Conversations With Wayno

In this episode of The No Ceilings Podcast, Glasses Malone sits down with Wayno for an authentic conversation about the evolution of hip hop culture, the intersection of New York and California street influence, and the changing landscape of music in the digital era. They reflect on their personal journeys within the industry, exploring how communication, authenticity, and social media continue to redefine artistic expression. The discussion delves into the impact of street culture on creativity, the importance of mentorship, and the lasting legacy of iconic figures like DJ Kay-Slay. Through their shared insights, Glasses and Wayno shed light on the challenges of identity, growth, and maintaining cultural integrity in today’s fast-paced hip hop community.

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Episode Transcript

Speaker 1 (00:01):
What's up and welcome back to another episode of No
Sealer's podcast with your host Now, fuck that with your
loaw glasses, Malone. Yeah, nah, it was. It was overdue
because it was like, like I've been watching your content
for so long, and I feel like, out of so

(00:22):
many brothers from the East, like I related to your
content the most, Like you felt to me like like
listening to somebody from the streets talk, not necessarily some
ignorant person, but just somebody that got some level of
street knowledge. So that's why I would always reach out
to man, I fuck with your shit.

Speaker 2 (00:36):
Yeah, you know it's crazy, glasses, yo, Like, because I
think people like we're talking when we was outside about
the streets, and like people always attach the worst streets
is just criminal activity.

Speaker 1 (00:48):
Right.

Speaker 2 (00:48):
I'll be the first to say, like I'm not a criminal,
but like I come from a block where like criminality
was just a normal thing.

Speaker 3 (00:56):
What you just said just now, brouh.

Speaker 2 (00:58):
It reminded me one time I was on my I'm
standing outside on the corner just you know, just regular shit,
and I got a call for a job interview. So
I turned around, I answered the call. I'm talking my men,
Like after I finished a call. My man like, who
that was you talking? I was like yeah, he like nigga, how.

Speaker 3 (01:14):
You talk like that?

Speaker 1 (01:14):
Right?

Speaker 2 (01:15):
I was like, well, my mom's, bro, my mom's she
was a job developer at a nonprofit, like in a project.
So she taught me like how to handle myself, how
to speak and all that. So I learned how to
speak two languages, like I could talk to somebody on
the block and I could talk to somebody that's the
CEO in any field. So like, once I understood that,
I was like, damn, this was gonna make me some
money talking you feel me?

Speaker 3 (01:35):
Oh yeah, I appreciate.

Speaker 1 (01:36):
Her as No, it's like I still I'm trying to
adjust to it, yeah, because you know it's something you
know what I mean. But it's it's very odd, especially
to me when I'm always like you, I'm always I
get caught up educating somebody because most people talk to
me like based off of their like perspective, they ignorance

(01:57):
some stereotype. And I'd be like, come on, man, like
I know these white people didn't tell you about black
people somewhere else, and you you know what I mean.
It's like you can't get people to understand it. So
that's kind of been my journey the whole time. Like
the first time I met Joe Budden Dog like we
were on tour, like you know what I mean, Like
I'm meeting before on the phone, but we never met.
We met on tour, and it just I just realized,

(02:19):
like you're trying to explain something to somebody that already
believed they know you. You know what I mean. And that's
kind of where it's been for me the whole time.
You mean, your whole your journey of like in is
business and in business because when I first got into business,
I didn't even I thought I was hitting the lick
you I mean, no, lie, Like I was like, don't
get me wrong, Like when I first stopped selling PCP,

(02:41):
like I knew that I was gonna make music right
and I was like, Okay, I grew up on all
the music. My mom is like this huge music head,
like I'm talking about she used to buy so many records.
She would go to the one stop. She would she
stopped going to the record store and we go straight
to the one stop.

Speaker 3 (02:54):
What's the one stop?

Speaker 1 (02:55):
The one stop is where the record store is buy
the records front.

Speaker 3 (02:57):
Oh, okay, okay, right, so like the woletel.

Speaker 1 (03:00):
Yeah yeah, so I knew I could do it, and
you know, it's that like hood ignorance where you like
don't really like it was so bad. Bro. When I
first met Doctor Dre, I remember asking him to give
me a beat to rap on. Mind you this is
like after in the club, this is after all this.
So now I'm thinking about it. How crazy I was.

(03:20):
I'm like, I was like, yeah, I wrap, you make beats,
like you know, he was laughing because he like this
nigga crazy, But in my mind, I'm like, it seemed like,
you know, yatomatically it makes this, you make beats? I rap,
get me a beat.

Speaker 2 (03:32):
And.

Speaker 1 (03:33):
I just knew once I got into the business at
that point, like I convinced everybody in my neighborhood first, right,
I was like, oh look I finna make a rap.
I It's like, how there you going, nigga? You've grown, Like,
how you're gonna start rapping? I'm like, cause I can.
And shout out to Gwedo and all the hummies who
knew about hip hop. They knew about making records and
hip hop, so they helped me shape the idea I
had a natural thing going. But they helped me shape

(03:56):
what I was trying to make a face games, older brother,
g ri Game, you know what I mean. They helped
me shape it. I was just articulate enough to make
it happen with rhythm. But when I'm telling you, man,
like when I first got in this business, I really
thought I was hitting the lick. So I would always
running the niggas and be just be like disappointed because
I'm like, what the fuck, Like, I'm buying the shit

(04:17):
you're selling me. Every last person, if you say you
a gangster on the record, I believe you. Like I
wasn't doing no homework or no fucking rappers, so if
you was, I was like, Okay, this person is this.
So when I got in a business, I always thought like, man,
I'm hitting a lick, Like Okay, I'm gonna get some money,
then I'm gonna go be along shoreman or I'm gonna
get some money and I'm gonna go do this. And

(04:37):
I never saw me having a career in this.

Speaker 3 (04:41):
I never you know, it's crazy about that, bro. Two
things that shit.

Speaker 2 (04:47):
First off, you got to have some sort of level
with delusion in order to make it. First this Secondly,
that shit you said about like doctor j Bro it
made me and I totally forgot about this. I did
something like that when I was an intern at Rockefeller
around Jaz and them, right, Like I remember, I had
some beats and I went to the studio and I
had like wrote a hook. I'm an intern though, and

(05:07):
I'm like, like, I'm in there with like Chris and
Neith and they probably don't Chris.

Speaker 3 (05:12):
Every time I tell Chris the story, he was like, yo,
I don't remember that ship. He's spokes much.

Speaker 2 (05:15):
But but I sit there, I put the beat on
and I'm like, yeah, it should go like that, and
I'm thinking in my in my head, I think like, yeah,
this is gonna work, like you know what I mean,
Like sure, yo, they looked at me like I was crazy, bro.

Speaker 3 (05:27):
But like and then as far as like you know, uh,
you really going for it?

Speaker 2 (05:38):
This this like this mindset that you have to have,
Well you learn that mindset through your trial and error.
And I think, like, you know, like you is explaining
to me, like you meeting people and then you finding
out that they know who they say they are, you
have to really take a step back, like what the
fuck am I doing. If I'm running, I keep running
into people who not who they say they are, and

(05:58):
that in turn will like Bill j character enough to say, Okay,
well I'm gonna do this because I don't even want
to deal with these type of people. And that to
Doctor Drew, because I know doctor dr is probably like
he's crazy, but he's courageous, he's I don't know, he
respected it.

Speaker 1 (06:11):
It was like we end up that's how we end
up becoming like where we fuck around because he was like,
like I said, it was his ignorance about like what
was happening, but it was pure and it was straight up,
and it was straight up and it was so straight up.
He just respected it. He was like, just bring me
a record now, mind you. I don't know what the
fuck I'm thinking, that's just a song, you know what

(06:31):
I mean. So I just trip out at me not
thinking this fit me. And it's funny because at home,
like that's how I felt. But when I went to
New York, that's when I knew, like, oh no, this
shit is. Like I met dudes from the SPACEE like
you talking about the Bronx. I met them dudes and
they was like, yeah, this was made for people like you,
and I started meeting everybody out there, and I'm like, Okay,

(06:54):
all these niggas are as advertised and that's not talking
about home.

Speaker 3 (06:57):
Yeah, what you mean.

Speaker 1 (06:59):
It's like a level of like like when I met Jay,
Like Jay tried to sign it. It was like one of
my earliest deals he tried to sign me. It was like, Oh,
this nigga's really jay Z like this. So I'm listening
to his record, I'm like, oh, damn, this is a
little bit more direct. I just always thought to myself
like damn, Like even when I go up to the Bay,
it's the same thing. And forgive me, I can't get
my thoughts clear. But when I finally realized it took

(07:21):
me a long time to realize this was gonna be
for me, Like that already made a bunch of money
we talking about. When I really realized it was gonna
be for me, it was probably in twenty sixteen. I
was like fifteen sixteen, I was in New York. I
took this whole run where I just start driving around,
I start hanging out in every ghetto. I mean that's
how I'm.

Speaker 2 (07:40):
I've been seeing you on vlogs like it was like
every week you was or somebody world Star. That's when
World Stars still was like that. Then you was always
on a vlog someone.

Speaker 1 (07:49):
Posted up like and I'm starting to see, like, oh,
I get what it is, right. So I didn't really
feel like this thing that we call hip hop, no
level of the business was gonna be for me until
two thousand fifteen sixteen. I didn't realize also there was
something to know, yo, it's you know, it's crazy, bro.

Speaker 2 (08:06):
I didn't like you said the word career like, I
feel like I didn't really truly understand what the word
career meant until I was like twenty seven. And then
even with that being said, like working in music, in
the music industry, I did not like people be asking me.
I hate to disappoint people, but they asked me like, yo,
so what was the plan.

Speaker 3 (08:23):
I ain't have no planning, bro. Like I was in
the I was in the ninth grade, I dropped out.

Speaker 2 (08:27):
I went to GD school, I went the alternative schools,
I went to trade school. I told my moms one
day like, O, MA, I just can't do school, and
she's like, all right, you got to get a job.
And then I got a mill room job. And then
I end up delivering mail at the label. And then
I was like, I'm gonna get music. It's no plan
I had. It's just like all right, let me keep
shooting until I could get something to drop. Like I'm
gonna just keep let me take a shot every day.

(08:50):
I'm gonna take a shot every day until something happened.
And then once it happened, I was just like, well,
I could really do something. And it's like, you know,
he was talking about East right with East for me,
I had already worked, you know, at Rockefeller. I had
already started working with like other artists to manage them
or producers. And I was like, Yo, if I could
just get one person, one person that could like kind

(09:11):
of get aligned with me, that say all right, not.

Speaker 3 (09:15):
Tell me what to do, but like trust your ideas.

Speaker 2 (09:17):
Yeah, I'm gonna trust your ideas and I'm and we'll
and we'll do this together. And that shit worked, bro,
and it worked, and it did what it was supposed
to do. So I just think, like, you know, when
you're on your path, man, it that should really just
be personal. It's your vision is only your vision, like
what you see for yourself, even when you're telling people.
I might tell you, yo, I got this idea, I
got be like that sounds cool, but they like, I

(09:37):
don't know.

Speaker 3 (09:38):
I ain't even mado before. I used to get mad
when people like that.

Speaker 2 (09:42):
Shit ain't gonna I don't get mad no more because
you can't see what I see.

Speaker 3 (09:45):
So it's like, you know, you got to go on
that path for yourself.

Speaker 1 (09:48):
No sellers, Glass love. I got my brother Wayne out
Man from Harlem.

Speaker 3 (09:53):
That's a fact I really respect.

Speaker 1 (09:54):
I got my brother Frank from San Diego. Man, Frank
is adult brother, you know what I mean to the ice.
So we're here just doing the thing. Yeah nah man,
Yeah yeah right, No for real, it's like, uh not
like New York is. Really when I started to feel like, okay,
this could be way more than I thought that, that's

(10:17):
when I realized it was more of a culture like
I always folk when I first started, like, it wasn't
just music. But that don't mean I spent time to
define what it was. I just knew it was more
like I couldn't like, shout out to my boy Trash
from Inglewood, like he used to wear Timblins and shit
when he was younger, and jeans and jackets and he
was like, yeah, I'm just like rappers. I'm like, no,

(10:39):
that's how the streets of New York dress. That's that's
like Chucks and Dickie's for us. And it's so funny,
Like I was telling you before we started, how we
see each other, like we see each other off this
very limited scope and like where he thinks this is
a rapper apparel on him, Like, nah, many.

Speaker 3 (10:54):
That's distinctive to a reason.

Speaker 1 (10:56):
Cut you with that on? You know, I mean the
sp because that's what that's what it felt like, you
know what I mean, Like this is how the normal
quintessential Like I'm in Brooklyn, this is how a normal
quintinential Brooklyn street nigga dressed like they not fucking around.
So like, while you feel like you're not looking like
a street guy because you're not wearing Dickie's and Chucks
like me, you look.

Speaker 3 (11:14):
You're look at one of them guys from somewhere else. Yeah,
I get that.

Speaker 1 (11:17):
I get that, And hip hop makes it so digestible
to where you don't even like I agree, Like it's
it's a level of See when people we were just
talking about the world street and they were saying criminality.
I think it's just like the rules are different, like
it's still crimes. They just don't look like whatever New
York City said through the crimes are.

Speaker 3 (11:38):
What you mean. And like I said, you grow up
at where.

Speaker 1 (11:41):
You're in the hood. Right in the hood. It's like
like it's they say criminality, But I think it's that's
based off of like their perspective because it's still cons
where we're from.

Speaker 3 (11:50):
Yeah, yeah, I get what you're saying.

Speaker 1 (11:51):
You do some bullshit, that's crime. You get your funnies,
you know what I'm saying. So I just I feel
like the more I started learning about it, it becint
something from me to protect and a different vigor. So
I found myself protecting it all the time where it's like, nah,
you can't play with this, like stah serious.

Speaker 2 (12:12):
Yo, I want to say something because both of y'all
CALLI dudes. I want to say something to see y'all
about New York, bro.

Speaker 3 (12:17):
New York has always been painted as like like.

Speaker 2 (12:19):
We hate it, bro, but we really love like we
adopt people's coaches because we love people's coaches. And I'm
not just talking about the negative of it, right, Like
I remember I was having a conversation with Measi he
manages twenty one Savage, and I was telling him that
this was years ago, but I was telling him, I'm yo, bro,
if Savage was if he walked down one Hunt twenty
fifth in Harlem, like he would get a lot of love.
And he's like for real, and I'm like yeah, Like, see,

(12:41):
the media paints this picture that it's people in the
media that might not have liked certain things. But you
see how you said you you know doctor Drake. Bro
I went to a Beats event. My sister Karen Silvil
invited me to a Beats event. When Beats, you know,
when they did all the big deals in the early
like during the blog era. And I remember my man
you wrote saying he used to work at Rockefeller he
was working with doctor Drake Nigga.

Speaker 3 (13:03):
I can say that I've seen him.

Speaker 2 (13:06):
How much it means for me to just say that
I've seen doctor dra Like we appreciate that because our
hip hop shows, I always tell people this Rap City
Video Music Box, you're on TV raps.

Speaker 3 (13:18):
They was playing everybody's music.

Speaker 2 (13:20):
So as a kid, we never looked at like, oh,
I'm just speaking for myself and my generation. We wasn't
looking at people like, oh, we don't like cash money
because they're from New Orleans. We just like, I don't
know what they I remember the first time I heard
how I was, I don't know what he's saying, but
this shit fire, you know what I mean. So it's
like we always we show a lot of love like
people don't usually if you go any any city in

(13:41):
the world and you on the wrong time, and you're
gonna find what you're looking for.

Speaker 3 (13:45):
But you know what I'm saying.

Speaker 2 (13:46):
But in New York City specifically, man, we really really
love and embrace hip hop culture when people come to
our city, Like, it's not a place where we look
into deliberately just harm you just because you're there. Most
people is trying to get next to you so that
they can see what they can you know, what they
could get out of you or yo, could we link
could do something? But most like New York is really
not hats bro. We really love a lot of people's coaches.

Speaker 1 (14:09):
I never I never got that, me Jy Rock, none
of us never got that. So I like, obviously obviously
you know, if you listen to hip hop early on,
right the predecessors, it was a different journey, right, But
it's also because they were in competing situations, right, start
talking about bad Boy. They're competing, yes, but for us,

(14:30):
like the first time I went to New York, I
remember never having any fear because there was a reality
of like, I ain't did nothing to nobody out this motherfucker.
This is actually gonna be better. So even as I'm
visiting every ghetto is like should I ain't get nothing
none of these niggas. That's how I look at it,
like did I do something to somebody? Do I got
a reason to be where we're here? So I never
took that attitude. And the first time I went, like

(14:51):
Slay showed me so much like everybody was always one
bro was.

Speaker 3 (14:55):
Always anybody who was like the case Slave Case.

Speaker 2 (15:00):
Slay was one of those guys like if you were
trying and you could get his ear, he's gonna give
you a shot. That's what I really loved about Slay
because I don't agree with everybody he played, you know
what I mean, But he would give a lot of
people that was gonna come up the opportunity to be heard.
And nobody in the city did it the way he
did it, and I feel like other people did it
their way, but the way he did it, he was

(15:20):
the person that was connected to not just the streets,
but the post. Like if it was somebody that you
might have not been the best lyrically or aesthetically, but
if you had something to say and you're personal.

Speaker 3 (15:32):
The right way play your shit. Bro, Like that was
really dope.

Speaker 1 (15:34):
Slave was solid man. Never forget Bro. Like I do
Slay radio show. This is like right before it certified
for the come on, so this got me in two
thousand and seven and we're doing the interview, were sitting down.
I just met with Universal, I just met a Containa,
buying him and all them. I'm talking to them about
like we getting ready for the single, and I'm doing
this interview and Slay is like, so radio this is

(15:57):
when him and radio is working together. Yeah, I know, Radio,
we chopping it up. And he's like, last man, you
went too this industry shit. I'm like, nah, notch it,
Like I'm trying to figure it out like you like
any industry girls. I'm like, uh, that's something that's cool.
He was like, yeah, who you into so May This
is the first time I meet pap so Papa is
standing that door. Pap is starting to blow up. He's
like big seven. Yeah, he's starting to cook. He got

(16:19):
a couple of homies, so whatever. So he's sitting there waiting.
I guess he's doing the interview behind me. So I'm like, okay, yeah,
so I'm chopping the double slag you know, glasses, look,
I'm popping it. He's like, kid, so, what industry girls
you like? I'm like, oh, man, you know, I ain't
really into that, you know, the little dandy girls like
I like the street girl. He's like, who you like?
And I'm like, he's like, gee, come on, man, you
know slag and pushy. Come on, man, you say somebody.

(16:41):
So I'm like, you know, I really fuck with I
like Remy Ma. So like I'm starting to go in
on how much I love Remy My right, I'm like, man,
so now I'm not knowing Pap. You know, nobody, this
is not public, but I'm starting to profess my love
for really my own air. And you know, it's all
double dowmn Like I'm going radio and Slate crying. They

(17:05):
flied out, crying, laughing. I'm like, what y'all saying? Like
y'are saying that mo fuck ain't beautiful? That motherfucker beautiful
as fuck man, gorgeous. You know, I still like disrespectful,
but I'm I'm like, I really liked her. I'm putting
it on. So they laughing, they are crying, and I'm laughing.
I'm like, what's the fuck so funny? So I'm looking around,
nobody saying nothing. I'm like, what y'all trying to say?

(17:26):
Like what missing? And went through a break and he said, man,
that's pat girl. So I looked back, Pap cool. Yeah,
because was such a player about it. I was like,
y'all some real dirt bags, and y'all just could have
stopped me.

Speaker 2 (17:38):
They was cracking the fuck up about that because they
looked at him late, they looking at his game, slave story.

Speaker 1 (17:44):
He was kept. He kept it playing, So shout out
the path for that. He really kept it playing. But
I remember, that's that's my experience with Slate. It's always funny.
Everything was Slate. If it was a dope record, he
played it. But he was always funny, like it was
always he made me feel like. He made me laugh
all the time. It didn't matter how street he was.
He was just a funny nigga. He was so serious,

(18:05):
but he was funny as fuck, right right, He's a
real play story. Yes, but that's always been my experience
in New York. Dog Like every time, it's always you
start meeting like these really developed ideas, Like even a
person that's supposed to be the most street, they end
up being like way more. I'll never forget. I'm in

(18:25):
when I'm with Wink, right, wink, I'm good. And we
were chilling. We finished shoot the video. We shoot Easie.
We shooting cryptan video in Brooklyn. This so like I
see all the crypts in Brooklyn. So I'm like, oh yeah,
I'm FeelA. I feelish show everybody y'all out here. Nigga's
gonna know y'all out here. So we end up calling
a bunch of amy shout out to all of them

(18:46):
from a tree, killing Burnt and all the niggas right,
they pop out. So we out there like two three
hundred deep, chilling on. We're starting to shoot the video.
Police come in the first like thirty minutes. I guess
niggas double part police come deep. Paddy Waggon's for just
and I mean, you know, you hear stories about New
York police.

Speaker 3 (19:03):
I police most aggressive in the country.

Speaker 1 (19:05):
You hear stories that these fact don't let eating people.
They look like they was the best of the best.
They all was at the gym. White boys with muscle
blah blah. Now remember just sitting out there like okay,
like you know, we could do this another day. They like,
now we're not going nowhere. I'm like, we're not going nowhere.
You got no permits nigga out here Like fuck that
g were cool. So they standing there. So Wink is

(19:27):
pacing back and forth like he getting mad. I'm like,
so now my brothers, my brother they shout out the
K style. He like, gee, man, look man, we could
just tell him. I'm like, he not gonna leave. He's like, man,
well you want to go. I'm like, nah, we're gonna chill.
Like we can't just leave these niggas here. They came
for us. So we out there. They ended up being
a police end up being about thirty forty fifty deep.
They was deep, and they were standing there and when

(19:48):
I tell you, all them niggas stood up against them police.
That was one of the days.

Speaker 2 (19:53):
Truck was like this motherfucker, you know what I mean.
But that's because New York Man, we throwed off great.
But you know it's crazy. It's like my experiences and
CALLI was I say similar in the sense of, like
you know, people feed Cali based on television. You see
boys in the hood, you see menace, you see all
these different things. And I think that like when people

(20:16):
go there, there's this experience that they would like to have, right,
they would like to have this experience of like you
got La and then you got the hood of La,
and then when you people go there, they want to
say I survived, like you know what I mean, like
I made it through.

Speaker 3 (20:30):
I went there, it ain't nothing happened to me.

Speaker 2 (20:32):
But the problem that I feel like a lot of
outside is people that's not from California go there and
have that experience is because they they it's like going
to the safari. You want to be close enough to
the danger, but not that close, Like you want to
see the lion eat the gazelle, but not on the car.

Speaker 1 (20:49):
And he want you want you, Yeah, you don't.

Speaker 3 (20:51):
Want bloody get on you. You know what I'm saying. And
I think that because I ain't gonna lie. Man. I
love CALLI, but y'all some of the most negative people
on the planet.

Speaker 1 (20:59):
Bro, I what you've been a negative? Why you say negatives?
I know that facts, simple mannerisms. What you mean? Just
you know what?

Speaker 2 (21:08):
Because I want to I would expand all right, so
so and listen, I got a lot of like it's
a lot of different neighborhoods I haven't been to and
all that, and and because.

Speaker 3 (21:18):
It's the oppression part.

Speaker 2 (21:20):
Bro, It's like, you know, it's the the line up,
but it is for the people that's looking.

Speaker 3 (21:26):
I'm going out there. Ain't nobody gonna do nothing, you
know what I mean. I go out there, put your
phone out.

Speaker 1 (21:31):
I'm on the block right now with the homies. Ain't no,
ain't nothing to have it.

Speaker 2 (21:34):
And there's a sense of arrogance of people that live
in poverty, you know what I'm saying, Like, you can't
always say you can't motivate the hood by coming through
with a three hundred thousand dollars vehicle.

Speaker 3 (21:44):
You can't.

Speaker 2 (21:44):
You want to know why, because the average person is
never gonna they don't know what it's like to spend
eight thousand dollars a while. They don't know what it's like.
So I think that, like you know a lot of
people when they come to Cali. It's a two sided thing. Yeah,
you got with with his smokes, fire with poverty is
gonna be bullshit. You got people that their job is
to line people up. That's everywhere. But then you also
had the people that's like you you fine, what your

(22:07):
asses looking for?

Speaker 3 (22:08):
You know what I mean?

Speaker 2 (22:08):
But I'm just saying the way because y'all use y'all
use that shit as a weapon. Hey, so is somebody yo.
We argued about Braun and Kobe Nigga. Don't come to
Cali no more. Man, don't come out like damn, I
can't go to ro Frank was just saying that.

Speaker 1 (22:23):
Frank was just saying that, and it made me think,
it's funny you said. I didn't even put to him.
So he right, like you come to like when I
come to Atlanta, or if I go to New York,
if I go anywhere else, people like New York could
be a bit like it's a different type of thing.
It's not mean, I agree, it's it's more like hurry up,
get to your point. Yeah, I ain't got all day

(22:43):
with you, you know what I mean. But he made
me realize it, like I'll never forget. Like when I
first started coming to Atlanta, I'm looking at this police,
thinking this police from the trip, and you could just
tell he got mad that I'm staring at him like
a brother was like, Rod, what the fuck you're looking
at me? And yeah, I swear. I was like, Okay,
and that's a corpse, Like, g you gotta turn your
face off. So that's what you're talking about. It's a face.

(23:05):
It's an attitude where it's like huh, like okay, this
is like and you write it. It is a weapon.
And I never realized it until other people start telling
me it was funny because I mean, like, I don't
think we mean, I'm like, I don't think we and
then I started thinking like, yeah, you're right. Yeah. My
older homies and my older homies were like assholes. Yeah,

(23:28):
and I love them to death because I knew that
they loved me, how they knew how Yeah you know
what I mean. But now I'm thinking about it from
the beginning, the surface of it. Yeah, the niggas was dick.
They was mean as fuck. And then I became one.
Now I might don't treat like I don't treat people
how they might have treated me. But you know, I mean,
the truth is it's like, yeah, they were, You're right,

(23:48):
I agree, motherfucker's at home is kind of just mean.

Speaker 2 (23:52):
But and I say this, Yo, and like like I said, bro,
I've met My first time going to LA was in
twenty twelve, you know what I'm saying. And then like
over those that amount of years, I've come across so
many different people that's they bright, you know what I mean,
the articulate. One thing about Cali is like all of
y'all got a little bit of black panther in.

Speaker 3 (24:11):
Your DNA, you know what I mean. And that's just
not just La, but right where you're from too.

Speaker 2 (24:16):
Like you, people will get to talking and then he
start talking in a political space and you be like,
how do Yeah, you know what I'm saying. But like
my experience has always just been like, bro, be who
you are, where you go. Don't go nowhere sitting here
trying to act like you some tough because somebody gonna
try it.

Speaker 3 (24:33):
You know.

Speaker 2 (24:33):
I always tell people like, Yo, the streets is like
playing basketball. If you hear somebody coming to if you
play ball every day and you like that motherfuck he
shoot from half Nobody could guard him that yo, bro,
that's how the streets is.

Speaker 3 (24:47):
They'd be like yeah, yeah, such as says you know
he I heard it.

Speaker 2 (24:50):
But you could just be chilling if somebody gonna press
you for that, So just go like be who you
are where you go bro.

Speaker 1 (24:56):
Fact it was the ironic part. Right started dictating the energy.
That's why I never paid attention like I no longer do.
I let Los Angeles dictate the energy to me. I
dictate the energy to the city. So it's like when
I'm going to somebody hood other fuck how they look,
what's up with you, my boy? What's happening? Like I'm

(25:17):
going to start and they could be like I didn't
talk to people, homie, and they do not want to
say nothing, But then like you like, my my, I
want to say my kindness is so imposing, Like eventually
you're going to notice that I'm talking to you because
I'm as I get closer, I'm like, oh, watch up
with you, hommy. You you could tell they just be
like this motherfucker is determined to make me act kind

(25:41):
and they get I made. I forced so many people,
and I mean hardcore homies to act kind right because
and I think That's what happened to me over this time,
Like I started dictating spaces like it's like, nah, because
I'm not going to walk into a space and just
be a dick. That ain't my staff. Yeah, but I'm
going to get to the problem and then whatever comes

(26:03):
after that. But you're right. I never when he was
saying it to me yesterday, was like, man, you know
we fucked up. We mean the shit. So when you
said that, I'm like, I'm thinking about me, and I'm like,
oh no, I started, I think.

Speaker 2 (26:14):
And this is always like it's always like some level
of ice breaking, right, Like I remember one time, like
my man chopped he from uh Jordan, Jordan. Dan's right,
I know you know Chop Chop. Yeah, of course you
know Chap. And I've known Chop twenty something years. And
I remember Kevin Gates was shooting a video over there,
and I remember this is while I'm doing everyday struggle.

Speaker 3 (26:35):
I go over it.

Speaker 1 (26:36):
Bro.

Speaker 2 (26:36):
I don't think it's a special thing to go places
by yourself, you know what I mean? Like I feel
like if you if you if you leave with the
right energy, you're gonna get that energy. And I remember
walking into Jordan Deill's and I seen, like, you know,
it's people.

Speaker 3 (26:47):
They looking at it.

Speaker 2 (26:49):
And as I'm walking out there, like Yawayneo was in
here by hisself. I didn't look at it as a
special thing, but I was just I was just embracing people.
What's up, yo, how y'all doing?

Speaker 3 (26:55):
You know what I'm saying? I think, like one thing
I do love, man, is that I love my people.

Speaker 1 (27:00):
And that's what works for me. Yeah, I love my people.
Bro Shop Chop been my nigga bro since we was kids.
So Chop a little younger, but that's been my boy
since we was kids. So it's like, you're right. I
never it's if you fucking me up. I never realized
how often I dictate spaces, like I start to bring
the energy that I want in the room, and then
I will. It's really hard for you to kind of

(27:21):
claim anything less than I'm demanding. I know that's a.

Speaker 3 (27:26):
Messing b freak dad. You see what he said, Imagine
ten of him.

Speaker 2 (27:30):
That's what I'm talking about, la bro. It'd be ten
of y'all even like here, what's up with you? And
the thing about? And I'm not gonna sit here and
like diminish New York Bro. Because New York Bro. I'm
happy that we don't have like the gun laws of
Atlanta or Florida way fucked up, because bro, it would
be so bad, because Yo, you can literally get into

(27:52):
a problem with somebody in New York over literally nothing nothing.
But but that's the way we're raised is to be
on edge because anytime somebody is trying is like being
too befriending or too nights. They trying to get over
on you. You know what I'm saying, Like it's happened. I've
seen it happen when I was a kid. It's like
you be in the video arcade. I don't seen my friends.
You be in a video car ArKade, you playing, you
know what I mean? Somebody yeah, man, come on and

(28:13):
then they give me this dollar.

Speaker 3 (28:15):
You know what I'm saying.

Speaker 2 (28:15):
So it's like your mom's is always teaching you, especially
when you're a boy, like a young boy, like yo,
don't let don't talk to nobody. So we we walk
in with this protection veil, even our women, Like you're.

Speaker 1 (28:25):
Like women no, no, yeah, it's like that New York women.

Speaker 2 (28:29):
Bro, especially for the women, because it'd be double it'd
be quadruple because you gotta you gotta fight against a
dude and a chick that you might have a problem
with dudes is just the dudes, like with women many Yo,
good morning, you mean good morning talking to like you
know what I'm saying.

Speaker 1 (28:42):
That's funny. That's why. That's why when I think about Scarlet, like,
I'll be like, I was like, oh, yeah, that's New
York kid. Fit ofmizes every stereotype. Yeah yeah, the caricature
of an attitude, that's that's the character. No, that's a caricature.

Speaker 3 (28:56):
No.

Speaker 1 (28:56):
So in New York you get the excuses though, because
it's a faster pace.

Speaker 3 (29:00):
Yeah.

Speaker 1 (29:01):
And also that's a fact, right, and also everything that's
on top, Yeah, we just satched on one another like
it's a demand of respect of space.

Speaker 3 (29:09):
Bro. You know it's crazy. I didn't I always tell
people this.

Speaker 2 (29:12):
I love before I knew what the word anxiety meant,
because I didn't. You just live in a certain way, bro,
to live in the projects. I lived in the like
I lived in a building. I lived in buildings my
whole life, right, I didn't up moving to a house
until my thirties. But like living in buildings, every floor
you gotta think right, Like every floor got about ten

(29:35):
to twelve apartments. Each apartment got anywhere from two to
five people in it, even if it's a because so
you're dealing with so many personalities on a daily basis.
It's like crazy personality. So it's like you you that
protection veil. We protected against our own anxiety. Like, Bro,
I didn't know. I didn't even know I had like
some level with anxiety and depression and none of that.

Speaker 1 (29:57):
So I got it. I got old.

Speaker 2 (29:58):
I'm like, oh, that's what those were me. I think
I'm thinking I'm just like tripping. Yeah, I think I'm
just all just defending myself, you know how I'm supposed to.
But it's because being in New York bird like everything
is stacked on one another. You got thirty twenty five
floors of what six sixty people per floor?

Speaker 3 (30:15):
You know what I mean?

Speaker 2 (30:16):
Like, imagine what you're dealing with on a daily basis,
just trying it. It's too elevated to staircases just existing.
Come on, bro, it's madness.

Speaker 3 (30:23):
You know what I'm saying.

Speaker 1 (30:23):
It's landing question for you. So not when did you
get into hip hop? How did you know that? Okay,
I'm gonna do this forever, shit, bro, And where was that?

Speaker 3 (30:35):
How did I know I was gonna do this forever?

Speaker 2 (30:37):
It didn't come to my thirties, brocause like I hip hop,
of course, Like I tell the first my first memory
of hip hop is Run DMC.

Speaker 3 (30:46):
Being a little kid watching video music box.

Speaker 2 (30:50):
I remember, I remember Lee or Cohen said he hated
the song man walked this Way with Aerosmith. I thought
that shit was so fly that they kicking.

Speaker 3 (30:56):
Through the wall. You hate that song.

Speaker 1 (30:58):
I like rock Box.

Speaker 3 (31:00):
Oh okay, okay, I like that.

Speaker 2 (31:01):
So like though I love Run DMC, but that as
a little kid, that was the one I seen. I
was like because when they broke through the wall, like
I was like, oh, like the present, the presentation. But
I'm a little kid. But then, like I got into
this shit around like eighteen, and then like I was
working at Rockefeller and then when Dame and j had
they split, Jay was at Depth Jam. I had to
go get a regular job, bro. Like I went back

(31:22):
to getting regular jobs. And what gave me what kind
of messed me up is we had no social media,
so I had nobody to cooperate my story, right, It's like, yeah,
I was chilling around Beyonce when like, ain't nobody, you
know what I mean. So I went back to having
a regular job and I dropped out of high school. Bro,
So I had a whole different path. Like two thousand,
like you said, two thousand and seven, I was working

(31:44):
back in the mill room at a television station and
fighters of pharmaceuticals. I had those two jobs because that
was the only jobs that I had on my resume
that I could do, you know what I mean. And
then once I started having kids, I really was like, like,
you know, we always playing in and out of the
streets around but I was just like, yo, bro, I
can't afford I remember my man asked me a the time.

(32:05):
I don't want drift too off because I want to
go to my point. But I remember my man asked
me a time. He was like, yo, bro, you live
in New York, like you could be moving everything, selling everything,
doing And I was like, yo, bro, I hustle on
my charges, you know what I mean, Like I'm not
with like what I'm hustling. I'm not getting a year
for I'm not willing to sit down for a year
and another man possibly come in and raising my son,
and I lose my girl and all of that.

Speaker 3 (32:25):
So you know what I mean. I I had a.

Speaker 2 (32:29):
Doing regular jobs and then it was in twenty twelve, Bro,
like you said, do it forever, because this is kind
of an announcement.

Speaker 3 (32:37):
Bro, I'm out of music. I'm doing full media now, so.

Speaker 1 (32:41):
No music at all.

Speaker 2 (32:42):
I'm not doing no whole circumstances. I'm not doing an R,
I'm not doing management. I'm not being in exact no more.
And it's been gracious to me.

Speaker 3 (32:49):
Bro.

Speaker 2 (32:50):
That shit got me out the hood. Like my house
bigger than everything I've lived in put together. But I
just I'm on a different path with the music shit.
But when but music still let me into media.

Speaker 1 (33:01):
And you still do You're still in hip hop?

Speaker 3 (33:03):
Yeah, I'm still in hip hop.

Speaker 1 (33:04):
Yeah, but I see what you're saying.

Speaker 2 (33:05):
Yeah, I'm just like, I just don't want to be
like at one point in time, like I wanted to
be Kevin Lais, I wanted to be earth Gotty, Damed,
Dash Bigs. I wanted to be all of that, and
I had my experience of doing some of that stuff.

Speaker 3 (33:15):
But I don't. I just don't want to do that anymore.

Speaker 1 (33:16):
And we might have missed that part. It's interesting to
see what's gonna happen. Yeah, it's funny before we get lose. Yeah,
I remember when that first happened, right that split, and
I remember, this is the time everybody's trying to sign me.
So I fly down there. Jaye's trying to sign me, right,
she and hip hop is trying to They court me.
They at Atlantic and Dane. So now this is what

(33:39):
fucked me. I'm glad you brought that up. So it
was the first time I met Dang. Now, mind you like,
if you grew up with Rockefeller, like to any degree
you're a fan of Dame, it's Dang.

Speaker 3 (33:48):
Yeah yeah, And I.

Speaker 1 (33:49):
Remember not really realizing how bad that split was. It
was bad, right because I go to see Dame. Gabby Moskowitz,
remember Gabby, his female assistant.

Speaker 3 (33:58):
Yes, yes, yeah, old lady.

Speaker 1 (34:00):
She was like, man, Dang, want to meet you, Like,
let's see if you gonna make some work. So I
go see Dame and I remember thinking, like, you know,
you heard every stereotype of Damn, of him just being
like this mean person. And I remember he was just
bouncing around the studio. He was just dancing to the
song and he was stepping from side to side. He
was talking to me, and I remember just thinking like damn.
Like now I think back on that and I'm like, this, nigga,

(34:23):
really this is fucked up. What you mean like them
splitting was way more fucked up than I ever thought.
But I remember being right there fresh. This is right
after he had just told me Soul RockA wear whatever
his share. I think it was like thirty million dollars
he got stock, And I just remember thinking, like, this
part of my shit is fractured. I know that sounds odd,

(34:43):
but you don't realize how close you grow into the music,
into these labels, into these brands and to these ideas.
Like it hit me when I left Jay and then
I went to meet Dame and I was like, these
niggas ain't together no more.

Speaker 3 (34:57):
Oh yeah, I ge what you said, Like and I
know that.

Speaker 1 (35:01):
Sounds crazy, but now I don't you start realizing here, ah,
like you this shit mattered to your life?

Speaker 3 (35:09):
Yeah, bro?

Speaker 2 (35:09):
I for myself right, like you know, my introduction to
working in music was working with them, So.

Speaker 3 (35:14):
It's like I was lost.

Speaker 2 (35:16):
And then I also hadn't built up like I didn't
have like hadn't built up like a resume where you know,
you leave a label.

Speaker 3 (35:24):
Other people like, oh, that's such and such, that it's
such and such.

Speaker 2 (35:27):
So when it I was lucky to be working with them,
but when it ended, I didn't really have like a
leg to stand on. So that's why I ended up
going back into music again, I mean, going back to
regular jobs. And then eventually I found myself back to
music because I just, bro, I used to have I
used to be working, like I was saying, I was
working in la is we bet KTLA. I was working

(35:48):
at was that pixe eleven which they handled KTLA? Because
I ended up being a marketing coordinator. My boss had
at the time, he had lied and said I had
a bachelor's degree to give me a marketing coordinator job.

Speaker 3 (35:58):
You know what I mean, my may and John shouts
out the job, but you know I had.

Speaker 2 (36:05):
I used to sit at this cubicle every day and
sent at this cubicle. Bro, I just I was trying
to do a clothing line and this is after all
that Rockefeller stuff, and I'm just like, I try to
do a clothing line that wasn't working. And then I'm
just saying here, like bro, I gotta do something, bro,
I can't be in the projects in a one bet
apartment with three kids, a whole family.

Speaker 3 (36:23):
I ain't got much.

Speaker 2 (36:24):
I gotta you know how people give up on their
dreams because they're like, yo, I just got to work
harder with doing something that's realistic so I can take
care of my family. I went to obsolete, like I'm
I'm leaning into everything that don't make sense because it's
the only way I'm gonna be able to take care
of my family if I do something that is not
conventional for me to do. And it was like at
that point, I started my management company. My man Buddha,

(36:45):
he's a producer, Buddha, he's him in grants or a duo.
And he came to me and was like, yo, would
you manage me? And I'm like, I don't know how
to manage nobody. He said, you could do a better
job than the due managing me now, and I was like,
all right, fuck it. So I started doing management and
then I was working with you know, I had a
few different artists, my man Ricky Jacobs from Baltimore. I
had this young lady mine Europe. She's actually from Cali,

(37:07):
but her family's from New York. She's very dope as well.
And then I'm at East, you know what I'm saying.
And when I'm at East, I had all of these
artists and then, I mean, Angelie had told me one time, like, Yo,
you're a jack or trade as a master none. You
got to figure out one thing you could do that
because you could really And then from that I just
was like, all right, let me just no disrespecting none
of y'all. I gotta focus on East boodhen grands in East.

(37:29):
And that was it, you know what I mean. And
that's how I started to mix something out of myself
in the game, because I had already had ten year
relationships ten plus.

Speaker 1 (37:40):
So you shift over to doing everyday struggle bro.

Speaker 3 (37:45):
So I mean ironically, it was what was it managing East?
We get the deal? He was already out the hood?
I get out the hood.

Speaker 2 (37:56):
But then I had this, I had this other vision
for like having a label, like my management company.

Speaker 3 (38:01):
I was kind of rolling that into being a label.
I had a bunch of different artists. Of course, people
know me and E split. Bro.

Speaker 2 (38:08):
Now I'm back at Square one cause because I had
put all my chips in one basket, you know what
I mean with him, So it's like, yeah, I did
believe that shit was going to last forever because that's
how we was building, you know what I mean.

Speaker 3 (38:19):
So then it's like then I had to recalibrate.

Speaker 2 (38:21):
I started recalibrating, and then I was cool in the
deska because in the deska she used to work. She's
a journalist and she used to work at MTV, and
when I was managing East, she came to she came
to Harlem one time, the interviewing for MTV, and we
just got cool. And we always just stayed in contact,
you know what I'm saying. Like me and you, Glass's
like we don't talk all the time, but right now
and then it's either somebody bring us together or we

(38:42):
might stay what's up to each other whatever, So we
stayed in contact. And then one day when I was
watching Every Day Struggle on a daily basis, and then Joe,
you know, he had his old fall out with it,
and then they brought starring and I'm still watching it,
but I'm still trying to figure out, like what's going
to be my next thing. Prior to Every Daytruggle, though,
shouts out to Vanessa Satin from Double Excel. Vanessa had

(39:04):
me doing the Double Cell podcast. She was trying to
build that out, and right around the time I started
doing that, Vanessa Vanessa was telling me like, yoaya, you
could do this shit Like I feel like you're a
good voice, you know what I mean, Like you could
do something with this. And then it was an episode
where Star and the DESCO was addressing like Star had
said some shit about her on something else, something crazy,

(39:25):
and he was addressing her to apologize, and the DESCO
was in like she was, you know, being cordial, but
she wasn't going for it. So I texted him watching
the episode like yeah, man, talk your shit, you know
what I mean. And she ain't respond. She ain't say nothing.
But then like a week or two later she hit
me back, was like, Yo, my full I'm a bad friend.
She like, yo, you should come debate with us one day.
And I'm like well, she like I'm like yeah, So
she like, yo, we want to send a car for you.
I'm living in Jersey at the time. She like, Yo,

(39:47):
we want to send a car for you and all that,
like like, oh a car. I would have drove there, bro.

Speaker 3 (39:52):
I go there you know what I'm saying.

Speaker 2 (39:54):
We had that episode is Me Academics, And now I
was listening to the Academics commentary too, because she was.

Speaker 3 (39:58):
Just crazy on the Yo.

Speaker 2 (40:00):
People act like they wasn't listening to him, you know
what I mean. Like I was listening to his commentary.
And so, so, you know, we we do the episode,
and then after we do the episode, Chops, yeah, Chops
was the producer. While we're walking out, he's like, Yo,
that's the most fun we had since Joe.

Speaker 3 (40:19):
Whatever I leave, the desk.

Speaker 2 (40:21):
Could pull me to the side, like, yo, listen, we're
trying to find another host, you know what I mean.

Speaker 3 (40:26):
Like, she just was upfront with it, like, yo, we're
trying to find another hole.

Speaker 2 (40:28):
And I'm like me and she's like, well, listen, I
think that what we did was good. I'm gonna call
you later. I'm like, all right, cool, I leave, I
go back home. She calls me later, like, yo, would
you come back, and she's like we'll pay you.

Speaker 3 (40:41):
Like pay me. I knew that people made money, but
I didn't know what they was making, you know what
I mean.

Speaker 2 (40:46):
So I'm like I And then I did a couple
of like episodes and then every time I'm doing the episode,
they like, yo.

Speaker 3 (40:54):
They She telling me like, yo, that the CEOs or whoever.

Speaker 2 (40:57):
That complex day they love you, like the fan base,
like they starting to warm up to you.

Speaker 3 (41:01):
And she like, yo, we're gonna see.

Speaker 2 (41:03):
And then I think they was talking to Joe again
to try to figure it out. And then you know,
they was ending the season, and then we had a
conversation and she told me like, yo, we're talking to Joe,
so we're gonna see what happens. But even if we
were to bring Joe back, I would like to still
bring you on as a guest.

Speaker 3 (41:17):
But we'll let you know what happens.

Speaker 2 (41:18):
And then Joe did some shit called a pull up,
and then I went to the pull up with Joe.
I mean I went to his crib. I did the
pull up with Joe. And before we did that shit,
me and him was just talking. He's like, yo, bro,
I ain't gonna lie, like, I think that should be
good for you, Like you know what I mean, He's
like what they're trying to do. He's first, like what
they trying to do. I was like, I don't know.
They talk about bring me on? He said, I think
you should do it. I was like, for real, He's like, yeah,

(41:39):
I think that should be good for you, bro, Like
you know what I mean, Like you're handling yourself on
there well. And then when we did the pull up,
he throwing subs at the he like he like, yeah,
cause he talking.

Speaker 3 (41:47):
I didn't know how to Joe, Bro. I didn't know
how to end the network.

Speaker 2 (41:50):
Bro, this nigga Joe talking to me, he said, somebody
every day He's like, yeah, cause complex because he he
looks at me. He's like, cuz their numbers are horrible.
And I was just like I didn't even know how
to respond. And I'm like I didn't know what he
was doing, but he playing that Jedi mind strat shit.
But you know, I end up riend up being on
the show longer than Joe. I did the show for
three years. Joe is He's a that's my nigga. Man,
He's crazy, but he knew how to play that internet

(42:12):
shit crazy who.

Speaker 1 (42:13):
Hasn't had me in trouble since I've known him. Every
since I known him, Dog Joe always got me and
some shit back to the act part. So yeah, I
remember being a subscriber. He is when he was at
probably like like nineteen hundred. I think it's roughly somewhere
between nineteen hundred and four thousand subscribers. Wow, and watching
this Chicago shit like early on it and I'm like, bro,

(42:36):
what the fuck is going? And I remember motherfucker was
like like like you know what I mean, Like he
was bringing us something that That's a big part of
how I started realizing what hip hop was and how
we connected to the music, like how a scene can
form a genre or scene can form a subgenre of
hip hop. And I'm why didn't happen. I'm watching different

(43:01):
people cover different cultures, and I think he missed that's
where he was incredibly brilliant at. And I don't know
if it was just as simple as like we just
didn't know. It was a way he did it. To
me that was really.

Speaker 2 (43:20):
I'm gonna tell you what I think connected cause look, everybody,
the biggest problem is this is like if you're not
from over here, then you shouldn't say nothing about over here, Right,
That's the first thing in geographics, it's like where is
he from?

Speaker 3 (43:34):
W he grew up?

Speaker 2 (43:35):
And of course we like that with different coaches, but
somebody that's like, oh, well, he not from the hoods,
so how could he talk. The thing with me is like,
due to my experiences living in New York, I'm always
intrigued by what people think from other places because I
only know what I know from my block, you know
what I mean?

Speaker 3 (43:50):
Like I was always the person I argue with everybody. Everybody.
I don't care if you the smartest, the toughest, whoever.

Speaker 1 (43:55):
Were arguing.

Speaker 3 (43:56):
We're talking basketball.

Speaker 2 (43:56):
I remember one time the police was giving me a
ticket one time cause we was outside.

Speaker 3 (44:00):
We was drinking and shit.

Speaker 2 (44:02):
And while they're giving me the ticket, they contemplating stopping
to intervene because they arguing. And I said, I said,
now I'm telling the con I said, And I don't
do nothing. It's like why not, I said, I said,
we just talking about basketball. They're like, that's how y'all
talking about basketball. I'm like, yeah, like that's how we talk.
But that's just the perspective of our block. So my
thing is is like, well, act you know, yeah, there's

(44:23):
definitely spaces where he antagonized, but if you listen to
a lot of them videos, he was saying, Yo, this
shit is so dumb, Like a lot of this is
just dumb. Like y'all beefing, y'all doing this. But the
problem that we have is we're from the hood, Like,
this is what means something to us. So I don't
care how dumb my like, how ignorant, my dumb like,
whatever it is. You're not gonna tell me how dumb Iami.

(44:44):
You don't know nothing about what I go through on
a daily basis. But it's the intriguing part was we
had never seen nobody cover that type of content on
that level or the level he was building from that perspective,
and I think it's just everybody was like, what the
fuck is this?

Speaker 3 (44:59):
You know what I mean it?

Speaker 1 (45:01):
For years, hip hop held the like was the only
key to it. You would get a handful of films,
and full of films you would get very minimal. So
hip hop had the exclusive key to it. And when
YouTube became a thing, right now you have different access
and now you have a million entries. Yes, it's the multiverse.

(45:26):
Listen to an artist tell you about it. You can
go get straight to.

Speaker 3 (45:29):
To create themether.

Speaker 1 (45:31):
Source like you want to know about los Angele Street
every life. It's people that cannot rap a lick. They
they're not artistically brilliant at all, and they just saying that, man,
this is what's happening.

Speaker 2 (45:40):
But I listened to a lot of like it's well,
what's my man name?

Speaker 3 (45:46):
He used to be Street Games.

Speaker 2 (45:47):
Or Alex Alonzo, because I was watching him way back,
like bro, I've been on YouTube since O six, so
I was watching him back then. But it's a lot
of like pages I followed, like Cali shit that, and
I've be like, damn, this is crazy that a person
could just sit for an hour and just explain politics
to the streets. And I'm listening, you know what I mean.
But I think that you know, we come from an

(46:08):
era of like we didn't have shit on demand. If
we bro think about we had to wake up at
eight am on a Saturday to watch our favorite cartoons.
If you missed it, you was not catching a rerun
till the summertime, you know what I'm saying. So it's
like now everything is on demand. You can binge as
much as you want of whatever. And I think that
like it's a given a curse because from the creative standpoint,

(46:29):
they understand I could use to do with the craziest
stuff ever to give views and not really have too
much substance or the subjeance. The substance is subjective, like wow,
you might not like well, I might not like this.
There's some kids somewhere that loves what I'm doing. So
it's like it's this playing field of and I hate
that term. At least they making money. I hate that shit.

Speaker 1 (46:48):
Yeah, it's yeah, at.

Speaker 3 (46:49):
Least they making money because it's like, at what costs?

Speaker 1 (46:52):
You know what I mean?

Speaker 3 (46:52):
But it's yeah, but at what costs? You know what
I'm saying. But yeah, it's the independent media space.

Speaker 2 (47:00):
That's why it's kind of like music because if you
could it's so many people that upload music, but if
you could get something that actually cuts through, then you
got something special because there's tons of people doing it
on a daily basis.

Speaker 1 (47:12):
I've been thinking, how do you think it effacs hip hop?
Now that, now that it's so many entry points to
this culture, how does it affect the actual art of
music itself?

Speaker 2 (47:20):
It affects it, man, It's it's fifty to fifty, Like
there's a great part of it and it's a bad
part of it because I didn't need like the consistency
that I required from an artist growing up.

Speaker 3 (47:34):
Was once a year. I didn't need to have three mixtapes, pictures, pictures.

Speaker 2 (47:40):
I didn't need to know what your fucking kids look
like when you want to shop to get you jury
with your wedding.

Speaker 3 (47:44):
Like I didn't need to know all of that. All
I needed was.

Speaker 2 (47:48):
A fourth quarter throughout the year and a great Like
if I if I read Double Cells Source, any Murder Dog,
any article, I could read something that means men want
to be into your music. I think that you know,
the demand has increased the artist's workload. In turn, it's

(48:09):
exposing a lot of people's work ethic because and it
doesn't work the same for everybody, because you know, it's
always the new artist that says, but Kendrick Lamar doesn't
have to do that, But he's been doing this for
fifteen years. It's like, but Drake doesn't have to do it.
He's been doing this for fifteen years. Like so they
already built themselves to a space where they don't have to.
Like Lebron James, if we know that he's coming to town,

(48:30):
we're gonna spend top dollar for the ticket and he
could score ten points because we want to see him.
For the new person, Yes, you got to be seen.
I said it in the same exact year. By the
month ago, you got to be seen fifteen times in
order to be seen once.

Speaker 3 (48:45):
So in turn, that's crazy.

Speaker 2 (48:47):
It went up because like see because now the content creator,
the constannats in them, which they are the five percent
of what it is that they doing, the very small
percentage that's doing on a high level, they then increase
the twere you got to see me every single day?
I got to do this shit every single day, And
in turn it's made the fan say with if he
doing it, why you not doing it?

Speaker 3 (49:08):
Or is she doing it like that? Why you not
doing it?

Speaker 2 (49:10):
And a lot of artists, I don't think art is
supposed to be built in a way where you have
to get it every second, you know what I'm saying,
Like if cause to a painting every day all the time,
and what would his paintings be worth? But it's but
the artists objective, So I think it's like it's on
a consumer. For me, I like my favorite artist to
drop every now and then. I don't want to know

(49:32):
what's going on with you every every day?

Speaker 3 (49:34):
Feel me?

Speaker 2 (49:35):
Yeah, I was, I was, I've been really thinking about
but I'm old.

Speaker 1 (49:41):
Yeah, I have to do.

Speaker 3 (49:43):
Yeah.

Speaker 1 (49:43):
And when you're younger, you got less shit to do. Yeah,
you got time to consume all day. When you get grown,
you gotta produce.

Speaker 3 (49:50):
Yeah.

Speaker 1 (49:51):
I worry about it from a standpoint of like I
worry about from a standpoint of like damn, Like without
it being excluded, now you really have to press for
something excellent, you know what I mean? Like, at one time,
the only way you can see content is with nw
A Candio town. So if you heard of Compton and
you heard the inter of this, you're like, the only

(50:12):
chance you could get at any of this season is
when they come to your town. Now you can skip
past that. You can go right to Compton. You can
go on YouTube and go right to somebody from comp.
You can go on No Jump or somebody from COMP.
You anywhere, Alex Alonzo's keV Mack go right to Compton.
Not to mention, it's endless artists creating from content. Yeah,
So then where do you separate, Like, how do you

(50:34):
separate to really break through at that point, at least
in your perspective as somebody who I think that executive bro.

Speaker 2 (50:41):
I think that shit is like being at the fruit stand,
Like it's a bunch of it's a bunch of main goals,
but like I got to pick the one I want,
you know what I'm saying. So so for myself, like yeah,
there is a lot of people, and then also let's
keep it a thousand, like it depends on what your
palate is like For me, I like artists who have

(51:01):
a certain level of skill set.

Speaker 3 (51:02):
I don't care where you're from.

Speaker 2 (51:04):
I loved See Murder being from him being from New
Orleans because I felt like See Murder was the best
rapper from No Limit when he was doing what he
was doing. So Life of Death that album means something
to me, you know what I'm saying. I loved even
speaking about Compton, like from from from from the Games
to of course the Kendricks, and then you got so
many different artists ygs that come from from Compton.

Speaker 3 (51:27):
They all tell different stories, you know what I'm saying.

Speaker 2 (51:29):
Like I remember when My Crazy Life came out, and
I remember like Sycamore he was an R on that album,
and I remember shout to Sick Bro. I remember going
to Sycamore's office one day. I remember, I don't even
know what the hell we went. One day I was
in uber with him going somewhere. But then I remember
going to his office and he was just playing me
the records and he was telling me like, Yo, we're
working on these skits and we're gonna put the skits

(51:50):
in between like this, And I felt like, Yg, why
like why it's hard to reach that level again to
make like that album in him pop is what? Like,
you know what I'm saying. It's a great movie. It's
a quin Tarantino film. So I just think that like
to filter through, it depends on what you want. Told
you got Roddy Rich. Roddy Rich didn't have like hearing

(52:14):
Roddy Rich for the first time, Like I was like,
he's from Compton, you know what I'm saying. But he
told a different story from his perspective. From Vinje generation,
even from Harlem Bro we got like you got Dipset,
you got Mason cam then we got Rocky in ferr
you know what I mean, ferging them. They have a
different perspective. They have the perspective of growing up watching Dipset,
you know what I mean, and being going down a

(52:36):
soulho and going to fifth Ave the bad shit and
still having those street experiences. But they telling it from
their perspective, So it's like, I think it's all about
what you're into.

Speaker 3 (52:44):
As I get older, bro, I ain't gonna lie.

Speaker 2 (52:47):
I like to hear music about bullshit sometimes, you know
what I mean, But it depends on how you delivering it.
So I'm all about like in my right now, I'm
all about delivery how and it's I feel like it.
It's always been like that, right, Like Doggie Style the
album When I was a kid, what drew me to
it was watching the video and seeing this nigga snoop turn.

Speaker 3 (53:08):
Into a dog.

Speaker 2 (53:09):
The cartoon aspect of it, you know what I mean,
how they did the artwork like that was the marketing.
So I think right now people saying that music is
cooked and all that, I actually think it's one of
the greatest times ever because if you can understand how
to galvanize your audience, ain't direct access.

Speaker 1 (53:26):
You don't got to go nowhere to get it. It's
right there.

Speaker 3 (53:28):
And that's what the labels have to understand as well.

Speaker 2 (53:31):
Like if you if you are a label and you're
pouring millions of dollars into a product, let the artists
like lead a bit, but just put the right market
in around them and the shit is going to go.
But you have to be able to target the artists,
like you can't depend on the playlist, You can't depend
on the right look at the fun because everybody's at
the you know, I see scammers that I know from
the hood, at the at the fashion show front row,

(53:52):
you know what I'm saying, everybody somewhere now. So it's
like you just got to be able to target the
audience and see what it is they want and really
deliver that.

Speaker 3 (53:59):
Shit for me.

Speaker 1 (54:00):
Yeah, I like that. Yeah, man, there's no seilings. Appreciate
you and we donk Yeah, man, like it really easy.

Speaker 3 (54:06):
Yeah man, this was fun.

Speaker 1 (54:08):
Man, Like, Bro, this is really I've been waiting to
really sit down with you. Bro. So it means a lot,
Like I don't interview, but to me, people that I
really respect in this business, that I feel like understands
stuff about it, I really fuck with it. Yeah, it
was important to sit down with you.

Speaker 2 (54:24):
Yeah, we just kicking it. I don't even feel like
it's an interview. I like, this is no different than
the conversations we've always had.

Speaker 1 (54:29):
But but it was it was a It's to the
point where I knew that I wanted to sit down
and talk like people that listen to me. I want
them to hear you like they already heard you. But yeah,
if somebody else they needed to hear you.

Speaker 3 (54:41):
I appreciate that, Bro, I appreciate you. I hav any
for us.

Speaker 1 (54:43):
Straight up and 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 by the Black
Effect Podcast Network and Not Hard Radio. Yes, I