More Conversations About Gatekeeping Hip Hop

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Watch up and welcome back to another episode of No
Sealer's podcast with your hosts now fuck That with your
loaw glasses Malone. It's funny because I can remember when
I first started making records, not really just your growth,

(00:24):
your whole trajectory when it comes to audio and interfaces
and sonics, and like I mean, don't get me wrong,
anything you do for twenty years, I'm sure you're probably
supposed to learn, but it's not all to me. The
thing about me is I don't know a lot of
shit about a lot of things. Like I get really

(00:47):
really specific. So like the few things I'm into, I
get very very specific. So like growing up, I was
more into like my schooling, like education and all of
that shit. So that's what I focused on and getting
a's and being smart. And then as I start hustling,

(01:09):
well really before that, I start getting into drag racing.
And my God, Pops Robert Curry rest in peace. That's
the twins and Moses, that's their dad. That's one of
my dad's better friends. It's best friends resting. So and
as we got more into drag racing because my dad
exposed me to drag racing again. So if you've seen

(01:32):
Netflix and go to the Fastest Car. I'm in a
second episode. It's something I've been doing my whole life.
So around sixteen seventeen, you know, I'm already selling drugs.
I'm already from a gang high school. But I'm getting
into drag racing differently, like I'm all the way into
it right like like I'm so into it.

Speaker 2 (01:55):
And so I'm talking to Rob at this time.

Speaker 1 (01:59):
Is he's sick and he's going through like a really
serious case of what is it when your pancreas stopped
giving you incident diabetes? And so he's you know, getting
more and more sick every day, like he's in a dialysis,

(02:21):
but I don't know, it's not having the greatest effect,
like you know what I mean? He rob My Godpop's
really passing away and going through a battle with diabetes
showed me that, you know, modern medicine ain't in control
the way you know man likes to think.

Speaker 3 (02:41):
Of it like you rely on every day.

Speaker 1 (02:43):
Yeah, every day I will talk to him for two
or three hours, you know.

Speaker 3 (02:49):
What I mean?

Speaker 1 (02:49):
Like even when I graduated high school and I'm selling
charm every day and at this point I'm getting their
fights and shootouts and going to.

Speaker 2 (02:57):
Just as your child father. Right, Yeah, I'm still talking
to him every day.

Speaker 1 (03:01):
Now, we're going to the street races, like we're having
the general casual experience of street racing, like the average
street racer, but I'm going more into the essence of
what drag racing is about.

Speaker 3 (03:14):
Right, So.

Speaker 1 (03:16):
I'm getting further and further and further into drag racing, right, Yes.

Speaker 3 (03:23):
I got them, well, y'all my made So.

Speaker 2 (03:28):
Every day I'm getting further and further into drag racing.

Speaker 3 (03:32):
Right.

Speaker 2 (03:32):
So now gang banging, I'm selling PCP, you know what
I mean.

Speaker 1 (03:36):
I'm getting their fights, going to jail, shooting at people
getting shot at, just craziness. But I'm still making time,
hours upon hours a day talking to my god Pops,
like I would go visit him at his house, right,
which is right across the street from where I recorded
my first mixtape, right, which ended up getting into this
current position in life where I don't have to sell drugs.

(03:59):
The reason that was accessible to me because it was
across the street from Rob's house. That's how I met
Gary ellis Guido the Nose DJ g l E. You know,
the guy who recorded and produced my first mixtape. But
I would go to his house and because he had
diabetes and it was so bad, it was advancing, so

(04:22):
it was so aggressive with him, like they had to
kind of they chopped one of his fingertips off.

Speaker 3 (04:28):
Damn.

Speaker 1 (04:30):
You know what I mean, I think with diabetes, I
know they chop you. I seen ylation and stuff.

Speaker 3 (04:35):
Yeah, they started.

Speaker 1 (04:36):
They chopped one of his fingers off, like the tip
and you know, they cut it in heel. But he
would hit me in my head when I would say
something that he already taught me, and that part of
his fucking finger was so fucking hard. I remember how
hard that part of his finger, and so it made
me really, it made me really, it made me really,

(05:04):
really really be mindful of information that someone knowledgeable passed
me and to make it my business to retain it.
And man, I got so deep into drag racing at
his most fundamental level. But that's how obsessive I am, Like, right, like,

(05:28):
if I'm into something, I get into it deep. I'm
all the way there. I'm at his most primitive level.

Speaker 4 (05:37):
And trust me, I know I've seen you when you
get into something.

Speaker 1 (05:40):
Trust right, So that was the first thing I remember
getting into the way how I am as a person,
and I'm so deep into it right I'm learning how
you know, He's giving me the fundamentals of how suspension
should work, the fundamentals of how horsepower, how you know,
the conversion and trance to rearient gears like and it's math.

(06:04):
So I'm naturally like great at math.

Speaker 3 (06:06):
You could I ask you a question? Sure? Okay? So
you said like your first love was like education and stuff.

Speaker 4 (06:14):
Yeah, so did you learn you know, in that in
school to be a mechanic or did you learn it
by falling in love with drag racing to be a mechanic?

Speaker 1 (06:22):
No, that drag racing Like the first time I went
to a free race, I was six, Like my dad
was street racing probably like since I was six or
seven mm hm, So I can remember going to drag
race is really young. But I wasn't into the details,
you know, at that point, I was focusing on schooling.

(06:44):
And when I got all the way into drag racing,
like I just went into this primitive functioning level, Like
I how I learned is if you teach me everything
at the skeleton level, like I could build the body
out anyway I want to yeah, right anyway, So he
was such a wiz, Robert Curry rest his soul, my

(07:05):
Godpas was such a whiz with drag racing and everything
involving making a car, you know, go from you know,
zero feet to three thirteen twenty in the quickest and
fastest you know, and the quickest time and the fastest
mile an hour possible. And I got into it at

(07:26):
this very primitive functional level and it's.

Speaker 3 (07:29):
Been it paid off well.

Speaker 1 (07:31):
I worked on a lot of people's cars, you know
what I mean, people who are way more advanced than
me in mechanics. But just this fundamental understanding allowed me
to really have input in some of the really most
popular situations.

Speaker 2 (07:47):
And that became my first love.

Speaker 1 (07:50):
So even when I started making music, right, it wasn't
quite like like, oh.

Speaker 2 (07:58):
I'm into it. It's like, no, Gary Guido was into it.

Speaker 1 (08:03):
I was into it from a you know, like a
cultural functioning level, like I was articuling enough, sober enough
to write my experiences in my in my perspective is unique.

Speaker 4 (08:13):
So it worked out why you doing it at that
time too? It was like everybody trying to rap at
that time.

Speaker 1 (08:18):
No, no, no, it wasn't as common in two thousand
and three and four two like, cause it was hard
to get access into a studio.

Speaker 3 (08:25):
It was hard to get access.

Speaker 1 (08:27):
In music, Like it's not like today where you know,
you could just go on the internet and download a
free beat, Like it was really tough to find people
who made beats, you know, let alone a recording studio.

Speaker 3 (08:40):
You know what I mean.

Speaker 1 (08:41):
You would have to invest in a four track from
radio shot you. You would have to know some functioning
things at primitive levels, and they were expensive lessons to have.

Speaker 3 (08:51):
So how'd you fall into becoming a rapper?

Speaker 1 (08:54):
Dan?

Speaker 3 (08:54):
If you was drag racing doors across the street?

Speaker 2 (08:57):
My brother came home from YA.

Speaker 1 (09:01):
My brother came on from YA, and my mom wanted
me to keep him out of trouble, and he wanted
to be a rapper.

Speaker 2 (09:07):
And he said, let's start a rap group.

Speaker 3 (09:09):
M hm.

Speaker 1 (09:10):
And I always say this as a joke, and I
really mean a joke, Like I think he just wanted
me to pay for it because I was making money
selling PCP at the time. Like, I genuinely feel that's
why he wanted Because my little brother don't be wanting
to do shit with me, like I almost think that
don't like me, like I sew it like he did Kase.

(09:30):
You know, he a different type of character, you know
what I mean. But you know my mom wanted it.

Speaker 2 (09:35):
Was a lot of pressure. And then this is my
little brother.

Speaker 3 (09:37):
Man.

Speaker 1 (09:37):
You know, my little brother been getting on my nerves
his whole life. But you know I would kill and
die over him. Yeah, you know, I'd have fought and
beat up friends, homies, strangers, shot Like I would do
anything over my mother's youngest son.

Speaker 3 (09:52):
That's that's like task.

Speaker 1 (09:53):
So even if he's a dick and get on my nerve,
like I love my kid brother.

Speaker 2 (09:59):
So he wanted to so I'm like, let's do it.

Speaker 1 (10:01):
So I'm we going to studio time, and you know
I noticed I was articulate, you know, and everything was
cool and he got in trouble. But what I liked
about making these rap songs was it became like the
microphone became my therapist.

Speaker 3 (10:21):
Like it was I was able.

Speaker 1 (10:22):
To express what we were going through, like the I
hate to use the term trauma, but the traumatic experiences
of being a soldier in the streets, like the mic
gave me an outlet to express it creatively, and I
just fell in love with the process of expressing myself.
I didn't fall in love with the process of people

(10:43):
liking it nothing but just the freedom, like a burden
was lifted by just expressing what was happening in my
perspective of life that we were living.

Speaker 3 (10:54):
I got a question for you, then, what your drag
race and bring you? Then?

Speaker 4 (10:59):
You know when you got it to drag racing? What
did that bring you? Since you said was your first love?
What did drag race bring you for?

Speaker 3 (11:06):
First?

Speaker 1 (11:06):
No seilings podcast, glasses low? My big brother King got
my brother Lex from the East. I told you I
was back.

Speaker 5 (11:15):
Yeah online up black A truth, a true queen's legend,
a true queen's native.

Speaker 3 (11:25):
You said, show you for for.

Speaker 1 (11:32):
Drag racing? Was the first thing was me and my dad. Okay,
That's how I bonded with my dad. And my dad
is like my favorite person in the world.

Speaker 3 (11:41):
M hm. You know what I'm saying.

Speaker 1 (11:43):
Like I'm not my little brother is a mama's boy.
I'm a daddy's boy. Like I probably don't drink, smoke,
have earrings, won't wear crocs because of who my dad is.

Speaker 2 (11:53):
Like he's my favorite person.

Speaker 1 (11:55):
And don't get me wrong, like Mster good Boar is
not like a perfect person, you know he'll tell you,
But I love how honest he is. What existing like,
if he's a bullshit person at a certain place, he'd
be like, yeah, fucked up.

Speaker 3 (12:09):
I was raggedy, And I like that accountability.

Speaker 1 (12:12):
And I've really modeled my life after the accountability part,
not all the other shit or the things I may
have not agreed with, but man, the fact that he
would own up to his fuck ups, the fact that
if he would screw up, he was still like he
would sacrifice hisself to make I just you know, a
man like that man is different and you know, truly

(12:33):
he's my hero and my favorite person.

Speaker 3 (12:35):
In the world. That's wait, you're talking about you dad
right now?

Speaker 6 (12:39):
Right for your dad, your dad at your age, when
you could understand when he made when he messed up,
he would admit it to you.

Speaker 3 (12:50):
He would talk to you like.

Speaker 1 (12:52):
Hell yeah, Like my dad had like a child outside
of his marriage.

Speaker 3 (12:59):
Can you can you give me an example? Really, give
I'm giving you one. My dad he said, down and
talk with you about that. Yeah. So he had a
child outside of.

Speaker 1 (13:10):
His marriage, and I remember him bringing the kid home
and having to break it for your step moms.

Speaker 3 (13:20):
Oh wow, you.

Speaker 2 (13:22):
Know what I mean, And like he was like, look,
I fucked up.

Speaker 1 (13:25):
And if your mom, you know, don't want to have
nothing to do with me, that's cool, but I'm not
gonna take it out on his kid.

Speaker 3 (13:31):
And he said, man, I fucked up, you.

Speaker 1 (13:33):
Know, but nobody else fucked up, so nobody else gonna
have to pay.

Speaker 3 (13:36):
For it but me and that shit.

Speaker 1 (13:42):
Just you know that Nigga is just like my hero,
you know, even at seventy eight, he's no lie because
he's like my favorite.

Speaker 3 (13:50):
Person in the world, you know what I mean. I'm
grateful I had that Nigga. Man, I'm grateful I had
my dad. So transparency, yeah.

Speaker 2 (13:58):
Just the accountability as a man.

Speaker 1 (14:00):
And again it's not perfection, like shit, you know your dad,
you know, our dad could be lex The motherfuckers be
some shit, you know, because they still me. And but
you know, I always said, like I want to be
as accountable as he is, you know, I want to
provide that kind of stand up like you know, obviously
there's things I want to build on that. You know,

(14:21):
he tell me his mistakes were, and I want to
do better, you know what I mean, but the cornerstone
of what makes him him. Man, that's like a core
value in my existence. So it's like that was the
thing that first made me, like drag racing and bringing
it brought us together and it was something we shared.

(14:42):
But really the mathematics of it all, like drag racing
is so math man, this geometry, it's a level of calculus. Like,
it's so many different things, And it gave me a
chance to practice math outside of school, like coming up
with the correct you know, ringing pinion gears set to

(15:04):
master the correct transmission to horsepower, tire size you know,
I mean, the slick size, the gasp.

Speaker 3 (15:11):
Point like that.

Speaker 2 (15:12):
All this ship just gave me a chance to still
be smart.

Speaker 5 (15:18):
So let me ask you this sure when we go
all right, So he introduces you towards on.

Speaker 3 (15:25):
The surface level, and then your stepfather takes over and
get you your.

Speaker 1 (15:29):
Hands same person god, my godfather takes follow So my
father gives it to me at a service level, because
my dad's not a like he's some of them. He's
mechanically cloned, like my dad used to own a toe truck,
Like he's he's aware.

Speaker 3 (15:44):
Of mechanics, like a.

Speaker 1 (15:46):
Good level like he's sharp, like I'm building this sixty
four dollable right now.

Speaker 2 (15:51):
He's telling me like, yo, this this like he knows
his ship. But my god, Pops was like.

Speaker 3 (15:57):
A wizard, like you know what I mean.

Speaker 1 (16:00):
My dad is like general mechanics, fundamental understanding, and he
could point out what's aw man, it can't be too
much stuff short in your car.

Speaker 2 (16:08):
It's only these wires, these wires, these wires, these wires.

Speaker 1 (16:11):
Like you know, he had a sixty four Malibu in
sixty four, so for him to still remember this in
twenty twenty five, you know, roughly sixty years later. You know,
he's pretty My dad is sharp. But my Godpops was.

Speaker 3 (16:26):
Like like hear the engine to tell you what's.

Speaker 5 (16:31):
Wrong with it?

Speaker 1 (16:33):
That type like yeah, you know, with a chair, Roll
him up in a wheelchair, put him next to the car.
He could lift his body because they cut his leg off.
He'll push his body up and listen and tell you
what the fuck is wrong? Yeah, I mean down to
the rocker arm that's messed up. Oh yeah, the number

(16:54):
the number eight rockers. Something's wrong.

Speaker 3 (16:57):
Take down.

Speaker 1 (16:58):
Like he was so wraw bro, like if he heard
a simple problem, he's you like, ah, shut it off
and just take the whole engine apart and then put
it back together again. To like he was just special,
you know what I mean?

Speaker 3 (17:11):
And I was.

Speaker 2 (17:13):
I was blessed to have him because he gave me
some fundamental things that to this day, actually most of
the shit lets to this day applies because it's so fundamental.

Speaker 1 (17:23):
It's like if you work out, you know, I mean,
if you want to gain weight and get buffed, like,
it's some fundamental things. And I know drag racing at
this fundamental level. So it don't matter that they got
these new shocks. I know what they're supposed to do.
It don't change the geometry. Now, they just make better
parts to apply to geometry. Now they make you don't
need the weight of a car to make the shocks work.

(17:46):
Now they have electric shots leks that that push out
and push the tyre into the ground. But the geometry
applies still. So I said that to say, like he
gave me this. That was my first deep dive and
hip hop comes along, right. I mean I've always listened,

(18:07):
like people say, I've always listened to hip hop.

Speaker 5 (18:09):
Go ahead, lex great wait wait wait wait wait wait
wait wait, because you wanted to go become a pharmacist.

Speaker 3 (18:18):
Yeah that was in high school.

Speaker 1 (18:19):
But I didn't know a lot of so so so
pharmacy is in high school, so like I was going
to be a pharmacist. I wanted to become a pharmacist
at thirteen.

Speaker 3 (18:29):
All the way till I was eighteen five. That so
what what? Who? Why?

Speaker 1 (18:35):
Why did you choose pharmacy. My mother is a registered
nurse and the pharmacist she would visit for her, toming
to your patience was the coolest dude.

Speaker 3 (18:47):
Wow, And it.

Speaker 1 (18:48):
Felt like the neighborhood, like help her, you know what
I'm saying. Like he felt like the neighborhood.

Speaker 3 (18:54):
Help her.

Speaker 1 (18:55):
And he'd come down the head, you know, give you
the medicine and oh, you know this is wrong. He'll
throw in this little extra stuff. And I was like, man,
that shit be me.

Speaker 3 (19:03):
You know, I grew up. I always say this.

Speaker 1 (19:05):
I grew up in the eighties, bro Magic Johnson, Eddie Murphy,
people who did shit for other people.

Speaker 2 (19:10):
Like you know, Magic Johnson.

Speaker 1 (19:11):
He and Michael Jordan was scoring all the points, everybody
loving forty points and all him. But then like I
grew up with Magic Johnson where his claim of fan
was making other people look great, you know what I mean,
Like Dons, Oh, James Ruth, Oh Byron Scott, h Kurt
Ramish like he gonna make he made Kurt Like I'm

(19:31):
a Kurt Rambis fan because of magic, right. And it's
like he was so dope at making other brothers spectacler
like Eddie Murphy, Like I grew up at a time
when black people didn't really have big films, like maybe
like Richard Pryor was like the biggest black star, not
the best actor, but like the most popular black star.

Speaker 3 (19:51):
And he comes Eddie Murphy, he.

Speaker 1 (19:52):
Comes in his one hundred million dollar films and he's
on top of the world after all these Beverly Hill
Copson coming to America and he says, man, I'm gonna
do a movie with Deliries, with Richard Pryor, with Red Fox,
like let me go get Robin Harris, let me put
my brother. And that's the kind of black people that

(20:13):
I grew up, just enaver with, like people who helped
and just automatic put.

Speaker 3 (20:20):
On karisma is oosed. Yeah, So through.

Speaker 1 (20:25):
Helping and being a part of this thing, and like
Harlem Nights, you know what I mean, Like that's kind
of how I saw it, and that's how I saw phormacists.
I saw pharmacists like that, you know what I mean.
So my mom is a registered nurse, it's like, All'm
gonna be a pharmacist.

Speaker 3 (20:40):
I like numbers.

Speaker 1 (20:41):
I like the concept and what medicine could do, like
I could learn and help. But I didn't know about
it in detail. I just knew that I was going
to do that. Gang banging happen, drugs happened, my mom
go to jail, I get accepted to the college. But
I don't know how to do financial a You know,
no matter how smart you think you are, you an
ignorant as kid. And you know, the streets kind of

(21:03):
got a hold to me. You know, maybe a pharmacis
made one thousand dollars a year, twelve hundred excise me
thouty dollars a month, twehund twelve hundred dollars a month,
sixty thousand, forty eight thousand, sixty thousand dollars a year.

Speaker 2 (21:14):
I'm already getting that in the streets. Lex, I'm getting thousand,
two thousand dollars a week. This is at the street level.

Speaker 1 (21:21):
This is how popping my community, my neighborhood was so
it's like, well, I'm gonna be a pharmacist, not lex.
I'm not thinking you know, you're young, so you short shot.
You're not thinking like you can't do this for the
next thirty years. I'm just thinking like this for what
I'm doing every day right now, I'm I'm pocketing fifteen
hundred two thousand every week.

Speaker 2 (21:41):
Yeah, man, I'm living like it's so.

Speaker 3 (21:44):
Yeah.

Speaker 1 (21:45):
Like I had never got entrends, entrenched in anything except
drag racing.

Speaker 3 (21:54):
Probably all the way up.

Speaker 1 (21:56):
Until that, Grayson was the only thing I was in
trench with outside of education until two thousand and eleven.

Speaker 3 (22:06):
That's where rapping came.

Speaker 2 (22:08):
No, I was already rapping in two thousand two, two
thousand and three, that's when.

Speaker 3 (22:12):
I started rapping on the left.

Speaker 1 (22:14):
So I had already made a couple million dollars in
rap music and rap so I did. I wasn't in
love with rap. It was it was self beneficial. It
was like it saved my life. Like I prayed for
God to deliver something to take me away from the streets.
Right it was like, damn, I go it hit me
legs like I ain't gonna better sell sharing forever, like

(22:35):
I had already got to the next level, like that
twelve fifteen to two thousand turned into about four to
five or six thousand a week, you know what I mean.
But it was like I think I explained on the
last podcast, how my homie tried to set us up,
and you just start seeing the things that I never
expected from the streets, Like there are things I expected
getting robbed, going to jail, treachery, but that was like.

Speaker 2 (22:59):
Different, you know what I mean. And it was like, damn,
this shit could go crazy.

Speaker 3 (23:02):
So I dealt with it.

Speaker 1 (23:04):
But after that, things start going bad and it was like, Okay,
I'm probably not gonna be able to do this forever,
you know what I'm saying. And I used to pray,
and hip hop came at a time when I needed
something and I was face first in it, you know,
without even knowing it, Like I was face first. I

(23:25):
was like, fuck it, I'm I could do this. I
never even thought for two seconds I couldn't do it.
Lex it was like, yeah, shit, this is like anything else.

Speaker 3 (23:33):
I put my mind to it.

Speaker 2 (23:34):
I dedicate myself. I got some great people around me.

Speaker 1 (23:37):
I'm gonna make this happen, and I came up with
a playing lex and I made it happen, and I
ended up busting these deals and I get I get
to hit record with Tump and all this old fly shit,
but I'm not into what it is. So like I
tell people all the time, I didn't learn hip hop
t twenty nineteen, But I think they confused. That was
saying like as if I didn't listen to hip hop

(23:57):
music until twenty nineteen, versus me saying I didn't get
what the foundation of this thing we call hip hop is.
Like I had run DMC Records, I saw Crusch Groove
in the movie Theater, I saw Breaking in the movie Theater.
I had Houdan, my mom played Hudini every day, Bigger
and Defference one of my fasts. Like I heard all
the songs, but I never felt next entitled to what

(24:21):
this thing was. Because I heard these records. Even when
I had already made money, made, got a record deal,
had my own record, I still didn't think for two
seconds that I really understood hip hop. I knew I
was a product of what this thing was, but I
didn't know what it was. And in twenty eleven, the

(24:43):
third thing in my life outside of education and outside
of drag racing street racing.

Speaker 3 (24:47):
For the most part. The third thing was hip hop.

Speaker 1 (24:49):
When I started learning about records and I got into
hip hop, that shit sent me on a spiral. Like
I started to I started, for lack of better terms,
obsession to the point where like I mean, King, you
with me, like we in New York watched I'm in Roxberry,

(25:09):
like walking around like I don't got to hit records,
like I ain't signed to these labels, Like I'm not
this crip, Like I'm just trying to Like I knew
it was something the energy that I felt existed, and
I wanted to feel what inspired this ship and and
and lex I got King with me. We in New
York just hanging out in the ghettos. I'm in the Bronx,
shout out to the one Ady homies, Trade Pizzy and

(25:31):
all the hommies.

Speaker 2 (25:31):
And I'm in sound View.

Speaker 3 (25:32):
I'm just chilling.

Speaker 1 (25:33):
Lex I got King in State Nley with wool Tang
from they doing a festival. I'm just walking around the
projects like chilling the mean people. You'm glad oh yea
you glass from the West. Yeah, watch up, hummy, what
you're doing over here.

Speaker 3 (25:46):
You took me to where hip hop started that you said, oh,
you're talking.

Speaker 1 (25:49):
About Segwitch right right, And I'm just sitting on the
curve les just feeling it. He ain't snapped my picture.

Speaker 3 (26:02):
Oh yeah, I got it.

Speaker 2 (26:03):
FEE mean, I got the picture.

Speaker 1 (26:04):
So it's like I spent just time just getting a field,
then building with legends, you know, talking to him and
coming up with this thesis of what it is. And
I'm like, I start studying the historical consistencies and accuracy
of what it is to come to a point to
where by twenty nineteen, it took me eight years lex
to feel like.

Speaker 3 (26:24):
I got something.

Speaker 1 (26:26):
Not this is after conversations will hurt. We take airicb
out for fish dinners. This is me talking to them,
just me talking to Joe, just me talking to everybody.
I'm talking to every el. I'm talking to people.

Speaker 2 (26:37):
Lex that with Spades in the Bronx like I'm pop,
like I'm going for it, like I'm just in it.

Speaker 1 (26:44):
I'm calling, I'm talking to La, I'm talking to Jimmy,
I'm talking to Brian turned I'm talking.

Speaker 3 (26:49):
I'm learning, you know what I mean.

Speaker 1 (26:51):
And it took me eight years left to get a
skeleton expression. Hip hop is the artistic expression of street
urban culture through those elements that people heard about this
whole time.

Speaker 5 (27:06):
Right.

Speaker 1 (27:06):
It took me that long living a life of listening
to this shit, watching all these films and entertainment, taking
all entertainment is being culture, all this being in New
York building with a bunch of legends, different ones, all
kinds of people running it by them to come up
with this simple idea of a historical consistency, something that
would be consistent throughout the whole fucking shit, something that

(27:33):
would be consistent throughout the whole fucking shit.

Speaker 2 (27:38):
And I ran it past all of them.

Speaker 3 (27:40):
I was like, and what do you think of this?
It was like, writ what you mean? Tell me more.
Some people was like yeah, and then some older folks
was like tell me more.

Speaker 2 (27:50):
Now would break it down. They life, Yeah, I like that.
So it took me a while before I came to
this point of.

Speaker 1 (27:56):
Like, oh I got with hip hop is It wasn't
like like I said, when people hear that, they think
they heard their love w J and the hip hop,
or they think they heard their love co J and
they get hip hop, or they think they listened their
lef co j and eighties, and they thought they understood queens.

Speaker 2 (28:08):
I never been that arrogant. I knew that that was man,
it's a queen's nigga. That's that's I got something, But
I didn't think I understood it all.

Speaker 3 (28:18):
I never was that arrogant.

Speaker 1 (28:20):
So by the time Les I get to wear in
twenty eighteen nineteen, which is why I was able to
kind of manifest with Tupacamas Died became it's because I
understood at that point Les, what my task was, what
what what the gang was expecting from me, what I
needed to do for Chiepple to get it to be

(28:40):
hip hop and always say with Tupacamas Died, that was
the first time. So the first record I walked into
that I made that was hip hop?

Speaker 3 (28:51):
Was that good?

Speaker 7 (28:52):
Like?

Speaker 1 (28:52):
That became my first big West Coast classic, so certified
as a hit, but my West Coast classics. If you
played the song on the West Coast, it don't matter
Washington to San Diego, Arizona. You played that good with
Todd Dallas on the See Baller, that's the one, right.
But the first time I understood what the culture meant,

(29:14):
not necessarily me just naturally relying on it. But me
understanding what my job was was tupacmas die And.

Speaker 2 (29:24):
It took me that long.

Speaker 3 (29:25):
That became.

Speaker 1 (29:28):
That became lex the third thing and you know what's
so funny, me learning more about hip hop made me
take the same approach to cripple, right, Like so with cripping.

Speaker 3 (29:42):
Lex, I was just a crypt. I grew up with crips.
This is what it was.

Speaker 2 (29:45):
I'm a crypt, right, you know.

Speaker 5 (29:50):
Yo crazy? You let me ask you this? Yeah, okay,
So let me ask you this. Then as we moved
around New York City, right, and that not just New York,
New Jersey.

Speaker 3 (30:08):
You do.

Speaker 1 (30:10):
DC, Maryland, You're doing your talk, Yeah, Yeahsabata hip hop sabbatical.

Speaker 3 (30:19):
Then we started Boston, yep, Roxberry.

Speaker 8 (30:22):
Yeah, we starting Rocksbury, Boston, Okay, all the way down. Okay,
So let me ask you this stuff. The perspectives that
you saw, was it all aligned? Did you see in
the same thing or is it varying perspectives?

Speaker 5 (30:40):
All this becoming one or you had did you receive
different feedback on the look of hip hop from different folks?

Speaker 3 (30:52):
So I got the.

Speaker 1 (30:53):
Same thing right the first day you hear is the
elements so that's what you hear in the essence from
every legend, damn anybody the.

Speaker 3 (31:05):
The what they call the elements.

Speaker 1 (31:11):
And I was like, I would ask, like so when
anybody was like, well not anybody got to be somebody
from around the way. And it took a while before
I was able to kind of break it down into
that sentence because I had to kind of figure it
out right because New York is one thing, right, and
this is by far the most polarizing and very you know,

(31:37):
the gravity around New York City when it comes to
hip hop. You know, it is like the greatest pool,
no more than anywhere else. It's the greatest pool you'll
ever feel when it comes to hip hop. So everything
goes back there, even when you get to Memphis, even
when you get to Atlanta, even when you get to
Detroit and Clevean, it still goes to New York City.

(32:01):
So everything outside of New York City isn't as expressive.
It's more like, it's just what we do. It's second leatric.
This is what we grew up listening to this. You know,
we heard ultramatic mcs. We heard who didn't you know
you could tell what they heard, but so you know,
very few people outside had anything outside of the stuff

(32:21):
they listened to and then developed their own version of
their own culture. But when you was in New York
City and all the time I spent there, and it
wasn't just that trip. Remember I double back, I double back.
I went there three or four times in that time
period from fifteen to then to nineteen, then nineteen to
Why I came up with this one idea and then
ran it past all the legends and then he was like, yeah,

(32:43):
I like.

Speaker 3 (32:43):
That, I get it.

Speaker 5 (32:45):
Yeah, And what were you looking for? You said, when
you ran your idea the legends, what were you looking for?
What are you looking for?

Speaker 3 (32:57):
Validation? Were looking for?

Speaker 1 (32:58):
At that point, I think I was just looking to build.
Like so again, like I told you, I'm a primitive
skeleton person. I take everything to a primitive level so
I can build it out, same way I did with
drag racing. So it was like I was trying to
find a historical consistency and accuracy, something that was constant,

(33:22):
you know what I mean, to give me a base point,
just a base point, like you know what I mean,
Like versus being this arrogant person where it's like we
anything I do is just it. It's like, Okay, what
is the baseline? Where am I starting from? What is
my responsibilities in this town?

Speaker 3 (33:40):
Right?

Speaker 1 (33:40):
You could a doctor supposed to make people better, but
then you got some doctors who just trying to make money.
You got some doctors who you know whatever. You know
what I mean, But here's the baseline. And what I
was working for was a baseline to start from. So
when I came up with it and I ran it
past people legends and dues from space, and they was like, yeah,

(34:02):
I like that. Yeah that shit, I fuck with that.
Yeah that's good. And I went to the Breakfast club
in twenty nineteen and I expressed that. I was like okay,
and they was like, damn, I never thought about it
like that. And Y'm running into all kinds of rappers,
you know, shout out to bust the method there.

Speaker 3 (34:19):
I'm just like yeah.

Speaker 1 (34:20):
They was like, man, g you know Snoop. It changed
my relationship with Snoop completely different. It's like, damn, you
really into this shit, you know what I mean. And
again I say, while hip hop is the third thing,
the fourth thing is cripping. It's game baging. Because it
made me appreciate culture in a completely different way than
I ever had before. It made me have a different reverence.

(34:43):
So shit, not only now I'm studying hip hop, now
I'm studying cripping. Right, It's like, but wait, man, how's
this thing? Like, where's the real genesis of it?

Speaker 3 (34:53):
Well?

Speaker 2 (34:53):
How do I let me call some mold them?

Speaker 3 (34:55):
Hey? How the hood start? When you get a hood start? Oh?

Speaker 1 (34:57):
Ge started seventy two? I want to bunch of niggas jump?
So now, well who was the first two crypts?

Speaker 8 (35:03):
You know?

Speaker 2 (35:04):
Now you're picking back up?

Speaker 3 (35:05):
You seeing where?

Speaker 1 (35:06):
So that's how in love hip hop made me with
culture in another white where it was like, oh yeah,
I need to go figure out all the foundations of
this old shit, all the shit. And that became the
fourth thingle that's the fourth thing. It's after hip hop.
Hip hop inspired me to get further into the culture
that I grew up into naturally and.

Speaker 5 (35:32):
Same thing.

Speaker 1 (35:32):
You know, I know all the legendary cryps obviously, right,
so there was nothing running past and with all the
negativity that's kind of the marketing tag of it all.
When I ran this bolume, they was like yes, yes, yes,
So even in twenty nineteen. When I first said some

(35:55):
of the things that people get upset about now, it
was never with malice.

Speaker 3 (35:59):
It was always like yeah, like okay.

Speaker 1 (36:04):
And.

Speaker 3 (36:06):
You got to speak on somewher to give me. You
have to give it.

Speaker 1 (36:09):
So I was on a breakast club and I was
like there was like I was explaining to Charlotte Man,
I'm like, hip hop is street urban culture, like personified
through the arts elements, right, authentic, right, And He's like, damn,
that's dope. I never tripped off it like that. He said,
So who's not hip hop? I was like, well, it's
a few people, but I don't think that's important, Like,
well I need to know, like it's Drake hip hop.

(36:31):
I'm like, no, Drake's and pop artists, which to me
was kind of obvious. Mind you, I'm with cash money
when he goes there. So it's like I could see
how they treating him. I could see the conversation they're
they're treating him like, you know, like he's a pop
artist and that's the rhetoric.

Speaker 3 (36:48):
So I didn't think nothing of it.

Speaker 1 (36:52):
But at that point, as I started kind of picking
up more, I'm learning all my stuff. Now we can't
hear your trap, yo, micha Is it's mudic. So as
I'm hearing all of that, and now I'm starting to now,
let's I'm assessing the landscape. I'm assessing the landscape, and

(37:13):
I'm like, oh, wait a minute, some of this shit
ain't hip hop now, mind you. Between the records right,
understanding what the cultural part of it was outside of
the records, the records, the cultural part, and now the marketing,
I'm like, oh, some of this shit different, mind you.
Now I'm fresh off listening to two thousand rock records. Yo,

(37:35):
I don't know, thousands of hip hop records, thousands of
blues you know, hundreds of blues records, two thousands of
jazz records.

Speaker 2 (37:41):
So now I'm like, this is all fresh in my mind.

Speaker 1 (37:44):
So when I'm here certain an, it's like, oh, yeah,
that ain't hip hop, that's oh that's rock.

Speaker 3 (37:48):
He's just rapping, mind you.

Speaker 1 (37:50):
But remember next, I done took this journey from understanding
how music has changed, right, so I understand rapping. It's
just you know, of course I heard Blondie Rapture, but
I didn't think about it the way I would think
about it now. You know what I'm saying, it's like, oh,
is this cool song?

Speaker 8 (38:06):
Yeah?

Speaker 3 (38:07):
Yo, whatever.

Speaker 1 (38:09):
Now it's like, oh, I get it. This is kind
of a pop song and kind it's like a disco song.
But she embraced rap early. She's like, oh, let me
do this rap thing. So but now I can see
it from a marketing perspective, Oh, you're appealing to the youth.
This is the movement of young people right now. Oh
it's brilliant. Okay, But I never would have thought of
it as hip hop, right because now I kind of

(38:30):
figured it out, And in real time, I don't think
I ever cared to classify genre just music. You know,
I knew that I only listened to hip hop, but
it wasn't because it was hip hop. It was the
thing lex that felt the closest to me like hip hop.
Even before the West Coast got their hands on it.
It felt like me, you know what I mean. It
felt like like when I first heard you know, Rapper's Delight.

(38:54):
I went to my friend house and they mom food
was nasty. I never heard that in the song. I
Hey with that song, I'm from content but company Watch,
you know, my dad's from Watch. We walk around and
I'm like broken glasses everywhere. I never heard that in
the song. The closest was Inner City Blues Marvin Gaye,
And it was different than the message, but so naturally

(39:20):
the music rap music felt me like me.

Speaker 3 (39:25):
And fast forward, here we are. It's like.

Speaker 1 (39:29):
You're trying to set a foundation because now it goes
from just being something that you heard and liked to
something now that really represents people.

Speaker 2 (39:42):
It really represents people. Lex That's what fucked me up.

Speaker 3 (39:47):
What gives you? What gave you?

Speaker 5 (39:51):
Why did you choose to give the music this attention
of a young age? Why did you it's not just
simply enjoying the music. It seems like it seems like
you're doing a deep analysis of it at a young age.

Speaker 3 (40:04):
No, no, you ask question. That's what it sounds like.
Why why didn't you choose to dive into it at
a younger age?

Speaker 5 (40:13):
So yo, hold on, hold on the glasses, king, Can
you tell us when here on a deep dive?

Speaker 3 (40:21):
Do you remember when you saw that?

Speaker 7 (40:23):
Even that?

Speaker 3 (40:24):
How are you now? How are you now?

Speaker 1 (40:26):
I'll be forty six and decide it was forty three. No, No,
my deep don't want to tell me my my deep
dive started at thirty one. My deep dives are thirty one.
But my question to you is, why would you think
there's a deep dive at something.

Speaker 3 (40:47):
Like what about you?

Speaker 7 (40:49):
Because that that happens because when you become you becoming
if the word is inquisitive, to learn more about something,
and that's how you do though.

Speaker 3 (40:57):
So so at that moment and at that point right there,
you wanted to know what it was. You wanted to
know what it was so that you want to it's different, right,
and was in the business and was in the business too.

Speaker 2 (41:07):
So part of it was being in the business. It
was like, I'm with cash money right, and I'm I'm
eating good things.

Speaker 3 (41:16):
Is happening?

Speaker 4 (41:17):
I got a questions before you finish that thought this
might help you. Did you feel like you was missing
something at that point?

Speaker 1 (41:24):
Yes, Okay, here's a great point which goes to my
initial point. So I'm winning, right, Let's I'm winning. I'm
making money, I'm taking care of myself. I got some
probbaby things.

Speaker 2 (41:33):
That's going good.

Speaker 1 (41:34):
My friend got out of jail and I couldn't give
him a job. Yea, why I shout out the scas
shout out to thee boy, little jay. He gets out
of prison, right, and he need a job and I
couldn't give him a job. And I'm like, ya, I
don't make enough money to give him a job. And

(41:54):
mind you, I'm with Wayne. This is quarter three postcard three. Well,
I've been with Wayne and Stirling Man and them mac
tending them.

Speaker 8 (42:02):
Now.

Speaker 1 (42:03):
I saw the quarter three and I was like, these
niggas all got thirteen niggas.

Speaker 3 (42:09):
They got hired.

Speaker 1 (42:12):
Wayne got a staff for thirteen people walking around. Bird
Man got staffed thirteen people. These ain't following this nigga
for free. They they it's they job. So I'm like,
only it's only me and DJ Head and Pool. I'm like, damn, miss,
must be something I don't know, because I can't get
this nigga no job.

Speaker 3 (42:29):
I can't.

Speaker 1 (42:30):
I'm probably making one hundred and fifty hundred sixty thousand
dollars a year and I'm paying taxis and I like,
wait a minute, I can't afford to.

Speaker 2 (42:36):
Get this nigga, no fifty thousand dollars a year job.

Speaker 3 (42:38):
This ain't right.

Speaker 2 (42:39):
These nigga got thirteen. I'm said, Okay, it's something I
don't know.

Speaker 7 (42:45):
Now.

Speaker 1 (42:45):
It started off as a pursuit of what the fuck
everybody mean when they say records, that's what. I didn't
know what the fuck is a record? When I got
into records, hip hop was right there like oh shit,
this is more than just records. This is something special.

(43:07):
And that's kind of how it started, just my my
decision to help somebody else, like to be like, okay,
let me educate myself so I can help somebody else.

Speaker 3 (43:18):
That's it.

Speaker 1 (43:19):
So I didn't think initially there was nothing to learn,
Like why the fuck would you listen to Hudni and
think to yourself, I want to learn what Maybe if
you heard Dini, you might want to learn how to
make songs, but why would you think.

Speaker 3 (43:32):
That there's more to it?

Speaker 2 (43:33):
Or if you heard you know, you know, if you
heard g rap.

Speaker 1 (43:38):
And Maul, why would you think there would be something
to learn unless, you know, unless you intended to make music.
Maybe you saw g Rapp and you're like, hey, I
want to make me some beats too, But that don't
push you to learn culture because the culture ain't making beats.
The culture ain't writing raps.

Speaker 3 (43:59):
Like that.

Speaker 1 (43:59):
That's don't Those are artistic expressions of it, but that
ain't what feeds the inspiration.

Speaker 3 (44:05):
That's the I'm here.

Speaker 2 (44:07):
Okay, that's what feeds the reflection. You know what I mean,
that's the reflection.

Speaker 7 (44:14):
I don't understand that that that my words, my words
sometimes get through to the matter of a day two bro.

Speaker 3 (44:22):
Well, that that's you know what I'm saying.

Speaker 2 (44:23):
Bro Well, the thing is we both agree with culture trap.

Speaker 1 (44:26):
Your problem is you feel like when somebody starts to
express themselves artistically that that they are still the thing.
And I'm like, no, they're not, because the same because
the same environments create all this other stuff.

Speaker 2 (44:42):
And that's where you and Coach kind of didn't catch
what I'm saying.

Speaker 1 (44:45):
Like, the same enpartments create rock music, the same environments
create jazz. It don't make yipopet like a jazz cat
is a very hip cat.

Speaker 3 (44:59):
I don't, LEXI, but they don't.

Speaker 7 (45:00):
But they don't dress but they don't dress like us.
They don't talk like us though, being that's what I'm
trying to tell you a little bit more than that.

Speaker 1 (45:07):
But when you're saying us, lex they would dress like
us today because this they want people dressed today.

Speaker 3 (45:14):
They won't. They won't.

Speaker 7 (45:16):
Now I can't agree. I can't agree that that that
genres of music come with the cultures different. You know
what I'm saying, every job. You have a rock and
roll you have a rock and roll culture, but they
dress a certain way. You know what I'm saying. You
have a jazz the jazz people dress certain with jaz
who ain't dressed like no hip hop person bro trap.

Speaker 3 (45:35):
You know what I'm saying. This day and this day
and age and back in the days, they ain't doing that.
They might be cross trap back if you go to
what jazz if you go to what jazz bar, They're
not gonna be dressing like hip hop people went to
a club.

Speaker 1 (45:49):
That's because you're talking about you're talking about a contempt.
If you go any jazz bar, trap trap, Just listen,
Terrors Morton dresses just like me and you.

Speaker 3 (46:02):
Because he's hip hop. And that's the and that goes
into no no hold on bro. That goes when I
told you before, I said, I said, are you capable
of doing another drama of music? But still lived at
hip hop lifestyle?

Speaker 2 (46:15):
And I keep telling you you keep all street urban
lifestyle hip hop. I'm telling you everybody that was jazzy,
I'm definitely urban lifestyle dressed like that.

Speaker 1 (46:30):
Even the people that wasn't in the jazz that's the
standard street urban look. Like there's a standard street urban look.
If you grow up like like Terrors grew up in
the sixties. It's a where everybody dresses.

Speaker 7 (46:42):
But when his art, Oh this dude is, this dude
is from the sixties. You talking about you know you
don't dress sixties? No, No, what's you about?

Speaker 3 (46:50):
Six? Kay? How old is it? I mean I thought
you meant I'm sorry. I'm sorry. I thought you meant
sixteen age. I'm about selling. It's no way a't dressing hipop,
No way a dress hip with that right there? B
how bad? I'm bad? I flew you up? My bad?
Ain't what you man? Six old crip? Okay, cool, you
got it. You gotta come on now. You gotta got

(47:11):
like that, bro, he's funny. Six six okay, okay, six
oh again?

Speaker 1 (47:18):
Street urban culture today we dressed the same way if
you grow up where we grow up at. But that
don't mean you're going you're artistically a hip hop person.
That don't You probably listen to hip hop growing up,
but you made like in Terris Martin situation, he's a
jazz cat. But I'm telling you, when you say dress

(47:41):
hip hop. You're saying that's like on the West Coast,
to dress hip hop right would be to where dickies
bah blah blah blah blah blah blah. But that wouldn't
be dressing hip hop. Just listen, listen, listen, listen who
responded listening? Just like if a person that's thirty seven
or forty five and he's a jazz musician from New York,

(48:03):
he probably dressed right the way you dressed. He might
have wear baggy jeans, TEMs, and jackets, because that's how
everybody in flat Bush Brooklyn dressed. That was flat Bush
Brooklyn fresh for somebody who don't got no money, But
that don't change that he may be a jazz nigga,
and I think trap you not accepting that street urban

(48:24):
culture right, whether it's in New Orleans, that birth jazz, Like,
everybody from street urban culture kind of dressed the same.
It wasn't like an outlaw thug style. It was just
the street urban style. So somebody like like like I
was telling you, like, if.

Speaker 3 (48:41):
What's home? Bernard?

Speaker 5 (48:44):
Uh? Uh?

Speaker 3 (48:45):
What's Bernard name?

Speaker 2 (48:47):
He sings Bernard h He sings who do you love?

Speaker 3 (48:54):
Yeah? Lax who's that.

Speaker 2 (48:58):
Bernard right, but you can't. He's saying nothing.

Speaker 3 (49:07):
Yeah, here from fact chext, you're for fact texts me
come on now, bro.

Speaker 1 (49:11):
But next but right from Queens right was born the
same year you was born, trapped, and he grew up
in Queen's at the same age.

Speaker 2 (49:21):
He would have been dressing like you, but he was
a jazz nigga.

Speaker 1 (49:27):
So the street urban culture part when you say dress
hip hop again, I always told you hip hop and
New York Black street culture.

Speaker 2 (49:34):
Was co opted by hip hop.

Speaker 1 (49:37):
Like there probably wasn't too much black culture outside of
sheet urban culture in New York the side hip hop.

Speaker 3 (49:44):
Hold on all right? So now hold on now right?
So now.

Speaker 7 (49:49):
Though, so now now we talk about now we talk
about jazz jazz culture.

Speaker 3 (49:56):
What I'm gonna walk it down, walk right now? What
what is jazz culture? Somewhere? Jazz culture consists of street
urban culture? No, no, what does it resemble? How does it?
How does it look? How does it look? How does
it look the way? How sound? How does this sound?
How does it sound? How does it look? I'm saying you.

Speaker 1 (50:19):
Ever noticed that they were called jazz cats hip cats?
You ever petititional? That was back in the eighties, man, like,
come on, bro, nobody you think do you think do
you think our people at our age or lex made
the word hip?

Speaker 3 (50:34):
We didn't.

Speaker 1 (50:36):
Not people not people born in seventies, eighties, sixties made
the term hip.

Speaker 3 (50:43):
I get it that. I get it that.

Speaker 1 (50:45):
We feel like we popularize it with the hop at
the end, but we didn't make it hip.

Speaker 3 (50:51):
Just listen. Yeah, bro, you be dancing? You got you
be dancing?

Speaker 5 (50:56):
Bro?

Speaker 3 (50:57):
Please me friends telling me what the jazz culture look like?
What does it sound like? What is it like?

Speaker 5 (51:04):
Like?

Speaker 3 (51:04):
What is it like?

Speaker 8 (51:05):
Like?

Speaker 3 (51:05):
How can I how can I tell you you're done?
Go ahead? How can I tell somebody's a jazz person? Though? Like,
like I can I look at them and say, yo,
it's a jazz person. What I have to stick? The trap? Trap?
Just listen trap.

Speaker 2 (51:26):
At that time, jazz cats dressed like the streets.

Speaker 3 (51:31):
They were the word cats.

Speaker 7 (51:33):
Now that's where the turn like Malcolm X Malcolm X movie,
like the Malcolm X movie, right, like the Malcoms movies.

Speaker 3 (51:41):
Yeah, all right, okay, but that was a street. Let's telling.

Speaker 2 (51:51):
That's why you're not telling trapped school your young Queen's only.

Speaker 3 (51:54):
I'm not talking about I'm kind of what right now, Okay,
that it's not it.

Speaker 7 (52:01):
This is continuous, it's a continuance and on right now
because what he's trying to No, no, no, you're not
trying to be You're trying to be right and not
left behind. So so so so what I'm trying to
tell you right now is this stuff is that I'm
asking I'm not telling you. I'm asking you because you
said that, because I believe that somebody can't somebody can
do another genre music but still live within the hip

(52:23):
hop lifestyle.

Speaker 1 (52:24):
Yeah, of course, Sam, because when you keep saying that
hip hop lifestyle, you're saying anybody living street urban culture
lifestyle by your standard. If somebody's wearing timberlands, baggy jeans
a leather jacket in the nineties, they're living a hip
hop lifestyle. They grew up where we grew up at
and hang and talk the way we talk.

Speaker 3 (52:43):
To you right now. You can wear a bika with timberlands.

Speaker 2 (52:49):
The work I'm talking about them.

Speaker 3 (52:53):
No, you have to be wearing them in the same
way to be living in that with with within the
represent a hip hop lifestyle. Though.

Speaker 1 (52:58):
Who you keep saying that hip hop lifestyle you're conflaining
street and you're just making it automatic hip hop. And
I'm telling you there were other things that come from
the streets, like jazz.

Speaker 2 (53:12):
That's why the term.

Speaker 3 (53:15):
Is a jazz right, even though hop it is a
jazz thing.

Speaker 1 (53:21):
Of course, it's no, it's no, it's no coincidence that
boombap it has a lot of funk and jazz roots.

Speaker 9 (53:29):
So glasses that crazy apart. So glasses, are you saying
hip hop is not a lifestyle?

Speaker 2 (53:37):
I'm telling you so, yes, right, But this is the thing,
the culture and the way you live is a street
urban lifestyle.

Speaker 3 (53:44):
Okay, But hip hop is a is a genre of music.

Speaker 1 (53:48):
No, hip hop is the artistic expression of that lifestyle
in these specific ways.

Speaker 9 (53:55):
But hip hop is not the lifestyle itself. It's an
expression of that lifestyle.

Speaker 1 (54:00):
Telling you that our hip hop because they lived the
way that inspired the artists, that inspired the artist art,
so we naturally gave them the tag hip hop.

Speaker 2 (54:10):
But what I'm telling trap, well, he keeps referencing as
hip hop.

Speaker 3 (54:13):
Right.

Speaker 1 (54:14):
Let's say, if a dude wars butters, right, even though
New York niggas don't really share that, right, he woars tims,
his constructions, and it's very loose style that's very specific
to New York style. And he had these baggy jeans
and his big jacket, right, because that's how people in
the streets dress.

Speaker 3 (54:36):
I don't know what they are. You're just doing. It's
my overroll's my overalls and some overalls. Anybody ain't nobody.
If you wear overalls, you can't wear like this. You
gotta have what you gotta have this style chat stop

(55:01):
it is right? Then's right? Want trap. I'm not gonna
lie to you, bro, He's right.

Speaker 1 (55:09):
Track it changed, style change. So what I'm telling you
is a jazz musician today. If Bernard Wright was born today,
he would dress like you, and he would talk the
way you talk because he'd be hip. Just listen, trap,
he'd be hip.

Speaker 3 (55:27):
He won't it won't. He won't send his house right
now with his hood on his head. Yes, he would
won't do that. No, he won't. He won't trap. You
won't player put your Hoodiolex.

Speaker 1 (55:39):
You have to understand trap. We didn't create hip trap.
He would trap hip hop because he's trap trap trap.
When you're saying, you're saying him in this era in
the in the seventies, eighties and nineties.

Speaker 3 (55:55):
I'm telling you just listen, trap, just listen. Stop what
i'much doing it right now? No sailings.

Speaker 7 (56:01):
When you come to when when when you come to gatekeepers,
you ain't doing You ain't get away with this right
him gatekeepers being for real, friend, because what you're doing
right now is not gatekeeper.

Speaker 3 (56:11):
You are being a revolving door. Right now, Bro, I'm
telling you right now, no I'm not.

Speaker 7 (56:16):
I'm not.

Speaker 3 (56:17):
I'm not because you're not.

Speaker 2 (56:19):
I'm demanding trap. Let's see, let's see what more people
gonna come in.

Speaker 1 (56:23):
I'm demanding that you grew up in this culture and
you artistically express yourself this way culturally in those elements
you're saying, you can just grow up in the culture
and express yourself anyway artistically. So so then you came
Brady and more so Lex whose door would let in
more people traps traps?

Speaker 7 (56:44):
No, No, won't, No, I won't no, I won't trap
because what he's what he's going for is just strictly
you're listen. What he's doing is if you rap, you
hip hop, that's the main ingredients saying, that's the main ingredient.
What I'm saying is what I'm saying, if you ca love,
that's gonna love you any type of music.

Speaker 3 (57:01):
You could do any type of music. But as long
as you would greet me when you see me, you said,
what up?

Speaker 7 (57:06):
My guy?

Speaker 3 (57:07):
Doesn't you give me d like that? Or you walk
a certain ways? Walk a certain way? Why would you
tell that? Hold on? React this fat Young Glover? Hip hop?
Fa Glover? Yeah? Who fucking fab young Glover? Glass? Who's that?
Who's that? Glasses?

Speaker 5 (57:26):
Dave you Day Glover, Danny Glover? Tap the tap dancing dude,
he's a tap dancer.

Speaker 3 (57:34):
He's tap dancer. That's dude. That that do from that
threw from what name the movie therembah, he's hip hop?
He didn't.

Speaker 7 (57:46):
I don't know that goes to what you that goes
with what you be saying. Glasses, I can't really state
that because I don't I don't I don't know. I
don't know what he know what I'm saying.

Speaker 5 (57:56):
I know he dresses hip hop when he's capped. If
cats will be in toxxedos.

Speaker 3 (58:01):
He don't wear. But what he's saying, I haint what
he's saying. On now, he he has to lock.

Speaker 2 (58:09):
He didn't just get locks.

Speaker 3 (58:10):
Later on his life. He had to lock him him.
I got him, I got him, I got him, I
got him. Hold I got him. I got him. Some
glasses you're there glasses? Sure? All right?

Speaker 7 (58:22):
So you know, you know, like the violinists may be
playing the violin, yes, she played. You know what I'm
saying about. You got some violence from violins that play
hip hop, straight hip hop tools.

Speaker 3 (58:32):
You know what I'm saying.

Speaker 2 (58:33):
There's no violinists that just plays straight hip hop tons.

Speaker 3 (58:36):
They want to play, get play hip hop. They can
play hip hop.

Speaker 7 (58:39):
I was watching I was watching eighty five South the
other days on Netflix, and they had it. She was
part of the whole band they had and she was
playing hip hop tools. You know what I'm saying, Like that,
so so so, and and and and the way she
came across like that though, So can you be an
instrumentist like that within like playing instruments or something like that,
and then be able to once that instrument goes away

(59:00):
everything that you say, the way you talk, the way
you walk. You know what I'm saying that, the dialect,
everything within that. You know what I'm saying, dress, it's
all it's all hip hop, hip hop.

Speaker 1 (59:11):
This is what I'm telling you. Trap, here's the here's
the here's a comfort, here's ridiculousness. Right, So one, you know,
I don't believe you can just.

Speaker 3 (59:17):
Be a rapper. Okay, old cool, all right, cool.

Speaker 1 (59:20):
I'm gonna get to your point though, But you know
I don't believe that, right, I'm telling you there, I
have a two step verification.

Speaker 3 (59:27):
You have a one step, right, I got a one
step how I got a one step.

Speaker 1 (59:33):
Saying, because you're saying, based off your idea of how
you believe they could have grew up, it don't matter
what they artistically do, they can be hip hop.

Speaker 2 (59:40):
That's a one step verification.

Speaker 3 (59:42):
No, no it's not because no, no, no, no, no,
no no no it's not. No, it's not you can't
just dress like it and then you hip hop. No,
I'm saying element element, just hold on one element. No,
you know, because a violentnist wouldn't have no elements dressed.
No violent in this element dressing an element let's go violent.

(01:00:04):
No no, no, I'm saying what my elements is not.
We're not saying talking about we talking about the coat
of us, trap, the culture, the culture, the coature, the culture.
I'm going right to specific prefixes the coat of us.

Speaker 1 (01:00:16):
Trap, what you're saying is somebody who does no elements
can be hip hop because they grew up the street
urban culture a way that inspired the art. But what
I'm telling you Trap is like Savion Glover, the culture
can inspire different arts, right because you can get a
person like Savion Glover who is a tap and he

(01:00:38):
does it the white street urbans people do it.

Speaker 3 (01:00:41):
So again, you're the same way Gregory Hins did it.
Ain't no different regorys. Everything else outside of that, no, no, no,
everything else, everything else outside of that.

Speaker 2 (01:00:49):
He don't dress, he don't dress like he don't no no, no, no,
no no no no.

Speaker 3 (01:00:52):
What I'm saying when he tapped, when he tap dance,
it was the way Gregory Hins did it. But once
them tap come on, it's not necessarily like how Gregory.

Speaker 1 (01:01:01):
It is different. He got a different bot. But I'm
not arguing if he's hip hop. What I'm telling you,
Trap is you have a one step verification. You're saying
if you grew up in street urban culture, being your
hip hop, I'm.

Speaker 3 (01:01:13):
Telling you I have a two step.

Speaker 1 (01:01:14):
You have to be authentically raised by this culture and
you have to artistically express yourself. Just listen through the elements.
Through one of these elements, you're saying that's not necessary.
I'm telling you you have a one step, which means
you're gonna let more people in. I have a two
step varication.

Speaker 3 (01:01:34):
It's less. So I'm truly the gatekeeper.

Speaker 1 (01:01:38):
I'm saying, like, hey, no, because what happens is because
what happens is you get somebody like Big extra play.

Speaker 3 (01:01:46):
You that Big don't even do that, bro, because you
ain't recognize that twist said it.

Speaker 1 (01:01:51):
It's not it's not out of recognize until he said
I'm not I'm not critiguing him.

Speaker 3 (01:01:56):
I don't mean it negative.

Speaker 2 (01:01:57):
I'm saying.

Speaker 1 (01:02:00):
When I'm saying Big as the plug, what I'm saying
is you get people who don't think this is anything.

Speaker 2 (01:02:05):
They treat it like it's nothing. That's what I'm saying.
They treated le accessing you. It's not just access right,
It's like to them, and maybe they got a point.
Maybe hip hop is the easiest, right, Maybe rap music
is the easiest. Not hip hop, but rap music is

(01:02:28):
the easiest. And it's like, as long as you.

Speaker 1 (01:02:31):
Half ass talk about and you sound hip rapping, you
automatically one of us.

Speaker 2 (01:02:38):
So that's why I'm saying I'm not telling you I
haven't really went.

Speaker 3 (01:02:41):
Through a whole bunch of people who I don't think
is is not hip hop. But what.

Speaker 1 (01:02:46):
Yeah, but I'm But what I will tell you is
that's why we're getting so many people that get in
off the back of something hip hop popularized rap music,
and then they find a way to ship on rap
music or hip hop because those people should have never
had access. Bro, you can do anything. You don't never

(01:03:08):
need to shoot on rap music and hip hop. Hip
hop and rap music have some of the biggest celebrities
in all times. Snoop Dogg is probably the most famous
musician ever not named Michael. So look right, hold on,
I was watching the most successful entertainers. He never had

(01:03:28):
to denounce rap music and hip hop. He never had
to say, well, I can't be considered this a rapper
hip hop. He never nas just you know, as a
part of a group that opened up for casino and queens.
He never one time needs to say, man, I don't
want these people to see me just as no rapper.
Ice Q, who's he's been producing films in Hollywood since
the nineties. Since down near the eighties and nineties, ll

(01:03:51):
coolj Ice Tea never had to say, y'all, I don't
want to be just treated like a rapper or hip
hop partists. You know, y'all got to see me as
more verb. They were allowed and they understood that this movement.
Lex gave them all of that. And now we have
a bunch of people who really say negative things about

(01:04:15):
rap music and hip hop, and it's because the loop
wasn't bouncing at the fucking front gate.

Speaker 3 (01:04:24):
This is the issue, though license I used.

Speaker 5 (01:04:30):
Q had to finance his own films, even though he
was wait, even though he was happening to success with
his music career. He had to be the rapper and
show that he could complete projects in order to go
onto own space. So who helped him raised the money

(01:04:51):
to shoot Friday?

Speaker 3 (01:04:54):
Okay? I thought he found that sets on himself. No,
you know, no, I'm wrong with that.

Speaker 5 (01:05:00):
But what I'm saying is that that's the entrepreneurship side
of hip hop.

Speaker 3 (01:05:06):
Listen to what he's saying.

Speaker 1 (01:05:07):
He's saying because Donald Glover could have said that somebody
else financed his concept of Atlanta.

Speaker 3 (01:05:12):
But the truth is Ice Q right has been the reason.
The reason.

Speaker 2 (01:05:20):
Donald Glover has a chance to produce.

Speaker 1 (01:05:23):
A television show is because of the success of ice Q,
not because he's denouncing rap or hip hop. Nobody saw
him as anything except a rapper. He wrote for thirty Rock.
They wasn't giving him a show. They just said, you
know what you wrote for thirty rock, here's your show. No,
he needed to become a rapper. He goes to the

(01:05:45):
wool Tang Name Generator, which is corny shit in the world.
Shout out to Donald Glover, I love you home. Got
just cornball and type seeing hip name Generator, the fucking
Woltang fucking AI program gives him a fucking name.

Speaker 3 (01:06:00):
So you know how ill that is.

Speaker 1 (01:06:01):
Do you know how the fuck could you say something
about rap music hip hop when their fucking name generator
created your name that gave you success as well. That's
the power of hip hop. They made a fucking name
generator that generated somebody that's uber successful in music.

Speaker 2 (01:06:20):
Yeah, now, how do you fix your mouth to say
anything about what rap music hip hop? You didn't get
a chance to do Atlanta because because of what you
wrote for thirty Rock.

Speaker 1 (01:06:34):
Because if that was the case, you would have went
from thirty Rock to Atlanta. No, they said, oh, he's
a rapper from Atlanta. Hey, you know, maybe we should
give him a chance. Look at the ice cubes, Look
look at look at ice t Look at lll Hey, look.

Speaker 3 (01:06:48):
Look at will Smith.

Speaker 1 (01:06:51):
Well Smith is one of the biggest movie stars in
the history of Hollywood. He probably picked it up after
fucking fucking Martin me, excuse me, after Eddie Murphy.

Speaker 2 (01:07:04):
He never had to say, well, I need him to
see me as more.

Speaker 1 (01:07:07):
As a matter of fact, he got the job in
Fresh Prince of bel Air because.

Speaker 3 (01:07:12):
Of hip hop.

Speaker 5 (01:07:14):
He had to catch some man in the mouths and separate.

Speaker 3 (01:07:19):
You had them, else.

Speaker 1 (01:07:26):
You had to shed fresh Prince of Beller. He was
already Fresh Prince Beller for multiple years. He got that
because of this gift that fucking the legends from New
York City gave us. There was never a need to
denounce it under no circumstances. And the first time you
fucking denounce it, it's because you had no fucking business

(01:07:46):
in it. The first time, this ain't enough. You shouldn't
be in it. You shouldn't be in it. The only
reason trapped the rech This happens is the low wasn't
at the front gate bouncing. So I'm asking y'all, Lex,
I'm asking trap, I'm asking New York City brothers.

Speaker 3 (01:08:08):
No, no, no, no, no, no, no, no, bro, do
this just yeah, you're having back in the bounce. No, no,
you know what, no what you no come bounds.

Speaker 7 (01:08:23):
You're gonna be kicked out come you know what, come
bouts and he's gonna be Yeah. Bro, I got a
couple of dollars for you. Man, Let me get up
in here, real quote.

Speaker 1 (01:08:30):
I ain't gonna do thatange that they changed that.

Speaker 3 (01:08:34):
I'm not Tru'm straps and everything. Let me get in
with the straps.

Speaker 1 (01:08:39):
But you can't bribe me. I got some money. I
got some how you gonna bribe what Trump is being?
Brod Listen, I don't even like bench niggas money. Lex,
that ship don't even spend the same to me.

Speaker 3 (01:08:52):
They're gonna say, listen, let me get I gotta how.

Speaker 2 (01:08:56):
You gonna bribe me out of lower out side?

Speaker 3 (01:08:58):
God? Man, No, no, you're taking the money. No no, no, no,
hold on, hold on, hold on, let me let me say,
let me say this. You're taking the money as if
I'm not talking about literally money. You're taking on who
you like? I don't That's what it is.

Speaker 5 (01:09:16):
Who do you? What do you?

Speaker 3 (01:09:17):
What do you dislike that you let up in there?

Speaker 1 (01:09:20):
Tons of people I don't like. I don't like future,
I don't like New York City drill.

Speaker 3 (01:09:33):
You only keep going. I got a lot of.

Speaker 1 (01:09:35):
Niggas music I don't like that I think is hip hop,
and I understand why everybody else likes.

Speaker 2 (01:09:40):
It's a list, all them niggas from Jacksonville.

Speaker 3 (01:09:46):
Let me let me see.

Speaker 5 (01:09:48):
There's a lot you want me to keep going. You
know what's interesting? Glasses that you don't see because you
give all your examples guys that came into the game
when there was really little opportunity and you better just
have right, So you're not understanding that it was limiting

(01:10:15):
when you were just the rapper you considered stay in
your place. It's like the woman on the news said
to lebron Ja, you just pick up the basketball and ball. No,
don't produce films, no no, don't do documentaries, don't make
deals with sneak, don't do all that. Just pick up
the ball and bounce.

Speaker 3 (01:10:32):
Time.

Speaker 5 (01:10:33):
Right.

Speaker 3 (01:10:33):
There was a time was a rapper, But yo, I'm
working on this film. I don't even help. So well,
if you're not doing rap, you should really shouldn't be
in this conversation. Do you understand that? I agree? It
was like that, No, just get the microphone and wrap,
that's all you do. I think it was like that,

(01:10:55):
you can't talk about the film. You could talk about
the soundtrack.

Speaker 2 (01:10:59):
Just just hear me out.

Speaker 3 (01:11:00):
Lex. It was like.

Speaker 1 (01:11:03):
The nineties already did the heavy lifting. The two thousands
did the heavy lifting. Tip tip j.

Speaker 2 (01:11:12):
Nahs, fucking jeezy, they did the heavy lifting.

Speaker 3 (01:11:18):
Still you're still early on.

Speaker 2 (01:11:22):
Because I'm asking you a question, what the fuck what
he had been kept out of? In two thousand and fifteen?

Speaker 3 (01:11:30):
Who were talking about anybody saying.

Speaker 2 (01:11:34):
One barrier, tell me one barrier, somebody broke down.

Speaker 3 (01:11:38):
Since twenty ten.

Speaker 5 (01:11:39):
What I'm saying to you is that belly at l
Uh boys in a herd Uh film and television, Eh, Atlanta,
you can count them on both your hats the representation.
Hold on, hold on, Glass, we're just opening the tins

(01:12:02):
for documentaries and las three years, three years that we
are self producing and creating.

Speaker 1 (01:12:11):
We are creating the script. That's not because we was
kept out of it. Lex, but we want to revolve
one of the pop hip Hop has been producing films
since the nineties. I mean major when the Quest will
come out. No, that was an independent produced film. That

(01:12:31):
was finance. I'm telling you hip hop has been producing.

Speaker 2 (01:12:35):
Film since the nineties. I'm not it's not about naming
because it ain't like it's.

Speaker 3 (01:12:39):
More than I don't know what. That's why I actually
name him. I'm not trying to change players. Club is
a film. Cust grew wild style, Cust grew wild.

Speaker 1 (01:12:54):
Those by white people as well. I'm saying, but right
and producing films since the nineties. Child is gonna be
No does not need Donald Glover does not need to
say I'm not a rapper. I need to be viewed
as now to get an opportunity to produce a TV show.

Speaker 3 (01:13:09):
That's just a lie.

Speaker 1 (01:13:11):
You have to watch that show I'm not a rapper
to get another Grammy in another category.

Speaker 3 (01:13:16):
You don't need to say that.

Speaker 1 (01:13:18):
Travis Scott does not need to have a disdain for
trap music to get an opportunity with Nike.

Speaker 3 (01:13:23):
I got questioned, Hey, trap, what's up bro? Spike hip hop?

Speaker 7 (01:13:28):
They asked this question of a day. You know what
I'm saying, I'm gonna say so. Now, Spike Lee came
out with Do the Right Thing. His representation for the
soundtrack that he came out with was a hip hop soundtrack.
He did the video and best Stop Brooklyn, I'm saying,
and he represented hip hop. Yeah, so I'm gonna say,
I'm gonna say, I'm gonna say, see, Spike might be
a little bit old to be considered with them being

(01:13:50):
hip hop, you know what I'm saying like that, So now,
and you know what, we appreciate hip hop.

Speaker 3 (01:13:54):
You appreciate hip hop.

Speaker 2 (01:13:56):
Do you understand? Do y'all understand why that is?

Speaker 3 (01:13:59):
You know what?

Speaker 2 (01:13:59):
Spike Lee is a jazzy.

Speaker 3 (01:14:01):
Cat, Yeah, he's a Janet. Easy for him to go.

Speaker 1 (01:14:05):
Right to hip hop the same reason it's easy for
Q Tip to fuck with hip hop, the same reason
Boom no.

Speaker 3 (01:14:11):
No no no. That's different. It's different. It's different that
goes no no no no no no no no. Yes.

Speaker 2 (01:14:19):
So did listen to that thing that wasn't a thing
when he was grown up?

Speaker 8 (01:14:24):
Jazz?

Speaker 3 (01:14:24):
Listen? Listen, listen, I much like this right, So hip
hop is fifty years old. Listen right, hip hop fifty
years old? So, now if he know it was.

Speaker 7 (01:14:32):
It was more than fifty and fifty two now, right,
So if hip hop came out, you know what I'm saying,
he might have been ten years. He might have been
already indulged in the music that he loves already. He
liked the ready to you know what I'm saying like that,
So that's what That's why I wentn't I wouldn't really
coin him onto to being hip hop. But yeah, that
to the hip hop lifestyle and what was going on.
But I wouldn't say that he govened a jab to

(01:14:54):
hip hop street. Yeah, like Lee is a street urban guy.

Speaker 5 (01:14:58):
Yeah, but yeah, but like you're step, is it different
that with Spike Lee Spike Lee jazz, it's just putting
up in the frame.

Speaker 3 (01:15:13):
It's forty acres in the mule production.

Speaker 5 (01:15:17):
Sure pop with him ramming a step with that black
sweaty hand, that fucking that's hip hop.

Speaker 3 (01:15:26):
But I that's it.

Speaker 2 (01:15:27):
But I don't do that.

Speaker 3 (01:15:29):
Don't feed the energy when you at the end of
the filing, when he did that, did you see that?

Speaker 2 (01:15:32):
But you know what's funny, I feel that same energy
in James Brown.

Speaker 3 (01:15:36):
Where did he say that? In jazz? It's not just
jazz James Brown.

Speaker 1 (01:15:42):
About Brown, the energy, the revolting energy that that hip
hop and bodies is rooted in funk.

Speaker 3 (01:15:52):
No, it's not hip hop. Didn't know it isn't you know?
It's true.

Speaker 2 (01:15:59):
James was the most honorary nigga in history.

Speaker 3 (01:16:03):
No, that's rap rap, you not hip Hop's rap its
rooted within rap, not hip hop, bro hip hop.

Speaker 1 (01:16:11):
The culture is nothing Brown nothing, but that has nothing
no trap. That culture is inspired by James Brown.

Speaker 3 (01:16:21):
It's not. It's just something that it's just something. No,
it's not. That's a fact. That that's a fact. Rap rap, rap,
rap is rapp.

Speaker 1 (01:16:31):
Dance is inspired by James Brown, the B boy before
the rap came James Brown.

Speaker 2 (01:16:36):
That inspired everything.

Speaker 3 (01:16:38):
And I thought them with the way James Brown dances
hip hop dancing, But what the fucker? It is the foundation?

Speaker 7 (01:16:46):
What what what what that James Brown does is to
go to hoop dancing. You know my favorite, my father favorite.

Speaker 3 (01:16:55):
Artist was James first said hip hop B boy with
I'm saying we was not was not no, no, no,
it was nothing trap. You splints. We was not we
was not doing sport.

Speaker 1 (01:17:09):
You are four generation trap just splits hip hop that's
trap because I asked the first generation bro trap, you
cannot rap. I'm telling you, you know what this is
like me arguing with the nigga that been in Krippins
world but don't know enough about trap.

Speaker 3 (01:17:31):
Trap.

Speaker 1 (01:17:32):
I tell you the raplanguage before rap, trap, before rap,
before rap, before hip hop got their hands on rap music.
The dancing was inspired by James Brown. You used to
funk it up to James Brown's breaks.

Speaker 3 (01:17:51):
Yeah, we did it.

Speaker 2 (01:17:54):
We did it the trap, trap trap.

Speaker 3 (01:17:57):
James Brown, pop trap, James brap pop lot turn into
crazy trap. You turned this dance into crazy legs.

Speaker 2 (01:18:05):
James Brown pop lot trap. Listening to what I'm saying trap, Yes.

Speaker 3 (01:18:10):
He did hip hop all right? Video showing video and
pop trap. That's easy easy.

Speaker 2 (01:18:22):
The culture is inspired by James Brown.

Speaker 3 (01:18:27):
The rapping, the rapping was dancing was not you know what,
so if it was, can you be hip hop trap? No,
it's not.

Speaker 2 (01:18:37):
I didn't say James Brown is hip hop.

Speaker 3 (01:18:40):
Inspired?

Speaker 1 (01:18:40):
Inspired inspired the culture? Yeah, his attitude is part of
the attitude. His movement is part of the movement.

Speaker 3 (01:18:52):
That's a fact.

Speaker 1 (01:18:53):
He's a direct fucking forefather of this trap. And I
keep telling you this and the point what I'm saying,
y'all need to I'm in this podcast with this. Y'all
need to nominate me to bounce at the first fucking
gate of hip hop because I love it. I care
enough to keep loving it and learning about it. I
Am not going to take this service approach. I'm going

(01:19:15):
to keep digging down.

Speaker 2 (01:19:17):
You need to vote for me to be at the
front fucking hip hop.

Speaker 3 (01:19:25):
Vote for Trap because he's letting niggas in the back door. No, no,
he is, he is.

Speaker 7 (01:19:29):
He is.

Speaker 2 (01:19:31):
Getting in trapped.

Speaker 3 (01:19:32):
You know what he doing.

Speaker 7 (01:19:33):
No, no, no, no, matter of fact, my bad. You
know you know what you're doing. You no, no, no,
no no, hold on, hold on Hegga at the front door.

Speaker 3 (01:19:39):
That is go ahead.

Speaker 7 (01:19:41):
Nah, we got a dress coat here tonight. You can't
get that's glass right there. That's the bounce of glasses.
You got a dress coat their hair tonight. You know
right now, you're not dressing. You're not dressed a certain way.
You're not getting there right now. No, I'm not getting
now dressing the second way.

Speaker 3 (01:19:57):
Yeah, that's what you're doing. That's you.

Speaker 2 (01:20:01):
Knowing that I'm passionate and I care about it.

Speaker 3 (01:20:04):
Why we all can't by.

Speaker 1 (01:20:07):
It's different than y'all. It's second. That's like me and cripping,
and most people are cripping. Hey, trap, I obsessed them.

Speaker 3 (01:20:16):
Playing because I get there playing ther Monica. You're playing
with that hip hop, with that hip hop. Yeah, you
know what I'm saying. You can do that in the
hip hop way. You playing that hip hop?

Speaker 2 (01:20:35):
Anybody play hip hop? Trap the hip hop?

Speaker 3 (01:20:39):
No, I don't.

Speaker 2 (01:20:42):
I don't keep trap trap.

Speaker 3 (01:20:44):
I don't think they like you.

Speaker 1 (01:20:46):
Jazz and you let Kenny g in, He's like he's
playing the jazz tunes. You see, he got the SATs fun.

Speaker 3 (01:20:55):
You got. You're just going to gate keepers, going to
get keep after this. Listen, home court, We're going to
get keepers. Yeah. Can we say this real quick? I'm
not at the home good. This is the problem.

Speaker 5 (01:21:07):
This is one of the problems we have in here.
God say, black music, we have to have a baseline. Man,
James Brown is the living He's still looks rapped a rap, rap,
hip hop. His influence is so ill and you're going
to let's not even talk about the funk man are

(01:21:29):
you doing? You're talking about when he was coming around
the jazz jazz stuff. He had them doing the breaks
and stuff.

Speaker 3 (01:21:38):
He was going to mass potatoes being cut it out
potatoes trap.

Speaker 7 (01:21:43):
He was.

Speaker 3 (01:21:46):
Doing the mass potatoes. Yeah, we have I in the podcast.
We Love You Never, I'm never, I can never, I'm
in body of i am re run, Trap you Run, I'm.

Speaker 1 (01:22:02):
I'm looking out for tuning into the note Sellers podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the U. S A and produced by the Black
Effect Podcast Network and not Hard Radio year

All Episodes

Episode Transcript

Popular Podcasts

Las Culturistas with Matt Rogers and Bowen Yang

The Joe Rogan Experience

Stuff You Should Know

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}More Conversations About Gatekeeping Hip Hop

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Las Culturistas with Matt Rogers and Bowen Yang

The Joe Rogan Experience

Stuff You Should Know

All Episodes

More Conversations About Gatekeeping Hip Hop

Las Culturistas with Matt Rogers and Bowen Yang