September 3, 2024 • 44 mins
On an interview with Monica Pearson, actor Malcolm Jamal Warner says the state of hip hop music is that it's anti black. Kid n Play sound off on the current state of lyrics and the music industry. Plus, Nas is featured in a new hip ho animated story. On a new segment, "Just Kid'ing", Kid riffs on the "Waffle House Song"... hit us with your favorite Waffle House story! Catch it all here on The FunHouse. Follow, Like, Subscribe and Share @thefunhousepod #hiphop #podcast #kidnplay. Watch full episodes of #thefunhousepodcast with Kid n Play on YouTube https://www.youtube.com/@U1PN/podcasts, Spotify, Apple Podcasts, or visit @urban1podcasts to learn more. Follow us on IG: @thefunhousepod @KidFromKidnPlay @the_playgroundz @Jodi.Gomes See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
It's a podcast. Hey, ain't good enough of that song?
And it's so catchy to it? Who would ever thought
that when we did that recorded that that it would
make sense years up the road on another type of
(00:29):
project boom?
Speaker 2 (00:30):
Why would you say that? Would that be because we
are you are now listening and viewing the Funhouse podcast.
Speaker 1 (00:36):
With exactly because I am Play and you are kid
and Together where kid and Play and like you said,
we are on Kid and Plays for the Funhouse or
Starring hosted by Kidd and Play and a plethora of
many because audiences can be orow our audience can be
our co host as well.
Speaker 2 (00:57):
You know what we're gonna have. We're gonna have another
uh a segment what we call watch watch plate butcher
of the English language, I believe it's plethora. The way
you say plethora, it makes it sound like it's like
a disease.
Speaker 1 (01:15):
That's the way. That's the way we say it in
them streets. Until we know better appears you have anyway,
uh Yo, here we are. We want to thank you
all again for the success, for the love, for the
support that we're you know, as we're doing our thing
here and this is just good times. Man, it's just
(01:37):
good times Urban one UH. The podcast platform, Apple Music, uh, Spotify.
A big shout out to the people that's the machine
that runs behind this big up to trist to Jody, Uh,
I'll call them Tristan forgive me and Karen and all
of them, so thank you and so many.
Speaker 2 (01:57):
You can't just say the word trist Chris. That means
something different. Chris means like.
Speaker 1 (02:02):
I know, I know. That's why I corrected myself, you know,
right right right, So anyway, I think it should be
celebrated in song.
Speaker 2 (02:12):
Yes, yes, and we love we love we love hip hop,
We love the we love the culture, and we particularly
love the music. The music has been the soundtrack to
our lives. Uh, and we like to highlight certain we
do and and songs and records and whatnot. Play tends
to lean into the classic side. I don't lean.
Speaker 1 (02:32):
I lay. That's where I lay.
Speaker 2 (02:34):
That's where they all up in that hip hop. And
I tend to uh kind of dabble and be mindful
of what the youths, what the youths are doing and.
Speaker 1 (02:48):
Telling the truth to the young black youth. You know,
we're gonna flip it today. Normally I go first I'm
challenging us to flip it. You go first, what you okay?
Speaker 2 (02:57):
All right, So let's break it down. This is this
is my song of the day. This is Kid's Song
of the Day. This is actually something I stumbled onto
a few years ago, and I think it would kind
of get into that category of kind of that emo
rap where the beats a real kind of kind of
(03:18):
feathery and and uh and the tone of the raps
are very kind of emotional, you know, have you know,
having to do with relationships and stuff like that. So
I came upon this artist named fora p h O
R A fora uh and the uh. And actually this
particular song is called Stuck in My Ways and it
(03:40):
features a cat that another young cat named Black. You know,
the guy says black but he spells to be with
like a six, so it's like black slack whatever he's
He's featured on it as as well. Uh. And the
songs produced by Anthrow and Native Beats, And like I said,
it's kind of an emotional song. A guy is you know,
(04:01):
talking to his girl and you know, trying to make
things work, and there's there's you know, there's broken hearts
involved and stuff. Like that. I just thought it was
kind of an interesting, interesting take on that, and I
think it proves uh and some of these young cats
are really into it now that that hip hop can
be very emotional and touching and and and even romantic.
(04:23):
So peak that one that's for U. P h O
r A featuring Black stuck in my ways.
Speaker 1 (04:29):
It's interesting that you should bring up Black. He is
someone that I'm setting up to be a future guest
on our show. I'm very very good friends well with him.
So familiar with Black, Oh yeah, I'm very good friends
with his father. Interesting story. His father is Rick Flow.
Matter of fact, he was featured on Case Slay God
(04:51):
Bless his soul, one of his You ever saw the
thing Case Slay did we have like one hundred rappers
going back to back to back. You ever saw that? Yeah,
he's one of those rappers featured on that, and he's extraordinary.
He does a lot of work with Onyx and all
of them, and we've we did a lot of stuff together,
especially in that gospel hip hop arena, and he's doing
(05:11):
his thing more in the uh uh you know uh
rap rappers, we know it, you know, secular rap. That's
the what I was looking for so anyway, his son
is black, and when he used to be in the studios,
he used to bring his son when he was a
baby to the studios. And one day when I was
on a flight from la coming to the East coast,
(05:32):
he we just happened to sit together, and he's sharing
with me things that he never forgot being in the studio,
being all struck because I'm you know, play with with
you pause, but kid him play all of that, and yeah,
I uh, as soon as we're ready, they're gonna come
on as a father and son in regards to the
(05:52):
generations and speak about how interesting it is how his
son blew up and he never thought or even imagine
his son would reach the heights that he's reached. And
how he blew up was that he did, you know,
one of those like mixtape joints, but he did something
using Erica by do tune. She heard it and joined
(06:14):
him on a piece they did together, and it just
kindapulted him into the hemisphere. So it's interesting how things
come full circle.
Speaker 2 (06:23):
Anyway, it's interesting that you know so much about this
new artist you're coming around my way.
Speaker 1 (06:30):
Let me tell you what made it so funny. We're
on the plane in first class not to show up,
but it's a reason for my story. So I'm so
used to when people are coming on going past, Yo,
play boom this, boomom, ne yo, and people end up
like who are you? You know, are you a basketball
player or something like that, all that kind of insulting stuff.
So this time, as they're walking by, boy yo, I
(06:53):
know right, everybody is acknowledging him. You know what I'm saying, everybody,
yoh man, we love your stuff. And I'm like in
my seat, like wi, I mean, man, I was so humbled,
you know what I'm saying. But it was like, Yo,
get out of my way, old man.
Speaker 2 (07:10):
I want to shake black stands.
Speaker 1 (07:12):
Yeah, man, but he gave me his recent recent math
and all of that stuff, and he's gonna they would
love to come on as a father duo father and
son situation.
Speaker 2 (07:21):
But anyway, definitely check this song out. Check that song
out since Oh No, No, No Doubt.
Speaker 1 (07:26):
And my classic joint that I'm bringing is by the
Boogie Boys. It's a nineteen eighty five track called a
fly Girl, produced by Ted Currier and David Spradley. The
reason why I chose this joint. Yeah, that's right. Is
because here we go in a time where this the
(07:47):
whole record was a tribute to how fly the Round
the Way Girl is. You know what I'm saying, ll
of course had Round the Way Girl, where he's describing
what's attractive and appealing to the girl next door or
the girl round the way, not depict it in a
way that she's a hoe or a living a questionable lifestyle.
(08:07):
These records are giving props. This was an error where
they're given props to these sisters in the neighborhood. They're like,
they might not be attractive right when you first see them,
like right away loved first sight or lusted first sight,
but after a while, they grow on you in a
very short period of time, their ways are attractive. That
it's the homegirl, and that this record Fly Girl. Did
(08:30):
you know they nailed it in regards to what they wore,
the jeens, Sergeyo Valente's jordash, jelly sneakers or jelly shoes,
the tube tops, you know, sucking on a lollipop, all
of that kind of stuff like that. So it's like,
I always loved that record, and if I ever get
back into fashion again, I want to use that record
as my theme too, if I choose to get back
(08:52):
into design and clothes and stuff again. But yeah, it's
a nineteen eighty five track by the Boogie Boys call
a fly Girl, produced by Ted Courier and David Spradley.
Y'all need to check it out. Check out both of
you joints, Slaps, Stuck in My Ways and a fly Girl.
Check it out. That's what's up now. Now I'm gonna
(09:14):
say less what you got?
Speaker 2 (09:16):
All right, we've reached that part of the program where
we're either gonna determine whether someone or something should say
less or or or or is what they're doing doing
the most? Now, doing the most, as we described in
previous shows, can be It can be good or bad.
It can be like, you know, someone's doing something real
(09:37):
stupid and you're like, yeah, yeah, you're doing the most,
you're doing the most. Or conversely, somebody is doing something positive,
doing something for somebody else.
Speaker 1 (09:49):
Conversely is a word.
Speaker 2 (09:51):
Conversely, Yeah, yeah, I mean as opposed to conversely. Uh,
you know, you say, hey, you're doing the most. You know,
you know there's a different uh, there's a different energy
to it. So uh, all right, So so yeah, so
it's either say less of doing the most. All right,
So let me break this down real quick. We're talking
about hip hop stories. Hip Hop Stories on YouTube. It's
(10:13):
an animated animated series and it's it covers the life
stories of hip hop artists. And they're starting with the
with the animated life story of Nas, you know, one
of the greatest rappers to ever pick up a piece
of steel. I got a chance to watch some of this,
and I thought it was quite interesting. I thought the
you know, you being an artist yourself, I think you'll
(10:37):
appreciate the style of animation and the quality. And they
were really getting into some interesting details of of NAS's life,
particularly his upbringing, talking about you know, situations, even to
the point as specific as Nas used to try to
(10:57):
play the trumpet and has as his father uh does,
but at one point his father told him to chill
because he was too young and his lips, his lip
or his upper lip wasn't strong enough uh to support
to playing the trumpet at a high level, which is
something that I didn't know uh mattered, But I found
(11:19):
it very interesting. I'm sure they'll they'll they'll continue with
some some other hip hop icons, uh and in this case,
I gave it a hearty. You're doing the most, You're
doing the most. It's a very good thing. I think
chronicling our icons lives in animated form. It's just another
interesting way to uh to uh, to reach the public,
(11:43):
uh and just just spread the gospel of of hip
hop if you will. So I enjoyed it, and also
to get updates on it, you can check them out
on i G and it's at h I P underscore
Hop Stories, so it's hip hop stories, but there's an
underscore between the hip and the hop. So check that
(12:03):
out IG and that that'll direct you to you know,
what they're doing in the future as well.
Speaker 1 (12:08):
It's so interesting that it's titled that, and I wouldn't
be surprised that if people they want to make sure
they put that underscore in the right place, because they
might pop up with another version of Hip Hop Stories
that was done many years ago by our good friend
d Nice. That's what got me into documentaries or for
(12:29):
me getting into a better quality of producing mind because
he used to be really into photography and videos.
Speaker 2 (12:38):
Yeah, yeah, yeah, yeah.
Speaker 1 (12:39):
He introduced me to the Cannon Mark four No. Five
d Mark two at the time in Mark three, and
what he did was it was called hip Hop Stories.
And what he did was he was telling stories with
all his connections and relationships in the business, where he
was giving the backstory on how famous records came to be.
(13:01):
One of them and I remember in particular was how
the Symphony with Marley mal and the Juice Crew, how
that came about. But the way he styled these stories,
the quality and the texture of the film, they gave
it a film look. I couldn't wait to see them
again because I'm working with a different type of camera
and I'm like, Dee, what are you using to get
(13:22):
that quality? And he hit me to it and it
was just a game changer for me. But he had
these extraordinary stories of cats or the park bench, wherever,
the quality film looking film look where he's telling these stories,
people sharing these stories of how these great records came
to be, and they would call hip hop stories. So again,
make sure you put that at hip underscore hop Stories.
(13:46):
But don't be surprised if you run into that and
it's not animated. That'll be your clue that is not animated.
But I look forward to checking this out. That sounds
like something that's really really dope.
Speaker 2 (13:56):
No, no, it was pretty dope. And I you know,
any any additional ways or interesting or creative ways to
tell the story of hip hop and uh, you know
it's pioneers or it's it's icons. I'm definitely down with that.
So yeah, it's definitely worth your time.
Speaker 1 (14:12):
So that goes in the column of doing the most.
Speaker 2 (14:15):
That's where we're doing the most, you know, not like
doing the most, you know, it's doing the most.
Speaker 1 (14:22):
Cool, all right, So speaking about doing the most not
the best segue in the world. But it's next on
the mic, and it's a it's an interesting story about
our friend Malcolm Jamaal Warner who had some comments about
interview that he did. I believe that the show of
the platform was called one on one.
Speaker 2 (14:45):
Yeah, Monica Pearson one on one, she's the interviewer.
Speaker 1 (14:48):
Mm hmm. Yeah, what happened, what took place?
Speaker 2 (14:51):
Well, you know, I got a chance to watch some
of the interview. Uh, in particular, what what actually Malcolm
was saying is the hip hop of today he considers
a lot of it anti black mm hm. And you know,
just that that as a as a statement is pretty
kind of dramatic, but I listened to what he said
(15:14):
on that particular topic, that particular piece, and I think
what he's saying is because of the subject matter, you know,
the glorifying of violence, the degradation of women, Uh, the
the fascination with criminal enterprises and things of that nature.
He said, Uh, those those elements by themselves are anti black.
(15:40):
You know, the fact that you put it in in
the hip hop form, it's still anti black in his opinion.
And to hear him, and you know, we've known Malcolm
for a very long time. Yeah, great guy, really talented, uh, actor, musician. Yeah,
he's big in the on the poetry and the sphere.
Speaker 1 (16:01):
Yeah.
Speaker 2 (16:02):
Yeah, he's very He's a very thoughtful person. And and
once again it's out of his love for hip hop.
He loves hip hop. That's why I made a statement
like that.
Speaker 1 (16:12):
And under one, remember remember his statement on The Cosby
Show under one with Stevie Wonder under one, you know,
doing it under one. But yeah, we go way back
with that brother. I remember parties we would all frequent to.
And I don't know why, all of a sudden I
thought about his cameo. He might have directed that music
video Funky Be with Houdini. Uh, because he was he
(16:36):
was getting into directing there for a minute. I think
he did a couple of episodes on The Cosby Show
as well. And I remember when we used to hang
out at parties. People would always say he and I
look toke. So whenever we go to parties, he'd be like,
we both say to each other, you go to that
side of the room. I'll go to the other side
of the room and we'll have our old territory. But
good brother, and I, now that you bring this up,
(16:57):
I thought about another thing I saw him on prior
to this one, where he was saying hip hop isn't
hip hop anymore. I remember that too. It wasn't too
long ago as well. I guess it's in the same vein.
Speaker 2 (17:09):
Yeah, I would. I would urge people to watch watch
the interview. It's called Monica Pearson one on one. Uh.
And you know, like I said, he's he's very thoughtful
and it brings to mind looks. It's it's that classic
versus the new flavor kind of deal. That's the argument. Uh.
(17:29):
And you know I can't say that I don't disagree.
I don't disagree with what he's saying. And he's asking
the question like who who in hip hop is combating that?
And is it going to be almost like a battle
within the culture, you know, the street vibe versus the
(17:54):
conscious you know. I mean, I think I think we
need them all. But I think what Malcolm was saying
is that it appears that that the the the rougher
side is dominating right now, and they're not. They're not
making they're not they're not giving slots to everybody. They're
giving slots to a particular brand of hip hop.
Speaker 1 (18:16):
Well, I think it raises the question is art imitating
life or life imitating art? Because the argument used to be, well,
why can't we spew, for off, the type of language
that you would see in a Robert de Niro or
Al Pacino movie where they're playing the role of gangsters
but they're not really gangsters. But how come we can't
say what we say on the microphone and it's just art?
(18:39):
But when it gets to the point where the undeveloped
minds I put it that way. Taking these things to heart.
Based on another episode when we talked about the difference
between being famous and infamous, when to separate art from
real life and real life from art, you know, some
people don't know the difference. And then some people could
blame it on video games in regards to the fact
(19:00):
of how people take literally this stuff that they're learning
in regards to how to hold a gun shoot a
gun in these games and stuff, and then they don't
know how to separate it from when they're out there
in them streets and they're just not what's the word
for when you call it, when you're not able to
function socially, so to speak, so you're quit to be
(19:21):
able to do what you've seen in a music video,
what you've seen in a game, or whatever the case
may be, where you're just simply taking things too far.
And I think some rappers have addressed that. Don't quote
me on it, but I could be wrong. Like I've
seen some things I believe from ghost Face Killer other
rappers that are just having an issue in regards to
(19:42):
how far younger rappers are taking the lyrics where it's
not fun anymore. That's what I'm beginning to hear people say,
or iconic rappers or rappers with a great deal of influence.
Speaker 2 (19:55):
You know, I was thinking, if you go back, think
about think about k R S One Uh, their first album,
Boogey Down Productions, that's a gangster wrap album, you know
what I mean? By by any standards. Now, he did
he didn't stay in that lane, you know what I mean.
But but that was that was a gangster rap album,
(20:15):
and at that particular time it was it was in
the minority, Schoolly d P, s K Killers. That's a
gangster record. But but it just seems that the ratio
has flipped and and the the harder, the harder edged
stuff is dominated. And I think, uh, I think that's
(20:38):
what Malcolm lovingly, you know what I mean. I think
if you, if you, if y'all watch that interview, you'll
see that he's coming with U from a place of
nothing but uh love and respect and reverence for for
hip hop and the culture. But he you know, he
can't he can't unsee what his as we've seen. And
(21:01):
I think you.
Speaker 1 (21:02):
Are here because if you haven't heard hip hop in
a minute for whatever reason, and here you are returning
to it thinking it's going to be what you last
remember it to be. It could be a bit of
literal like a culture shock, you know what I'm saying.
It's like, Yo, what happened? You know what I'm saying
in regards to the fact of you know, this is
what again we've spoke on it, love, peace, unity and
(21:23):
having fun. But at the same time, like you said,
with Boogie Down Production and others like I guess we
were mature enough to be able to know what's art
and what's life and just not to take it too far,
to take it far at all.
Speaker 2 (21:38):
You know, yo, it reminds me of just remember back
in the days when we used to do like those
MTV Spring Break gigs and stuff. I remember we were
down there in Daytona and Malcolm was down there as well,
and that's when we started doing that. Give member of
that game when we used to hit each other in
(21:58):
the nuts.
Speaker 1 (21:59):
And stuff a bow, take a bow we.
Speaker 2 (22:01):
Hit, We hit each other in the nuts and we
and we would get we were getting the we were nothing.
We were killing malcol Jamar with the nut.
Speaker 1 (22:11):
Shot I got. I got a beautiful picture caught right
frieze of me getting Jerrel LeVert righted. Take about boom
you who didn't we get you. There's a picture of
him with his face like you could tell I just
got him. Like, oh, you know what I'm.
Speaker 2 (22:29):
Saying how about this you you you give I'll be
Joel LeVert and you you give me a nut shot.
Speaker 1 (22:37):
So you know what I got to say? What I
do it? Right? Here we go, Yo, shut up, take
a bow, boom, This game is over. But I swear
I've come across that picture every once in a while
eight by ten, and I know what that picture is
(22:59):
is right when I got it. But we did ed
lover and who did we get?
Speaker 2 (23:03):
Everybody? Real quick? Rest in peace to the to the
incredible Joeral Avert. Yes, what a great man, what a
what a what a great artist. Also rest in peaces,
brother Sean.
Speaker 1 (23:16):
Yes, they you know, thet family, the Avert family, Their
father Eddie has always been such a beautiful person to us,
like really really like in on the jokes, all of
that great family. So you're right, you know, hats off
and uh yes, r I P and salute and all
of that.
Speaker 2 (23:37):
Yes, ultimately, look, we've said this on this podcast before.
Hip hop is a living, breathing, evolving organism and and
I think it also I think it also autocorrects. You know,
so so if if there's a trend that that that
(23:59):
that going down, you know, a dangerous path or an
unconstructive path. Hip hop has a way of kind of
recalibrating itself.
Speaker 1 (24:10):
So that's what the elders are about. You know, we
have become that, you know what I'm saying. You know,
you definitely want to be before someone who's willing to listen.
And I you know, I can't speak for you. I
know when we're together, and especially when I'm by myself,
when I run into these young cats, and it ain't
about beating up on the young cats. Just using that
specifically with this sentence. You know, there's nothing but with props,
(24:33):
you know, and flowers and the whole nine. And they
would love to get advice or you know, to be
you know, every son and daughter deep down would love
to be parented because it shows love. You know what
I'm saying, And I do agree with you. We do
auto correct. It seems like it takes a little long,
but it does happen, you know.
Speaker 2 (24:57):
Yeah, yeah, yeah, yeah, yeah, I got you. So hip
hop I would say, hip hop he healed thyself. Oh
you know what, it kind of reminds me speaking about
kind of getting getting guidance from the elders. That reminds
me of when we got a chance to meet the
late great Roger Troutman. Oh yeah, we got some very
that's right, valuable advice from him, and and not the advice,
(25:23):
certainly not the advice that I expected him to give
to give us. You know, I don't know if you
want to.
Speaker 1 (25:29):
Well, the back story was we were on Hollywood and Vine.
That's when it used to be the holiday inn. I
think something was would Highland, yeahand my bad, and I
think someone was up with our room because we weren't
in them. And I remember him introducing himself to us
and inviting us on his bus, and we were blown
(25:52):
away because his bus, his tour bus, was an actual
mobile recording studio like you wouldn't believe, especially at that time.
And I remember him just sharing with us, you know,
just schooling us. That's what this used to be called.
He was just schooling us in regards to it. Maybe
he saw what we were going through in regards to
(26:13):
the fact that we weren't in our room yet and
it was taken a minute.
Speaker 2 (26:16):
But I do remember that very much. Yeah, yeah, I
remember he was. He was talking with us, showing us
how the studio works. You know, we were like, wow,
we're blown away and whatnot. But one of the things
he asked us, he asked us, what what what were
we doing outside of of of being an artist? Yeah,
and uh, you know what what outside interests or projects
(26:39):
were we involved in. And at the time I told him,
I said, yeah, I mean I've got I've got some
some groups that I that I that I signed, and uh,
you know, we're reducing records on them and we're going
to try to get him labeled, label deals and stuff
like that, and you know that that's that's that's what
I want to do. And then he said, he says, no, no, no,
he said, you need to do something, get involved with
(27:01):
something that has nothing to do with music, that's not
not entertainment business related, you know that. And he and
he proceeded to school us saying, hey, look, I'm round
the troutman, I get it, I make records, I'm zapp
all this and that. He says, but I got trout
in construction, I got trouting in this, I got trout
in that stuff that ain't got nothing to do with
(27:23):
uh with his music. So I didn't sell another record
for the rest of his career. He still got these
other businesses that people need, and you know will not
suffer because of that. That was I thought that was
I thought that was an interesting uh way to uh,
you know, way to come at us. I never forgot it.
(27:45):
I wish I couldn't follow his advice, but I never forgot.
Speaker 1 (27:48):
I wish I could remember the person who gave me
this advice I'm about to share. We were both at
some gathering where there was a lot of celebrities in
the green room wherever we were at, and I think
we would talking about the what we're gonna do about
management or even account accounting. And what was crazy was
that whoever this was, I wish I could remember who
(28:11):
it was, because it was somebody really really famous. They
apologized for eavesdropping, and they said, but they couldn't help
themselves to want to help give some advice on us
trying to figure this out. And they said to us,
I'm a paraphrase, but I'm a nail it as closer
as I can. They said, y'all are wrestling with not
getting ripped off. You're gonna get ripped off, But who
(28:32):
you need to find is who's gonna rip you off
the lease? And I never forgot that. I was like, wow,
it's like getting taken is gonna be inevitable. That's life,
especially in this business called entertainment. But the trick is
finding the person who's gonna rip you off the lease.
And I never forgot that. Maybe one day i'll remember,
you know who that was, But I remember the reason
(28:54):
why I stuck with me because of who it was
that said it, and I can't remember why. I can't
remember the person itself. But yeah, we would run into
people who would look at especially Quincy Jones and others,
that would take us under our wing for a certain
season of time or whatever, and they just, you know,
we appreciated that. I don't really picture rappers doing that
(29:14):
for others. We have those moments, but not like we
go out of our way because maybe because of such
the competitive nature, you know, who wants to, you know,
give advice to somebody to go to do better than
you And that's the wrong way of thinking. But that
that's that's hip hop for you sometimes, you know. So anyway,
it's time for the playlists? Are you rette?
Speaker 2 (29:37):
I believe so you always cut me off when I'm
I'm sorry, I'm by the way.
Speaker 1 (29:45):
Like and subscribe, Like and subscribe, please please please The
playlist is me sharing things that have influenced me, encouraged me,
inspired me in the particular cinematic cinematography, filmmaking directing community.
I'm gonna cut right to it. In two thousand and three,
(30:06):
I came across a film I wasn't eager to watch
because I never saw the original, but I thought it
was interesting when I caught wind of what this particular
movie was about. It was called bad Ass b A
D A SSSS and it was starring and directed by
Mario van Peebles. This was Mario van peebles tribute to
(30:27):
his father, with starring Neil Long and Joy Briant, directed
by Mario van Peebles, written by Melvin Van Peebles, Mario
van Peebles and Dennis Haggerty. What he did which was
so brilliant was he recreated the making of his father's
(30:48):
masterpiece Badass. What was the son Badass song? Beat Sweet
Badass Song. He recreated the making of that movie, going
back in time showing what it tooks. Because Mario van
Peebles piece was considered the original and what sparked what
(31:08):
was later to be called the black Exploitation era, wherein
this was about you know a black hero and how he,
you know, got over on the man or Popo or
the pigs or the white establishment. The movie, Yeah, Hockey,
(31:29):
the movie. When it first came out in San Francisco,
I believe the opening night was embarrassing. No one showed,
and he was in debt, deep debt. Mario Van Peebles
was in deep debt to make this film. You want
to talk about Spike Lee, what it took for him
(31:49):
to do. She's got to have it and go on
in credit card debt and all of this he called
in favors, he called in and the thing that caught
my attention because anyone who knows, we know how much
I loved Earth Wind and Fire. Earth Wind and Fire
did the sounds, the score and the soundtrack to this
movie to this day. In an interview, God bless his
soul and he's passed. Maurice White, visionary of Earth Wind
(32:13):
and Fire did At the end of the movie, it
shows an interview or real life interview with Maurice White
saying that Mario Van people still owed him money for
doing the score to this movie. So what ended up
happening was the opening night pathetic. No one showed, No
one came to the theater at all. A Black Panther
(32:36):
member on a weekday night board or whatever was going on,
went in to see the film by itself, to go
watch a movie by himself, left out of the theater
before the movie was even over, and Mario thought that
the movie was whacked, that this guy hated the movie
so much that he didn't want to sit and watch
the rest of it. Know what this guy did was
(32:58):
went and got the other Black Panther members to come
see this film, and the movie exploded and became a hit.
That's what went on with the original film. So Mari
the original Yeah, like I'm saying, Mario did, redid the making,
(33:19):
made a movie out of the making of the original
movie to show how it was done. So we had
people playing the part of Maurice White. Joy Briant played
the girlfriend of Maurice White, talking Maurice White into helping
Mario do the score for this movie. It's a dope movie.
(33:40):
It's called badass, brilliant film that our friend Mario Van
Peoples did. Matter of fact, he also directed The Salten
Pepper Story, but did this movie and did other music
videos and other films as well. Matter of fact, Mario
directed New Jack City a matter of fact.
Speaker 2 (33:58):
Yeah, and he did the one with the Cowboys exactly.
Speaker 1 (34:02):
Yes, so with Big Daddy Kane, our dude, big shout
out to Big Daddy Kane and all of them. But
this movie, I probably didn't explain it right. I believe it.
Speaker 2 (34:10):
I'm confused because I get Mario.
Speaker 1 (34:13):
Men, that's what's saying. Mario is the Sun. No, Mario, Okay,
it's Mario is the is the son of Melvin Van Peebles.
Melvin Van Peebles did the original movie that you quoted,
Sweet Back Badass Song. Mario Van Peebles created a movie
(34:36):
in two thousand and three called Badass, which was the reenactment,
the reacting of the making of that movie, of the
original and showing how what it took to get that movie.
It's not a documentary, it's acting. It's a movie. Extraordinary, extraordinary.
Speaker 2 (34:55):
Get down to the blockbuster and get that. You know
what I'm saying, Will.
Speaker 1 (34:58):
You do that? But that My movie of the day
on the playlist is called Badass, starring Mario Van Peebles,
directed by Mario Van Peebles, tribute to his father, Melvin
Van Peebles, who wrote and directed the original the original
movie Sweetbacks Badass song that that movie is based on,
(35:21):
starring Joy Bryant and me A Long, two of your favorites,
MEA Long who doesn't have a crush on her, same
thing with Joy Bryant from other movies as well. So
that's it Badass two thousand and three.
Speaker 2 (35:36):
Check it out, all right, I'll check that out. Moving
right along, come to your kid magment that that the
public this segment. The public has embraced this segment so
so enthusiastically that the comments have been amazing, praising me
(36:00):
for my segment called just kidding. O God, it's back
just kidding, And I wanted to do something interesting, uh
this time for just kidding. I stumbled across, as I
do a lot of a lot on social media, I
stumbled across really interesting music, new music, interesting genres, not
(36:24):
just hip hop. But I got I ran up on this.
Uh this artist I believe the name is Barell b
U R R E l L. And he's he's a
rapper and a producer. He produced this particular song and
the song is called waffle House. Okay, Okay, yeah, it's
called it's called waffle House, and it's kind of like
(36:47):
it's kind of like an R and B song, and
it has like an R and B old school R
and B flavor and instrumentation to it. And he's basically
just talking about what the waffle house is like. And
he's singing in like a part of it, in like
a false settle, you know what house, And he's just
(37:08):
talking about, you know, like you know how you could
get oh Man, which which I had the lyrics in
front of me. I remember some of them, but you know,
he just talked about that whole process, like, you know,
you you could get your ass kicked at the waffle house.
Everybody's got a blick at the waffle house. You know,
it's the South, so everybody's got a blick. But I
(37:28):
just thought it was really really it was. It was
kind of it was funny, uh and it was creative
at the same time. Uh. And and you know what
we are. We had a situation where we want to
ask the audience to request it on touch tunes, so
it could you could actually play it athlete at a
waffle house. But it's it's on it's on excuse me,
(37:50):
on Apple Music. So you just scooped that it's it's
worth your time. It's it's a pretty pretty, pretty funny song.
And if you've ever been to a waffle house, you'll
you'll understand all the references that he makes within the song.
And I know you've been to waffle house many a
time as I have, go.
Speaker 1 (38:08):
To acord, you know, touring in the nineties and eighties, well,
touring in the nineties. Who didn't know a waffle house?
You know what I'm saying, So, oh yeah.
Speaker 2 (38:16):
Totally, totally yeah, and also too, I don't know if
you've ever I'll ask you now, have you ever because
we see these brawls at waffle house they're all over
social media? Have you ever been a part of or
seen a brawl at a waffle house?
Speaker 1 (38:32):
No? You and I are wise enough to know that.
You know, that's something we don't want to get in
the middle of, even if we just happen to be
casualties there. You know what I'm saying. So you know
you always got your head on swivel. And when you
get ready to see some today, right, it's like, oh,
excuse me, can you speed up that order please? You
know what I'm saying, And it's time to be Oh.
Speaker 2 (38:54):
Yeah, I can remember at times. We you know, I've
gone into a waffle house, like on the Lake night
tip and a place is packed out. That's all the time,
you go.
Speaker 1 (39:06):
I don't know anybody who really goes in the daytime
for any serious dining. You know, it's an after club pleasure,
you know what I'm saying.
Speaker 2 (39:13):
Yeah, and these wiffle houses and you know, after the
club or or after the concert or what after the
after party or whatever like that, there is a lot
of tension. There's a lot of tension right in this thing.
You know, they might be arrivaling.
Speaker 1 (39:29):
And drunk in there, drunk, drunk, drunk, drunk.
Speaker 2 (39:34):
Drunk, hungry, and the poor waitresses, the poor waitresses got
to go through all that. I can't tell you how
many times I feel I feel so sorry for the
for the waitresses because what they have to endure. Yeah,
these dudes is foul, man, they foul. The cook is slave.
In matter of fact, that's one of the lines in
the song, guys, you know, talking about how to how
(39:56):
to how the workers the slaves and slave, you know, slaving,
and then also too, you know, don't don't he's he's
saying like at one point, like don't talk ship. It's
three a m. What are your options? Bitch?
Speaker 1 (40:10):
You know, but but bro, I got a question for you.
What's your favorite order at the waffle house?
Speaker 2 (40:18):
Oh that's a great it's a good question. I would
usually do. I would usually do like I'm an omelet
kind of guy, you know what I mean, So I
could do like maybe like one waffle and an omelet,
you know, not too and and and you know, some
half browns. There you go, Now, what about you?
Speaker 1 (40:43):
I always love the raisin toasts, yeah, and cheese egg
joint Yeah, cheese eggs with the with the with the
bacon or either the patty sausage. Definitely had to have
the raisin toad, the razor raisin and cinnamon toast. I
had to have that. That was my joe with orange
(41:05):
juice and I'm straight. And hatch browns.
Speaker 2 (41:07):
Yeah, you remember back in the days, Pepper used to
get pepper from salt and pepper she used to get, remember,
I used to call it smothered, scovered and cover.
Speaker 1 (41:18):
Yes, I'm surprised that she didn't have that on the menu.
That that would be called her joint on the menu,
because that was what she she would get, like named
after her or something like that, you know. But uh, yeah, man,
good times on the road. We got to.
Speaker 2 (41:34):
Share some waffle House stories with us, uh in the comments. Yeah,
that's the question for those.
Speaker 1 (41:42):
But see the thing about it is that isn't a
waffle house across the country, Like where does it stop at?
It doesn't go into East Coast.
Speaker 2 (41:50):
And it's it's not it's not here really either. It's
it's a Southern thing.
Speaker 1 (41:54):
Well what's their version of it? Because there are versions
of those type of places like waffle House. Even white
Castle wouldn't be all over the place, but their version
of white Castle would be what what was that other place?
Speaker 2 (42:07):
Yeah?
Speaker 1 (42:08):
Crystals? But I think that there are places that are
similar to waffle House, but they're just something else different.
But yeah, what for those who are familiar with waffle House,
you know, get at us and let us know what
your your favorite joints is, because you could you could
customize stuff up in that place, you know for sure. Anyway,
it's been none but love and fun and we look
(42:28):
forward to y'all in the next episode. We all learn
that we learned. What do we learn?
Speaker 2 (42:34):
What do we learn? Well, we I think we learned
an interesting discussion about Malcolm Jamaal Warner's comments about the
state of hip hop and how he considers it. Uh
anti black if you will, So, you know, we urge
y'all to check out that interview he did with Monica
Pearson Monica Pearson uh and uh and also to let
(42:54):
us know how you feel about it? What what? What is?
What is the what do you feel is the current
state of hip hop? And and where where is it
headed in the future? And are you encouraged or discouraged
about the direction and the different directions that it's heading into.
So that's what I learned.
Speaker 1 (43:14):
Yeah, we want to start shouting our names as well.
You know what I'm saying for people who have ideas.
When it comes to what you ordered to waffle house,
it might be interesting, but also, you know whatever, I ordered.
Speaker 2 (43:24):
A knuckle sandwich at the house.
Speaker 1 (43:27):
I'm trying to see what I might have learned. I
don't know. Oh, well, it's good to know about the
new I'll call it the New hip Hop Stories YouTube.
So I'm gonna check that out. And that's real call.
And to learn about NAS with his father.
Speaker 2 (43:40):
Instructing him about the lip with Yeah, Yeah, that was
very interesting and I found I found that part of it,
Like they definitely a lot of the detail. So I think,
you know, there's things that that you know, even you
know that I didn't know. I didn't know certain things
about him and we know we know nas so shout
out the.
Speaker 1 (44:00):
All right, so love Piece and hair Grease all be
safe out there. Willing to thank you for the support,
and we got we got guests coming soon. We're just
trying to make sure that we straight with the new
format here. You know what I'm saying.
Speaker 2 (44:22):
Peace.
Speaker 1 (44:24):
It's a it's a podcast
Speaker 2 (44:27):
Available on or streaming podcast platforms.
It's a podcast. Hey, ain't good enough of that song?
And it's so catchy to it? Who would ever thought
that when we did that recorded that that it would
make sense years up the road on another type of
(00:29):
project boom?
Speaker 2 (00:30):
Why would you say that? Would that be because we
are you are now listening and viewing the Funhouse podcast.
Speaker 1 (00:36):
With exactly because I am Play and you are kid
and Together where kid and Play and like you said,
we are on Kid and Plays for the Funhouse or
Starring hosted by Kidd and Play and a plethora of
many because audiences can be orow our audience can be
our co host as well.
Speaker 2 (00:57):
You know what we're gonna have. We're gonna have another
uh a segment what we call watch watch plate butcher
of the English language, I believe it's plethora. The way
you say plethora, it makes it sound like it's like
a disease.
Speaker 1 (01:15):
That's the way. That's the way we say it in
them streets. Until we know better appears you have anyway,
uh Yo, here we are. We want to thank you
all again for the success, for the love, for the
support that we're you know, as we're doing our thing
here and this is just good times. Man, it's just
(01:37):
good times Urban one UH. The podcast platform, Apple Music, uh, Spotify.
A big shout out to the people that's the machine
that runs behind this big up to trist to Jody, Uh,
I'll call them Tristan forgive me and Karen and all
of them, so thank you and so many.
Speaker 2 (01:57):
You can't just say the word trist Chris. That means
something different. Chris means like.
Speaker 1 (02:02):
I know, I know. That's why I corrected myself, you know,
right right right, So anyway, I think it should be
celebrated in song.
Speaker 2 (02:12):
Yes, yes, and we love we love we love hip hop,
We love the we love the culture, and we particularly
love the music. The music has been the soundtrack to
our lives. Uh, and we like to highlight certain we
do and and songs and records and whatnot. Play tends
to lean into the classic side. I don't lean.
Speaker 1 (02:32):
I lay. That's where I lay.
Speaker 2 (02:34):
That's where they all up in that hip hop. And
I tend to uh kind of dabble and be mindful
of what the youths, what the youths are doing and.
Speaker 1 (02:48):
Telling the truth to the young black youth. You know,
we're gonna flip it today. Normally I go first I'm
challenging us to flip it. You go first, what you okay?
Speaker 2 (02:57):
All right, So let's break it down. This is this
is my song of the day. This is Kid's Song
of the Day. This is actually something I stumbled onto
a few years ago, and I think it would kind
of get into that category of kind of that emo
rap where the beats a real kind of kind of
(03:18):
feathery and and uh and the tone of the raps
are very kind of emotional, you know, have you know,
having to do with relationships and stuff like that. So
I came upon this artist named fora p h O
R A fora uh and the uh. And actually this
particular song is called Stuck in My Ways and it
(03:40):
features a cat that another young cat named Black. You know,
the guy says black but he spells to be with
like a six, so it's like black slack whatever he's
He's featured on it as as well. Uh. And the
songs produced by Anthrow and Native Beats, And like I said,
it's kind of an emotional song. A guy is you know,
(04:01):
talking to his girl and you know, trying to make
things work, and there's there's you know, there's broken hearts
involved and stuff. Like that. I just thought it was
kind of an interesting, interesting take on that, and I
think it proves uh and some of these young cats
are really into it now that that hip hop can
be very emotional and touching and and and even romantic.
(04:23):
So peak that one that's for U. P h O
r A featuring Black stuck in my ways.
Speaker 1 (04:29):
It's interesting that you should bring up Black. He is
someone that I'm setting up to be a future guest
on our show. I'm very very good friends well with him.
So familiar with Black, Oh yeah, I'm very good friends
with his father. Interesting story. His father is Rick Flow.
Matter of fact, he was featured on Case Slay God
(04:51):
Bless his soul, one of his You ever saw the
thing Case Slay did we have like one hundred rappers
going back to back to back. You ever saw that? Yeah,
he's one of those rappers featured on that, and he's extraordinary.
He does a lot of work with Onyx and all
of them, and we've we did a lot of stuff together,
especially in that gospel hip hop arena, and he's doing
(05:11):
his thing more in the uh uh you know uh
rap rappers, we know it, you know, secular rap. That's
the what I was looking for so anyway, his son
is black, and when he used to be in the studios,
he used to bring his son when he was a
baby to the studios. And one day when I was
on a flight from la coming to the East coast,
(05:32):
he we just happened to sit together, and he's sharing
with me things that he never forgot being in the studio,
being all struck because I'm you know, play with with
you pause, but kid him play all of that, and yeah,
I uh, as soon as we're ready, they're gonna come
on as a father and son in regards to the
(05:52):
generations and speak about how interesting it is how his
son blew up and he never thought or even imagine
his son would reach the heights that he's reached. And
how he blew up was that he did, you know,
one of those like mixtape joints, but he did something
using Erica by do tune. She heard it and joined
(06:14):
him on a piece they did together, and it just
kindapulted him into the hemisphere. So it's interesting how things
come full circle.
Speaker 2 (06:23):
Anyway, it's interesting that you know so much about this
new artist you're coming around my way.
Speaker 1 (06:30):
Let me tell you what made it so funny. We're
on the plane in first class not to show up,
but it's a reason for my story. So I'm so
used to when people are coming on going past, Yo,
play boom this, boomom, ne yo, and people end up
like who are you? You know, are you a basketball
player or something like that, all that kind of insulting stuff.
So this time, as they're walking by, boy yo, I
(06:53):
know right, everybody is acknowledging him. You know what I'm saying, everybody,
yoh man, we love your stuff. And I'm like in
my seat, like wi, I mean, man, I was so humbled,
you know what I'm saying. But it was like, Yo,
get out of my way, old man.
Speaker 2 (07:10):
I want to shake black stands.
Speaker 1 (07:12):
Yeah, man, but he gave me his recent recent math
and all of that stuff, and he's gonna they would
love to come on as a father duo father and
son situation.
Speaker 2 (07:21):
But anyway, definitely check this song out. Check that song
out since Oh No, No, No Doubt.
Speaker 1 (07:26):
And my classic joint that I'm bringing is by the
Boogie Boys. It's a nineteen eighty five track called a
fly Girl, produced by Ted Currier and David Spradley. The
reason why I chose this joint. Yeah, that's right. Is
because here we go in a time where this the
(07:47):
whole record was a tribute to how fly the Round
the Way Girl is. You know what I'm saying, ll
of course had Round the Way Girl, where he's describing
what's attractive and appealing to the girl next door or
the girl round the way, not depict it in a
way that she's a hoe or a living a questionable lifestyle.
(08:07):
These records are giving props. This was an error where
they're given props to these sisters in the neighborhood. They're like,
they might not be attractive right when you first see them,
like right away loved first sight or lusted first sight,
but after a while, they grow on you in a
very short period of time, their ways are attractive. That
it's the homegirl, and that this record Fly Girl. Did
(08:30):
you know they nailed it in regards to what they wore,
the jeens, Sergeyo Valente's jordash, jelly sneakers or jelly shoes,
the tube tops, you know, sucking on a lollipop, all
of that kind of stuff like that. So it's like,
I always loved that record, and if I ever get
back into fashion again, I want to use that record
as my theme too, if I choose to get back
(08:52):
into design and clothes and stuff again. But yeah, it's
a nineteen eighty five track by the Boogie Boys call
a fly Girl, produced by Ted Courier and David Spradley.
Y'all need to check it out. Check out both of
you joints, Slaps, Stuck in My Ways and a fly Girl.
Check it out. That's what's up now. Now I'm gonna
(09:14):
say less what you got?
Speaker 2 (09:16):
All right, we've reached that part of the program where
we're either gonna determine whether someone or something should say
less or or or or is what they're doing doing
the most? Now, doing the most, as we described in
previous shows, can be It can be good or bad.
It can be like, you know, someone's doing something real
(09:37):
stupid and you're like, yeah, yeah, you're doing the most,
you're doing the most. Or conversely, somebody is doing something positive,
doing something for somebody else.
Speaker 1 (09:49):
Conversely is a word.
Speaker 2 (09:51):
Conversely, Yeah, yeah, I mean as opposed to conversely. Uh,
you know, you say, hey, you're doing the most. You know,
you know there's a different uh, there's a different energy
to it. So uh, all right, So so yeah, so
it's either say less of doing the most. All right,
So let me break this down real quick. We're talking
about hip hop stories. Hip Hop Stories on YouTube. It's
(10:13):
an animated animated series and it's it covers the life
stories of hip hop artists. And they're starting with the
with the animated life story of Nas, you know, one
of the greatest rappers to ever pick up a piece
of steel. I got a chance to watch some of this,
and I thought it was quite interesting. I thought the
you know, you being an artist yourself, I think you'll
(10:37):
appreciate the style of animation and the quality. And they
were really getting into some interesting details of of NAS's life,
particularly his upbringing, talking about you know, situations, even to
the point as specific as Nas used to try to
(10:57):
play the trumpet and has as his father uh does,
but at one point his father told him to chill
because he was too young and his lips, his lip
or his upper lip wasn't strong enough uh to support
to playing the trumpet at a high level, which is
something that I didn't know uh mattered, But I found
(11:19):
it very interesting. I'm sure they'll they'll they'll continue with
some some other hip hop icons, uh and in this case,
I gave it a hearty. You're doing the most, You're
doing the most. It's a very good thing. I think
chronicling our icons lives in animated form. It's just another
interesting way to uh to uh, to reach the public,
(11:43):
uh and just just spread the gospel of of hip
hop if you will. So I enjoyed it, and also
to get updates on it, you can check them out
on i G and it's at h I P underscore
Hop Stories, so it's hip hop stories, but there's an
underscore between the hip and the hop. So check that
(12:03):
out IG and that that'll direct you to you know,
what they're doing in the future as well.
Speaker 1 (12:08):
It's so interesting that it's titled that, and I wouldn't
be surprised that if people they want to make sure
they put that underscore in the right place, because they
might pop up with another version of Hip Hop Stories
that was done many years ago by our good friend
d Nice. That's what got me into documentaries or for
(12:29):
me getting into a better quality of producing mind because
he used to be really into photography and videos.
Speaker 2 (12:38):
Yeah, yeah, yeah, yeah.
Speaker 1 (12:39):
He introduced me to the Cannon Mark four No. Five
d Mark two at the time in Mark three, and
what he did was it was called hip Hop Stories.
And what he did was he was telling stories with
all his connections and relationships in the business, where he
was giving the backstory on how famous records came to be.
(13:01):
One of them and I remember in particular was how
the Symphony with Marley mal and the Juice Crew, how
that came about. But the way he styled these stories,
the quality and the texture of the film, they gave
it a film look. I couldn't wait to see them
again because I'm working with a different type of camera
and I'm like, Dee, what are you using to get
(13:22):
that quality? And he hit me to it and it
was just a game changer for me. But he had
these extraordinary stories of cats or the park bench, wherever,
the quality film looking film look where he's telling these stories,
people sharing these stories of how these great records came
to be, and they would call hip hop stories. So again,
make sure you put that at hip underscore hop Stories.
(13:46):
But don't be surprised if you run into that and
it's not animated. That'll be your clue that is not animated.
But I look forward to checking this out. That sounds
like something that's really really dope.
Speaker 2 (13:56):
No, no, it was pretty dope. And I you know,
any any additional ways or interesting or creative ways to
tell the story of hip hop and uh, you know
it's pioneers or it's it's icons. I'm definitely down with that.
So yeah, it's definitely worth your time.
Speaker 1 (14:12):
So that goes in the column of doing the most.
Speaker 2 (14:15):
That's where we're doing the most, you know, not like
doing the most, you know, it's doing the most.
Speaker 1 (14:22):
Cool, all right, So speaking about doing the most not
the best segue in the world. But it's next on
the mic, and it's a it's an interesting story about
our friend Malcolm Jamaal Warner who had some comments about
interview that he did. I believe that the show of
the platform was called one on one.
Speaker 2 (14:45):
Yeah, Monica Pearson one on one, she's the interviewer.
Speaker 1 (14:48):
Mm hmm. Yeah, what happened, what took place?
Speaker 2 (14:51):
Well, you know, I got a chance to watch some
of the interview. Uh, in particular, what what actually Malcolm
was saying is the hip hop of today he considers
a lot of it anti black mm hm. And you know,
just that that as a as a statement is pretty
kind of dramatic, but I listened to what he said
(15:14):
on that particular topic, that particular piece, and I think
what he's saying is because of the subject matter, you know,
the glorifying of violence, the degradation of women, Uh, the
the fascination with criminal enterprises and things of that nature.
He said, Uh, those those elements by themselves are anti black.
(15:40):
You know, the fact that you put it in in
the hip hop form, it's still anti black in his opinion.
And to hear him, and you know, we've known Malcolm
for a very long time. Yeah, great guy, really talented, uh, actor, musician. Yeah,
he's big in the on the poetry and the sphere.
Speaker 1 (16:01):
Yeah.
Speaker 2 (16:02):
Yeah, he's very He's a very thoughtful person. And and
once again it's out of his love for hip hop.
He loves hip hop. That's why I made a statement
like that.
Speaker 1 (16:12):
And under one, remember remember his statement on The Cosby
Show under one with Stevie Wonder under one, you know,
doing it under one. But yeah, we go way back
with that brother. I remember parties we would all frequent to.
And I don't know why, all of a sudden I
thought about his cameo. He might have directed that music
video Funky Be with Houdini. Uh, because he was he
(16:36):
was getting into directing there for a minute. I think
he did a couple of episodes on The Cosby Show
as well. And I remember when we used to hang
out at parties. People would always say he and I
look toke. So whenever we go to parties, he'd be like,
we both say to each other, you go to that
side of the room. I'll go to the other side
of the room and we'll have our old territory. But
good brother, and I, now that you bring this up,
(16:57):
I thought about another thing I saw him on prior
to this one, where he was saying hip hop isn't
hip hop anymore. I remember that too. It wasn't too
long ago as well. I guess it's in the same vein.
Speaker 2 (17:09):
Yeah, I would. I would urge people to watch watch
the interview. It's called Monica Pearson one on one. Uh.
And you know, like I said, he's he's very thoughtful
and it brings to mind looks. It's it's that classic
versus the new flavor kind of deal. That's the argument. Uh.
(17:29):
And you know I can't say that I don't disagree.
I don't disagree with what he's saying. And he's asking
the question like who who in hip hop is combating that?
And is it going to be almost like a battle
within the culture, you know, the street vibe versus the
(17:54):
conscious you know. I mean, I think I think we
need them all. But I think what Malcolm was saying
is that it appears that that the the the rougher
side is dominating right now, and they're not. They're not
making they're not they're not giving slots to everybody. They're
giving slots to a particular brand of hip hop.
Speaker 1 (18:16):
Well, I think it raises the question is art imitating
life or life imitating art? Because the argument used to be, well,
why can't we spew, for off, the type of language
that you would see in a Robert de Niro or
Al Pacino movie where they're playing the role of gangsters
but they're not really gangsters. But how come we can't
say what we say on the microphone and it's just art?
(18:39):
But when it gets to the point where the undeveloped
minds I put it that way. Taking these things to heart.
Based on another episode when we talked about the difference
between being famous and infamous, when to separate art from
real life and real life from art, you know, some
people don't know the difference. And then some people could
blame it on video games in regards to the fact
(19:00):
of how people take literally this stuff that they're learning
in regards to how to hold a gun shoot a
gun in these games and stuff, and then they don't
know how to separate it from when they're out there
in them streets and they're just not what's the word
for when you call it, when you're not able to
function socially, so to speak, so you're quit to be
(19:21):
able to do what you've seen in a music video,
what you've seen in a game, or whatever the case
may be, where you're just simply taking things too far.
And I think some rappers have addressed that. Don't quote
me on it, but I could be wrong. Like I've
seen some things I believe from ghost Face Killer other
rappers that are just having an issue in regards to
(19:42):
how far younger rappers are taking the lyrics where it's
not fun anymore. That's what I'm beginning to hear people say,
or iconic rappers or rappers with a great deal of influence.
Speaker 2 (19:55):
You know, I was thinking, if you go back, think
about think about k R S One Uh, their first album,
Boogey Down Productions, that's a gangster wrap album, you know
what I mean? By by any standards. Now, he did
he didn't stay in that lane, you know what I mean.
But but that was that was a gangster rap album,
(20:15):
and at that particular time it was it was in
the minority, Schoolly d P, s K Killers. That's a
gangster record. But but it just seems that the ratio
has flipped and and the the harder, the harder edged
stuff is dominated. And I think, uh, I think that's
(20:38):
what Malcolm lovingly, you know what I mean. I think
if you, if you, if y'all watch that interview, you'll
see that he's coming with U from a place of
nothing but uh love and respect and reverence for for
hip hop and the culture. But he you know, he
can't he can't unsee what his as we've seen. And
(21:01):
I think you.
Speaker 1 (21:02):
Are here because if you haven't heard hip hop in
a minute for whatever reason, and here you are returning
to it thinking it's going to be what you last
remember it to be. It could be a bit of
literal like a culture shock, you know what I'm saying.
It's like, Yo, what happened? You know what I'm saying
in regards to the fact of you know, this is
what again we've spoke on it, love, peace, unity and
(21:23):
having fun. But at the same time, like you said,
with Boogie Down Production and others like I guess we
were mature enough to be able to know what's art
and what's life and just not to take it too far,
to take it far at all.
Speaker 2 (21:38):
You know, yo, it reminds me of just remember back
in the days when we used to do like those
MTV Spring Break gigs and stuff. I remember we were
down there in Daytona and Malcolm was down there as well,
and that's when we started doing that. Give member of
that game when we used to hit each other in
(21:58):
the nuts.
Speaker 1 (21:59):
And stuff a bow, take a bow we.
Speaker 2 (22:01):
Hit, We hit each other in the nuts and we
and we would get we were getting the we were nothing.
We were killing malcol Jamar with the nut.
Speaker 1 (22:11):
Shot I got. I got a beautiful picture caught right
frieze of me getting Jerrel LeVert righted. Take about boom
you who didn't we get you. There's a picture of
him with his face like you could tell I just
got him. Like, oh, you know what I'm.
Speaker 2 (22:29):
Saying how about this you you you give I'll be
Joel LeVert and you you give me a nut shot.
Speaker 1 (22:37):
So you know what I got to say? What I
do it? Right? Here we go, Yo, shut up, take
a bow, boom, This game is over. But I swear
I've come across that picture every once in a while
eight by ten, and I know what that picture is
(22:59):
is right when I got it. But we did ed
lover and who did we get?
Speaker 2 (23:03):
Everybody? Real quick? Rest in peace to the to the
incredible Joeral Avert. Yes, what a great man, what a
what a what a great artist. Also rest in peaces,
brother Sean.
Speaker 1 (23:16):
Yes, they you know, thet family, the Avert family, Their
father Eddie has always been such a beautiful person to us,
like really really like in on the jokes, all of
that great family. So you're right, you know, hats off
and uh yes, r I P and salute and all
of that.
Speaker 2 (23:37):
Yes, ultimately, look, we've said this on this podcast before.
Hip hop is a living, breathing, evolving organism and and
I think it also I think it also autocorrects. You know,
so so if if there's a trend that that that
(23:59):
that going down, you know, a dangerous path or an
unconstructive path. Hip hop has a way of kind of
recalibrating itself.
Speaker 1 (24:10):
So that's what the elders are about. You know, we
have become that, you know what I'm saying. You know,
you definitely want to be before someone who's willing to listen.
And I you know, I can't speak for you. I
know when we're together, and especially when I'm by myself,
when I run into these young cats, and it ain't
about beating up on the young cats. Just using that
specifically with this sentence. You know, there's nothing but with props,
(24:33):
you know, and flowers and the whole nine. And they
would love to get advice or you know, to be
you know, every son and daughter deep down would love
to be parented because it shows love. You know what
I'm saying, And I do agree with you. We do
auto correct. It seems like it takes a little long,
but it does happen, you know.
Speaker 2 (24:57):
Yeah, yeah, yeah, yeah, yeah, I got you. So hip
hop I would say, hip hop he healed thyself. Oh
you know what, it kind of reminds me speaking about
kind of getting getting guidance from the elders. That reminds
me of when we got a chance to meet the
late great Roger Troutman. Oh yeah, we got some very
that's right, valuable advice from him, and and not the advice,
(25:23):
certainly not the advice that I expected him to give
to give us. You know, I don't know if you
want to.
Speaker 1 (25:29):
Well, the back story was we were on Hollywood and Vine.
That's when it used to be the holiday inn. I
think something was would Highland, yeahand my bad, and I
think someone was up with our room because we weren't
in them. And I remember him introducing himself to us
and inviting us on his bus, and we were blown
(25:52):
away because his bus, his tour bus, was an actual
mobile recording studio like you wouldn't believe, especially at that time.
And I remember him just sharing with us, you know,
just schooling us. That's what this used to be called.
He was just schooling us in regards to it. Maybe
he saw what we were going through in regards to
(26:13):
the fact that we weren't in our room yet and
it was taken a minute.
Speaker 2 (26:16):
But I do remember that very much. Yeah, yeah, I
remember he was. He was talking with us, showing us
how the studio works. You know, we were like, wow,
we're blown away and whatnot. But one of the things
he asked us, he asked us, what what what were
we doing outside of of of being an artist? Yeah,
and uh, you know what what outside interests or projects
(26:39):
were we involved in. And at the time I told him,
I said, yeah, I mean I've got I've got some
some groups that I that I that I signed, and uh,
you know, we're reducing records on them and we're going
to try to get him labeled, label deals and stuff
like that, and you know that that's that's that's what
I want to do. And then he said, he says, no, no, no,
he said, you need to do something, get involved with
(27:01):
something that has nothing to do with music, that's not
not entertainment business related, you know that. And he and
he proceeded to school us saying, hey, look, I'm round
the troutman, I get it, I make records, I'm zapp
all this and that. He says, but I got trout
in construction, I got trouting in this, I got trout
in that stuff that ain't got nothing to do with
(27:23):
uh with his music. So I didn't sell another record
for the rest of his career. He still got these
other businesses that people need, and you know will not
suffer because of that. That was I thought that was
I thought that was an interesting uh way to uh,
you know, way to come at us. I never forgot it.
(27:45):
I wish I couldn't follow his advice, but I never forgot.
Speaker 1 (27:48):
I wish I could remember the person who gave me
this advice I'm about to share. We were both at
some gathering where there was a lot of celebrities in
the green room wherever we were at, and I think
we would talking about the what we're gonna do about
management or even account accounting. And what was crazy was
that whoever this was, I wish I could remember who
(28:11):
it was, because it was somebody really really famous. They
apologized for eavesdropping, and they said, but they couldn't help
themselves to want to help give some advice on us
trying to figure this out. And they said to us,
I'm a paraphrase, but I'm a nail it as closer
as I can. They said, y'all are wrestling with not
getting ripped off. You're gonna get ripped off, But who
(28:32):
you need to find is who's gonna rip you off
the lease? And I never forgot that. I was like, wow,
it's like getting taken is gonna be inevitable. That's life,
especially in this business called entertainment. But the trick is
finding the person who's gonna rip you off the lease.
And I never forgot that. Maybe one day i'll remember,
you know who that was, But I remember the reason
(28:54):
why I stuck with me because of who it was
that said it, and I can't remember why. I can't
remember the person itself. But yeah, we would run into
people who would look at especially Quincy Jones and others,
that would take us under our wing for a certain
season of time or whatever, and they just, you know,
we appreciated that. I don't really picture rappers doing that
(29:14):
for others. We have those moments, but not like we
go out of our way because maybe because of such
the competitive nature, you know, who wants to, you know,
give advice to somebody to go to do better than
you And that's the wrong way of thinking. But that
that's that's hip hop for you sometimes, you know. So anyway,
it's time for the playlists? Are you rette?
Speaker 2 (29:37):
I believe so you always cut me off when I'm
I'm sorry, I'm by the way.
Speaker 1 (29:45):
Like and subscribe, Like and subscribe, please please please The
playlist is me sharing things that have influenced me, encouraged me,
inspired me in the particular cinematic cinematography, filmmaking directing community.
I'm gonna cut right to it. In two thousand and three,
(30:06):
I came across a film I wasn't eager to watch
because I never saw the original, but I thought it
was interesting when I caught wind of what this particular
movie was about. It was called bad Ass b A
D A SSSS and it was starring and directed by
Mario van Peebles. This was Mario van peebles tribute to
(30:27):
his father, with starring Neil Long and Joy Briant, directed
by Mario van Peebles, written by Melvin Van Peebles, Mario
van Peebles and Dennis Haggerty. What he did which was
so brilliant was he recreated the making of his father's
(30:48):
masterpiece Badass. What was the son Badass song? Beat Sweet
Badass Song. He recreated the making of that movie, going
back in time showing what it tooks. Because Mario van
Peebles piece was considered the original and what sparked what
(31:08):
was later to be called the black Exploitation era, wherein
this was about you know a black hero and how he,
you know, got over on the man or Popo or
the pigs or the white establishment. The movie, Yeah, Hockey,
(31:29):
the movie. When it first came out in San Francisco,
I believe the opening night was embarrassing. No one showed,
and he was in debt, deep debt. Mario Van Peebles
was in deep debt to make this film. You want
to talk about Spike Lee, what it took for him
(31:49):
to do. She's got to have it and go on
in credit card debt and all of this he called
in favors, he called in and the thing that caught
my attention because anyone who knows, we know how much
I loved Earth Wind and Fire. Earth Wind and Fire
did the sounds, the score and the soundtrack to this
movie to this day. In an interview, God bless his
soul and he's passed. Maurice White, visionary of Earth Wind
(32:13):
and Fire did At the end of the movie, it
shows an interview or real life interview with Maurice White
saying that Mario Van people still owed him money for
doing the score to this movie. So what ended up
happening was the opening night pathetic. No one showed, No
one came to the theater at all. A Black Panther
(32:36):
member on a weekday night board or whatever was going on,
went in to see the film by itself, to go
watch a movie by himself, left out of the theater
before the movie was even over, and Mario thought that
the movie was whacked, that this guy hated the movie
so much that he didn't want to sit and watch
the rest of it. Know what this guy did was
(32:58):
went and got the other Black Panther members to come
see this film, and the movie exploded and became a hit.
That's what went on with the original film. So Mari
the original Yeah, like I'm saying, Mario did, redid the making,
(33:19):
made a movie out of the making of the original
movie to show how it was done. So we had
people playing the part of Maurice White. Joy Briant played
the girlfriend of Maurice White, talking Maurice White into helping
Mario do the score for this movie. It's a dope movie.
(33:40):
It's called badass, brilliant film that our friend Mario Van
Peoples did. Matter of fact, he also directed The Salten
Pepper Story, but did this movie and did other music
videos and other films as well. Matter of fact, Mario
directed New Jack City a matter of fact.
Speaker 2 (33:58):
Yeah, and he did the one with the Cowboys exactly.
Speaker 1 (34:02):
Yes, so with Big Daddy Kane, our dude, big shout
out to Big Daddy Kane and all of them. But
this movie, I probably didn't explain it right. I believe it.
Speaker 2 (34:10):
I'm confused because I get Mario.
Speaker 1 (34:13):
Men, that's what's saying. Mario is the Sun. No, Mario, Okay,
it's Mario is the is the son of Melvin Van Peebles.
Melvin Van Peebles did the original movie that you quoted,
Sweet Back Badass Song. Mario Van Peebles created a movie
(34:36):
in two thousand and three called Badass, which was the reenactment,
the reacting of the making of that movie, of the
original and showing how what it took to get that movie.
It's not a documentary, it's acting. It's a movie. Extraordinary, extraordinary.
Speaker 2 (34:55):
Get down to the blockbuster and get that. You know
what I'm saying, Will.
Speaker 1 (34:58):
You do that? But that My movie of the day
on the playlist is called Badass, starring Mario Van Peebles,
directed by Mario Van Peebles, tribute to his father, Melvin
Van Peebles, who wrote and directed the original the original
movie Sweetbacks Badass song that that movie is based on,
(35:21):
starring Joy Bryant and me A Long, two of your favorites,
MEA Long who doesn't have a crush on her, same
thing with Joy Bryant from other movies as well. So
that's it Badass two thousand and three.
Speaker 2 (35:36):
Check it out, all right, I'll check that out. Moving
right along, come to your kid magment that that the
public this segment. The public has embraced this segment so
so enthusiastically that the comments have been amazing, praising me
(36:00):
for my segment called just kidding. O God, it's back
just kidding, And I wanted to do something interesting, uh
this time for just kidding. I stumbled across, as I
do a lot of a lot on social media, I
stumbled across really interesting music, new music, interesting genres, not
(36:24):
just hip hop. But I got I ran up on this.
Uh this artist I believe the name is Barell b
U R R E l L. And he's he's a
rapper and a producer. He produced this particular song and
the song is called waffle House. Okay, Okay, yeah, it's
called it's called waffle House, and it's kind of like
(36:47):
it's kind of like an R and B song, and
it has like an R and B old school R
and B flavor and instrumentation to it. And he's basically
just talking about what the waffle house is like. And
he's singing in like a part of it, in like
a false settle, you know what house, And he's just
(37:08):
talking about, you know, like you know how you could
get oh Man, which which I had the lyrics in
front of me. I remember some of them, but you know,
he just talked about that whole process, like, you know,
you you could get your ass kicked at the waffle house.
Everybody's got a blick at the waffle house. You know,
it's the South, so everybody's got a blick. But I
(37:28):
just thought it was really really it was. It was
kind of it was funny, uh and it was creative
at the same time. Uh. And and you know what
we are. We had a situation where we want to
ask the audience to request it on touch tunes, so
it could you could actually play it athlete at a
waffle house. But it's it's on it's on excuse me,
(37:50):
on Apple Music. So you just scooped that it's it's
worth your time. It's it's a pretty pretty, pretty funny song.
And if you've ever been to a waffle house, you'll
you'll understand all the references that he makes within the song.
And I know you've been to waffle house many a
time as I have, go.
Speaker 1 (38:08):
To acord, you know, touring in the nineties and eighties, well,
touring in the nineties. Who didn't know a waffle house?
You know what I'm saying, So, oh yeah.
Speaker 2 (38:16):
Totally, totally yeah, and also too, I don't know if
you've ever I'll ask you now, have you ever because
we see these brawls at waffle house they're all over
social media? Have you ever been a part of or
seen a brawl at a waffle house?
Speaker 1 (38:32):
No? You and I are wise enough to know that.
You know, that's something we don't want to get in
the middle of, even if we just happen to be
casualties there. You know what I'm saying. So you know
you always got your head on swivel. And when you
get ready to see some today, right, it's like, oh,
excuse me, can you speed up that order please? You
know what I'm saying, And it's time to be Oh.
Speaker 2 (38:54):
Yeah, I can remember at times. We you know, I've
gone into a waffle house, like on the Lake night
tip and a place is packed out. That's all the time,
you go.
Speaker 1 (39:06):
I don't know anybody who really goes in the daytime
for any serious dining. You know, it's an after club pleasure,
you know what I'm saying.
Speaker 2 (39:13):
Yeah, and these wiffle houses and you know, after the
club or or after the concert or what after the
after party or whatever like that, there is a lot
of tension. There's a lot of tension right in this thing.
You know, they might be arrivaling.
Speaker 1 (39:29):
And drunk in there, drunk, drunk, drunk, drunk.
Speaker 2 (39:34):
Drunk, hungry, and the poor waitresses, the poor waitresses got
to go through all that. I can't tell you how
many times I feel I feel so sorry for the
for the waitresses because what they have to endure. Yeah,
these dudes is foul, man, they foul. The cook is slave.
In matter of fact, that's one of the lines in
the song, guys, you know, talking about how to how
(39:56):
to how the workers the slaves and slave, you know, slaving,
and then also too, you know, don't don't he's he's
saying like at one point, like don't talk ship. It's
three a m. What are your options? Bitch?
Speaker 1 (40:10):
You know, but but bro, I got a question for you.
What's your favorite order at the waffle house?
Speaker 2 (40:18):
Oh that's a great it's a good question. I would
usually do. I would usually do like I'm an omelet
kind of guy, you know what I mean, So I
could do like maybe like one waffle and an omelet,
you know, not too and and and you know, some
half browns. There you go, Now, what about you?
Speaker 1 (40:43):
I always love the raisin toasts, yeah, and cheese egg
joint Yeah, cheese eggs with the with the with the
bacon or either the patty sausage. Definitely had to have
the raisin toad, the razor raisin and cinnamon toast. I
had to have that. That was my joe with orange
(41:05):
juice and I'm straight. And hatch browns.
Speaker 2 (41:07):
Yeah, you remember back in the days, Pepper used to
get pepper from salt and pepper she used to get, remember,
I used to call it smothered, scovered and cover.
Speaker 1 (41:18):
Yes, I'm surprised that she didn't have that on the menu.
That that would be called her joint on the menu,
because that was what she she would get, like named
after her or something like that, you know. But uh, yeah, man,
good times on the road. We got to.
Speaker 2 (41:34):
Share some waffle House stories with us, uh in the comments. Yeah,
that's the question for those.
Speaker 1 (41:42):
But see the thing about it is that isn't a
waffle house across the country, Like where does it stop at?
It doesn't go into East Coast.
Speaker 2 (41:50):
And it's it's not it's not here really either. It's
it's a Southern thing.
Speaker 1 (41:54):
Well what's their version of it? Because there are versions
of those type of places like waffle House. Even white
Castle wouldn't be all over the place, but their version
of white Castle would be what what was that other place?
Speaker 2 (42:07):
Yeah?
Speaker 1 (42:08):
Crystals? But I think that there are places that are
similar to waffle House, but they're just something else different.
But yeah, what for those who are familiar with waffle House,
you know, get at us and let us know what
your your favorite joints is, because you could you could
customize stuff up in that place, you know for sure. Anyway,
it's been none but love and fun and we look
(42:28):
forward to y'all in the next episode. We all learn
that we learned. What do we learn?
Speaker 2 (42:34):
What do we learn? Well, we I think we learned
an interesting discussion about Malcolm Jamaal Warner's comments about the
state of hip hop and how he considers it. Uh
anti black if you will, So, you know, we urge
y'all to check out that interview he did with Monica
Pearson Monica Pearson uh and uh and also to let
(42:54):
us know how you feel about it? What what? What is?
What is the what do you feel is the current
state of hip hop? And and where where is it
headed in the future? And are you encouraged or discouraged
about the direction and the different directions that it's heading into.
So that's what I learned.
Speaker 1 (43:14):
Yeah, we want to start shouting our names as well.
You know what I'm saying for people who have ideas.
When it comes to what you ordered to waffle house,
it might be interesting, but also, you know whatever, I ordered.
Speaker 2 (43:24):
A knuckle sandwich at the house.
Speaker 1 (43:27):
I'm trying to see what I might have learned. I
don't know. Oh, well, it's good to know about the
new I'll call it the New hip Hop Stories YouTube.
So I'm gonna check that out. And that's real call.
And to learn about NAS with his father.
Speaker 2 (43:40):
Instructing him about the lip with Yeah, Yeah, that was
very interesting and I found I found that part of it,
Like they definitely a lot of the detail. So I think,
you know, there's things that that you know, even you
know that I didn't know. I didn't know certain things
about him and we know we know nas so shout
out the.
Speaker 1 (44:00):
All right, so love Piece and hair Grease all be
safe out there. Willing to thank you for the support,
and we got we got guests coming soon. We're just
trying to make sure that we straight with the new
format here. You know what I'm saying.
Speaker 2 (44:22):
Peace.
Speaker 1 (44:24):
It's a it's a podcast
Speaker 2 (44:27):
Available on or streaming podcast platforms.
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