2 (22:20):
Well, so there are certain things you could do.

Speaker 1 (22:27):
If I was radio, I'd probably put cameras all in
the studio and just start streaming live.

Speaker 5 (22:32):
Okay, like some of them are doing, like some Railo
stations is doing now putting stuff online, and you.

Speaker 2 (22:37):
Know, I'd be streaming live, oh during the whole day
every show.

Speaker 3 (22:41):
Okay.

Speaker 1 (22:43):
But then again also a lot of the shows are
pre recorded. Yeah, but that's also because they're trying to
cut back on money. But if you added the revenue
of the consistent streaming, then yes, now you have a
visual component to start to market it to an audience
that's watching everything and not.

Speaker 2 (23:00):
Listening to everything.

Speaker 1 (23:02):
So what you're saying, but not just in that sense
of trying to hey, you know what, I'm trying to
galvanize the viewing audience, but also having the understanding of
what people want to hear, what sounds good because a
lot of the stuff we're saying on TikTok, it looks good,
and then we just we remember the visual of it,

(23:23):
and then we associate that with the sound. Like there's
a ton of records that are doing well on TikTok
that are struggling at radio and they're probably never going
to be a hit record at radio, which really has
been held for radios because they've tried records that are
these big TikTok songs and these big Instagram songs and
these big social media songs, and the songs are not

(23:43):
working on radio because they're not necessarily catchy records in
a record traditional sense.

Speaker 5 (23:51):
Can ask you a question because you just brought up
a good point that's confusing to me. Kaan sure, So,
who defines a hit record? The radio, the streaming services?
Who defines a hit record?

Speaker 3 (24:04):
Now?

Speaker 4 (24:08):
Seeming with everybody, it's it's like determining who the heavyweight
champion is. There's fifteen belts floating around.

Speaker 1 (24:15):
Okay, yeah, because it's not that bad. No, so I
was there, but it's not bad. It's not wrong, but
I guess because if you're in the know, you know. Still,
so even though the w A could have the w
B A could have a super champion, regular champion, and
interim champion, uh A minor champion. If you're into boxing,

(24:38):
you know the super champion is the champion, that's the
championship belt. All these other you know, sanctioned builds are
just a way for them to raise money. But the
average person who watches boxing has no idea pop from
I B S, w B A, so they are forced.

Speaker 2 (24:55):
So there's there's more than that too. Yeah.

Speaker 3 (24:58):
Yeah, they got an id A action body.

Speaker 1 (25:01):
So there are sanctioning bodies in boxing right that that
have titles people can fight for.

Speaker 2 (25:07):
There's four major sanctioned body. There used to be one.

Speaker 4 (25:10):
Yes, I'm saying this transition is like boxing would beat
music to it by forty five fifty years.

Speaker 2 (25:19):
Well, it's all about trying to help marketing.

Speaker 1 (25:22):
Sure, it was tough when you had just the WBC title,
which is based WBC World Boxing Council is based in Mexico,
so they kind of you know, the Green Belt was
the belt. Even in Muhammad Ali's days, the WBA belt
was there, but it wasn't considered a major title. So
now they have four major titles, which created the concept

(25:44):
of undisputed champion.

Speaker 3 (25:45):
The way we know it.

Speaker 1 (25:46):
You know, I mean they have they've they had two
three Mike Tyson's era they had three, but they've always
had other you know, they have an IBA, ib Oh,
they have different minor sanctioning bodies that make.

Speaker 5 (25:58):
What the WBO, the IBF is the fourth right, Yeah,
so the four major is WBC, w b A, w
w B A is out of Panama, IBF is out
of America, and the wb O.

Speaker 2 (26:12):
No, the WBO is somewhere else.

Speaker 4 (26:15):
Out of England.

Speaker 5 (26:16):
I thought, yeah, I thought it was like somewhere like
England or somewhere.

Speaker 4 (26:20):
I thought one of them was out of England.

Speaker 1 (26:24):
BC is in Mexico, WBA is in Panama, IBF is
in America.

Speaker 3 (26:29):
WO somewhere like England.

Speaker 2 (26:30):
I don't think it's in England. Mm hmmm. I don't
think England had.

Speaker 4 (26:39):
I thought they did because that was part of that
Lennox Lewis riff and they had all those British boxers
over there.

Speaker 2 (26:45):
No WBO is in Puerto Rico.

Speaker 5 (26:47):
Oh wow, it took that little place and made the
w a wow. No wonder day were talking mess about it. Huh,
no respect for the WBO.

Speaker 1 (26:56):
Huh, well really in modern box, WBA takes the most slack.
IBF in America is the most strict WBC. People feel
like it's the real, real one.

Speaker 2 (27:09):
It has the.

Speaker 1 (27:10):
Heritage, but some people feel like they kind of w
People don't like the WBA because they have a lot
of titles, so they keep sanctioned fights. That's how these
sanctioned bodies make their money. They organize fights and they
take percentages for titles. I mean, oh, you can fight
for our regular title, or you can fight for our
you know, or.

Speaker 3 (27:31):
Long as they put championship on the end of this.

Speaker 2 (27:33):
Yes, that's what people do. So with radio, radio is
in a prime position.

Speaker 1 (27:37):
But the problem is, I think a lot of people
that's working at radio idly don't kind of understand records.

Speaker 3 (27:43):
I know.

Speaker 5 (27:43):
So that's what I'm saying. Who determines hit records? Because
remember radio, I guess used to determine that one time, right.

Speaker 1 (27:48):
No people determine hit records or radio just presents them
and people can decide which ones they like. But today
on social media it's different because you couldn't look at something.
It's a guy named chef Boy. He's out of the
he's off rosecrans. He's somewhere out of the pot rolls.

Speaker 2 (28:07):
I don't know.

Speaker 1 (28:08):
I don't think he's quite a gang member, but he
grew up with some of the armies over there. He
has a song called Ganggang and it's a really popular
song on the West Coast. You know hip hop, you
know street urban scene, it's really popular. Songs are like
five million streams. You got the young Hommy hit a Jay,
couple of dope people on it.

Speaker 2 (28:28):
But it's a.

Speaker 1 (28:31):
Really popular song for people in the note, which is
this very minute group of people. Still the song is
at five million streams. It's a dance that's moving the song.
So people see people doing this dance to this specific
part of the song right, And they're doing this dance

(28:53):
to this specific part of the song, and you start
to associate what you hear with that dance. Now, if
they try that record on radio, that's a pretty good record.
It probably will do decent like it'll perform because it's
a catchy record. But here's another example. What's the song

(29:18):
left right? Let me see you do it left right?
Like the point of that song right is like you
could have parts of a song that make a song
familiar because a dance somebody's doing that doesn't always translate
over to an audience that just hears it completely.

Speaker 2 (29:38):
Part of us digesting music is.

Speaker 1 (29:41):
Singing it today because ninety of the things that we
hear we see because of the phones in our hands.
So I thought to myself today, how difficult would it
be to make a campaign that just fits radio?

Speaker 3 (29:58):
Right?

Speaker 1 (29:58):
You'd have to have again, you have to market the
song to radio. You've always had to market the song
to a radio, but the story was different Now everybody's
a little lazier where it's like, hey, is it already
performing on our competitors? You know, because make no mistakes,

(30:18):
streaming apps is their competitors, IG is their competitors. These
are all entertainment business. Even though they use each other,
they're all competitors. They're competing for your you know, your attention.
But I think radio is the one that relies entirely
too much on the competitors. Spotify doesn't rely on radio

(30:41):
like that. They already put the songs that radio did
the work on. So if you look at a Warren
G like regulator, have a billion two billion streams because
radio already did the work, they don't need the radio
for regulator anymore. But if radio concedes that they want
the story, as you know market when you go to

(31:02):
market the song that you're presenting, or tell the story
about the song you're presenting. If they're worried about what
their competitor thinks, well, how is it performing with our competitors?
The problem is those two things are not Like it
could have twenty million on Spotify, but it doesn't fit
what you do.

Speaker 5 (31:22):
So let me ask you a question. So should the
artists wait for visuals and push the music side first?

Speaker 2 (31:28):
That's what I'm saying.

Speaker 1 (31:28):
You don't have a choice because ninety percent of consumption
is the television in.

Speaker 2 (31:34):
Our hands that we call the cell phone.

Speaker 1 (31:39):
That was a hard pill to swallow as coming to
an end on this one ten project to get ready
to start putting it out. And it was, like I
was telling you before ever since MTV came in the eighties,
like since the beginning of black recorded.

Speaker 2 (31:55):
Music, right in nineteen twenty, what you heard was the
bell of the ball.

Speaker 3 (32:03):
It was it was.

Speaker 1 (32:04):
Pretty much everything as recorded music and radios became a thing,
that's it was what you heard. So for years the
music industry was spoiled because everything was catering to what
they did, even MTV, which became which to them was
their greatest benefit but also became their worst enemy because

(32:26):
MTV is the first way we start seeing music. We
started seeing music like Don't Let Me Wrong shout out
to the blaxploitation era. So you know albums like cardw Washed,
movies like Cardwish that broke Rose Royce.

Speaker 5 (32:43):
That just sounds so bad when you say bla blaxplation. Yeah,
like man, I got I still haven't got graphsed that
concept yet.

Speaker 1 (32:52):
Well, because they they they made a business out of
kind of the concept of poor blackness, like the Mac
and shit like that.

Speaker 2 (33:02):
Made people think black people all black people.

Speaker 5 (33:05):
I think they do that with everything in movies, regular
white movies.

Speaker 1 (33:11):
You know, they just have regular white movies, like your
regular white movie. I'm one of the people that believe,
if you make a white movie that just have black people,
it's not gonna do good.

Speaker 3 (33:23):
How do you make a white movie that just has
black people, just some regular American story and the all
black people. Ain't that what Tyler Perry do? No, Oh,
he doesn't do that.

Speaker 5 (33:33):
Hey don't know, he doesn't make white movie white shows
or all black people.

Speaker 3 (33:36):
Hell know what kind of movies he made? These movies
is more like what about this TV show? Okay, look
about this TV show?

Speaker 2 (33:44):
TV shows?

Speaker 5 (33:45):
Okay, he makes a lot of TV shows that's like
white orientated, but black people.

Speaker 2 (33:53):
I don't know, Like he just got up.

Speaker 4 (33:56):
Yeah, like those regular like black families. They look like
makes of like nineteen nineties sitcoms, but with black people,
they're just like people sitting inside of a living.

Speaker 3 (34:05):
It's like General Hospital and stuff like that.

Speaker 4 (34:07):
Yeah, I've never seen him. I've just seen the commis.

Speaker 2 (34:11):
Like I couldn't imagine that General Hospital.

Speaker 3 (34:13):
Would that dude got about five series, six series out
there like that, all running at the same time. Yeah,
I don't know. Oh man, Yeah, it's crazy. But that's
probably why I don't know him. Yeah, it's crazy.

Speaker 1 (34:26):
That's probably why I don't know, because General Hospital with
just black people would just be like yeah.

Speaker 3 (34:32):
Yeah, but that's what he does.

Speaker 5 (34:34):
He's putting these series out like this, and that's you know,
it's all like a white orientated shows, but it's.

Speaker 2 (34:39):
Like it was white orientated. Just shame me with that.

Speaker 3 (34:43):
Well, like we were just talking about like.

Speaker 4 (34:44):
The opposite of black exploitation, black non exploitation, black normalization.
I don't know how you'd call it black mainstreamization, black whatever.
I don't know.

Speaker 3 (34:56):
Oh no, no, black inclusion is on.

Speaker 4 (34:58):
That's probably better.

Speaker 1 (35:00):
I mean, would would like, would like the first Prince
of bel airer be good? If will Smith wasn't in it,
if it wasn't this ghetto kid from Philadelphia, where would
the flavor come from?

Speaker 3 (35:09):
So that was because they're a black exploitation, then.

Speaker 4 (35:12):
No, if it was like if Carlson was wouldn't like
actually funny, like on his own, not as a counterpuncher, like,
the show would have been fine. I mean like that
that's the otherwise, that's the Cosby show that did well.

Speaker 1 (35:30):
Oh, it is kind of the Cosby Show. They didn't
really have problems that were unique to black.

Speaker 5 (35:34):
People now doctor or lawyer, right, but they tried to
spend it off with the college one that tried to
make it more unique to black people's problems.

Speaker 3 (35:44):
I can't think of the college show they did. What
is it?

Speaker 5 (35:46):
Uh?

Speaker 1 (35:47):
What's what's one of the plots on the Cosby shows?
Because I don't really funny. I've seen the Cosby Show
one hundred times and I can't remember a plot. What
was the biggest plot to the cod Like? I remember
the biggest plot to the First Prince of bel Air
was when Will Smith dad finally came back and that nigga,
you know what I mean, Like he just steal.

Speaker 2 (36:08):
Well over, Like, what's the biggest plot to the Cosby Show.

Speaker 4 (36:13):
I haven't watched the Cosby Show.

Speaker 5 (36:15):
And.

Speaker 1 (36:17):
Plenty of episodes I could tell, Wow, I could, yeah,
but with all kind of shows, I genuinely remember a
plot to the fucking Cosby Show.

Speaker 4 (36:28):
Family Matters was largely kind of a I would say
of that, you know, instead of having like like because
Ercle would be like more like Will Smith's character, because
he was like the bombastic, comedic insertion into an otherwise
pretty mundane landscape. He just happened to be a nerd
next door and opposed to like Will Smith being like

(36:52):
transplanted from a different lifestyle community into the home. You
know what I mean?

Speaker 1 (36:58):
Sure, but I steal the plot, I remember. Now I
am a crip, so let's just start there. I remember
the Gang members was given Eddy a hard time.

Speaker 4 (37:08):
That was about like season ten.

Speaker 3 (37:10):
But that's the plot I remember.

Speaker 1 (37:12):
I don't like the main plots I remember is is
Arcle having a problem with whoever Laura was dating? Yeah,
or the two girls, like I don't quite remember the plots.

Speaker 4 (37:30):
I remember one of the plots where the dad and
the white lieutenant I think had to dress up as
girls for a sting operation or something like that, something
like that, one of them. But uh yeah, to set
up a sting operation for a mugger.

Speaker 3 (37:46):
See.

Speaker 4 (37:47):
Otherwise, it's all about the same stuff.

Speaker 5 (37:48):
It's so funny you say Family Matters, because when Family
Matters first came out, I really didn't pay attention to
it because I was like, Oh, this is this old
square ass bullshit ass you know, make believe perfect family.
You know that this shit don't even exist. So I
never paid attention to it. But when I got older
and started seeing the reruns of it, I started looking

(38:11):
at it differently, you know, then when I was when
it first came out, because Erkle's character, you know, changing
the stepan and all that kind of shit.

Speaker 3 (38:21):
Yeah, I remember all the episodes become cool.

Speaker 5 (38:24):
Yeah, that's to saying, like the watching that I started
when I was older, I was able to start seeing
differently looking at it.

Speaker 3 (38:30):
But when it first came out, I was like, I
ain't watching this bullshit. Sure you know there was nobody know.

Speaker 4 (38:35):
If I was an adult when that came out, I
wouldn't have been watching that show. It helped them. I
was like seven.

Speaker 3 (38:42):
I caught him in reruns. Shit, then I got hooked.

Speaker 4 (38:47):
I benefited from.

Speaker 3 (38:51):
But I know there's a lot of show Glasses didn't
get to see.

Speaker 5 (38:54):
As I'm talking to him, like he didn't get to
see a lot of the Sydney Portier movies, you know, prior.

Speaker 2 (39:01):
Those are things before I was alive, You know that
kind of I saw.

Speaker 1 (39:05):
Family matters in The Cosby Show, and I can't tell
you one fucking Cosby Show fucking plot.

Speaker 3 (39:10):
Oh, different world is what I was thinking of. That's
the college one a different world.

Speaker 2 (39:15):
I can't think of one plot.

Speaker 1 (39:16):
See the plot I remember in a different world was
when Tupac and his thug ass friends came sweating.

Speaker 5 (39:24):
At the school. Yeah, because of Tupac. So yeah, I
don't quite know. Yeah, you know, but you're right trying
to figure out because this stuff was so lily white
on the Cosby's, You're right, it's really hard to figure out,
like what really stands out.

Speaker 1 (39:43):
So I guess what I'm saying with radio again is
it's like it becomes unique programming. Unique programming what you
mean by unique, like you can present records to the
world that only exists in your platform, Like you can

(40:03):
be the author of where all the new cool records
come from?

Speaker 3 (40:07):
Ain't that what they well?

Speaker 5 (40:08):
No, you said that they tried to take it from
what they see on social media.

Speaker 1 (40:12):
So what they're following what's getting cool on social media,
but what's making that cool is more than likely what
you're seeing. Radio still has a place that they can
make records cool by based off what you hear.

Speaker 4 (40:28):
But aren't they competing against like the big like digital
playlist people then at that point.

Speaker 3 (40:36):
No, why not?

Speaker 2 (40:39):
Because it's just not.

Speaker 3 (40:41):
Right for right now.

Speaker 1 (40:44):
FFILM radio still in America still has a leg up
over Spotify in Apple.

Speaker 3 (40:50):
Why's that it's free? Okay right now?

Speaker 2 (40:56):
Yeah, except for right now, right now, because we were
just talking about it.

Speaker 1 (41:00):
You're Tesla is charging people, will hopefully Repeterson at least
am and standing there.

Speaker 3 (41:06):
Tesla is charging people. Get ready to say, testa charge?

Speaker 2 (41:09):
And what Tesla is charging people for FM packages?

Speaker 3 (41:11):
For FM radio to put an.

Speaker 2 (41:13):
FM package in your card at tenn and stuff.

Speaker 3 (41:16):
Are you serious? Yes?

Speaker 1 (41:17):
Wow, for years you just been you know, FM radio
was spoiled by just it's what came with it. But
you know, eventually people is gonna catch up. But I
think radio, especially hip hop radio, is in a really
unique place to where I mean they can fight for
their last life like what Kendrick did in that particular
battle film. Radio can make that same stance and fight

(41:40):
and really shake the gamer. But I think they would
have to make a commitment and kind of put it
out there. And I don't know if they're staffed with
the people in the know when it comes to making
records for.

Speaker 3 (41:54):
Me, commitments, commitment, kind of commitment you you.

Speaker 1 (41:57):
Would have to be willing to risk the comfort of
flying regular to just to be great. It's like when
Kendrick did the same thing, like you have to you
have to risk losing it all to gain the world.

Speaker 3 (42:13):
True like they have.

Speaker 4 (42:15):
Like I thought, Spotify is free just has more ads.
If it's if you get the free Spotify, you.

Speaker 1 (42:21):
Don't get to use access to all the other stuff too.
You don't get access to all of.

Speaker 3 (42:26):
The new releases or something. I don't know. I don't
got Spotify.

Speaker 2 (42:29):
It's a lot it's way more. It's a different user.

Speaker 3 (42:34):
Yeah. See, I don't pay I don't have Spotify or
anything even.

Speaker 2 (42:37):
Right now with Netflix.

Speaker 1 (42:38):
Netflix, Like if you pay the bare minimum package with advertisement,
they don't allow you access to all of the programming
on Netflix.

Speaker 3 (42:49):
Yeah, all the movies and stuff.

Speaker 1 (42:51):
They're like, nah, we want twenty that little ten dollars
that you don't get to see everything on our platform.

Speaker 2 (42:57):
I don't care how many ads they run.

Speaker 5 (42:59):
You're right, because they got Bible to give give people
more money on different Yeah.

Speaker 3 (43:03):
I see what you're saying.

Speaker 1 (43:06):
So I think radio is in this really unique position
thut out the dock running. iHeart right now, you guys
are in this really unique position to challenge or to thrown. Now,
don't get me wrong, I'm not saying you're gonna be
a champion for thirty years. You definitely are in a

(43:27):
really odd place. You're not the bell of the ball anymore.
Everybody's not catering to your every waking moment.

Speaker 2 (43:36):
Cars are not. They're trying to figure out how to
get away from you.

Speaker 1 (43:39):
And the businesses that you're using that are competing with
you are now, you know, writing the checks to the
car companies they're writing the checks, you know, to everybody
else to position themselves better. But you still have access
to people that boomers, gen X and Malieise, so they're

(44:02):
not totally voided of your power radio power. When it
comes to programming, Ulish, you just have to give them
a reading to come back and listen to you, Like,
it's ridiculous that you're allowing no podcast media.

Speaker 2 (44:22):
When your platform is built off of people listening.

Speaker 1 (44:26):
Like one thing, I think radio is making a huge
mistake on this, depending strictly on the music you're playing,
white into Spotify's hands, and Spotify slowly it's building.

Speaker 6 (44:34):
Radio sols that we call podcasts. It's almost it's a
weird circle that they're doing. And podcasts got on because
of just means Spotify got on because of us. They
told everybody music wasn't worth nothing, and Spotify built them
multi billion dollar trumpant y'all just music. Now they're like, okay,
we're gonna offer talk radio that we call podcasts. Hey,

(45:00):
Rape was like, well we're gonna have less talking and
just more.

Speaker 4 (45:04):
Music, yeah, which I mean, I don't know. To me,
I think that needed to happen because, like I personally,
I stopped listening to radio a long, long time ago
because of too it's just way too inefficient a delivery
apparatus from the time standpoint, Like per hour, you're getting

(45:26):
just inundated with more bullshit advertisements for self financing car lots,
and then you got some idiot talking about Christ knows
what in between songs for however, the hell long that
was like the death of like power one oh six
and the beat and all them was was these shit
fucking DJs just talking about nothing, with like three or

(45:49):
four idiots in the studios droning on about whatever the fuck,
like this is terrible, and then they would play the
same three they could only afford to play, like you
were saying, the top five songs in rotation. So it
just it became so miserably criminally repetitive. And then I'm
having to hear about every car a lot on Hawthorn Boulevard,
and then these idiots talk about their fucking weekend, and

(46:11):
then I get to go here three songs again, and
that's my hour. That's a shitty consumer experience.

Speaker 1 (46:17):
Well, I think I think what you're saying is probably
they listened to you, and that was their greatest mistake.

Speaker 2 (46:23):
They should have just lost you.

Speaker 1 (46:25):
They didn't because, well, the reason why it didn't make
sense is because the problem wasn't the shitty personality is
you're a dick.

Speaker 4 (46:34):
No, they're shitty idiot personalities. That's why they never transitioned
out of that. And they all are.

Speaker 1 (46:42):
Well, they listened to you, and now they're about to
be out of business because they're just playing music and
at this point nobody has to listen to them. Now
I can go and listen to whatever songs I want
to play. Sure, so listening to you yo, because they did,
they was like, oh, you know what.

Speaker 2 (46:58):
People don't like the personality jees Day. Don't like the talking.
It's like, no, he's probably the wrong person.

Speaker 4 (47:04):
Well, no I'm not the wrong person. And the numbers
of reflection. The truth is they don't have the money
to be able to advertise locally and syndicate broadly for
twenty four hours a day.

Speaker 2 (47:23):
What he means, run out by me again, say that again.

Speaker 4 (47:26):
To get some cheap local DJ. You don't pay him
very much, but he sucks. So to compete on a
minute to minute basis with great information dissemination from a
content standpoint, you have to pay for the best people.
You can afford to buy the rights to Howard stern
Is heyday because of the draw you're going to get locally.

(47:48):
But you can't afford to pay fifteen the fifteen most
popular podcasters hour after hour after hour after hour after
hour throughout your radio day. You couldn't. You wouldn't make
the mica up on the backs.

Speaker 3 (48:03):
That's actually what you could do.

Speaker 2 (48:06):
No, actually what they had the money to do.

Speaker 1 (48:08):
But again, the concept of trying to widen profit margins
and believing that you were going to make it efficient
just slow prolonged your death.

Speaker 4 (48:17):
If you want to know what they need to do, Sure,
if radio looking at the numbers and it is very
much age skewed demographically, they need to ditch letting some
local food restaurant or in house financing used cars or whatever,

(48:37):
screw all that and just start pumping advertisements for Viagra,
lipitoire and all that shit that goes into an aging
population where big, big, big money advertisers in the former
pharmaceutical companies will just pay untold amounts of money to
push their pills through those people's ears.

Speaker 1 (49:01):
So you're saying you believe the choice is to change
the average, do you don't think they they're pitching at
that point, till Viager.

Speaker 4 (49:07):
Why if they are, they aren't doing it very well.
There are some a lot of like read ads stuff
like that, but read ads they overpay for because you
can change the champ.

Speaker 2 (49:19):
I don't know if it's as simple as just the advertise, Pete.

Speaker 1 (49:21):
I just don't know if you could get that like
of me. I just don't know if you could.

Speaker 4 (49:27):
How else are you going to afford to buy the
rights to play the top dozen podcasts every day?

Speaker 1 (49:40):
How much do you think that? But why would you
pay the top dozen podcasts.

Speaker 4 (49:44):
Because that's who you're competing against. Otherwise you're gonna have it.
It's the same. It's like.

Speaker 1 (49:51):
It's like saying you don't go sign a new artist.
You just signed Frank Sinatra, Like you don't need the
top because you need to add to be able to
judge talent. You need to find somebody much better at
judging talent. I don't think the solution is in the music.

Speaker 4 (50:07):
Idly, then as soon as you find that talent, if
they're only in your local radio market on your radio show,
the incitant that they become irrelevant and stay on their
own two feet as a talent, they're gone and beyond that.
But when you're talented like that, those people are being
self discovered in a way now that they weren't able
to be generations prior even it.

Speaker 2 (50:29):
But who's gonna pay them more?

Speaker 3 (50:32):
Like?

Speaker 1 (50:33):
Who is these companies that's paying people way more money
because I don't know which ones exist. Like Charlotte Mage
pretty much is probably one of the most successful people
in the radio.

Speaker 2 (50:44):
Channel four can't pay him.

Speaker 1 (50:46):
I mean, iHeart can pay him, and to his credit.

Speaker 2 (50:50):
They do syndicate him.

Speaker 1 (50:51):
But I'm saying the idea is not in just conceding, Hey,
you know what, Joe Rogan is the biggest podcaster round,
so we need to try to get Joe Rogan show.
That probably wouldn't be good because then you be competing
with YouTube or whatever Joe Rogan's platform. Your goal would
be to find the Los Angeles version of Joe Rogan.

(51:12):
Now I agree with you that you can have some
shitty people talking and they're not interesting people because maybe
you're selling something else, like right Power one O six.

Speaker 2 (51:20):
Forgive me for my belief is they're trying to sell demographics.
They're not they but I understand that too. Right, because
they're like, hey, we're in Los Angeles.

Speaker 1 (51:32):
Like, I hear a lot of people saying that, oh,
we're in Los Angeles, you know, and they play black music,
but they have you know, these particular Mexican people on
the air, And I'm like, because they're selling demographics. But
you have to get the best talent in seid demographics,
and you have to be able to judge talent, which
is kind of what I'm saying, which is the problem

(51:53):
with the labels and everybody else.

Speaker 3 (51:54):
People are not.

Speaker 1 (51:54):
Great at judging talent because they're looking at numbers and
they say, well, if they have numbers, then they have
to have talent.

Speaker 4 (52:00):
No.

Speaker 1 (52:00):
That could be a connection to an audience for different reasons,
and once you put them in front of who's listening
to a radio, they don't connect. And actually, more times
than not, that's what's starting to happen.

Speaker 4 (52:13):
You Like, let's say you're if you're talented to that degree,
you're going to have your own content platforms that pay
you at a different scale, right, So you could the
goal then there would be the Okay, well you're an
independent podcast or whatever, so you're available on your YouTube
and near all your other shit and we'll just take

(52:34):
that guy because he's not exclusively signed anybody, because he's
just getting his stream and his read add money and
all the rest of it over there, and we'll put
him on the radio station over here. Well, you're now
competing dollar per dollar in what he would otherwise be airing,
and him and him drawing audience away from those revenue
streams to your revenue streamer. Of compensating for that, you're

(52:56):
going to overpay for his value.

Speaker 1 (52:58):
I don't think he's making enough money. That would only
that would only be true if you believe YouTube is
paying people.

Speaker 2 (53:04):
They're not. They don't pay people any better than radio.

Speaker 1 (53:09):
Like this journey we've done with No Seller's podcast has
taught me so much about how bad and how full
of shit.

Speaker 2 (53:16):
Everybody is going to comfortable. Sure, full of shit.

Speaker 1 (53:21):
Like like there was probably a small window when YouTube
actually paid people good. Yeah, like any other business, soon
as you get the first flux, you pay them good.
Everybody else you pay them bad because now you have
the cachet to say like Spotify just did the same thing.

Speaker 2 (53:38):
Spotify allowed all of these record labels and artists.

Speaker 1 (53:40):
To use stream forms right because not only did it
benefit they platform saying they had this many numbers means
it means the people.

Speaker 2 (53:47):
Blah blah blah blah blah blah blah blah blah blah blah.

Speaker 3 (53:49):
Right, okay, we got all these people.

Speaker 1 (53:51):
Look at these songs this saw as one point, they
had two point six billion streams. That's an attractive thing
to even put out to people. That's an attractile ain't
even see to that all, like, damn, how many people
like my song or my favorite song? Great, So everybody
started to promote Spotify because Spotify was this and they
were Hella friendly and they was you know, you could

(54:12):
use the stream form and as it's engaging, we're gonna
even put you, We're gonna market you, we're gonna put
you in algorithm, we're gonna suggest you to audiences and
like songs of popular people, and all these songs were
doing credible. Oh, they were blowing up, biggest songs in
the world. And then they realized, we got everybody here.
Now we don't need to script buy on our profits.

(54:34):
We're gonna cut all this shit off. And every day
billions of streams are disappearing on Spotify. They always knew,
and now a song could be culturally you know, a
hot fire pit and it will only have four million streams.

Speaker 2 (54:55):
You get to really see the numbers today.

Speaker 1 (54:58):
So then, like I think when somebody creates a podcast
on YouTube.

Speaker 3 (55:03):
Those those those, those those.

Speaker 2 (55:05):
There's a belief if their making this ridiculous amount of money, where's.

Speaker 4 (55:08):
The consumptive footprint? Then So it's like, so like if
something's super hot and has four million streams on Spotify,
it's being consumed elsewhere. So would those impressions be.

Speaker 2 (55:24):
Sure on Instagram?

Speaker 1 (55:25):
Because like let's say this song, yes, throw those gang
gang Yeah, so that song might be, but again, what's
culturally on fire? Remember this street urban culture?

Speaker 2 (55:33):
Pete?

Speaker 1 (55:34):
Even you right, you're in the know of it, but
that ain't really something you give too fucks about.

Speaker 2 (55:40):
It's still a niche thing, you know what I mean.

Speaker 1 (55:42):
It's like it's like the first time somebody fried chicken,
like we like, you know people, you would have been
the type of motherfucker Pete that had tasted it. It'd
have been drove down to the plantation and you know, hey,
you know, uh, Sarah got that chicken. You would have
went back there and you didn't give a fuck was there.
You'd walk Master.

Speaker 2 (56:01):
Hey, you know they got you some.

Speaker 4 (56:03):
Chicken like Marris Bueler, stay off, go through the front door, wave,
go out the back door.

Speaker 2 (56:11):
And Master would have saw. You'd be like, you got
a white man coming here. She got a white man
come and get this chicken.

Speaker 1 (56:16):
And you would have been part of our little small
group of people talking about how great fried chicken is.

Speaker 2 (56:22):
You'd have been wanted for some reason. You would have
knew it.

Speaker 3 (56:24):
Pete.

Speaker 2 (56:25):
You'd have been like, man, I don't know fried chicken
down there there.

Speaker 4 (56:28):
And then mate, I see a long line, I stand
in it. There's two. That's the other thing. People have
people just like like I say, like the joke about
like black wolf versus white people that centered the linitary
to do you hear somebody? They all start running, Just
run and ask why you're running later. Sure, if I
see a line, I stand in it.

Speaker 2 (56:47):
Okay, it would be good. If if it's a line,
that's all clubs in LA work. They'll just make a line.
Be in a club over a thousand people would be
one hundred people in the club.

Speaker 3 (56:54):
Line.

Speaker 2 (56:54):
I got one hundred and fifty people. Yeah, they gotta
hold the line. They hold the line. That's part of
their marketing tool.

Speaker 1 (57:00):
Hold the line people gonna stop and getting lined, And
I'm the exact opens.

Speaker 2 (57:02):
If I see a line, I'm like, Oh, can't be
that good.

Speaker 1 (57:05):
I've been wearing George my whole life, right, And I
don't even like Michael Jordan, but I always thought he
had dope shoes and I would wear them this before
they was like a thing like they were. I'm the reason.
I'm part of the community that made them a thing.
The first time it was a line, I stopped wearing them.
The first time I ever had to wait in line
to get them, I'll move up, I start buying ewings.

(57:27):
I'm not waiting in line. I'm not winning a rifle
to spend my money.

Speaker 4 (57:31):
Yeah, to me, like it depends on like for food,
Like I didn't know what papoosas were. I saw a
line and I was like, what are all people standing
in the line for at that place next to the
muffler shop? And I was just like, I don't find
out what this is about.

Speaker 5 (57:49):
That was how I first, Hey, you sound like you
was Intokoba, because that's where it's right next to the
buffalo shop.

Speaker 3 (57:55):
In Takoba.

Speaker 5 (57:57):
We real dog no Lie sick up posts next to
the muffler shop.

Speaker 3 (58:06):
That's crazy.

Speaker 2 (58:07):
So I think radio steal.

Speaker 1 (58:12):
So it's not like they have to compete with these
podcast companies, these podcast deals. You got to pay these
people millions of dollars. You just actually have to develop
talent again. But I think I think they're not poor enough. Now,
don't get me wrong, some stations in the South are
very second and third market. It ain't a ton of money,
so they gotta do what they gotta do. But I
think when they went straight to the music, radio didn't

(58:33):
start being about music at first. I think you got
to go back into what made it a unique experience
to listen to it, you know what I mean, Like
it became something over time, you know what I mean,
Like it became a part of music over time, and
music just became you know, hey, you know what, we
can hear music.

Speaker 4 (58:53):
Too well, like did music radio. And I'm totally speculating
on this, Like in its infancy, it was about the music.
But the good quote unquote like radio DJs of yester
yesteryear became good and noteworthy because they had great ability

(59:18):
to scrutinize talent and put together a good you know,
couple hours of music. They were doing the legwork for
the station.

Speaker 1 (59:27):
That's probably true. It all goes back to talented people
being in position. Sure, it became too all business.

Speaker 3 (59:34):
Okay. I got a questions, when did the radio become
the television? You mean?

Speaker 4 (59:42):
And vice versa.

Speaker 5 (59:43):
No, because remember there was shows they were put on
the radio and to be like whole shows.

Speaker 2 (59:48):
They would tell, you mean, when did television become the radio?

Speaker 6 (59:50):
Oh?

Speaker 3 (59:51):
When? Yeah?

Speaker 5 (59:51):
When the radio? Remember you got saying music was the
only thing played out the radio. That's not true, okay,
but there was two. There was actual shows and plays
sure on the radio. So that's what I'm saying. When
did it go from music to that coming through the radio?

Speaker 2 (01:00:06):
As soon as television was able to hold on, hold on,
it didn't go from music today, it went from that
to music.

Speaker 3 (01:00:12):
Okay, that's all I wanted. Okay, So it went from
that to music. Okay.

Speaker 4 (01:00:16):
I think all that happened in the same timeframe because
the TV in the car entered the world largely like
at scale, around the same time. So it went from
well it's better to watch little orphanani than listen to it. Well,
now it's no longer on radios, on television. So what
can we put on the radio, Well, something you don't

(01:00:36):
have to look at. Well, music because we're driving a car.

Speaker 3 (01:00:39):
Now, Okay, that makes more sense.

Speaker 1 (01:00:42):
I think radio started playing music on a regular schedule
basis with the first commercial broadcast by KDKA and Pittsburgh
on November two, nineteen twenty, right around the same time
black music.

Speaker 2 (01:00:54):
Actually was recorded.

Speaker 5 (01:00:56):
Okay, the radio was invented radios way before. Okay, yeah,
that's all. I was scariously if we talked about music,
you know, like in the infancy of radio. But then
I was like, well, what about the shows they had
that was you know, considered radio back then, not television.
It was radio, but they morphed into what we know
as television shows.

Speaker 4 (01:01:19):
Yeah, and for a period of time. There's also like
less television channels just because of the infrastructure. Yeah, so
it was way more expensive.

Speaker 2 (01:01:27):
Television was way later.

Speaker 4 (01:01:30):
Yeah, yeah, yeah, But it's like as far as the
divesting of content types.

Speaker 5 (01:01:36):
Radio, you know, I remember the variety of shows they
had on the radios and stuff, you know what I'm saying,
you know that kind of stuff. Remember the Orson Welles
movie where they said, you know, like Invasion was on
the radio, and people thought it was a real invasion
of Martians and shit because they heard it on the
radio and it was a TV show.

Speaker 3 (01:01:55):
Oh yeah, it was the orson Whales thing.

Speaker 5 (01:01:57):
That's funny, you know, because they're did know the radio
thought was a real one.

Speaker 2 (01:02:02):
What changed?

Speaker 1 (01:02:02):
Like radio used to be the main state for entertainment
that you didn't have to you know, before that you
had to go somewhere. Radio became the first thing at
home that you could be entertained by it, and it
pretty much had the pretty much was exclusive for a
long time.

Speaker 2 (01:02:20):
You had to go somewhere else. You had to go
somewhere else.

Speaker 5 (01:02:25):
Funny that you say, you know, it's funny that you
think about it because you have to ask yourself, like
when did music become music?

Speaker 3 (01:02:32):
Like when did it become where everybody you know, now.

Speaker 7 (01:02:36):
It's considered that you like listening to me, not just
the old songs from the family, the old song before
we actually say hey you know what, oh.

Speaker 2 (01:02:50):
You mean recorded?

Speaker 3 (01:02:52):
Yeah, I just even get them recorded to just music
on the radio.

Speaker 5 (01:02:56):
They played music live on the radio nineteen yeah. So
just to be able to you know, say, okay, you
know what, we got these songs that were going to
put now and think they're good enough for everybody to hear,
like that kind of thing.

Speaker 3 (01:03:10):
And I'm misticking, like.

Speaker 5 (01:03:12):
Who said that, Like, say, you know what, we got
the song that we heard from down in the you know,
in the boonies, and we think this would be.

Speaker 3 (01:03:18):
A great song to try on this radio.

Speaker 5 (01:03:20):
Or did they take you know, music from TV shows
and translate that into music.

Speaker 2 (01:03:26):
Well, no, because TV radios before TV.

Speaker 5 (01:03:29):
Well when I say TV, I mean the shows that
they did, like theater shows. Yeah, that they did on
the radio. But again they had scores and stuff on
the records on the radio. Of the shows they had scores,
did they use as the catalyst to end up doing
music itself?

Speaker 3 (01:03:44):
Well, I think they had.

Speaker 1 (01:03:45):
I think again back to your point, not just variety shows.
I think radio had variety, Yeah, because it was the
main consumption.

Speaker 2 (01:03:52):
Of entertainment for people.

Speaker 1 (01:03:54):
Like I remember seeing things and hearing stories about people
being around a radio listening to the Muhammad Ali fight. Yeah,
that's like the radio was, you know, like the main
source of hu's and entertainment. But I just wondered, like
television was expensive for a long time.

Speaker 3 (01:04:10):
Yeah.

Speaker 4 (01:04:10):
The best example I think it's like that that remember
that Google the Christmas story.

Speaker 2 (01:04:16):
See it's not about age. I'm just saying it's you.

Speaker 3 (01:04:21):
You.

Speaker 2 (01:04:22):
I won't know when because I was too young to
remember at gen X.

Speaker 1 (01:04:26):
Yeah, but like I'm nineteen eighty gen X, I don't, okay,
television was expensive when I was younger.

Speaker 2 (01:04:34):
I think I don't quite know. I would that's my
older because I don't.

Speaker 1 (01:04:37):
I didn't when I first TVs.

Speaker 5 (01:04:40):
I wasn't old enough to buy a TV myself, sure,
but I seen the first TVs and yes, they was
not the same as we see now, you know what
I'm saying, Like, I remember my controls first came in
for the TVs. I remember where they became push button
TV's and not the die ones. I remember you had
to use the U U h F stations and stuff.

(01:05:01):
People don't know about. The two knobs. One was like
one through twelve. The other one was like UHF forty three,
you know, yeah like that, you know, Like, I'm from
that era and it was black and white.

Speaker 3 (01:05:13):
There wasn't color. I remember color first started coming in
to the TV. I'm at that era.

Speaker 5 (01:05:19):
But TV's today would be expensive as it is today,
But because the money value was so low back then,
like five dollars would be like five thousand dollars today.

Speaker 3 (01:05:33):
You know what I'm saying. The way you wrot money
value was so you'll.

Speaker 5 (01:05:36):
Buy a TV for like sixty nine bucks, seventy nine
bucks from.

Speaker 3 (01:05:39):
Sears or something.

Speaker 5 (01:05:40):
Because remember Series of Guys was always melling out the Electronics,
Cheers and Robot company.

Speaker 3 (01:05:46):
Those was the ones that you know will get that
shit to your house. So they always had sales and
stuff on it.

Speaker 1 (01:05:52):
So a TV in today's money and nineteen forty was
five is forty six hundred dollars, and so it was
about how much back to the hundred dollars two hundred.

Speaker 4 (01:06:02):
Yeah, yeah, one one TV to a family one cardinal family.

Speaker 1 (01:06:08):
To ten thousand dollars today and so it was between
forty five and two three hundred back there cheapest one
two hundred to four hundred dollars and then uh two
hundred to four hundred dollars and then uh rice to started.
They said in the fifties is when it became affordable.
And when they talk about that, that's white homes and shit.

(01:06:31):
So my dad grew up in the Low Bottoms black
neighborhood in La that's how much.

Speaker 5 (01:06:39):
I remember the Zenith and the RCA Zena in RCA
was the big TV company back there.

Speaker 2 (01:06:50):
So a twenty four inch console cost it two hundred
and seventy dollars in nineteen fifty how many stations a half, I.

Speaker 4 (01:06:58):
Don't know, three or four probably that actually worked worked, Yeah,
I mean the big three were it for the longest time.

Speaker 1 (01:07:08):
So in nineteen fifty eight, a television was twenty eight
hundred dollars money, So that would be the equivalent of
two phones.

Speaker 2 (01:07:19):
How much How much are the iPhones? One thousand dollars
something like that?

Speaker 3 (01:07:24):
Don't they run about two g's iPhones? Is they expensive?

Speaker 4 (01:07:30):
They give them to you for damn near free if
you commit to shitty cell phone service for three years
at eighty bucks a month.

Speaker 3 (01:07:38):
Yeah, they're getting their money out of you for real.
iPhone sixteen this album was fifteen hundred.

Speaker 4 (01:07:45):
Like thirteen hundred I think something of that.

Speaker 1 (01:07:49):
Yeah. No, the iPhone sixteen has a starting prize eight
hundred dollars, while the iPhone sixteen plus had a starting
price of nine.

Speaker 3 (01:07:56):
Hundred dollars, only eight hundred.

Speaker 2 (01:07:59):
Hold on, my mother, that's not bad.

Speaker 3 (01:08:01):
iPhone.

Speaker 5 (01:08:02):
Oh you ain't gonna have no service, no memory, no
nothing on that eight hundred dollars iPhone.

Speaker 1 (01:08:09):
So they got an iPhone priced as high as sixteen
hundred dollars to promx.

Speaker 5 (01:08:13):
Oh that's oh, they came down. How much was iPhones
about ten years ago?

Speaker 2 (01:08:19):
Cresh you that's expensive.

Speaker 5 (01:08:21):
I always thought they was real expensive, like two thousand
and eighteen hundred.

Speaker 3 (01:08:25):
Always for iPhones, I.

Speaker 4 (01:08:26):
Feel like they've stayed around approximately the same price. They
just kind of slowly, begrudgingly add more battery life and gigs.

Speaker 3 (01:08:35):
So they've always been around fifteen to eighteen hundred always.

Speaker 4 (01:08:38):
I remember being between like a just under one thousand
and fifteen.

Speaker 5 (01:08:44):
Because that was one of the reasons why I never
got an iPhone, because I always thought they were so
you know, expensive and shit.

Speaker 2 (01:08:51):
You've been a nigga add a radio not a TV.

Speaker 3 (01:08:54):
Yeah, I was stole to TV. That's the nigga would say.

Speaker 5 (01:08:58):
Either way, you'd be fuck getting proved the TV they
get in prison with the TV facilities, have a TV
in prison, But.

Speaker 2 (01:09:10):
No, I think I think that's the point.

Speaker 1 (01:09:12):
I think the same thing you're complaining about, obviously not
the shitty personalities, but you have to bank back into personality.

Speaker 2 (01:09:18):
You can't bank it and nothing else.

Speaker 1 (01:09:20):
If you bank on music, you're you're slowly gonna die
because Spotify got you covered like a silk quill.

Speaker 3 (01:09:27):
So personality is what's going to sell music.

Speaker 2 (01:09:30):
You need to not sell music.

Speaker 1 (01:09:32):
Is we're in a way different crisis. Okay, music is
not even a product anymore, like on no main level.
So Spotify and Apple are the products. Like how could
I like, you know, how raggedy it is for me
to get somebody to want to buy an album that
has twelve songs for ten dollars and Spotify is giving
you twelve million albums for ten dollars.

Speaker 3 (01:09:52):
This is not fair.

Speaker 1 (01:09:55):
I mean, I can't ask the I can't ask the
audience to be I can't be that Selvich the audience
shout out to every all my homies as cult leaders
that can make the audience buy their products because they
got because you gotta because you.

Speaker 2 (01:10:07):
Got to be in the coaches, and they're gonna give
you twelve.

Speaker 1 (01:10:10):
Dollars for album And I can get Spotify twelve dollars
for twelve million albums. You be a fucking fool, I mean,
And some people do have that relationship with the audience
to what they like.

Speaker 2 (01:10:20):
I don't care. I'm a buying from my nigga because
I'm supporting him.

Speaker 3 (01:10:23):
So you have to have a cult personality.

Speaker 4 (01:10:25):
You have to have a cult your fans deal.

Speaker 1 (01:10:29):
They have to just be like damn like like when
I buy an album, like I bought Kendrick's album right
on iTunes. That's my friend. I bought this vinyl, that's
my friend. Dog is somebody. I'm not buying the music.
I'm buying something else.

Speaker 3 (01:10:45):
You're a better friend, Yes, much better friendly. You are away, Yeah,
you're away better than my brother.

Speaker 1 (01:10:54):
Wouldn't buy my album it's my own. You feel me
like that motherfucker wouldn't buy that, like what my supposed
to play it? And I'm like, I couldn't even convince
my brother to buy the fucking out.

Speaker 3 (01:11:04):
I'll be like, nigga, I don't get a free one.
I'm your brother.

Speaker 4 (01:11:08):
I remember one time you gave me a cassette tape
of promo. I still have never listened to it. I've
heard the music that would have been on it, but
I've never actually been able to play that particular cassette.

Speaker 3 (01:11:21):
You gotta find a cassette deck you gotta go down
to the old school card shows and sell those cassettes.

Speaker 2 (01:11:30):
And they don't have cassett players.

Speaker 1 (01:11:32):
So again, I think radio, I think radio is in
a unique position by looking for specific records right that
they can break that becomes not.

Speaker 2 (01:11:43):
Exclusive but supported by their platform. Let me wrong.

Speaker 1 (01:11:47):
You lose some people, I mean because people are gonna
like this song and then they can hear when they
want to.

Speaker 3 (01:11:53):
But you still have to add visuals that might can
bring in a couple more people.

Speaker 4 (01:11:57):
Yeah, and they're on the wrong side.

Speaker 1 (01:11:59):
It goes to point it can't just be shitty people
based off demographics. You actually really have to start scouting
good talent. I'm in disagreement with Pete. You can afford
to pay people like you're not. YouTube ain't overpaying people.
None of these companies are. None of these people are
overpaying people.

Speaker 3 (01:12:19):
They're not.

Speaker 1 (01:12:19):
They're all given everybody entertainment, know, like everybody trying to
be an entertainment So there's an entertainment minimum wave.

Speaker 5 (01:12:26):
Okay, okay, Big Boys show. Okay, they syndicated on UH
on YouTube and stuff like that. They be putting out
videos on YouTube. Is that a successful model?

Speaker 2 (01:12:39):
Big Boy is from a different time, Like he's a.

Speaker 5 (01:12:41):
Well ninety two point five? Is that a successful, successful model?
What you're saying, No, iHeart is a different They have
a whole difference.

Speaker 3 (01:12:48):
That's heart.

Speaker 1 (01:12:49):
Yeah, okay, yeah, that's ieart has a completely different business
mindel know. I mean, I'm just saying a simple if
I open the radio station, if I open the radio
station today, which crazy I would find the most galvanizing
personalities to put them on to play music.

Speaker 4 (01:13:06):
Oh do you know how fucking potentially maybe distantly viable
it is. Is there a way that you could turn
the watch towers into a functioning antenna because it fucking
looks like one that would be great, And do a

(01:13:27):
radio station next to it that ran off of that
antenna throughout LA and filmed it like film studio streaming
or whatever the hell, or at least put an antenna
in there that looked like the rest of that shit.
That would be really interesting.

Speaker 1 (01:13:44):
No, the watch Towers is a man that was just building,
took a bunch of jump and built this kind of
art piece.

Speaker 3 (01:13:49):
Oh, it's just a sculpture. Yeah, it's a sculpture.

Speaker 4 (01:13:54):
Yeah, but they look like weird space age antennas of them.

Speaker 3 (01:13:57):
I thought they always was like some old antendo's or
something like an older ten thing always. Now that's interesting,
But I.

Speaker 1 (01:14:06):
Think radio is in a very We're gonna expand on this.
I'm gonna get the Mizzic to come in next time.
But I think radio still has value at a pretty
impactful level. But they they eventually they have to stop
being scared. They're gonna have to risk it to get
the biscuit.

Speaker 4 (01:14:27):
Sure, and I think like it's you know, fair to
just do for a comparative like data analysis, and it's
a totally different consumer demographic. But like the your quote
like conservative am talk radios or whatever, like the Sean
Hannity's of the world, or.

Speaker 2 (01:14:45):
Like it's lasting for like thirty forty years.

Speaker 4 (01:14:48):
Yeah, like what's his name? Who died? Art Lebault, No,
not Art le Bowl Rush Limbaugh. Oh, but they did
mega numbers. But it's a totally eferent format. It's like
a three hour whatever format.

Speaker 5 (01:15:05):
But like the Art Labaux Show, you know, I've been
listening to that all the time at late night. You know,
that stuff just season stayed for.

Speaker 3 (01:15:13):
Years and years and years and years. They go nowhere
on the radio. I wonder if.

Speaker 4 (01:15:18):
People are still getting killed based off of Art Lebaux
testimonials on his show for the replays from years back.

Speaker 1 (01:15:30):
Been looking out for tuning into the No Sellers podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA and produced about the Black Effect podcast
network and nowhard Radio.

Speaker 3 (01:15:44):
Yeah.