February 2, 2024 • 55 mins
Battling through sniffles and a cough, Chad pushes through his man cold to discuss Black History Month, Joel Embiid and the importance of availability, Issa Rae's new TIME cover story, and then Morgan pitches Chad marketing ideas.
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Executive Produced by: Chad Sanders
Produced by: Morgan Williams
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:09):
Alright, welcome to Nothing but Anarchy.
I am Chad Sanders.
I'm sitting down today because,Morgan, why are you laughing
already?
Speaker 2 (00:18):
Because this is like the epitome of like man being
sick and saying oh, why dopeople keep saying that to me?
Speaker 1 (00:28):
Yes, I've been accused of having a man cold,
which I guess is when a man hascold.
Why can't men be sick?
Speaker 2 (00:37):
Because when men are sick, they're like it's the end
of the world.
Speaker 1 (00:41):
Have I even been acting like it's the end of the
world?
Okay, so alright.
So thank you for saying that,morgan.
That gives me something to sayhere.
We're going to see how thisgoes.
I'm sick.
I know that because I'm a man,I'm not supposed to or allowed
to be sick, but I am indeed sick.
I am at.
I told my sister.
She chatted and asked how I'mfeeling.
(01:03):
I said I'm at about 74%.
I have spent the last two and ahalf days laying around the
house and also having to takePenny on walks for an hour every
day, and being sick sucks.
Now I feel self-conscious abouttalking about being sick
(01:25):
because I have been accused ofhaving a man cold, but being
sick sucks.
It's really depressing.
It feels like you can't do thethings you're supposed to do and
people are asking you for stuffand you just can't lean in the
way that you usually do.
That's how I feel.
(01:45):
So you can probably actuallyhear that my voice is different,
but we're doing this showbecause we didn't do the show on
Tuesday.
We have our live show a weekfrom today, by which I time I
expect to be fully recovered,but this is a game of volume in
(02:09):
a lot of ways Like this media isthat Media is a game of volume.
Like everybody, most peopleprobably have the wherewithal to
make three entertaining-ishepisodes of a podcast, or to
make one really strong TV pilotor to write 15 pages of a good
(02:30):
book.
But this thing is about likehow much volume you can produce
of something that is of a solidquality.
And so I got to come sit my assin this chair on Tuesdays and
Thursdays.
I can't miss a bunch of dayslike I did on Tuesday, I think.
Hopefully that was maybe onlymy first sick day that I have
(02:53):
missed for this process.
Yeah, so that was my first sickday since we started almost a
year ago in April, about 10months ago.
So that is a segue for me toJoel and Bede.
So there's a lot ofconversation right now about
Joel and Bede, who has come veryclose to missing already the
(03:18):
NBA's threshold for how manygames an NBA star or an NBA
player can miss and still beeligible for the big awards at
the end of the season, like MVP.
Like all NBA, that also affectstheir money.
They have a lot of incentivesin these player contracts and
also in upcoming negotiationsthat are tied to whether or not
they have made these big,whether or not they've won these
(03:41):
big awards MVP, all star, allNBA, etc.
Joel and Bede, who is probablyand still remains the odds on
favorite to win the MVP, eventhough he might have now fallen
behind Nicola Jokic and ShayGildris, alexander he is a guy
who is always injured, like thatis his MO.
(04:03):
When he's on the court, he'sdominant.
He had 70 points in a game aweek and a half ago.
He's one of the best defendersin the NBA.
He's absolutely one of the bestoffensive weapons in the NBA.
He is seven foot two.
He has guard skills.
He has big man skills.
He can do everything, um, buthe's not at work that much.
(04:25):
And this rule that the bestplayers have to play 65 games in
order to be eligible for thebig awards and for the big money
Um, that role only just cameinto effect this in this season.
This is the first season whereit matters, and so Joel and Bede
is the first superstar who willbe in question this season as
(04:45):
to whether or not he'll hit thatthreshold.
There will be others who willalso probably come close to or
miss that threshold, like TyreseHalliburton, who's already
missed, I think, 15 games aseason, but Joel and Bede is the
big one that we're talkingabout because he's the most.
He won the MVP last year.
He missed a playoff game.
He has been.
It has been a part of his MO tomiss playoff games or to be
(05:08):
injured in the playoffs andunderperform.
And so there's debate overwhether or not the rule is a
solid rule and whether or notthis is a rule that's going to
have a negative, negativeconsequences on the players as
to whether or not guys show upand try to play injured and do
injured and do more damage tothemselves.
(05:28):
Um, how this relates to what isgoing on with me, jalen Rose,
who used to be on the SPN andwho is now doing his own podcast
thing and who is seldom heardfrom now that he's off the SPN
platform.
He used to always sayavailability is the most
important ability.
I agree with that.
I think that Joel and Bede notbeing available to his team
(05:53):
makes him a less valuable playerthan guys who were either even
in like the rankings of like the10 to 12th best players in the
league who are available totheir teams.
Joel and Bede missed his firsttwo entire NBA seasons.
He has.
Joel and Bede has never played70 games in an NBA season.
All of those are reasons why Ithink he should be made
(06:14):
ineligible for the mostimportant words at the end of
the season.
I think it's absurd forsomebody to be considered the
most valuable player in the NBAif he is not available to his
team for one quarter of theirgames in said season.
I think that guys who playevery night, I think that guys,
I think even guys like who Igenerally don't celebrate, like
LeBron who make themselvesavailable to their teams almost
(06:37):
every night, should beconsidered much more valuable
than somebody like Joel and Bedewho is constantly putting the
framework of the team and theirdynamic altogether at risk
because you don't know when he'sgoing to be there and you don't
know when he's not going to bethere.
It's a big.
It makes such a difference to ateam dynamic, any team dynamic
basketball corporate team ofexecutives.
(07:00):
This team like a productionteam.
It makes such a big differenceto everybody involved if you
don't know if the person whoeverything revolves around is
going to be in the seat or not,and so I think it's really
important that I have my ass inmy seat and do my job.
Okay, that was sports.
So it's Black History Month.
(07:22):
I just said that because it'shere on the, it's written on the
docket.
I'm like, okay, it's BlackHistory Month.
Well, what does that mean to me?
So there's a couple of thingswe're going to get to today.
One is that there is a TimeMagazine cover with Issa Rae on
the cover.
There's a Time Magazine, Iguess, issue that has just
(07:46):
dropped digitally, with Issa Raeon the cover, and she's talking
about how negligent Hollywoodis being right now with regards
to producing and funding blackcontent, or content, I guess,
just shows, tv shows, moviesmade by and featuring people who
(08:06):
are not white.
Basically, I read it in an Uberon the way here today and this
is what it signaled for me.
This is what it reminded me ofA few years ago 2020, 2021,.
I was just about to startpromoting my first book, black
(08:30):
Magic, and George Floyd waskilled in 2020.
In the lead up to that time.
I didn't know this was a partof the book promotion process,
but my agent and my editor theyencouraged me to write something
(08:50):
about what was going on in ourcountry surrounding blackness
and civil rights.
I don't know if civil rights isright, but the killing of black
people and black peopleresponding to those murders, the
protests, the marching, whatsome people were calling rioting
(09:10):
, et cetera, et cetera.
So I wrote and I wrote, and Iwrote a bunch of pieces leading
up to my book coming out.
One was in the New York Times,one went in Fortune and one went
in Time Magazine.
And the piece that I wrote forTime Magazine was about the
window the window for blackprojects, the window for black
(09:34):
money, the window for blackgreen lights.
Basically, I forgot exactlywhat verbiage I used to describe
this thing, but I remember,just before my book came out,
one of my friends, mom's, calledme and she said she was
congratulating me on seizingthis moment.
And she said to me you know,get as much done.
(09:57):
In so many words, get as muchdone as you can right now, while
this window is open, becausethese windows open and close on
a cycle.
You know, every 10, 15 yearsthere's a moment where black
people, black projects like art,are supported because there's
an inflection point in societyand in culture and there's a
guilt that's there.
(10:17):
And that's the moment whereeverybody's got to rush through
and get what you can get.
And I wrote about that for TimeMagazine and I wrote about sort
of being conscious of this,like window that was open for me
to enter as creator, as writer,as creative, and I didn't know,
(10:38):
like I had some intuition, somefeeling that indeed that would
be the case, that this thingwould open and then shut.
But I had never been throughone of those cycles before, so I
couldn't say, like I didn'tknow exactly what it looked like
.
I'm watching what it looks likeright now.
So that type of window openingand closing for black creators
(11:04):
has a lot to do with theeconomic cycles that are
happening around us in general.
I didn't know that.
The reason what Issa Reyes istalking about in this timepiece
is these corporations, thesestudios, put so much lip service
to the idea of we're going tosupport black content, we're
going to support black writing,we're going to support black.
(11:26):
We're going to support I'm ondrugs, guys.
I've had Nyquil.
We're going to support blackauteurs, not Nyquil.
Dayquil is what I had.
I'm on drugs.
I have been on drugs in herebefore Dayquil.
I have.
I've said that.
I remember saying that.
That's true.
But what, issa Reyes?
(11:48):
I'm going to move slowly, guys.
My brain is foggy.
Okay, I'm trying.
It's been, guys.
Being sick is so ass.
You can't do anything, youcan't really eat the things that
make you feel good.
I can't write like this.
(12:09):
I had to do a one hour kind ofrecorded conversation for my
love project yesterday and I'mjust so foggy and so flimsy and
pathetic.
Anyway, man cold, it's a mancold.
So it's not COVID, though it'sa COVID test.
What am I saying?
I'm saying what Issa Reyes issaying in this piece.
(12:33):
I'm going to summarize thispiece.
He says you can read it if youwant to.
It's in Time Magazine, it's notvery long.
And also it occurs to me nowlike oh, this came out today
because this is the beginning ofBlack History Month.
So black person on the cover,great, that's part of the window
.
Black stuff on cycle, likeMorgan is having visibility into
(12:53):
this.
Like people want to pay me tocome talk it or pay or not pay
me to come talk it, stuff rightnow because it's Black History
Month.
So they're like, who do we knowthat is black, that can talk,
and they go out seeking us andthey find us and then we go do
the thing because, like what areyou going to do?
(13:13):
Not do the thing, but we don'tdo the thing for free, morgan,
right?
Speaker 2 (13:17):
Right.
Speaker 1 (13:19):
Okay, we'll come back to that.
Issa Reyes is saying in thispiece.
I'm going to summarize she'ssaying all the lip service that
was paid to the amplification ofblack art in Hollywood was
flimsy, it was not real.
Because she's watching her ownprojects get canceled, get axed
(13:43):
left and right at HBO andotherwise and because that's
happening to other people.
She's also saying theexecutives and I had a friend I
think I mentioned to you all, myfriend Garth, said this to me
years ago, like probably seven,eight years ago.
At this point he said now thatthere's money flowing into
Hollywood at a different clip,you're gonna see money people
(14:07):
start taking over the jobs thatused to be run by creative
people in Hollywood.
You're gonna see executivesstart becoming ex-McKenzie
consultants and StanfordBusiness School graduates and
people who generally would havegone into hedge funds and
financial management and thingslike that they're gonna start
(14:28):
going into Hollywood becauseit's just money management,
they're just managing flows ofmoney.
So Issa Rae is saying theexecutives are those people now.
They're not creative, they'renot interesting, they're not
curious.
I mean I've been saying thatbasically every other episode
for 10 months but actuallyeverything Issa Rae says in this
piece is the same stuff.
Speaker 2 (14:48):
I've been saying.
Speaker 1 (14:49):
I mean I think it's good that Issa has a loud voice
so she can amplify some of thesemessages.
She has a big voice and I wouldsay everything she's saying is
corroborated by what I and otherpeople who work in this
industry have been saying for along time.
So the second thing is themoney people are taking over and
(15:11):
the creative people are beingpushed to the wayside, and you
can see that we get so excitedwhen an actually good or
interesting show comes out.
Everybody's talking about itbecause it's rare, because most
of the stuff that is coming outis sludge, because it's going
through a spreadsheet, it's notgoing through like an inspired
point of view.
The third thing she's saying,which is an interesting
(15:33):
juxtaposition to the first twothings, is I'm finding that a
lot of these pieces that featureIssa recently they're almost
the same piece over and over.
As I see them, they have kindof the same cadence.
It's like here's Issa Rae'sbackstory, which we all know by
now.
How many times can somebodytell us it started on YouTube
(15:56):
with Awkward Black Girl.
We know that, thank you.
Then it talks about sort ofthis current status of Hollywood
and how it is devaluing blackart and how her own shows have
been canceled.
Then there's a landing pointwhich is about Issa Rae's
entrepreneurialism and she doeswell to make sure that that is
(16:21):
featured in every single storyis that Issa Rae is a mogul.
Now Issa Rae is more than a TVproducer, a writer, an actor
talent.
She is a mogul and it countsoff her various businesses and
it talks about theinterconnectedness of her
company and her brother is herCFO and her Montrell, who went
(16:46):
to Morehouse I think it'spronounced Montrell he runs
content at her company and it'sa family affair, but it's a
business.
It's a business.
This is a mogul here, and so Ithink what I take from this
that's the third part is that italways announces Issa as like
the mogul.
(17:06):
What I take from this is twofold.
One, this piece talks a lotabout and often these pieces do
they really center Issa'sblackness and the struggle of a
black creator, even as powerfulas Issa, to have the impact she
(17:28):
wants to have in a Hollywoodthat's so white and that loves
whiteness so much at the expenseof other races.
As much as that is an importantmessage, boy, would I love to
read a feature on Issa that isreally just about, and also I've
(17:49):
had this opportunity to be theone to feature Issa in this way,
and maybe I also didn't do it,but boy would I love to just
read a feature on Issa that'sjust about creativity and
business and doesn't have to becentered around black struggle
every single time, because theIssa Rey story, I think, is,
(18:13):
moralities aside, however yousee this person, it is the story
of the digital creator whobecomes an independent studio,
which is the model that so manyof us, I think, are trying to
follow.
And the second thing which isrelated to that, that I take
from something like this is theconflict I can, as I I'm a
(18:44):
writer, guys like I'm a creativeperson so sometimes I be seeing
something that's not there.
But when I look at that piece,scroll, scroll, scroll there's
an image of Issa standing infront of, like this big it's
either red or orange piece ofart and it's a power image.
You know it's like she'sstanding there.
She has a very stoic, slash,stern look on her face and I
(19:08):
believe the image is meant tosay like power.
This is a powerful person.
When I see images of peoplelike that power power in this
country in a time magazinefeature is connected to
(19:29):
capitalism.
In my point, in my opinion.
I see mogul, that's what it'stell.
The piece is telling me mogul,it's telling me in words, it's
telling me in imagery andthere's a there's a bit sort of,
there's a bit of gobbledygook.
Writing towards the end sorryto whoever the writer is, but
like and it's trying to saysomething about Issa Rea is
(19:52):
aware of how her business isboth impacting the
gentrification like amp, likecreating more gentrification in
the part of Englewood that herbusiness is in or just outside
of Englewood, but also how she'sfighting back against it.
And I was, like I tried to likeread the sentence a few times,
feels like wait, what the fuckare you trying to say?
Like she is causinggentrification, she's fighting
(20:13):
back against gentrification,she's aware of how she is
affecting gentrification here.
Like, what are you sayingexactly?
And it felt like the type ofgobbledygook that, like a PR
person asks to be added to apiece to protect the image of
the person who is featured here,to say like don't worry, like
yes, we know we're creating thisbig conglomeration and we're a
(20:37):
big, huge business now, but weare aware of the effects that
we're having on our own peopleand on the society around us.
And now I'm doing gobbledygookbecause I'm just gonna say the
thing right, because, like I'msuper not allowed to say the
thing and so I will say itanyway which is, like she is a
mogul now and she she is big nowin this, in this story, it
(21:04):
talks about, like how severaldifferent pieces and tentacles
of her operation were all a partof the Rapship production,
which means many.
She was being paid through manydifferent invoices in coming to
the Issa Rae Empire, and Idon't think that there's
anything intrinsically wrongwith that, but I do think that
(21:27):
that Capitalism can put a personat odds with like whatever is
their sort of moral compass,like whatever is there, like
it's difficult to be bothcapitalist and savior at the
same time, and I'm and it's nother job to be like either one of
those.
But like that is the tensionthat people walk into once they
(21:50):
achieve the status of Moguladum.
And so the part that I takeaway from all this as I look at
that image is I'm going to becurious interest.
This is someone I have admiredfor a really long time, so I'm
going to be paying really closeattention to how she navigates
that specific tension in thisnext era of the Issa sphere.
(22:13):
There's one more thing I want tosay about this, this window,
because this is what I think.
This is what it looks like whena window is closing Temporarily
, because I think the windowopens again.
This is, issa aside.
What it looks like is when theeconomy gets bad and these
companies have to.
They have to pay back theirinvestors, and I'm talking about
(22:35):
the studios, the stuff thatthey don't value, both the
studios themselves and theinvestors.
That's what get axed first,that's what gets chopped off
first.
And value?
I think people have a verybasic understanding of what
value is to people.
Some people think just cash isvalue, like some people think
(22:57):
those investors just want theirmoney back.
That's all they care about, andthat's not always so.
Whiteness is of a high value inthis country, which is to say,
if you put rap shit or Someother black show next to another
white show that seem to havesimilarly sized audiences,
similarly sized at similar,similar economics, similarly
(23:19):
sized, you know, prestige, value, etc.
Whiteness is the value thatthose investors will oftentimes
want like to retain andblackness is the value that Like
to retain.
And blackness is devalued in away that gets it clipped and
that's like pretty basic.
I know that's a pretty basicconcept that we all have some
(23:40):
awareness of, but it has hugeramifications when you're
looking at an industry whereBlack writers get hired to write
on black shows and whitewriters get hired to write on
white shows.
If there's 90,000 billion whiteshows and only 17 black shows,
that just means like fewer jobsfor us, fewer paychecks for us,
fewer pensions for us, lesshealth insurance through the
(24:02):
writer's guild for us.
Like that has realramifications.
It's a small industry, so whoreally cares?
But like I think it's worthsaying.
There's one more thing that Iwant to say, but I have to save
it.
I gotta wait until I have myfull health to like spit it out,
because it's.
I gotta be really precise aboutit, but it regards Hollywood
(24:23):
Negroes, so I'll save that.
That'll be a good tease.
Maybe I'll do it at the liveshow, because it's something
that spike spike Lee told meabout Hollywood Negroes.
Speaker 2 (24:31):
Yeah, I mean I've intrigued, I got to wait.
Speaker 1 (24:35):
I think I'm gonna say it at the lot, that'll be my
tease for the live show.
I'm gonna I don't feel supercomfortable saying it on a
recorded in a recorded vessel,but Say at the live show because
Hollywood Negroes are different, man, um, I'm sick.
Guys, I just gotta keep sayingthat I'm sick.
All right, marketing hasobviously been on my mind.
(25:00):
It's been a big.
This is a.
This is a marketing year for me.
I'm learning about marketing.
I have a book coming out at thetop of next year, if not sooner
, and I'm trying to understandhow I can make marketing work
for me in a way that feelsNatural to me, in a way that
feels effective but doesn't makeme feel gross, doesn't make me
(25:21):
feel like I'm straining.
I hate the feeling of straining.
I feel like if you're straining, you are selling yourself as
something that you're not andthen you're not gonna be able to
Hold on to that.
You're not gonna be able tokeep that up.
Morgan sent me a couple daysago oh, I forgot.
Oh, my god.
Speaker 2 (25:42):
We're gonna come back to it.
Speaker 1 (25:43):
I forgot to recap our yeah let's do it now.
Let's do it now, we'll come.
We're all right.
We're coming back to themarketing thing.
But, um Okay, morgan and I wenton a field trip on Saturday.
Was that Saturday morning?
Speaker 2 (25:58):
Saturday.
Speaker 1 (25:59):
We went to Jasmine Ellis Cooper's baby shower, who
has been a guest on this show,jobs Ellis Cooper, who is of
summer house, summer house,martha's vineyard fame, and
there's a couple, but I'mactually wearing the same shirt
that I wore yeah, I.
(26:21):
Was just like I don't know.
I like the shirt and I was likeI didn't get a chance to wear
on the show.
Guys, I really have to likescrape the barrel to have
outfits for this show.
Like it's a lot.
This is so much time on cameraI don't have enough clothes for
this, but anyway.
So, morgan, I went on a fieldtrip.
We went to the baby shower.
There were shout out to Jasmine.
(26:42):
She's such a delightful person.
She also was a great emcee ofher own.
Speaker 2 (26:46):
Yeah, she was a good host.
Speaker 1 (26:48):
She was um, so here's .
Here's what happened.
The baby shower had a dresscode that Quite, literally until
like an hour before the babyshower, morgan and I were still
texting each other like what'sthe?
What are the colors?
Again like, and the colors wererequired were beige.
(27:11):
Is that right?
Beige?
Speaker 2 (27:12):
well, no, okay so it was confusing.
On the invite it said creamsand nudes Okay, but on the text
blast it said beige and creamsOkay, but you, I realized I
didn't get it because of yournumber my number change, yeah,
so you were like no, it's this,so yeah, okay.
Speaker 1 (27:31):
So I went to a thrift store in my neighborhood.
I walked a thrift store withpenny and got a, got a new shirt
to wear to this thing and Iwore these giraffe looking pants
that I wore to our our launchparty and we got to the place.
The place was in financialdistrict.
(27:51):
It was in a very, very tall,swanky building.
It was at the roof upset, upsetbuilding.
It had like floor to ceilingwindows on every side of the of
the room and Definitely one ofthose rooms from out speak for
myself first definitely one ofthose rooms where you walk in
and it's like I, when I walkinto a.
(28:15):
It was an event, is that fairto say?
like there were cameras, therewas a step and repeat, what yes,
the thing that we took pictureson that was oh yeah, oh, and
there was a.
Camera's are what aphotographer holds.
I got it.
Okay, wait, where were you?
Speaker 2 (28:36):
Okay, that was a step and repeat.
It was like a really cute likestage.
Okay, yeah, when I think sevenrepeat, I think like the vinyl,
like you just think of like alot of your uglier thing.
Speaker 1 (28:47):
Yeah, yeah, okay it was like tasteful.
Yeah, it was tasteful, but noneNevertheless like okay, Well,
I'll speak for myself.
I so maybe I'm doing my headabout things like this sometimes
, but like Jasmine is a TV starand I, you know, we talked about
(29:11):
, when Jasmine was here, thatshe had sold the rights to her
pregnancy photos and she alsosaid that she had sold the
rights to the photos for thisthing.
So like I kind of knew or I hada sense we were walking into
like an event.
An event and it was a niceevent, Like it was.
(29:33):
There was a violinist who had,like her violin was mic'd, so it
was like playing from thespeakers.
Speaker 2 (29:40):
But she was playing like modern music.
Speaker 1 (29:43):
She was playing like over top of modern hip hop R&B,
some like 90s R&B and stuff likethat, and I would say they were
about what would you say?
Maybe 50 people in that room,50 mostly black folks in cream
colored outfits and things likethat.
I think that the highlight ofthe event for me was we played a
(30:09):
game where where they gave us acard and there were like nine
different baby items, babyproducts, listed.
Yes, maura, you remember thisand your.
The game was that you had toguess the prices of all nine of
(30:31):
these baby products, likediapers, bottles, I don't know
baby wipes, stuff like that andthen you would add up the total
of all these products togetherand whoever got closest to the
actual total one.
So so I had I put mine down, Iadded them together.
Mine came out to like $90.
The dude sitting next to mine,he wrote his down.
(30:53):
He wrote his down and thistotal came out to like I don't
know, $150.
The final total, the winningtotal, was like I want to say it
was like $130 or something likethat.
And the producer of this show,morgan, on her card, the total
of all the baby products thatshe wrote down was $595.
Speaker 2 (31:18):
Can I defend myself?
Speaker 1 (31:19):
Please do yeah.
Speaker 2 (31:21):
I don't have any friends with kids Okay, I don't
even have like like all of myfamily lives in LA, like I have
young cousins, but I don't I'mnot a part of like their
shopping expenses, and also Ifeel like if I had been shopping
at like Cretan Barrel or likeWhole Foods or Erwan or a very
(31:45):
bougie like shopping place, thatcould have been accurate.
So really it's all aboutperspective.
Speaker 1 (31:53):
It's all about socioeconomic status.
Yes, okay, well done.
That was your defense, okay.
So, yeah, we went to the babyshower and we were.
We did anarchy at the babyshower, okay, what else did I
think about that day?
Speaker 2 (32:09):
Well, do you how you like.
Freaking left me.
What'd I do To?
Speaker 1 (32:15):
my own, I didn't.
Morgan tried to text me beforethis thing and asked me to be
the scoper of the baby shower.
Speaker 3 (32:22):
She asked me Was Chad , the only one you knew there.
Speaker 1 (32:25):
Yeah, she asked me you wanted me to be there first
you knew like a couple otherpeople there.
Speaker 2 (32:31):
I knew a couple, I knew none.
Okay, so I go.
Okay, chad, you get there first, I'll get there like right
after you and you could likescope it out.
And he goes I'm not a scoper,we'll get there at the same time
.
I get there at the time we hadagreed to get there and Chad
doesn't even text me.
He sends me his Uber route oflike drag Chad's ride, and he
(32:56):
wasn't arriving for another 15minutes after I had gotten there
.
Speaker 1 (33:01):
So you went in Bravely yeah.
Speaker 2 (33:03):
I went in.
Speaker 1 (33:04):
You did great.
Speaker 2 (33:05):
You're so sociable though.
Speaker 1 (33:07):
You're such a people person.
How did it go when you walkedin?
Speaker 2 (33:11):
It was fun, it was.
It's weird when you know youwalk into a room, you don't know
where to look because you don'tknow anyone there.
So I walked straight to like myseat, to like put my bag down
and then, in all her glory, likeI saw Jasmine the one person
that I knew and I like be linedright for her and she, being a
great hostess, was like let meintroduce you to people, and
(33:34):
then see, that's what's up.
Speaker 3 (33:36):
I like when people do that, when they have the
awareness to know that, likeyou're probably not going to
know a lot of people.
Speaker 2 (33:41):
Yeah, exactly.
Speaker 1 (33:42):
And she made a friend , you made a friend.
Speaker 2 (33:43):
Yeah.
Speaker 1 (33:45):
Kind of Okay, all right.
So, morgan, how could you thinkdiapers could cost like $70?
Speaker 2 (33:54):
I don't, and, shannon , thank you.
In the chat was like parents dobe complaining about how
expensive kids are.
They do, so I assumed like thatevery target trip was $600.
Okay.
Speaker 1 (34:06):
Okay, all right, let's get back to the marketing.
So there's an artist allegedlynamed Charlie XCX.
She tells me and Charlie XCXrecently posted on her Instagram
marketing ideas that she hasbeen given by.
(34:29):
Who gave her these marketingideas?
Speaker 2 (34:31):
Well, I don't know.
She says swipe for somemarketing ideas.
I was sent last week.
Okay so she doesn't specify who.
Speaker 1 (34:39):
But these are not a far cry from marketing like
marketing schemes that I haveseen people execute, and these
are not a far cry from thethings that people pitch you to
do for marketing.
So I'm going to read you beforewe're going to do a segment
called Morgan pitches Chadmarketing ideas, which which the
last thing we did like this wasMorgan pitches Chad love
(35:03):
project name ideas and fromwhich I remember specifically
let's be termites together asthe shining star.
But here are some marketingideas that have been pitched to
Charlie.
Charlie gets her nipplespierced at Claire's.
That's the first one, that'sthe top of the list.
Charlie crashes drag brunchesand lip syncs to her own songs
(35:25):
across LA and in my C Charlieleaks a sex tape One moment.
Charlie gets caught shopliftingat a mall and leaks the CCTV
footage position it carefully.
So we quote unquote steal froma brand to Charlie is planning
on collaborating with later onCharlie for president.
Charlie announces she's runningfor office Tube photo shoot.
(35:48):
Have a full photo shoot in apacked tube car with multiple
team members being as obnoxiousas possible and then full ball
gown in the middle of the tube,mental breakdown and pouting.
Okay, so who was I just talkingto this about.
I was talking to someone, aboutmy sister talking to Shannon,
about how do I talk about this?
(36:09):
There are people out there whostill want to be writers for
some reason, and some of thosepeople.
There are people out there whowant to do creative jobs, and
many of those people, the pathto doing those creative jobs
like being a writer, being aproducer, being a director that
(36:29):
they are taking right now is tofirst try to blow themselves up
on social media as like personasand then use that as a backdoor
, use virality and eyeballs andattention as a backdoor into the
creative career that they want.
(36:50):
And I guess the most, the mostlike I don't know the most
effective version of this isprobably Kim Kardashian, who
parlayed family inheritance andwealth and money that she
already had, along with amarketing sensibility that
(37:10):
starts with a sex tape, and turnthat into an empire of media
and apparel.
And I don't know she's been inmovies, she's been on TV shows
like she's parlayed it into theKim Kardashian and the
Kardashian media like superempire kind of like.
(37:32):
I don't know the most, the mostextended version of this path
that one can have.
And then there are so manypeople also who will fall way,
way, way short of that, who willfail completely at this thing,
which is like they'll try tobuild an audience online.
They will really bulldoze theirway to 50,000 followers and
(37:52):
that's not going to be enough toget them.
You know, whatever it is thatthey're looking for to get a
shot in a writer's room or to,you know, get their movie funded
, or whatever the case may beand at that point they probably
will have such an overhead coston just maintaining their
following that that will becometheir job.
But this thing that I see righthere, these marketing ideas
(38:15):
this just reminds me that I'vetalked about this before, but
I'm sort of taking a slower burnway toward gathering an
audience, which is a combinationof the spike moments like your
book coming out, like my bookcoming out, writing on shows and
press releases and stuff likethat.
(38:36):
Those are spike moments where,like, a few thousand people jump
on at any given time, constantinflux of content production
that goes into the machine andthe little bit of money that I
can put behind boosting thatstuff.
But I don't take this sort of.
I don't take some of the likethe moonshot marketing moments
(38:58):
that are available to somepeople like I don't know, dating
a famous person or doingsomething that feels beneath you
but that will garner a lot ofattention at one moment, or
going on somebody's podcast andturning it into a circus on
purpose for eyeballs, forattention.
(39:18):
You know what I mean and TrulyI also don't disparage anybody
else who takes that particularpath.
If you have the stomach to doit, why not?
I mean, all of this is a circus.
This is all ridiculousness.
I don't feel a reverence overthe digital space, where you
shouldn't do those kind ofridiculous things, but I do feel
(39:41):
a reverence about your personallife, about your inner life,
your real life.
So if those things are going tofuck with you, if those things
are going to change you, ifthose things are going to make
you feel bad about who you are,then I wouldn't go for it.
But anyway, morgan, pleasepitch me your marketing ideas.
Speaker 2 (39:57):
Give me some of those ideas.
Well, the first one was goingto be date a famous person, but
we could just Well, let's talkabout it.
Speaker 1 (40:03):
So who do you have in mind?
Speaker 2 (40:06):
Well, I don't know, because the only one I know that
you love is engaged.
Speaker 1 (40:12):
Who's that?
Speaker 2 (40:13):
What's her face?
Speaker 1 (40:14):
This is Zoe Kravitz.
Speaker 2 (40:15):
Zoe.
Speaker 1 (40:15):
Kravitz yeah.
Speaker 2 (40:17):
Oh, I thought she Wait, is she not engaged?
She's not.
Speaker 1 (40:21):
I mean, she was just married, hold, Okay, wait, wait,
she was just married twoseconds ago.
Yeah, and you know what I thinkI'm over?
Zoe Kravitz.
Speaker 2 (40:33):
No, yeah, she's engaged to Tate.
Speaker 1 (40:35):
She's engaged to Tate yes.
I'm sorry so you're saying Ihave a shot, just kidding.
Okay, who else?
So she's out.
Speaker 2 (40:44):
She's out.
There's the woman from Atlanta.
Speaker 1 (40:48):
This is going great.
Tazzie Beatz, who I think isalso engaged and or married to a
white man.
Speaker 2 (40:55):
Well, I think it's extra marketing value if you
home wreck.
Speaker 3 (40:59):
Okay, based on our last conversation.
Speaker 2 (41:01):
Yeah.
Speaker 3 (41:02):
So you're just.
Speaker 1 (41:03):
Oh, so you're just.
Are you just floating outbiracial witchy looking bohemian
?
Speaker 2 (41:12):
woman.
This is based off of peoplethat I knew you liked, so that
is being flipped right back onyou.
Speaker 1 (41:18):
I mean keep going, morgan.
Speaker 2 (41:20):
Anyway, okay, no, let me move on.
But Did you have other peoplewritten down?
No, I honestly just wrote thatdown because you just Well,
let's examine it for a second.
First of all, I think that theywould have to be A-list,
otherwise it's not worth it.
Speaker 1 (41:34):
By the way, Okay, you really put some thought into
this.
All right, they would have tobe A-list, otherwise I think if
I was going to go that route Ithink for.
So if I was going to go theroute of dating someone I don't
love for eyeballs and attentionright, that's what we're saying
Then I think I would need toreally max it out.
(41:54):
I think I really need to knockit out of the park by Don't say
what.
Speaker 2 (42:00):
A Kardashian.
Speaker 1 (42:01):
Well, I mean, a Kardashian would be interesting
because it would ruin my life,it would destroy my life, but it
would offer this sort ofattention and eyeball.
It would really make my booksell, what literally my book is
about selling out.
So I think that would be reallygood for marketing.
(42:22):
I am attracted to a fewKardashians.
I do think that they cause painto the people that they are in
relationships with.
Actually, you know what?
I don't think that'snecessarily true.
I think that they do well tosource men who are already on
the road to pain and they areaccelerators.
(42:45):
They seek out people who arereally weak inside and really
broken inside and then they plugthem into their system and then
it goes awry.
No, I wasn't thinking ofKardashian so much as Oprah.
Oprah.
Yeah, oprah, is she not single?
I'm not sure, is she?
(43:06):
single, I think her and Stedmansplit up.
Speaker 3 (43:07):
Oh fine, Morgan's out on this.
Speaker 1 (43:10):
Why do you have that reaction?
Speaker 2 (43:13):
I mean.
Speaker 3 (43:16):
You know it's funny.
Oprah crossed my mind and I was.
Speaker 2 (43:18):
No, she's fully definitely like, still a rich.
Speaker 1 (43:22):
Why did you have that reaction, Morgan?
Speaker 2 (43:24):
Because she's 70 years old.
This isn't about love, though.
Speaker 1 (43:27):
This isn't about yeah , morgan, or attraction, sorry,
okay, keep your eye on the ballhere, all right, moving on,
what's the next idea?
Speaker 2 (43:36):
Okay, so again, these are also like.
These were inspired by theideas that Charlie's shared, so
there's one real one at the end,but these are just for fun, I
think.
Speaker 1 (43:48):
the more ridiculous the better, though Sometimes
that's how it works.
Speaker 2 (43:51):
I think so.
Here we tie a bunch of balloonsaround you and sail you over
Prospect Park.
Speaker 1 (43:58):
Okay.
Speaker 2 (43:59):
Because that would be amazing If we could have you
like fly.
Speaker 1 (44:04):
Is there a message here?
Speaker 2 (44:05):
You could be wearing like some merch.
Speaker 1 (44:09):
Okay, what's the next one, Morgan?
Speaker 2 (44:12):
We kidnap your dog and have you scared searching
for her.
That sounds horrible, but youwould know she's safe.
Speaker 1 (44:22):
Oh, so I'm doing like Instagram.
Speaker 2 (44:24):
Yeah, you're like doing a bit, but like I have her
and I'm like help me.
Speaker 1 (44:29):
Can you help me find?
Speaker 2 (44:30):
my dog.
You're like doing communitywork.
Maybe you start an organizationabout like lost dogs and then a
couple months later she comesback.
Speaker 1 (44:39):
Okay, I like that one Dog gave that one.
Speaker 2 (44:44):
I give you shellfish in public and let strangers save
you.
Speaker 1 (44:48):
While filming, yes, okay.
So it's like a moment, it'slike Chad's in peril, and then
this person comes and saves meand then it goes viral because
Right.
Speaker 2 (44:59):
Because, like everyday hero type of thing, you
make someone feel like they,and then maybe you guys start a
production company together.
Speaker 1 (45:09):
Okay, I think, yes, I do think there's legs to the
almost dying lane.
I think people like that.
I think they like to seesomeone who is almost dead and
then it doesn't die.
Speaker 2 (45:23):
The people really rally around that.
But then like, what better waythan like kid off the street?
Ooh, if it's like a kid too.
Speaker 1 (45:30):
But then he's a hero I don't want to be.
I can't be upstaged.
This is about this is reallyimportant for me.
It's actually that's reallyimportant that the other person
is completely overshadowed by me.
Speaker 2 (45:42):
Yes, okay.
Speaker 1 (45:42):
That's necessary.
Speaker 2 (45:43):
Okay, so then we can maybe, like you have like a come
to God moment in your neardeath experience and you like
have a third eye now orsomething.
Speaker 1 (45:51):
Okay, it's come to God.
Is that like a?
Is that a Gen Z thing?
Speaker 2 (45:54):
No, that's like an old phrase, isn't it?
Speaker 1 (45:57):
All right, have you all replaced come to Jesus with
come to God?
All right, moving on, what'sthe next one, morgan?
Speaker 2 (46:03):
The next one is we get you tweezed in a shield to
make a dish track.
Speaker 1 (46:12):
Are we dissing?
Speaker 2 (46:13):
I don't know Somebody , that people that their fan
base would be upset about.
But that way it's not just you,you know it's, yeah, maybe.
Speaker 1 (46:26):
No, I don't want that .
Speaker 2 (46:27):
Okay.
Speaker 1 (46:27):
Okay, that has legs.
I like that Diss track isinteresting.
Speaker 2 (46:34):
You go to a stand up show and walk on stage and steal
the mic from the headliner topromote nothing but anarchy
Video.
I get the addresses of peoplein the New York area that have
ordered your book online and yougo and give a hug to each one.
Speaker 1 (46:51):
I like that, except germs.
Speaker 2 (46:53):
Well, yeah.
Speaker 1 (46:54):
Yeah and COVID.
Speaker 2 (46:56):
And then the last one that I think could actually be
a thing is like a man on thestreet creative advice corner.
So like either you go to acoffee shop and you have like a
little sign that says like fiveminutes of creative advice.
I was just like a little tasteto like your overall, like new
leg.
Speaker 1 (47:15):
Okay.
Speaker 2 (47:16):
And then like if people either really enjoy it or
they want more than five, andlike there would be like a
legitimate timer where it's allout of time, but if you want to
talk more, you know.
Speaker 1 (47:27):
Okay, I don't hate that.
Let's let's.
It probably take us like 12hours to get three people to do
the thing.
Speaker 2 (47:34):
But yeah, you know it would be like, it would be like
an all day affair.
And I got this idea becausethere was this dog trainer who
was just posted up a coffee shopgiving free dog training advice
.
But she had a dog trainingcompany and I was like, wow,
that's so nice.
Speaker 1 (47:50):
Like, did she give video?
Speaker 2 (47:52):
No, it was just her.
Speaker 1 (47:53):
Okay, yeah, well, we need video for all of these.
All right, great job, morgan.
Excellent job with the segmentthat was marketing ideas with
Morgan man.
I'm so glad we did an episodetoday.
Speaker 2 (48:06):
There's five minutes left.
Speaker 3 (48:09):
Shannon said these are all bangers.
Speaker 1 (48:11):
These are all bangers .
Thank you, shannon.
All right, where am I going toland here?
Here's what I'm going to landFuck it.
You know what?
I wanted to stay away from thisbecause I'm sick, my brain
doesn't work, but I'm just goingto do it.
There's a clip from the JoeBudden show going viral right
now.
Morgan, you sent this to me.
I know what to do.
Do you not want me to talk?
Speaker 2 (48:31):
about it.
No, no, no, go for it.
Speaker 1 (48:32):
Okay, there's a clip from the Joe Budden show going
viral right now.
This is in the sewer, this islike this is like.
This is dirty, but I'm going todo it because you know what
Fuck it.
In the clip, joe Budden arguingwith his friend of multiple
decades who goes by the name ofish.
(48:54):
On the show they're arguingabout having had relations with
the same person sexually and theargument seems to be that ish
feels this is relating to ourhome wrecking conversation and
(49:16):
sort of.
Ish feels like Joe went out ofhis way to have relations with
someone from ish's past and heis taking issue with Joe because
he thinks he feels like that'sa thing for Joe.
He feels like Joe, joe goes outof his way to sleep with people
(49:40):
that his friends have sleptwith.
I'm saying this like so,differently than how all of this
is said on the show, but thisis indeed the matter at hand on
the show and I guess I post tothe room.
I post to the room related tothe home wrecking conversation,
(50:03):
but different because this iswe're talking about two people
who are no longer in arelationship or in relations
with one another.
Is there anything bad orimmoral about dating someone who
one of your friends has dated.
Let's put it that way.
Speaker 2 (50:24):
Okay, so one.
It's 12 58 and I feel like wecould spend a lot of time here,
but this also might be a goodmoment to like pose this to
other people on your Instagramand then we recap this
conversation on Tuesday but,I'll just say, as a little like
side thing, I think there's likea what's it called Years or
(50:48):
like a time.
Speaker 1 (50:50):
I guess, is there a statute of limitations, statute
of?
Speaker 2 (50:52):
limitations, but also like it's really dependent on
the situation and where both ofthose people are now and how
they end.
There's a lot of, I feel likecaveats in there.
Speaker 1 (51:04):
Okay, it is circumstance dependent, josh.
These are teasers, then.
We're going to come back tothis on Tuesday.
Speaker 3 (51:11):
This is oddly something I have a little bit of
familiarity with.
Whoa.
I forgot about that, that.
I forgot about again In whatway, josh, the thing is like.
This was such a long time ago asa teenager, so like this barely
counts in my book.
But I think for me I'll justsay real quick if I could tell
(51:34):
that my friend didn't reallycare about that person in a
certain way, like they didn'thave first of all they didn't
have a very long relationshipand it wasn't really about I
didn't, it wasn't really aboutme trying to like oh, I want to
get her because she's been withhim, or something like that.
I have a feeling that JoeBudden really probably has that
(51:55):
gene.
I don't know why, that's just aguess, but I have a feeling he
really does have that gene wherehe just likes to do that.
But yeah, I don't really thinkthere's a huge problem with it,
as long as it's not like a thingthat you're actively trying to
do and also something to be saidabout, like the other person
that also has a choice in amatter too.
Speaker 2 (52:17):
So Right, yes, shardae says you can have him.
Shardae, come back and be inthe comments on Tuesday.
Speaker 1 (52:22):
Shardae.
Is Shardae gonna be inWashington DC?
That's the question.
I'm waiting for her response.
Then we will wrap the show.
Shardae, will you be in DC onnext Thursday?
Speaker 2 (52:34):
Are you just staring at the chat?
I am.
I feel like she is, though.
Speaker 1 (52:38):
I think she is too All right.
This has been absolutely ourworst show and I'm so glad we
did it.
It's fine, we did it.
I mean it's been.
It's just, I've been awful LikeI have just been an absolute
shell of myself.
Speaker 2 (52:49):
Yes, yes sir.
Speaker 1 (52:50):
Okay, excellent.
Well, that's good news to endthe show.
No, everybody else did great.
I was a C, I was an E minus.
I was so bad and I'm fine withthat.
This is a volume.
This is a volume game.
Thank you to everybody who satthrough this.
Thank you to everybody who cameto be with me while I'm sick.
I have a man cold.
I'm gonna go home and lay onthe floor.
(53:11):
Penny's gonna lick my face.
Penny is judging me throughoutthe duration of this cold.
This is nothing but anarchy.
Listen, all right.
The live show is one week fromtoday in Washington DC, february
8th, seven o'clock, shanklinHall.
Doors open at seven.
There are 18 tickets remainingcorrect 18 tickets remaining.
(53:34):
There are 18 tickets remaining.
Everybody's gonna buy the-.
Speaker 2 (53:37):
Wait you did.
Speaker 1 (53:39):
You told me that an hour ago.
Speaker 2 (53:40):
I know.
Speaker 1 (53:42):
I just I cannot emphasize enough that once those
tickets are gone, that's it.
If you wanna hang next Thursday, then you'll have to catch us
on the let out on the way out ofthe venue.
Tia Mowbley's DJing.
We're excited about that.
She DJed our launch party andwe will be there and I will be
(54:03):
back.
I will be back from this.
We will have a much better showthan we did today, and that's
it.
At Chad Sand on Instagram.
If you wanna talk to us atMowby Williams on Instagram,
M-O-B-Y Williams, All right, seeyou guys Tuesday.
We'll be back Same time.
I'm so gross I'm going to gorecover myself.
(54:25):
That's perfect, you.
Alright, welcome to Nothing but Anarchy.
I am Chad Sanders.
I'm sitting down today because,Morgan, why are you laughing
already?
Speaker 2 (00:18):
Because this is like the epitome of like man being
sick and saying oh, why dopeople keep saying that to me?
Speaker 1 (00:28):
Yes, I've been accused of having a man cold,
which I guess is when a man hascold.
Why can't men be sick?
Speaker 2 (00:37):
Because when men are sick, they're like it's the end
of the world.
Speaker 1 (00:41):
Have I even been acting like it's the end of the
world?
Okay, so alright.
So thank you for saying that,morgan.
That gives me something to sayhere.
We're going to see how thisgoes.
I'm sick.
I know that because I'm a man,I'm not supposed to or allowed
to be sick, but I am indeed sick.
I am at.
I told my sister.
She chatted and asked how I'mfeeling.
(01:03):
I said I'm at about 74%.
I have spent the last two and ahalf days laying around the
house and also having to takePenny on walks for an hour every
day, and being sick sucks.
Now I feel self-conscious abouttalking about being sick
(01:25):
because I have been accused ofhaving a man cold, but being
sick sucks.
It's really depressing.
It feels like you can't do thethings you're supposed to do and
people are asking you for stuffand you just can't lean in the
way that you usually do.
That's how I feel.
(01:45):
So you can probably actuallyhear that my voice is different,
but we're doing this showbecause we didn't do the show on
Tuesday.
We have our live show a weekfrom today, by which I time I
expect to be fully recovered,but this is a game of volume in
(02:09):
a lot of ways Like this media isthat Media is a game of volume.
Like everybody, most peopleprobably have the wherewithal to
make three entertaining-ishepisodes of a podcast, or to
make one really strong TV pilotor to write 15 pages of a good
(02:30):
book.
But this thing is about likehow much volume you can produce
of something that is of a solidquality.
And so I got to come sit my assin this chair on Tuesdays and
Thursdays.
I can't miss a bunch of dayslike I did on Tuesday, I think.
Hopefully that was maybe onlymy first sick day that I have
(02:53):
missed for this process.
Yeah, so that was my first sickday since we started almost a
year ago in April, about 10months ago.
So that is a segue for me toJoel and Bede.
So there's a lot ofconversation right now about
Joel and Bede, who has come veryclose to missing already the
(03:18):
NBA's threshold for how manygames an NBA star or an NBA
player can miss and still beeligible for the big awards at
the end of the season, like MVP.
Like all NBA, that also affectstheir money.
They have a lot of incentivesin these player contracts and
also in upcoming negotiationsthat are tied to whether or not
they have made these big,whether or not they've won these
(03:41):
big awards MVP, all star, allNBA, etc.
Joel and Bede, who is probablyand still remains the odds on
favorite to win the MVP, eventhough he might have now fallen
behind Nicola Jokic and ShayGildris, alexander he is a guy
who is always injured, like thatis his MO.
(04:03):
When he's on the court, he'sdominant.
He had 70 points in a game aweek and a half ago.
He's one of the best defendersin the NBA.
He's absolutely one of the bestoffensive weapons in the NBA.
He is seven foot two.
He has guard skills.
He has big man skills.
He can do everything, um, buthe's not at work that much.
(04:25):
And this rule that the bestplayers have to play 65 games in
order to be eligible for thebig awards and for the big money
Um, that role only just cameinto effect this in this season.
This is the first season whereit matters, and so Joel and Bede
is the first superstar who willbe in question this season as
(04:45):
to whether or not he'll hit thatthreshold.
There will be others who willalso probably come close to or
miss that threshold, like TyreseHalliburton, who's already
missed, I think, 15 games aseason, but Joel and Bede is the
big one that we're talkingabout because he's the most.
He won the MVP last year.
He missed a playoff game.
He has been.
It has been a part of his MO tomiss playoff games or to be
(05:08):
injured in the playoffs andunderperform.
And so there's debate overwhether or not the rule is a
solid rule and whether or notthis is a rule that's going to
have a negative, negativeconsequences on the players as
to whether or not guys show upand try to play injured and do
injured and do more damage tothemselves.
(05:28):
Um, how this relates to what isgoing on with me, jalen Rose,
who used to be on the SPN andwho is now doing his own podcast
thing and who is seldom heardfrom now that he's off the SPN
platform.
He used to always sayavailability is the most
important ability.
I agree with that.
I think that Joel and Bede notbeing available to his team
(05:53):
makes him a less valuable playerthan guys who were either even
in like the rankings of like the10 to 12th best players in the
league who are available totheir teams.
Joel and Bede missed his firsttwo entire NBA seasons.
He has.
Joel and Bede has never played70 games in an NBA season.
All of those are reasons why Ithink he should be made
(06:14):
ineligible for the mostimportant words at the end of
the season.
I think it's absurd forsomebody to be considered the
most valuable player in the NBAif he is not available to his
team for one quarter of theirgames in said season.
I think that guys who playevery night, I think that guys,
I think even guys like who Igenerally don't celebrate, like
LeBron who make themselvesavailable to their teams almost
(06:37):
every night, should beconsidered much more valuable
than somebody like Joel and Bedewho is constantly putting the
framework of the team and theirdynamic altogether at risk
because you don't know when he'sgoing to be there and you don't
know when he's not going to bethere.
It's a big.
It makes such a difference to ateam dynamic, any team dynamic
basketball corporate team ofexecutives.
(07:00):
This team like a productionteam.
It makes such a big differenceto everybody involved if you
don't know if the person whoeverything revolves around is
going to be in the seat or not,and so I think it's really
important that I have my ass inmy seat and do my job.
Okay, that was sports.
So it's Black History Month.
(07:22):
I just said that because it'shere on the, it's written on the
docket.
I'm like, okay, it's BlackHistory Month.
Well, what does that mean to me?
So there's a couple of thingswe're going to get to today.
One is that there is a TimeMagazine cover with Issa Rae on
the cover.
There's a Time Magazine, Iguess, issue that has just
(07:46):
dropped digitally, with Issa Raeon the cover, and she's talking
about how negligent Hollywoodis being right now with regards
to producing and funding blackcontent, or content, I guess,
just shows, tv shows, moviesmade by and featuring people who
(08:06):
are not white.
Basically, I read it in an Uberon the way here today and this
is what it signaled for me.
This is what it reminded me ofA few years ago 2020, 2021,.
I was just about to startpromoting my first book, black
(08:30):
Magic, and George Floyd waskilled in 2020.
In the lead up to that time.
I didn't know this was a partof the book promotion process,
but my agent and my editor theyencouraged me to write something
(08:50):
about what was going on in ourcountry surrounding blackness
and civil rights.
I don't know if civil rights isright, but the killing of black
people and black peopleresponding to those murders, the
protests, the marching, whatsome people were calling rioting
(09:10):
, et cetera, et cetera.
So I wrote and I wrote, and Iwrote a bunch of pieces leading
up to my book coming out.
One was in the New York Times,one went in Fortune and one went
in Time Magazine.
And the piece that I wrote forTime Magazine was about the
window the window for blackprojects, the window for black
(09:34):
money, the window for blackgreen lights.
Basically, I forgot exactlywhat verbiage I used to describe
this thing, but I remember,just before my book came out,
one of my friends, mom's, calledme and she said she was
congratulating me on seizingthis moment.
And she said to me you know,get as much done.
(09:57):
In so many words, get as muchdone as you can right now, while
this window is open, becausethese windows open and close on
a cycle.
You know, every 10, 15 yearsthere's a moment where black
people, black projects like art,are supported because there's
an inflection point in societyand in culture and there's a
guilt that's there.
(10:17):
And that's the moment whereeverybody's got to rush through
and get what you can get.
And I wrote about that for TimeMagazine and I wrote about sort
of being conscious of this,like window that was open for me
to enter as creator, as writer,as creative, and I didn't know,
(10:38):
like I had some intuition, somefeeling that indeed that would
be the case, that this thingwould open and then shut.
But I had never been throughone of those cycles before, so I
couldn't say, like I didn'tknow exactly what it looked like
.
I'm watching what it looks likeright now.
So that type of window openingand closing for black creators
(11:04):
has a lot to do with theeconomic cycles that are
happening around us in general.
I didn't know that.
The reason what Issa Reyes istalking about in this timepiece
is these corporations, thesestudios, put so much lip service
to the idea of we're going tosupport black content, we're
going to support black writing,we're going to support black.
(11:26):
We're going to support I'm ondrugs, guys.
I've had Nyquil.
We're going to support blackauteurs, not Nyquil.
Dayquil is what I had.
I'm on drugs.
I have been on drugs in herebefore Dayquil.
I have.
I've said that.
I remember saying that.
That's true.
But what, issa Reyes?
(11:48):
I'm going to move slowly, guys.
My brain is foggy.
Okay, I'm trying.
It's been, guys.
Being sick is so ass.
You can't do anything, youcan't really eat the things that
make you feel good.
I can't write like this.
(12:09):
I had to do a one hour kind ofrecorded conversation for my
love project yesterday and I'mjust so foggy and so flimsy and
pathetic.
Anyway, man cold, it's a mancold.
So it's not COVID, though it'sa COVID test.
What am I saying?
I'm saying what Issa Reyes issaying in this piece.
(12:33):
I'm going to summarize thispiece.
He says you can read it if youwant to.
It's in Time Magazine, it's notvery long.
And also it occurs to me nowlike oh, this came out today
because this is the beginning ofBlack History Month.
So black person on the cover,great, that's part of the window
.
Black stuff on cycle, likeMorgan is having visibility into
(12:53):
this.
Like people want to pay me tocome talk it or pay or not pay
me to come talk it, stuff rightnow because it's Black History
Month.
So they're like, who do we knowthat is black, that can talk,
and they go out seeking us andthey find us and then we go do
the thing because, like what areyou going to do?
(13:13):
Not do the thing, but we don'tdo the thing for free, morgan,
right?
Speaker 2 (13:17):
Right.
Speaker 1 (13:19):
Okay, we'll come back to that.
Issa Reyes is saying in thispiece.
I'm going to summarize she'ssaying all the lip service that
was paid to the amplification ofblack art in Hollywood was
flimsy, it was not real.
Because she's watching her ownprojects get canceled, get axed
(13:43):
left and right at HBO andotherwise and because that's
happening to other people.
She's also saying theexecutives and I had a friend I
think I mentioned to you all, myfriend Garth, said this to me
years ago, like probably seven,eight years ago.
At this point he said now thatthere's money flowing into
Hollywood at a different clip,you're gonna see money people
(14:07):
start taking over the jobs thatused to be run by creative
people in Hollywood.
You're gonna see executivesstart becoming ex-McKenzie
consultants and StanfordBusiness School graduates and
people who generally would havegone into hedge funds and
financial management and thingslike that they're gonna start
(14:28):
going into Hollywood becauseit's just money management,
they're just managing flows ofmoney.
So Issa Rae is saying theexecutives are those people now.
They're not creative, they'renot interesting, they're not
curious.
I mean I've been saying thatbasically every other episode
for 10 months but actuallyeverything Issa Rae says in this
piece is the same stuff.
Speaker 2 (14:48):
I've been saying.
Speaker 1 (14:49):
I mean I think it's good that Issa has a loud voice
so she can amplify some of thesemessages.
She has a big voice and I wouldsay everything she's saying is
corroborated by what I and otherpeople who work in this
industry have been saying for along time.
So the second thing is themoney people are taking over and
(15:11):
the creative people are beingpushed to the wayside, and you
can see that we get so excitedwhen an actually good or
interesting show comes out.
Everybody's talking about itbecause it's rare, because most
of the stuff that is coming outis sludge, because it's going
through a spreadsheet, it's notgoing through like an inspired
point of view.
The third thing she's saying,which is an interesting
(15:33):
juxtaposition to the first twothings, is I'm finding that a
lot of these pieces that featureIssa recently they're almost
the same piece over and over.
As I see them, they have kindof the same cadence.
It's like here's Issa Rae'sbackstory, which we all know by
now.
How many times can somebodytell us it started on YouTube
(15:56):
with Awkward Black Girl.
We know that, thank you.
Then it talks about sort ofthis current status of Hollywood
and how it is devaluing blackart and how her own shows have
been canceled.
Then there's a landing pointwhich is about Issa Rae's
entrepreneurialism and she doeswell to make sure that that is
(16:21):
featured in every single storyis that Issa Rae is a mogul.
Now Issa Rae is more than a TVproducer, a writer, an actor
talent.
She is a mogul and it countsoff her various businesses and
it talks about theinterconnectedness of her
company and her brother is herCFO and her Montrell, who went
(16:46):
to Morehouse I think it'spronounced Montrell he runs
content at her company and it'sa family affair, but it's a
business.
It's a business.
This is a mogul here, and so Ithink what I take from this
that's the third part is that italways announces Issa as like
the mogul.
(17:06):
What I take from this is twofold.
One, this piece talks a lotabout and often these pieces do
they really center Issa'sblackness and the struggle of a
black creator, even as powerfulas Issa, to have the impact she
(17:28):
wants to have in a Hollywoodthat's so white and that loves
whiteness so much at the expenseof other races.
As much as that is an importantmessage, boy, would I love to
read a feature on Issa that isreally just about, and also I've
(17:49):
had this opportunity to be theone to feature Issa in this way,
and maybe I also didn't do it,but boy would I love to just
read a feature on Issa that'sjust about creativity and
business and doesn't have to becentered around black struggle
every single time, because theIssa Rey story, I think, is,
(18:13):
moralities aside, however yousee this person, it is the story
of the digital creator whobecomes an independent studio,
which is the model that so manyof us, I think, are trying to
follow.
And the second thing which isrelated to that, that I take
from something like this is theconflict I can, as I I'm a
(18:44):
writer, guys like I'm a creativeperson so sometimes I be seeing
something that's not there.
But when I look at that piece,scroll, scroll, scroll there's
an image of Issa standing infront of, like this big it's
either red or orange piece ofart and it's a power image.
You know it's like she'sstanding there.
She has a very stoic, slash,stern look on her face and I
(19:08):
believe the image is meant tosay like power.
This is a powerful person.
When I see images of peoplelike that power power in this
country in a time magazinefeature is connected to
(19:29):
capitalism.
In my point, in my opinion.
I see mogul, that's what it'stell.
The piece is telling me mogul,it's telling me in words, it's
telling me in imagery andthere's a there's a bit sort of,
there's a bit of gobbledygook.
Writing towards the end sorryto whoever the writer is, but
like and it's trying to saysomething about Issa Rea is
(19:52):
aware of how her business isboth impacting the
gentrification like amp, likecreating more gentrification in
the part of Englewood that herbusiness is in or just outside
of Englewood, but also how she'sfighting back against it.
And I was, like I tried to likeread the sentence a few times,
feels like wait, what the fuckare you trying to say?
Like she is causinggentrification, she's fighting
(20:13):
back against gentrification,she's aware of how she is
affecting gentrification here.
Like, what are you sayingexactly?
And it felt like the type ofgobbledygook that, like a PR
person asks to be added to apiece to protect the image of
the person who is featured here,to say like don't worry, like
yes, we know we're creating thisbig conglomeration and we're a
(20:37):
big, huge business now, but weare aware of the effects that
we're having on our own peopleand on the society around us.
And now I'm doing gobbledygookbecause I'm just gonna say the
thing right, because, like I'msuper not allowed to say the
thing and so I will say itanyway which is, like she is a
mogul now and she she is big nowin this, in this story, it
(21:04):
talks about, like how severaldifferent pieces and tentacles
of her operation were all a partof the Rapship production,
which means many.
She was being paid through manydifferent invoices in coming to
the Issa Rae Empire, and Idon't think that there's
anything intrinsically wrongwith that, but I do think that
(21:27):
that Capitalism can put a personat odds with like whatever is
their sort of moral compass,like whatever is there, like
it's difficult to be bothcapitalist and savior at the
same time, and I'm and it's nother job to be like either one of
those.
But like that is the tensionthat people walk into once they
(21:50):
achieve the status of Moguladum.
And so the part that I takeaway from all this as I look at
that image is I'm going to becurious interest.
This is someone I have admiredfor a really long time, so I'm
going to be paying really closeattention to how she navigates
that specific tension in thisnext era of the Issa sphere.
(22:13):
There's one more thing I want tosay about this, this window,
because this is what I think.
This is what it looks like whena window is closing Temporarily
, because I think the windowopens again.
This is, issa aside.
What it looks like is when theeconomy gets bad and these
companies have to.
They have to pay back theirinvestors, and I'm talking about
(22:35):
the studios, the stuff thatthey don't value, both the
studios themselves and theinvestors.
That's what get axed first,that's what gets chopped off
first.
And value?
I think people have a verybasic understanding of what
value is to people.
Some people think just cash isvalue, like some people think
(22:57):
those investors just want theirmoney back.
That's all they care about, andthat's not always so.
Whiteness is of a high value inthis country, which is to say,
if you put rap shit or Someother black show next to another
white show that seem to havesimilarly sized audiences,
similarly sized at similar,similar economics, similarly
(23:19):
sized, you know, prestige, value, etc.
Whiteness is the value thatthose investors will oftentimes
want like to retain andblackness is the value that Like
to retain.
And blackness is devalued in away that gets it clipped and
that's like pretty basic.
I know that's a pretty basicconcept that we all have some
(23:40):
awareness of, but it has hugeramifications when you're
looking at an industry whereBlack writers get hired to write
on black shows and whitewriters get hired to write on
white shows.
If there's 90,000 billion whiteshows and only 17 black shows,
that just means like fewer jobsfor us, fewer paychecks for us,
fewer pensions for us, lesshealth insurance through the
(24:02):
writer's guild for us.
Like that has realramifications.
It's a small industry, so whoreally cares?
But like I think it's worthsaying.
There's one more thing that Iwant to say, but I have to save
it.
I gotta wait until I have myfull health to like spit it out,
because it's.
I gotta be really precise aboutit, but it regards Hollywood
(24:23):
Negroes, so I'll save that.
That'll be a good tease.
Maybe I'll do it at the liveshow, because it's something
that spike spike Lee told meabout Hollywood Negroes.
Speaker 2 (24:31):
Yeah, I mean I've intrigued, I got to wait.
Speaker 1 (24:35):
I think I'm gonna say it at the lot, that'll be my
tease for the live show.
I'm gonna I don't feel supercomfortable saying it on a
recorded in a recorded vessel,but Say at the live show because
Hollywood Negroes are different, man, um, I'm sick.
Guys, I just gotta keep sayingthat I'm sick.
All right, marketing hasobviously been on my mind.
(25:00):
It's been a big.
This is a.
This is a marketing year for me.
I'm learning about marketing.
I have a book coming out at thetop of next year, if not sooner
, and I'm trying to understandhow I can make marketing work
for me in a way that feelsNatural to me, in a way that
feels effective but doesn't makeme feel gross, doesn't make me
(25:21):
feel like I'm straining.
I hate the feeling of straining.
I feel like if you're straining, you are selling yourself as
something that you're not andthen you're not gonna be able to
Hold on to that.
You're not gonna be able tokeep that up.
Morgan sent me a couple daysago oh, I forgot.
Oh, my god.
Speaker 2 (25:42):
We're gonna come back to it.
Speaker 1 (25:43):
I forgot to recap our yeah let's do it now.
Let's do it now, we'll come.
We're all right.
We're coming back to themarketing thing.
But, um Okay, morgan and I wenton a field trip on Saturday.
Was that Saturday morning?
Speaker 2 (25:58):
Saturday.
Speaker 1 (25:59):
We went to Jasmine Ellis Cooper's baby shower, who
has been a guest on this show,jobs Ellis Cooper, who is of
summer house, summer house,martha's vineyard fame, and
there's a couple, but I'mactually wearing the same shirt
that I wore yeah, I.
(26:21):
Was just like I don't know.
I like the shirt and I was likeI didn't get a chance to wear
on the show.
Guys, I really have to likescrape the barrel to have
outfits for this show.
Like it's a lot.
This is so much time on cameraI don't have enough clothes for
this, but anyway.
So, morgan, I went on a fieldtrip.
We went to the baby shower.
There were shout out to Jasmine.
(26:42):
She's such a delightful person.
She also was a great emcee ofher own.
Speaker 2 (26:46):
Yeah, she was a good host.
Speaker 1 (26:48):
She was um, so here's .
Here's what happened.
The baby shower had a dresscode that Quite, literally until
like an hour before the babyshower, morgan and I were still
texting each other like what'sthe?
What are the colors?
Again like, and the colors wererequired were beige.
(27:11):
Is that right?
Beige?
Speaker 2 (27:12):
well, no, okay so it was confusing.
On the invite it said creamsand nudes Okay, but on the text
blast it said beige and creamsOkay, but you, I realized I
didn't get it because of yournumber my number change, yeah,
so you were like no, it's this,so yeah, okay.
Speaker 1 (27:31):
So I went to a thrift store in my neighborhood.
I walked a thrift store withpenny and got a, got a new shirt
to wear to this thing and Iwore these giraffe looking pants
that I wore to our our launchparty and we got to the place.
The place was in financialdistrict.
(27:51):
It was in a very, very tall,swanky building.
It was at the roof upset, upsetbuilding.
It had like floor to ceilingwindows on every side of the of
the room and Definitely one ofthose rooms from out speak for
myself first definitely one ofthose rooms where you walk in
and it's like I, when I walkinto a.
(28:15):
It was an event, is that fairto say?
like there were cameras, therewas a step and repeat, what yes,
the thing that we took pictureson that was oh yeah, oh, and
there was a.
Camera's are what aphotographer holds.
I got it.
Okay, wait, where were you?
Speaker 2 (28:36):
Okay, that was a step and repeat.
It was like a really cute likestage.
Okay, yeah, when I think sevenrepeat, I think like the vinyl,
like you just think of like alot of your uglier thing.
Speaker 1 (28:47):
Yeah, yeah, okay it was like tasteful.
Yeah, it was tasteful, but noneNevertheless like okay, Well,
I'll speak for myself.
I so maybe I'm doing my headabout things like this sometimes
, but like Jasmine is a TV starand I, you know, we talked about
(29:11):
, when Jasmine was here, thatshe had sold the rights to her
pregnancy photos and she alsosaid that she had sold the
rights to the photos for thisthing.
So like I kind of knew or I hada sense we were walking into
like an event.
An event and it was a niceevent, Like it was.
(29:33):
There was a violinist who had,like her violin was mic'd, so it
was like playing from thespeakers.
Speaker 2 (29:40):
But she was playing like modern music.
Speaker 1 (29:43):
She was playing like over top of modern hip hop R&B,
some like 90s R&B and stuff likethat, and I would say they were
about what would you say?
Maybe 50 people in that room,50 mostly black folks in cream
colored outfits and things likethat.
I think that the highlight ofthe event for me was we played a
(30:09):
game where where they gave us acard and there were like nine
different baby items, babyproducts, listed.
Yes, maura, you remember thisand your.
The game was that you had toguess the prices of all nine of
(30:31):
these baby products, likediapers, bottles, I don't know
baby wipes, stuff like that andthen you would add up the total
of all these products togetherand whoever got closest to the
actual total one.
So so I had I put mine down, Iadded them together.
Mine came out to like $90.
The dude sitting next to mine,he wrote his down.
(30:53):
He wrote his down and thistotal came out to like I don't
know, $150.
The final total, the winningtotal, was like I want to say it
was like $130 or something likethat.
And the producer of this show,morgan, on her card, the total
of all the baby products thatshe wrote down was $595.
Speaker 2 (31:18):
Can I defend myself?
Speaker 1 (31:19):
Please do yeah.
Speaker 2 (31:21):
I don't have any friends with kids Okay, I don't
even have like like all of myfamily lives in LA, like I have
young cousins, but I don't I'mnot a part of like their
shopping expenses, and also Ifeel like if I had been shopping
at like Cretan Barrel or likeWhole Foods or Erwan or a very
(31:45):
bougie like shopping place, thatcould have been accurate.
So really it's all aboutperspective.
Speaker 1 (31:53):
It's all about socioeconomic status.
Yes, okay, well done.
That was your defense, okay.
So, yeah, we went to the babyshower and we were.
We did anarchy at the babyshower, okay, what else did I
think about that day?
Speaker 2 (32:09):
Well, do you how you like.
Freaking left me.
What'd I do To?
Speaker 1 (32:15):
my own, I didn't.
Morgan tried to text me beforethis thing and asked me to be
the scoper of the baby shower.
Speaker 3 (32:22):
She asked me Was Chad , the only one you knew there.
Speaker 1 (32:25):
Yeah, she asked me you wanted me to be there first
you knew like a couple otherpeople there.
Speaker 2 (32:31):
I knew a couple, I knew none.
Okay, so I go.
Okay, chad, you get there first, I'll get there like right
after you and you could likescope it out.
And he goes I'm not a scoper,we'll get there at the same time
.
I get there at the time we hadagreed to get there and Chad
doesn't even text me.
He sends me his Uber route oflike drag Chad's ride, and he
(32:56):
wasn't arriving for another 15minutes after I had gotten there
.
Speaker 1 (33:01):
So you went in Bravely yeah.
Speaker 2 (33:03):
I went in.
Speaker 1 (33:04):
You did great.
Speaker 2 (33:05):
You're so sociable though.
Speaker 1 (33:07):
You're such a people person.
How did it go when you walkedin?
Speaker 2 (33:11):
It was fun, it was.
It's weird when you know youwalk into a room, you don't know
where to look because you don'tknow anyone there.
So I walked straight to like myseat, to like put my bag down
and then, in all her glory, likeI saw Jasmine the one person
that I knew and I like be linedright for her and she, being a
great hostess, was like let meintroduce you to people, and
(33:34):
then see, that's what's up.
Speaker 3 (33:36):
I like when people do that, when they have the
awareness to know that, likeyou're probably not going to
know a lot of people.
Speaker 2 (33:41):
Yeah, exactly.
Speaker 1 (33:42):
And she made a friend , you made a friend.
Speaker 2 (33:43):
Yeah.
Speaker 1 (33:45):
Kind of Okay, all right.
So, morgan, how could you thinkdiapers could cost like $70?
Speaker 2 (33:54):
I don't, and, shannon , thank you.
In the chat was like parents dobe complaining about how
expensive kids are.
They do, so I assumed like thatevery target trip was $600.
Okay.
Speaker 1 (34:06):
Okay, all right, let's get back to the marketing.
So there's an artist allegedlynamed Charlie XCX.
She tells me and Charlie XCXrecently posted on her Instagram
marketing ideas that she hasbeen given by.
(34:29):
Who gave her these marketingideas?
Speaker 2 (34:31):
Well, I don't know.
She says swipe for somemarketing ideas.
I was sent last week.
Okay so she doesn't specify who.
Speaker 1 (34:39):
But these are not a far cry from marketing like
marketing schemes that I haveseen people execute, and these
are not a far cry from thethings that people pitch you to
do for marketing.
So I'm going to read you beforewe're going to do a segment
called Morgan pitches Chadmarketing ideas, which which the
last thing we did like this wasMorgan pitches Chad love
(35:03):
project name ideas and fromwhich I remember specifically
let's be termites together asthe shining star.
But here are some marketingideas that have been pitched to
Charlie.
Charlie gets her nipplespierced at Claire's.
That's the first one, that'sthe top of the list.
Charlie crashes drag brunchesand lip syncs to her own songs
(35:25):
across LA and in my C Charlieleaks a sex tape One moment.
Charlie gets caught shopliftingat a mall and leaks the CCTV
footage position it carefully.
So we quote unquote steal froma brand to Charlie is planning
on collaborating with later onCharlie for president.
Charlie announces she's runningfor office Tube photo shoot.
(35:48):
Have a full photo shoot in apacked tube car with multiple
team members being as obnoxiousas possible and then full ball
gown in the middle of the tube,mental breakdown and pouting.
Okay, so who was I just talkingto this about.
I was talking to someone, aboutmy sister talking to Shannon,
about how do I talk about this?
(36:09):
There are people out there whostill want to be writers for
some reason, and some of thosepeople.
There are people out there whowant to do creative jobs, and
many of those people, the pathto doing those creative jobs
like being a writer, being aproducer, being a director that
(36:29):
they are taking right now is tofirst try to blow themselves up
on social media as like personasand then use that as a backdoor
, use virality and eyeballs andattention as a backdoor into the
creative career that they want.
(36:50):
And I guess the most, the mostlike I don't know the most
effective version of this isprobably Kim Kardashian, who
parlayed family inheritance andwealth and money that she
already had, along with amarketing sensibility that
(37:10):
starts with a sex tape, and turnthat into an empire of media
and apparel.
And I don't know she's been inmovies, she's been on TV shows
like she's parlayed it into theKim Kardashian and the
Kardashian media like superempire kind of like.
(37:32):
I don't know the most, the mostextended version of this path
that one can have.
And then there are so manypeople also who will fall way,
way, way short of that, who willfail completely at this thing,
which is like they'll try tobuild an audience online.
They will really bulldoze theirway to 50,000 followers and
(37:52):
that's not going to be enough toget them.
You know, whatever it is thatthey're looking for to get a
shot in a writer's room or to,you know, get their movie funded
, or whatever the case may beand at that point they probably
will have such an overhead coston just maintaining their
following that that will becometheir job.
But this thing that I see righthere, these marketing ideas
(38:15):
this just reminds me that I'vetalked about this before, but
I'm sort of taking a slower burnway toward gathering an
audience, which is a combinationof the spike moments like your
book coming out, like my bookcoming out, writing on shows and
press releases and stuff likethat.
(38:36):
Those are spike moments where,like, a few thousand people jump
on at any given time, constantinflux of content production
that goes into the machine andthe little bit of money that I
can put behind boosting thatstuff.
But I don't take this sort of.
I don't take some of the likethe moonshot marketing moments
(38:58):
that are available to somepeople like I don't know, dating
a famous person or doingsomething that feels beneath you
but that will garner a lot ofattention at one moment, or
going on somebody's podcast andturning it into a circus on
purpose for eyeballs, forattention.
(39:18):
You know what I mean and TrulyI also don't disparage anybody
else who takes that particularpath.
If you have the stomach to doit, why not?
I mean, all of this is a circus.
This is all ridiculousness.
I don't feel a reverence overthe digital space, where you
shouldn't do those kind ofridiculous things, but I do feel
(39:41):
a reverence about your personallife, about your inner life,
your real life.
So if those things are going tofuck with you, if those things
are going to change you, ifthose things are going to make
you feel bad about who you are,then I wouldn't go for it.
But anyway, morgan, pleasepitch me your marketing ideas.
Speaker 2 (39:57):
Give me some of those ideas.
Well, the first one was goingto be date a famous person, but
we could just Well, let's talkabout it.
Speaker 1 (40:03):
So who do you have in mind?
Speaker 2 (40:06):
Well, I don't know, because the only one I know that
you love is engaged.
Speaker 1 (40:12):
Who's that?
Speaker 2 (40:13):
What's her face?
Speaker 1 (40:14):
This is Zoe Kravitz.
Speaker 2 (40:15):
Zoe.
Speaker 1 (40:15):
Kravitz yeah.
Speaker 2 (40:17):
Oh, I thought she Wait, is she not engaged?
She's not.
Speaker 1 (40:21):
I mean, she was just married, hold, Okay, wait, wait,
she was just married twoseconds ago.
Yeah, and you know what I thinkI'm over?
Zoe Kravitz.
Speaker 2 (40:33):
No, yeah, she's engaged to Tate.
Speaker 1 (40:35):
She's engaged to Tate yes.
I'm sorry so you're saying Ihave a shot, just kidding.
Okay, who else?
So she's out.
Speaker 2 (40:44):
She's out.
There's the woman from Atlanta.
Speaker 1 (40:48):
This is going great.
Tazzie Beatz, who I think isalso engaged and or married to a
white man.
Speaker 2 (40:55):
Well, I think it's extra marketing value if you
home wreck.
Speaker 3 (40:59):
Okay, based on our last conversation.
Speaker 2 (41:01):
Yeah.
Speaker 3 (41:02):
So you're just.
Speaker 1 (41:03):
Oh, so you're just.
Are you just floating outbiracial witchy looking bohemian
?
Speaker 2 (41:12):
woman.
This is based off of peoplethat I knew you liked, so that
is being flipped right back onyou.
Speaker 1 (41:18):
I mean keep going, morgan.
Speaker 2 (41:20):
Anyway, okay, no, let me move on.
But Did you have other peoplewritten down?
No, I honestly just wrote thatdown because you just Well,
let's examine it for a second.
First of all, I think that theywould have to be A-list,
otherwise it's not worth it.
Speaker 1 (41:34):
By the way, Okay, you really put some thought into
this.
All right, they would have tobe A-list, otherwise I think if
I was going to go that route Ithink for.
So if I was going to go theroute of dating someone I don't
love for eyeballs and attentionright, that's what we're saying
Then I think I would need toreally max it out.
(41:54):
I think I really need to knockit out of the park by Don't say
what.
Speaker 2 (42:00):
A Kardashian.
Speaker 1 (42:01):
Well, I mean, a Kardashian would be interesting
because it would ruin my life,it would destroy my life, but it
would offer this sort ofattention and eyeball.
It would really make my booksell, what literally my book is
about selling out.
So I think that would be reallygood for marketing.
(42:22):
I am attracted to a fewKardashians.
I do think that they cause painto the people that they are in
relationships with.
Actually, you know what?
I don't think that'snecessarily true.
I think that they do well tosource men who are already on
the road to pain and they areaccelerators.
(42:45):
They seek out people who arereally weak inside and really
broken inside and then they plugthem into their system and then
it goes awry.
No, I wasn't thinking ofKardashian so much as Oprah.
Oprah.
Yeah, oprah, is she not single?
I'm not sure, is she?
(43:06):
single, I think her and Stedmansplit up.
Speaker 3 (43:07):
Oh fine, Morgan's out on this.
Speaker 1 (43:10):
Why do you have that reaction?
Speaker 2 (43:13):
I mean.
Speaker 3 (43:16):
You know it's funny.
Oprah crossed my mind and I was.
Speaker 2 (43:18):
No, she's fully definitely like, still a rich.
Speaker 1 (43:22):
Why did you have that reaction, Morgan?
Speaker 2 (43:24):
Because she's 70 years old.
This isn't about love, though.
Speaker 1 (43:27):
This isn't about yeah , morgan, or attraction, sorry,
okay, keep your eye on the ballhere, all right, moving on,
what's the next idea?
Speaker 2 (43:36):
Okay, so again, these are also like.
These were inspired by theideas that Charlie's shared, so
there's one real one at the end,but these are just for fun, I
think.
Speaker 1 (43:48):
the more ridiculous the better, though Sometimes
that's how it works.
Speaker 2 (43:51):
I think so.
Here we tie a bunch of balloonsaround you and sail you over
Prospect Park.
Speaker 1 (43:58):
Okay.
Speaker 2 (43:59):
Because that would be amazing If we could have you
like fly.
Speaker 1 (44:04):
Is there a message here?
Speaker 2 (44:05):
You could be wearing like some merch.
Speaker 1 (44:09):
Okay, what's the next one, Morgan?
Speaker 2 (44:12):
We kidnap your dog and have you scared searching
for her.
That sounds horrible, but youwould know she's safe.
Speaker 1 (44:22):
Oh, so I'm doing like Instagram.
Speaker 2 (44:24):
Yeah, you're like doing a bit, but like I have her
and I'm like help me.
Speaker 1 (44:29):
Can you help me find?
Speaker 2 (44:30):
my dog.
You're like doing communitywork.
Maybe you start an organizationabout like lost dogs and then a
couple months later she comesback.
Speaker 1 (44:39):
Okay, I like that one Dog gave that one.
Speaker 2 (44:44):
I give you shellfish in public and let strangers save
you.
Speaker 1 (44:48):
While filming, yes, okay.
So it's like a moment, it'slike Chad's in peril, and then
this person comes and saves meand then it goes viral because
Right.
Speaker 2 (44:59):
Because, like everyday hero type of thing, you
make someone feel like they,and then maybe you guys start a
production company together.
Speaker 1 (45:09):
Okay, I think, yes, I do think there's legs to the
almost dying lane.
I think people like that.
I think they like to seesomeone who is almost dead and
then it doesn't die.
Speaker 2 (45:23):
The people really rally around that.
But then like, what better waythan like kid off the street?
Ooh, if it's like a kid too.
Speaker 1 (45:30):
But then he's a hero I don't want to be.
I can't be upstaged.
This is about this is reallyimportant for me.
It's actually that's reallyimportant that the other person
is completely overshadowed by me.
Speaker 2 (45:42):
Yes, okay.
Speaker 1 (45:42):
That's necessary.
Speaker 2 (45:43):
Okay, so then we can maybe, like you have like a come
to God moment in your neardeath experience and you like
have a third eye now orsomething.
Speaker 1 (45:51):
Okay, it's come to God.
Is that like a?
Is that a Gen Z thing?
Speaker 2 (45:54):
No, that's like an old phrase, isn't it?
Speaker 1 (45:57):
All right, have you all replaced come to Jesus with
come to God?
All right, moving on, what'sthe next one, morgan?
Speaker 2 (46:03):
The next one is we get you tweezed in a shield to
make a dish track.
Speaker 1 (46:12):
Are we dissing?
Speaker 2 (46:13):
I don't know Somebody , that people that their fan
base would be upset about.
But that way it's not just you,you know it's, yeah, maybe.
Speaker 1 (46:26):
No, I don't want that .
Speaker 2 (46:27):
Okay.
Speaker 1 (46:27):
Okay, that has legs.
I like that Diss track isinteresting.
Speaker 2 (46:34):
You go to a stand up show and walk on stage and steal
the mic from the headliner topromote nothing but anarchy
Video.
I get the addresses of peoplein the New York area that have
ordered your book online and yougo and give a hug to each one.
Speaker 1 (46:51):
I like that, except germs.
Speaker 2 (46:53):
Well, yeah.
Speaker 1 (46:54):
Yeah and COVID.
Speaker 2 (46:56):
And then the last one that I think could actually be
a thing is like a man on thestreet creative advice corner.
So like either you go to acoffee shop and you have like a
little sign that says like fiveminutes of creative advice.
I was just like a little tasteto like your overall, like new
leg.
Speaker 1 (47:15):
Okay.
Speaker 2 (47:16):
And then like if people either really enjoy it or
they want more than five, andlike there would be like a
legitimate timer where it's allout of time, but if you want to
talk more, you know.
Speaker 1 (47:27):
Okay, I don't hate that.
Let's let's.
It probably take us like 12hours to get three people to do
the thing.
Speaker 2 (47:34):
But yeah, you know it would be like, it would be like
an all day affair.
And I got this idea becausethere was this dog trainer who
was just posted up a coffee shopgiving free dog training advice
.
But she had a dog trainingcompany and I was like, wow,
that's so nice.
Speaker 1 (47:50):
Like, did she give video?
Speaker 2 (47:52):
No, it was just her.
Speaker 1 (47:53):
Okay, yeah, well, we need video for all of these.
All right, great job, morgan.
Excellent job with the segmentthat was marketing ideas with
Morgan man.
I'm so glad we did an episodetoday.
Speaker 2 (48:06):
There's five minutes left.
Speaker 3 (48:09):
Shannon said these are all bangers.
Speaker 1 (48:11):
These are all bangers .
Thank you, shannon.
All right, where am I going toland here?
Here's what I'm going to landFuck it.
You know what?
I wanted to stay away from thisbecause I'm sick, my brain
doesn't work, but I'm just goingto do it.
There's a clip from the JoeBudden show going viral right
now.
Morgan, you sent this to me.
I know what to do.
Do you not want me to talk?
Speaker 2 (48:31):
about it.
No, no, no, go for it.
Speaker 1 (48:32):
Okay, there's a clip from the Joe Budden show going
viral right now.
This is in the sewer, this islike this is like.
This is dirty, but I'm going todo it because you know what
Fuck it.
In the clip, joe Budden arguingwith his friend of multiple
decades who goes by the name ofish.
(48:54):
On the show they're arguingabout having had relations with
the same person sexually and theargument seems to be that ish
feels this is relating to ourhome wrecking conversation and
(49:16):
sort of.
Ish feels like Joe went out ofhis way to have relations with
someone from ish's past and heis taking issue with Joe because
he thinks he feels like that'sa thing for Joe.
He feels like Joe, joe goes outof his way to sleep with people
(49:40):
that his friends have sleptwith.
I'm saying this like so,differently than how all of this
is said on the show, but thisis indeed the matter at hand on
the show and I guess I post tothe room.
I post to the room related tothe home wrecking conversation,
(50:03):
but different because this iswe're talking about two people
who are no longer in arelationship or in relations
with one another.
Is there anything bad orimmoral about dating someone who
one of your friends has dated.
Let's put it that way.
Speaker 2 (50:24):
Okay, so one.
It's 12 58 and I feel like wecould spend a lot of time here,
but this also might be a goodmoment to like pose this to
other people on your Instagramand then we recap this
conversation on Tuesday but,I'll just say, as a little like
side thing, I think there's likea what's it called Years or
(50:48):
like a time.
Speaker 1 (50:50):
I guess, is there a statute of limitations, statute
of?
Speaker 2 (50:52):
limitations, but also like it's really dependent on
the situation and where both ofthose people are now and how
they end.
There's a lot of, I feel likecaveats in there.
Speaker 1 (51:04):
Okay, it is circumstance dependent, josh.
These are teasers, then.
We're going to come back tothis on Tuesday.
Speaker 3 (51:11):
This is oddly something I have a little bit of
familiarity with.
Whoa.
I forgot about that, that.
I forgot about again In whatway, josh, the thing is like.
This was such a long time ago asa teenager, so like this barely
counts in my book.
But I think for me I'll justsay real quick if I could tell
(51:34):
that my friend didn't reallycare about that person in a
certain way, like they didn'thave first of all they didn't
have a very long relationshipand it wasn't really about I
didn't, it wasn't really aboutme trying to like oh, I want to
get her because she's been withhim, or something like that.
I have a feeling that JoeBudden really probably has that
(51:55):
gene.
I don't know why, that's just aguess, but I have a feeling he
really does have that gene wherehe just likes to do that.
But yeah, I don't really thinkthere's a huge problem with it,
as long as it's not like a thingthat you're actively trying to
do and also something to be saidabout, like the other person
that also has a choice in amatter too.
Speaker 2 (52:17):
So Right, yes, shardae says you can have him.
Shardae, come back and be inthe comments on Tuesday.
Speaker 1 (52:22):
Shardae.
Is Shardae gonna be inWashington DC?
That's the question.
I'm waiting for her response.
Then we will wrap the show.
Shardae, will you be in DC onnext Thursday?
Speaker 2 (52:34):
Are you just staring at the chat?
I am.
I feel like she is, though.
Speaker 1 (52:38):
I think she is too All right.
This has been absolutely ourworst show and I'm so glad we
did it.
It's fine, we did it.
I mean it's been.
It's just, I've been awful LikeI have just been an absolute
shell of myself.
Speaker 2 (52:49):
Yes, yes sir.
Speaker 1 (52:50):
Okay, excellent.
Well, that's good news to endthe show.
No, everybody else did great.
I was a C, I was an E minus.
I was so bad and I'm fine withthat.
This is a volume.
This is a volume game.
Thank you to everybody who satthrough this.
Thank you to everybody who cameto be with me while I'm sick.
I have a man cold.
I'm gonna go home and lay onthe floor.
(53:11):
Penny's gonna lick my face.
Penny is judging me throughoutthe duration of this cold.
This is nothing but anarchy.
Listen, all right.
The live show is one week fromtoday in Washington DC, february
8th, seven o'clock, shanklinHall.
Doors open at seven.
There are 18 tickets remainingcorrect 18 tickets remaining.
(53:34):
There are 18 tickets remaining.
Everybody's gonna buy the-.
Speaker 2 (53:37):
Wait you did.
Speaker 1 (53:39):
You told me that an hour ago.
Speaker 2 (53:40):
I know.
Speaker 1 (53:42):
I just I cannot emphasize enough that once those
tickets are gone, that's it.
If you wanna hang next Thursday, then you'll have to catch us
on the let out on the way out ofthe venue.
Tia Mowbley's DJing.
We're excited about that.
She DJed our launch party andwe will be there and I will be
(54:03):
back.
I will be back from this.
We will have a much better showthan we did today, and that's
it.
At Chad Sand on Instagram.
If you wanna talk to us atMowby Williams on Instagram,
M-O-B-Y Williams, All right, seeyou guys Tuesday.
We'll be back Same time.
I'm so gross I'm going to gorecover myself.
(54:25):
That's perfect, you.
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