How the Music Industry Hip Hop Destroyed - Clip Wilson - NYPTALKSHOW Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:12):
what's going on?
Everybody?
It's ron about lmt, thepeople's fitness professional,
aka soul brother number one.
We are on the check-in, oh yeah, and I'm reporting for duty,
soul brother number one.
Reporting for duty.
I'm here with the brother ClipWilson.
Hey, mr Wilson, all right, Isee that.
Peace to you, mr Wilson.

(00:32):
Clip Wilson Clip.
I want you to introduce orreintroduce yourself to the
people and explain to the peoplewho you are, what you do, so
they could understand how validyour opinion on music and
information is.

Speaker 2 (00:50):
I'm Cliff Wilson, the sound man to your favorite
producer.
So your favorite producerprobably comes to me for sounds
to make the beats that you liketo dance to to.

(01:10):
I've worked with a few people.
You know sean clv, wale, jimjones, troy, ave, my brother,
marvino beach, loaded lux.
A bunch of people.
Uh, we know, we got recordswith joey badass abso.
A bunch of people, we just, wejust, but we low-key with it.

Speaker 1 (01:20):
So you know right that's, that's who I am, indeed.
So now let's, let's go into it.
We're talking about how themusic industry destroyed hip-hop
, and then you said we destroyedwe destroyed hip-hop.

Speaker 2 (01:35):
All right, the music, the music industry, was the
music industry before hip-hopcame around.
So the music industry didn'tdestroy hip-hop.
We destroyed hip-hop when weallowed the music industry
didn't destroy hip hop.
We destroyed hip hop when weallowed the music industry to
dictate what we do.
You know what I'm saying.
So, like we first came intothis, to this, when we first
created this culture, as we know, hip hop and hip hop music,

(01:57):
shall I say, because the otherindustries really ain't really
destroyed.
As far as like break dancingand all that other stuff, it's
not really destroyed.
But hip hop music, when wecreated, really ain't really
destroyed.
As far as breakdancing and allthat other stuff, it's not
really destroyed.
But hip-hop music, when wecreated it, we didn't create it
for money purposes initially.
We created it for the love ofthe art form and to get respect
from our peers.
It became a business once wedecided to put our art form on a

(02:23):
physical product such ascassette tapes, vinyl, things of
that nature.
You get what I'm saying.
Okay, once we, it started outgreat.
But once we started trading oursouls and our morality for
dollars, it all went left fieldwhen we, when we started, how

(02:46):
can I say it, I don't want tocurse, but when we started
pooping on each other, on ourown people, for dollars and
flaunting each other's faces andbelittling each other, we
destroyed the art form, wedestroyed our culture.

Speaker 1 (03:07):
Okay, so can you give me a brief, like you know, a
summarized version of thehistory, um on like how it
started, like how hip-hop, orhow hip-hop started, and then,
when was the change?
When was the?

Speaker 2 (03:19):
change.
So we all know hip-hop startedearly 70s.
Probably around 73, is when theyou know, the first
announcement of the firsthip-hop party that's documented
on paper started.
We all know that all hip-hopparties started from street gang
culture, you know.
So the gangs of the 60s and the70s, as we know, the black

(03:40):
spade, black spades and, um,things of that nature they
basically those members of thosegenerations, the people of that
generation, created the cultureof hip-hop, right.
So, as we all know, it startedwith the DJ first, then the MC,
then the B-Boys and graffiti andall other things that was going
on in the street just adaptedto that culture and the parties,

(04:01):
all other things that was goingon in the street just adapted
to that culture and the parties.
It became a melting pot ofmultiple different races and
cultures, even though it wasoriginally created by Black
people.
As we know, there were a lot ofparticipants that helped to
make this culture grow, such asthe Puerto Ricans, such as a few

(04:23):
white people.
We're not going to sit thereand try to play them out either,
because they were all part ofit.
In the 80s is when it really,really, really popped off.
You know what I'm saying andwhen it started to become a
little bit more bigger thanoutside of the five boroughs.
So we know, with the emergenceof Run DMC, ll Cool J, curtis

(04:46):
Blow and all of them brothers inthe early 80s, they took it to
where it started becoming, towhere we can perform in arenas
and not just littlehole-in-the-wall spots or clubs
like the Latin Quarters and suchand the Roxy and all of that.
So late 80s is when it reallyand the Roxy and all of that so
late 80s is when it reallystarted to become a legit

(05:09):
business.
We had the emergence of recordlabels like Def Jam, tommy Boy,
you know these little labelscame in and started signing
local acts from New York.
Then the major labels startedcoming in, as we all know,
signing acts like NWA and allthese other labels, all these

(05:34):
other acts to help the culturegrow.
And during that time the culturestill stood for something.
We knew the record labels wereshady.
We knew that from the beginning, but we still held firm with
our culture.
We still held strong.
We still were, you know,supporting each other.

(05:54):
It was still more of a unitything amongst hip-hop in New
York, shall I say Because NewYork had a thing where we were
downplaying every other regionoutside of Philly, that wasn't.
New York had a thing where wewere downplaying every other
region outside of Philly.
That wasn't New York.
Right, philly and New Jersey.
Let me say we was basicallydisrespecting every other region

(06:15):
okay.

Speaker 1 (06:18):
Was it the people in the culture disrespecting every
other region?
Or was it the music industry,maybe lighting the fire
underneath that, instigatingthat situation?

Speaker 2 (06:29):
it was a little bit of both, because a lot of people
in the streets I remember this,the older generation if you
wasn't from new york, bro, youwas getting booed, you was
getting things tossed and chewed.
You was getting tossed,disrespected.
You had to basically earn yourrespect within the culture
because back then everybody, ifyou couldn't make nothing dope,

(06:51):
you was getting called out forit.
You know what I'm saying, eventhough, when you're looking back
, even the stuff that we thoughtwas dope was kind of trash too.
You know what I mean.
But we just had this New YorkCity pride thing where we was.
You know what I mean, but wejust had this new york city
pride thing right where we was.
You know, disrespecting othergreek cultures and other regions
, shall I say, and that's whatbasically caused a rift with us

(07:15):
and people from other regions.
Quiet is kept right, you know Imean.
So a lot of these regions fyi,new york dudes, new York, we
don't need y'all.
Once they started making moneyand emerging in their towns and
their regions and becomingpopular in their regions and
realizing that they didn't needNew York, a lot of pushback came

(07:36):
from them Towards the 90s.
Labels got bigger, artists gotbigger, the culture got big, but
it was a section whereinfiltrators started to
infiltrate the culture with actslike vanilla ice.

Speaker 1 (07:53):
You know what I'm saying with acts like hold on
you, you, you, you um miss thebeastie boys.

Speaker 2 (07:58):
I don't.
The beastie boys were authenticto the culture, it's not.
It's not just.
It's not just about you beingwhite right, because I don't
want people to understand thatright At the time, beastie Boys
were very authentic to theculture.

Speaker 1 (08:10):
They were in the club .
They were punk rock.
They were like a punk rockgroup.
They were a punk rock group.

Speaker 2 (08:14):
You got to remember.
Hip-hop took from all forms andall genres of music.
Okay, hip-hop was never justboom-bap, and a lot of people
forget that too.
Hip-hop, our roots, startedwith records from the jazz,
south rock records, whiterecords, it didn't matter.
Our culture was based on takingmusic from the past and

(08:35):
flipping it and rearranging it.
Hip-hop and punk rock at thattime were very intertwined in
that early time.
They were very intertwinedculturally because we both had a
rebel culture amongst them.
We both had a rebel attitudeamongst both cultures.
That's where the Beastie Boyscame in, because they understood

(08:59):
what hip-hop was.
They were never not hip-hop,they was always white boys who
did punk rock and rap at thesame time.
It's just, as we got older, asthe culture grew, we started to
shift away from punk rock.
But let's be real King of Rockis a run-DMC record and it's a

(09:22):
rock and roll sample.

Speaker 1 (09:24):
Right.

Speaker 2 (09:26):
You know what I'm saying?
Walk this Rock is a Run-DMCrecord and it's a rock and roll
sample.
Right, you know what I'm saying?
Walk this Way is a.
It's a rock and roll sample.
It's always been a part of ourculture.
Rick Rubin is a huge rock guybut, as we know, he incorporated
all of that into hip-hopculture.
So, yes, the Beastie Boys arepart of the culture.

(09:47):
They're guests in black culture.
Yes, hip-hop culture isdifferent things, two different
things, and I think a lot ofpeople confuse the two Hip-hop
culture and black culture.
Hip-hop culture was createdfrom black culture of people
that was in poverty, but hip-hopculture embraced all cultures.

Speaker 1 (10:11):
Right, indeed you get what I'm saying For sure, for
sure.
So now the timeline that yougave us right, you gave us the
early 70s.
So there were other recordlabels that were oh yeah.
So I guess they were, um, likeindependent labels, like what

(10:32):
about that label, sugar hill,sugar hill's label?

Speaker 2 (10:35):
yeah, yeah, sugar hill was basically that they
basically signed the.
You know they basically put outthe first hip-hop record to the
mainstream.
We all know Sugar Hill GangRapper's Delight.
Funny thing about Rapper'sDelight is it was hated by the
authentic hip-hop heads.

Speaker 1 (10:53):
That's for sure.
Yo Peace, peace, ab the Light.
Did anyone hear his musicreview, his album review last
week?
This is a dope artist righthere, man, and I'm going to
always say it, man, yousurprised me, man.
Give us some new heat, brother,give us some new heat.
Yeah, go ahead.

Speaker 2 (11:13):
Salute to you, brother, salute to you.
But, like I was saying theearly days, you know what's my
guy's name off the top of myhead Melly Mellon.
They hated hip-hop.
They hated hip-hop.
Delight hip-hop.
Uh, yeah, yeah rappers delightrappers delight.
Right, excuse me, they hatedrappers delight.

(11:33):
It's funny because thatgeneration was haters anyway yo.
They hated anybody that was tothis day.

Speaker 1 (11:44):
To this day, yo, it's just it better than them, right
?

Speaker 2 (11:46):
they hated anything that popped off before them,
because we all know Melly, melKaz and all of them.
They were stars in the coachingReddits Flash Furious 5,
treacherous 3, cold CrushBrothers.
Salute to all the brothers.
Much, much respect and praiseto all of them.
Right?
But they, I guess they didn'tlike the record because it
wasn't authentic to what hip-hopwas doing on the streets.

(12:08):
Right, it took the radio bystorm and then they eventually
grew to like the record, butinitially they hated it.
It wasn't hip-hop, it wasn'tauthentic to hip-hop.
And they didn't put Kaz on therecord, but they took a whole
kaz verse wait, hold on.

Speaker 1 (12:29):
So rappers delight.
Kaz was supposed to put b onthat, yeah they took the whole
cat.

Speaker 2 (12:36):
I'm the c-a-z and the m-a-s and the d and the double
d, all of that.
Kaz wrote I got a lincolncontinental and a sunroof
cadillac.

Speaker 1 (12:44):
I didn't even realize that.

Speaker 2 (12:47):
That's a Grandmaster Kaz verse.
He spells his name out.
He's spelling out GrandmasterKaz, but they didn't throw him
on the record and he ain'tgetting no money from it.
Wow, wow, that's crazy If youreally want to get technical.

(13:08):
That's what we sold ourselvesout right then and there right
there, but what?

Speaker 1 (13:12):
what record label was it?

Speaker 2 (13:13):
her name was sylvia, or something like that right
yeah, yeah sylvia room also alot of sugar hill records.
The first label to sign naughtyby nature too a lot of people
don't know that Right.
And the first label to signwhat's her called, too.
What's her name.
Rest in peace, angie Stone.

Speaker 1 (13:33):
Okay, yeah, so Angie, that was the first record label
to sign Angie Stone.
You said yes.

Speaker 2 (13:40):
Angie Stone.
Angie Stone was a hip-hop actfirst.
She's a background femalevocalist for hip-hop acts first.
So ring ding dong, ding, ding,ding, ding dong.
That's her.
Yeah Right, the song thateverybody gives Dr Dre the
credit for.
That's a sample from Andy Stone.

Speaker 1 (13:58):
Wow, that's crazy, crazy, crazy.
You get what I'm saying, solike a lot of my anybody in the
chat knew that probably not goodright?

Speaker 2 (14:12):
so um, getting back into the timeline, you know,
sugar hill basically ushered itin as far as black acts and
black hip-hop acts and gettingto the mainstream.
The first hip-hop record toreally sell records a lot of

(14:33):
records was Curtis Blow,christmas Rapid.
Do, do, do, do, do, do, do, do,do, do, do, do.
Now don't you give me all thatjive about the thing before I
was a lot.
That's the first record toreally sell records.
I think that's the first goldrecord in hip-hop, right, okay?
And since we're talking aboutwhen hip-hop fell, in my opinion

(14:59):
hip-hop started.
A lot of people blame NWA.
A lot of people say around 86,87, when NWA came and brought
that what the industry labeledas gangster rap.
They say that's when hip-hopstarted to take its first
downfall, because hip-hop priorto that wasn't about killing,

(15:22):
wasn't about shooting, wasn'tabout that type of, about
shooting, wasn't about, you know, that type of entertainment in
the music.
But in reality it was realitymusic, it was reality rap.
For the west coast, right it's.
They were telling their storysimilar to how grandmaster flash
, nefarious five, was tellingtheir story, with the message it

(15:44):
was just more raw and uncut,coming from the West Coast and
the West Coast didn't startgangster rap, so we got to stop
that too.
Psk is making this.
All of that was gangster rapfirst.

Speaker 1 (15:59):
Right, right and Philly.

Speaker 2 (16:00):
Yeah, philly, you had Coogee Rap doing it too.

Speaker 1 (16:05):
And PSK.
I think that's Parkside Killersand that was in the 80s.

Speaker 2 (16:11):
That was in the 80s.
Hip hop came from street urbanculture.
So the thing is, the streetswas always going to tell their
story.
It's going to start off acertain way, but when it's, when
it's coming from the streets,the streets is no holds barred,
right.
So eventually it's going tobecome raw, rough and rugged,

(16:37):
right.
And if you notice it, when it,when it got, when it went to
that rough, raw, rugged stage,that rough, raw, rugged stage
lasted for about a good 15 to 20years.
Right, you had acts that camein between De La Soul, jungle
Brothers, queen Latifah, butthey were still somewhat street.

(17:01):
They just didn't talk aboutshooting and killing all day.
Right, right, right.
I call that era the Black Powerera of hip hop Right, yep,
right.

Speaker 1 (17:14):
That was.
That was the era that thatmolded and shaped me they molded
and shaped most.

Speaker 2 (17:19):
We're at the same age , so it molded and shaped most
of us.
You know.
Fight the power right.
Black medallions, black boysimpson shirts yeah, yeah cross
colors, all these black ownedbrands, carcanar walk away like
we were.
we were, we were taught,especially up where we came from
.
We were taught black power,black pride.

(17:41):
So that era of hip hop probablyshaped us the most when it
comes to our origins, because wewere kids, young, so we didn't
really get to see that.
We saw it from a kid's lens butwe didn't get to see it from an
adult lens of that era of thembeing the hottest, biggest acts

(18:04):
on the planet.

Speaker 1 (18:06):
Right.

Speaker 2 (18:06):
By the time we was 10, 12, thebiggest acts on the planet was
Dr Dre, ice Cube, snoop Dogg,biggie.
Around that time, that's whenwe got to see all of that Right,
right, rock him and them.

Speaker 1 (18:22):
We was seven eight maybe, yo, but I'm going to tell
you though, but it was betterthan us.
Yo, because remember they weremaking the videos and all that
in the hood.

Speaker 2 (18:34):
Yeah, in the hood.
So we got to see it.
It was a different thing for usthan the world, because we got
to see it up close yeah, upclose and personal.
We were living the culture thateverybody else was imitating.
We was born into it, so it waslike this was a norm for us.
Right, you got to remember, insome places, hip-hop didn't

(18:56):
exist.

Speaker 1 (18:59):
Right.

Speaker 2 (18:59):
Remember that I.

Speaker 1 (19:00):
Ain't no Joke was made in a record park.

Speaker 2 (19:03):
Yeah, yeah, that's what I'm saying, I Ain't no Joke
was in a record park Video shoton 2, 5th you know what I'm
saying?
Like Juice was shot on Carvin,like all of this culture that we
embraced in New York, georgiadidn't have that.
Georgia didn't have a videomusic box.
La didn't have a video musicbox.
They didn't have these.

(19:23):
We got it first because wecreated the culture.
So what we were into was whatNew York was into, right.
Right, we look at it from adifferent lens.
Prime example of the NYP talkshow we're looking at this from
the perspective of people whowere born and bred and birthed.
Our uncles and aunts and themcreated this hip hop culture.

(19:48):
We're the first descendants ofchildren, technically, of this
hip hop culture.
The culture was created bythose that were born in the late
50s and 60s.
Actual fact, we were the firstchildren.
Technically, we're the firstchildren of hip-hop culture.

Speaker 1 (20:12):
Yeah, if you look at yeah, you're right about that.
Yo, like coming up in that era,right, like, as you say, like
we're the first children, what Ican remember is all the new
shit coming out and you heard itthrough the windows, you heard
it in the cars, you heard it inthe little corner stores.

(20:33):
You heard it everywhere.
You heard LL.
You heard EPMD, like all theNew York acts.
You heard it everywhere.
You heard LL.
You heard EPMD All the New Yorkacts.
You heard it all.
You even heard Luke when hisshit got popping Florida.
That song took New York over atone point.

Speaker 2 (20:53):
But it took New York over because those kids from New
York were graduating highschool and going to college
Right, and they were going tocollege in Atlanta, we were
going to college in Florida, wewere going to college all across
America.
Now we're taking hip-hopculture that's in New York and

(21:13):
bringing it to them, and they'rebringing their culture to us
and we're bringing it back tonew york, right right, right,
peace, peace, our divine peacegod peace, god.
Right.
So that's what we did like,that's what the culture did in
itself, right?
So, exactly, shawnee.

(21:34):
Most places didn't have theproper elements in place for hip
hop to exist there initially,so our culture had to give
everybody else the format, theblueprint.
We had to give it to them forthem to, to, to, because when
they, when they were trying toimitate what hip hop was, we
were shitting on no, no, that'swhack.

(21:56):
That's whack.
That's not authentic.
You can't do that.
No, that's whack.
That's whack.
That's not authentic.
You can't do that, that's whack.
We were criticized, remember?
We were criticizing artistslike hammer and vanilla, ice and
millie vanillie.
Nah, you can't do that.
We don't care if you sell amillion records that ain't
authentic to what we do.
Right, right, hip-hop took atoll, took a turn when we

(22:20):
allowed these suckers to come inhere, imitate our culture and
give them a pass, because theywere making money okay, can you
give me an example and let'sstart from the first.

Speaker 1 (22:33):
Let's start from the beginning prime example.

Speaker 2 (22:35):
I'm gonna get to the first, but prime example To me.
The first example well, vanillaice is to me is when I remember
right, he was the first Doom,doom, doom, do the doom, doom,
doom, doom doom, doom, do thedoom doom.

Speaker 1 (22:50):
You can't say Hammer, mc Hammer.

Speaker 2 (22:52):
Nah, because Hammer was really.
Hammer was a hip-hop head, buthe was really a Christian
hip-hop head.
Okay, he was street, but he wasstreet off-camera Because we
hear the stories he was deadserious about.
Don't play with me, I'm fromthis environment but I'm not

(23:14):
trying to present thisenvironment to the world.
I'm a dancing, rapping, coolrapping dude Because Hammer came
around in time as a young MCwith Busta Move and all that
Right yeah, right so, and ToneLoke and all of them you know
the Wild Thing and all that era.

(23:34):
Like Hammer was cool, but Hammerwasn't like he didn't.
Hammer didn't speak for ourculture in the streets.
He was a cool act.
He was like a what you wouldcall like a Michael Jackson of
hip hop at that time.
You know he was like a MichaelJackson figure but he wasn't
like hardcore cats in the hoodwasn't bumping Hammer.
We just saw him on TV, right,right, like we wasn't.

(24:01):
I don't remember nobody in thehood like in the cars bumping
too legit to quit.
I just don't remember that.
We always saw it on tv rightright, I can't speak for oakland
.
I don't know what they weredoing in oakland.
I'm not gonna say he didn't getno burn in oakland because he's
from oakland.

Speaker 1 (24:15):
I don't know but you heard it at barbecues.
You heard it don't know.
You heard it at barbecues.
You heard MC Hammer atbarbecues.

Speaker 2 (24:21):
But that was probably on somebody's radio.
That was just dead oncommercial radio.

Speaker 1 (24:25):
Right, nobody was like yo throw that hammer on.

Speaker 2 (24:33):
I don't know nobody that purchased the Hammer album
I don't and he sold a lot ofrecords.
I'm not taking nothing awayfrom Hammer.
Hammer did his thing.
Vanilla Ice was like the WhiteHammer.
Right, right, he was like theWhite Hammer.
I'm going to be the white boywith the flat top.
I'm going to start doinghip-hop dance moves.

(24:56):
I'm going to do all this stuff.
We knew he was a clown.
So much to us in our culture,he was like he's a clown, go,
ninja, go, ninja, go.
He was so much of a clown JimCarrey had to imitate him on A
Living Color as a spoof.
To be like.
This is a super clown Becauseyou look like you don't even

(25:19):
look like you fit in with thisculture.
Naturally, right right come tofind out you didn't.
The song was written for you bysomebody.
Black right wrote the wholealbum, actually wrote your whole
album, didn't get no realcredit for him and this is why
you got supposedly hung out of awindow and what is that?

Speaker 1 (25:39):
doing now, though he's rich, yeah right, he's
super rich.

Speaker 2 (25:45):
He does real estate, he does landscaping, he does all
of that.
He's super rich.
He made a lot of money and healways sold records, even when
we didn't support him.
So this is what I'm saying,like he was one of those type of
artists where it's like alright, hip-hop culture is not
supporting Vanilla Ice after theNinja Turtle movie, technically
right After the Ninja Turtles 2movie, we ain't really messing

(26:07):
with Vanilla Ice like that.

Speaker 1 (26:09):
You know what's so funny?
That's an actual fact rightthere, because yo I wasn't
dancing, I wasn't dancing, I wasdancing in a little MC Hammer,
a little bit, yeah, a little bit, a little.

Speaker 2 (26:20):
Ken Sukses.
Dude, a little Ken Sukses.
We know Bob.
Yeah, you know Actually.

Speaker 1 (26:24):
I was nice with the Running man back in the days.
I was the Running man, I wasthe Running man king.
But the Vanilla Ice joint, ah,that joint.

Speaker 2 (26:35):
Yeah, we really did.

Speaker 1 (26:36):
And then after the Go Ninja, go Ninja, that was a
wrap, it was a wrap.

Speaker 2 (26:41):
After Go, ninja, go, yeah, you out of here.
B, we got you up out of here,but remember he was never really
of our culture.
I'm going to correlate him withsomebody that's relevant right
now.
He was never really of ourculture but he still went
platinum.
He was still going platinum onhis second album, his third

(27:02):
album, fourth album.
We didn't care because hewasn't part of our culture to
begin with.
Right While he was sellingrecords, we moved on.
Already You're out of here,sell your records.
We don't care.
Do your thing.
We started to grow dreads.
I don't know if y'all rememberthis.
We started growing dreads afterthe flat top, all of this

(27:27):
imitating black culture thingthat somebody currently is doing
right now with the accents wegonna correlate this into.

Speaker 1 (27:41):
I know where you're going with that one, right.

Speaker 2 (27:44):
Because after it went through spurts, because after
Vanilla Ice he had Snow Yo holdon, hold, on, hold on, hold on.

Speaker 1 (27:56):
Snow was dope son, we can't run on.

Speaker 2 (27:58):
Snow Snow Wrecking was fire.
We're not going to take thataway from Informa.
Informa was fire, but he wasdoing exactly what somebody's
doing right now.

Speaker 1 (28:06):
Wait, hold on.
But Snow is not from any kindof like West Indian spot.
No, he's like a fraud, fraud.

Speaker 2 (28:13):
He's not from.
He's not a fraud.
Fraud, I thought he was a.

Speaker 1 (28:15):
He's from Jamaica, no .

Speaker 2 (28:19):
Okay, damn Boom, I'm going to mess you up.
After Snow, we had what wasthey called Black teenagers,
something like that.

Speaker 1 (28:33):
Young black teenagers .

Speaker 2 (28:35):
They was a whole white boy.

Speaker 1 (28:36):
Swiss the cap.
The bottle.
End Swiss the cap, look was awhole white boy.
Tap the bottle in Twist the cap.
Tap the bottle in.

Speaker 2 (28:42):
You can't put on that song Right, tap the bottle,
twist the cap.
It was fire.
Yeah, they were four white boys.
Remember there were three orfour of them, and one of them is
in House Party 2.
I don't remember that he'sHouse Party 2.

(29:05):
He's kid's roommate in college.

Speaker 1 (29:10):
Wait, hold on One of them.
Right is like a famous DJ orsomething like that.

Speaker 2 (29:15):
Yes, Right, hold on.
I'm going to break it down.
First off, I don't even knowhow hip-hop allowed this.
How do we allow a group of fourwhite boys to come in and call
themselves young black teenagers?

Speaker 1 (29:34):
Yo, I never thought of that.
They should have got beat up orsomething.
This is what I'm saying.

Speaker 2 (29:42):
And then you wind up and then you have the main, the
best rapper out the crew, theone with the dreads, the white
boy dreads.
Right, he's in House 42 withKenneth Blake.
He's the white boy roommate andthey clowned him Like who, this
white boy?

Speaker 1 (29:58):
they keep black okay, I gotta, I gotta remind that
I'm 42, they're going.

Speaker 2 (30:04):
You see him.
He's still trying to hold theimage I'm like she's talking
about.
I'm rolling dice, I'm doing allthis and that like whoa, what
is this?
You know who came in rightafter them?
Who, alchemist?
But Alchemist is fine, though.
He wasn't a producer at thetime, he was a rapper wait, what

(30:29):
about?

Speaker 1 (30:30):
if we talking about Alchemist, you gotta talk about
third base not only third base.
You gotta talk about third baseis official.

Speaker 2 (30:38):
Yeah, they from New York, so we get it.
They official rappers base.
Not only third base you gottatalk about, but third base is
official.
Third base is official, yeah,they from New York, so we get it
.

Speaker 1 (30:42):
They official rappers .
They were kicking thatknowledge.

Speaker 2 (30:46):
Third base.
We gonna get him Shout out toMF Doom because he was part of
that crew too, so we gonna givehim all his credit.
Mf Doom was a part of that too.
He was the black guy.
You remember he was the blackguy with the glasses, black guy.
And you don't remember he wasthe black guy with the glasses.

Speaker 1 (30:57):
MF Dune was a part of that group.
And what's the name of thatother group?
Dm something, yeah, yeah.

Speaker 2 (31:04):
Damn, you don't remember.
He was in.
He was in all of their videos.

Speaker 1 (31:11):
Bro, damn, you just hit me, damn, damn.

Speaker 2 (31:15):
See.

Speaker 1 (31:15):
He's on live at the barbecue and all of that.
This is why, when Cl is talking, you gotta listen.
This is why, when clip istalking, you gotta listen.
Now, um, okay, damn so, we got,we got.
What's that?
What's that group we justmentioned just now?
Young black teenagers, no, no,um, we mf doom.
Third base, third base.

(31:36):
And then there was another crew.
There was another crew.
There was, oh no, drew High,drew High, bootcamp.

Speaker 2 (31:42):
Click Drew High Drew.
Yeah, drew High was withBootcamp Click.
He was with the brothers, hewas all with the brothers, right
.

Speaker 1 (31:48):
Right, he was all with the brothers though, yeah,
and technically, Bootcamp Clickis Decepticons.

Speaker 2 (31:55):
That's DCEP right.
For those that don't know aboutNew York City history, salute
to the DCEP, Much respect.

Speaker 1 (32:01):
We gotta get the DCEP on this podcast in person,
though.

Speaker 2 (32:07):
Salute to the DCEP, salute to the Polo Gang, polo
Crew.
All of that.
Salute to all of that, becausethat birthed hip-hop, fashion
and culture and things that madeus what we were in the 90s, in
the late 80s and 90s, right.
It made us what we were right.
So there's always I don't careif they from brooklyn, I don't
care where they from theyelevated our culture in new york

(32:31):
city, right, right, theybrought it.
They brought prolo fashion tothe streets.
They made us go into themstores and look at Tommy
Hilfiger and Nautica and allthat.
If it wasn't for them, wedidn't even care about that
fashion at the time.
If it wasn't for them going inthere like, hold on, this is
tough.
We stealing it, right, becausethat's what hip hop really is.

(32:52):
We stealing all your old musicand flipping it and making it
our own.
Right, we did it with fashion.
That our old music, andflipping it and making it our
own.
We did it with fashion.
That's why hip-hop died.
Hip-hop is resetting itself,but it died.
It went dead for a while.
After that emergence of thewhite boys, we got all the white
boys out of here, most of themoutside of Alchemist, if you

(33:12):
really pay attention, we gotmost of them out of here,
anything that really wasn'tauthentic 100%.
You gotta go Now.
Everybody has participated andadded their input in their
creativity or whatever they feltlike they wanted to add to the
culture.
Everybody has done it, fromyoung, old, white, black, indian

(33:35):
, spanish, they all have done it.
But throughout the years,hip-hop will move you out of
here.
If you ain't authentic, we notgoing to praise you for a very
long time.
We'll, like your little record,tap our feet, bounce to it Ha
ha ha.
It's cool.
Yeah, ha, get up out of here.
And it's happening to somebodyright now.
He can't handle it.

(33:56):
It's quietly happening, yeah,and it's happening to somebody
right now and he can't handle it.
It's quietly happening.
Yeah, you cool, but you got toget up out of here now.
You had a nice long run, butit's time to go Right.
Then we went into the Kendrickheld that out.

Speaker 1 (34:08):
Yeah, yeah.

Speaker 2 (34:10):
A lot of people.
It was a lot of people.
It was a build-up.
It was a build-up Right.

Speaker 1 (34:20):
I want you to explain that, but we want to stay on
this topic though.

Speaker 2 (34:22):
Yeah, we're going to stay on this topic but because
it's all about a reset ofhip-hop culture or it's a
resurrection of its death.
So then we get into the cultureof the Wu-Tangs, the Nas's, the
Biggie's.
This is when I say that thiswas the second renaissance era
of hip-hop.

Speaker 1 (34:40):
Right, the first renaissance is what?

Speaker 2 (34:44):
First renaissance is the 86, 87, 88 run the 89.
So that's like Def Jam.
Yeah, it's the Def Jam.
Ll Slick, rick Rakim, big DaddyKane, cool G Rap.

Speaker 1 (34:57):
That's what they call the golden era.

Speaker 2 (34:59):
Yeah, d-nice, that's the golden era.
88 is the greatest year inhip-hop history.
If you go and look at all thealbums that came out from that
time in that one year, it's thegreatest era in hip-hop and it
birthed that era, birthed allthe rap styles that we have to
this day.
Everybody raps like somebodyfrom that era.

Speaker 1 (35:20):
Ah, you sure.
What about Jadakiss?
Where did he get his style from?

Speaker 2 (35:23):
Jadakiss raps like those from that era.
Jadakiss is a mixture ofKRS-One and Big Daddy King Okay,
you just got to listencarefully.
But he's part of that.
So is Styles P, you got toremember.
Styles P is really a product ofBig Daddy Kane, krs-one, chuck

(35:46):
D and G-Rap.
If you put it all together, I'ma product of all of that.
I'm going to give you theconsciousness of Chuck D, but
I'm still just as street asG-Rap.
But I can talk slick like DaddyKane, but I'm still going to
tell you I'm black like KRS-Onegot you.

(36:11):
You just got to understand thatall of those elements shape
everybody.
After that it shaped everybodyWu, everybody.
After that it shaped everybodyWu-Tang, tupac, nwa.
It shaped that era, shapedeverybody, because Ice Cube was
just NWA was just the East Coastversion of Public Enemy.

(36:31):
I mean the West Coast versionof Public Enemy.
It was the same message, sametype of outfits.
Instead of wearing the blackbombers that we had in New York,
the black starter jackets, theywere wearing Raider coats and
they were militant.
But they were militant on some.

(36:52):
West Coast.
We were militant on some.
What we saw on the streets ofNew York City.
They were militant on what?
West coast, right, we weremilitant on some.
What we saw on the streets ofnew york city.
They were militant what theysaw in la actual fact.
Right, so it's the same.
It's two sides of a coin.
And they, you know, they hit.
Record is a houdini record.
Boys in the hood is literallyhoudini, but that's neither here
nor there hold on hold on boysin the Hood is a Houdini record.

(37:15):
Yeah, Boys in the Hood is I'm ahoe from Houdini.

Speaker 1 (37:22):
Hold on, hold on hold on you talking about I'm a hoe,
you know Okay.

Speaker 2 (37:34):
We riding in the east .
It's the same as I'm a hoe.
You know, I'm a hoe.
I ride three different ratesafter Cruising down the street.
In my sister it's the samerecord dog.

Speaker 1 (37:49):
Wow, okay, I got to check that out.

Speaker 2 (37:51):
They just did it in a West Coast way, right.

Speaker 1 (37:55):
Shawnee is on.
You should have been on theshow he at work or something.
Yeah, he at work.

Speaker 2 (38:01):
Salute to Shawnee.
Salute to Shawnee.
Yeah, you get what I'm saying.
It's what they just took, whatwe did and just did it in a West
Coast way.
Every region has done it.
It's the only time they've doneit in their own way, authentic
to their region.
Right?
People say G-Funk, all thatWest Coast Parliament Funkadelic

(38:23):
stuff.
They always try to say thatthat is West Coast Hip-Hop.
No, it's not, it's Hip-Hop.
Epmd took the same exactsamples.
Epmd took the same exact funkrecords you get what I'm saying
it's not West Coast sound, it'sParliament Funkadelic.

Speaker 1 (38:47):
George Clinton is from New Jersey hold on hold on
hold, on hold, on hold on.
Let me fact check your jointright now.
Go look it up Parliament.

Speaker 2 (38:57):
Funkadelic George Clinton is from.
Hold on, let me fact check yourjoint right now.
Hold on, go look it up.
Parliament.
Funkadelic George Clinton isoriginally from New Jersey, just
like Ice-T is from New Jersey.
Ice-t is from New Jersey.
He's originally from New Jersey.

Speaker 1 (39:08):
Ah Yo West Coast man Yo we.

Speaker 2 (39:11):
Oh, man, and listen, the West Coast is just like New
York, bro.
We got to stop acting likethey're just like New York, like
there's no real difference,right?
Especially when you go outthere.
The only thing different istheir gang culture is different.

Speaker 1 (39:26):
Oh, wow, he's from Newark, yeah.

Speaker 2 (39:31):
They're from New Jersey, bro.
I'm trying to tell you they do.

Speaker 1 (39:38):
Wow, wow, parliament Funkadelic.

Speaker 2 (39:41):
They originally from New Jersey, but they got popping
in town.
Let's see Plainfield, newJersey, plainfield, new Jersey.
I'm trying to tell you, brother, I'm not even looking at my
phone, I'm telling you this.

Speaker 1 (39:54):
It says Plainfield, New Jersey, Detroit, Michigan.

Speaker 2 (39:59):
Yeah, when they guys popping, they started grabbing
people from other regions, butthey're originally from New
Jersey.

Speaker 1 (40:06):
Damn, that is crazy, bro, that is crazy, anyway, yeah
.

Speaker 2 (40:14):
Right.
So the West Coast hip-hop?
I'm just trying to give someknowledge to it.
That is crazy.
Anyway, yeah, into the culture,let them get famous, let them

(40:35):
make a lot of money, and it gavethem the opportunity to dictate
what we do.
Huh, you don't make the rules.
Prime example, kanye West.
Right, kanye West.
Love him as a musician.

(40:55):
Love him, great guy.
He as a musician, love him,great guy, he's a musician.
You're technically notauthentic to hip-hop culture.
You don't come from this.

Speaker 1 (41:04):
Whoa.

Speaker 2 (41:05):
Whoa Okay.
Being black has nothing to dowith street art.
Being black has nothing to dowith hip-hop.
Being black has something to dowith being black.
Hip-hop, once again, is streeturban culture.
Kanye West, you didn't grow upwith street urban culture,
because if you did, you wouldn'tbe making songs about slobbing

(41:27):
your cousin off for 10 years.

Speaker 1 (41:30):
Hold on For real Hip hop.
We don't do that in hip hop.

Speaker 2 (41:34):
We don't do that in hip hop.
Right, there's certain thingsabout street urban culture.
You were talented.
You made a lot of dope beats.
You were a talented musician.
Being a musician is cool.
That doesn't make you hip-hop,it just makes you a participant
in hip-hop culture.
There's two different things.

(41:55):
You can be a participant in theculture.
That doesn't mean that's whatyou are.
Right, he ushered in thesuburban square kids to come
into this culture and think thatthey can dictate rules of what
we do in this culture.
Remember when he came, 50 ofthem had the streets in a frenzy

(42:24):
50 dips at the locks.
I mean 50 dips at the locks.
Houston was houston street.
Rap was in, game was coming in.
Look, atlanta had a ti gz andall the street.
All of it was street urbanculture, culture, music.
He came in.
I'm the college dropout.
All right, cool, you're acollege dropout kid.
We give you that.
We respect that.
Kids from the streets go tocollege.

(42:45):
We give you that.
As time went on, you got to seewho this guy really was and
some of the things you weredoing just wasn't hip-hop B.

Speaker 1 (42:57):
Okay, can you explain some of the hoes right there?

Speaker 2 (43:02):
Right, some of the things he was doing just wasn't
hip-hop.
There was a time when he cameout his face and said I like to
wear women's clothes because Ilike the way the fabric feels on
my skin.
That ain't hip-hop, right, thatain't hip-hop.
That ain't hip-hop.
That ain't hip-hop.
That ain't hip-hop Like nah,those little things like that,

(43:28):
oh, you wifing up a known birdthat the whole hip-hop game
already smashed behind thescenes, yeah, that ain't hip-hop
.
That ain't hip-hop.
You champion this too.
That ain't hip-hop.
Which ushered in somebody who,kanye West, was close enough to
the culture because he was inthe south side of Chicago.

(43:53):
Right, so he comes from anurban environment, but himself
he wasn't urban like that.
He was a Poindexter that justhad talent.
He was very creative.
You ushered in Bacon Boy, whatI like to call him the Elvis of

(44:13):
rap music, the literal Elvis ofrap music.
The literal Elvis of rap music.
Don't care if you like histunes.
No, he's a product of nativeCharny.
Ye is a product of nativetongue.
As far as influence, he wasnever ushered in by people of

(44:33):
native tongue.
He was ushered in by the dopeboys and the street cats from
Rockefeller.

Speaker 1 (44:42):
Well, that's probably why he was getting ignored in
the first place.

Speaker 2 (44:47):
That's why he was getting notarized in the first
place.
Look who you with you withBeans.
You with Miff Bleak, you withHoves.
You with Dame Dash.
You with Cam.
You with Miff Bleak, you withHov.
You with Dame Dash, you withCam.
You with all of them.
So when you part of this crew,this crew has already got the
streets in a frenzy for us toput you in here and technically

(45:10):
you really the person who really, from what I remember seeing
his first name in the creditswas Nas, but that's need to
handle that.
I remember seeing his firstname in the credits was Nas, but
that's neither him nor them.
I remember he did Fetus on aNas bootleg I Am album, the
double CD.
Kanye West produced Fetus andhe did.

(45:31):
You Made Me on the Harlem Worldalbum, the first song on the
Harlem World album for theHarlem World Rap Group, the
joint with Tommy Carl Thomas.
He did that record.
That was before the Rockefellerera.
You made me.
You said yeah, you made me.
Harlem World album, the groupalbum, not the Mase album, the
group album.

Speaker 1 (45:49):
Wow, you know how long ago was that.

Speaker 2 (45:55):
It was 99, if I'm not mistaken, 99.
He was doing that since then.
Yeah, that was 99,.
If I'm not mistaken that Hallof Morale, 99 or 2000.
Most likely, I'm thinking it's99.

Speaker 1 (46:10):
So he's been in the game for a long time, man.

Speaker 2 (46:13):
Yeah, just like Just Blaze.
His first record that Iremember was with killer priest
what?

Speaker 1 (46:19):
what record is that?

Speaker 2 (46:20):
um, I forgot the title, but it was on killer pre.
It was on killer priest firstor second album, right.
So this is like these, whenthis, when I started seeing
their names and credits, becauseback then we had cds with
linear notes and you would readwho was on these projects, right
?
So that's when I first seenJudge Blazer.
I'm not going to say he wasn'taround before that, but that's

(46:42):
when I first seen him.
I first seen him break throughwith a Wu-Tang affiliate member.
Right, it always reverts back tothe gods anyway.
But that's neither here northere.
But we'll get into that later.
We'll get into that part ofhip-hop later, how everything
reverts back to the gods anyway.
But that's me to handle this.

(47:02):
But we'll get into that later.
We'll get into that part ofhip-hop later with how
everything reverts back to thegods.
But that's a and that's anotherreason.
When we lost hip-hop too iswhen we stopped being influenced
by the gods.
But that's me, we'll get intothat too.
We'll get into that, right?
Um, because the guards dictateda whole lot that was going on in
New York City hip hop, a lot ofit, majority, majority, a lot

(47:25):
of it.
But you know, fast forward.
Some people say the southhelped destroy hip hop.
I say no, the south just didwhat the south does, right, they
were still doing hip hop, butthey were doing southern hip hop
.
The South helped destroyhip-hop.
I say no, the South just didwhat the South does, right, they
were still doing hip-hop, butthey were doing Southern hip-hop
because they're Southerners,right.
What they can't do New Yorkhip-hop, because we're going to
chew them up for biting andtrying to be like New Yorkers.

Speaker 1 (47:48):
Right.

Speaker 2 (47:49):
Right, you can't bite , so you got to be yourself.

Speaker 1 (47:52):
Exactly.

Speaker 2 (47:57):
Right.
Then all of a sudden, after theTI's, the Lil Wayne wave and
all of that, guess who comes in?
King Biter, you came in biting.

Speaker 1 (48:07):
Who was biting?
Drake Came in biting.

Speaker 2 (48:11):
You came in sounding like Lil Wayne.

Speaker 1 (48:14):
Was he though.

Speaker 2 (48:15):
When you first came in you sounded like Lil Wayne
with a mixture of Kanye West.
You came in the door biting.

Speaker 1 (48:25):
Okay, I see what you're saying.

Speaker 2 (48:29):
You came in the door biting.
You came in the door imitatingblack American hip hop culture.
You didn't have a sound of yourown.
What was the sound of Toronto?
Your accent wasn't Toronto.
When you rapped, we surelydidn't hear the Toronto accent.
We didn't hear that.
What's going on?
Eh, what's going on, man?

(48:53):
We didn't hear all of that.
We heard you imitate a southernsouthern rapper with a twist of
Memphis, with a slash ofHouston.
This is what we heard.
You were Elvis.
You did exactly what Elvis did.
I'm going to imitate all theseblack people's culture.

(49:14):
Get back by the Jewish and richwhite Jewish people, by the
machine, and we're going to makethis guy into a
multimillionaire and make him astar.
And then all the suburban kidsand the Cornwall kids who didn't
have a voice finally hadsomeone who gave them a voice.

Speaker 1 (49:35):
But his dad is black though.

Speaker 2 (49:37):
So what?
That don't make you part of theculture you you just because
your father's black.
And here's the thing you can beblack and not be of hip-hop
culture can you break that down?
Easily.
You could be black in the hoodand not be of hip-hop culture.

Speaker 1 (49:54):
Break that down, please, how you could be black
in the hood, understandeverything that go on the hood
and not be of hip-hop culture.
Woo, break that down please.
How?

Speaker 2 (49:58):
You could be black in the hood, understand everything
that go on the hood and stillnot be hip-hop culture.
It's mad black people thatwe've grown up with that say I
don't listen to rap music.
It's a lot of them.
It's a lot of women that saythat too Black women.
I don't listen to rap music.

Speaker 1 (50:17):
So what makes you?

Speaker 2 (50:18):
a part of the culture , street urban culture.
If you don't involve yourselfin street urban culture, the
slang, the dialect, the dressstyle, the culture, all of it is
a part of hip-hop culture.
It's an embodiment of us.
We naturally us, naturally forus that love hip hop, we can't

(50:40):
help but avoid.
We can't avoid it.
It's in us.
The street urban culture of hiphop is in us.
It's a lot of kids that grew upin the projects that were not
hip hop.
You know this.
Some kids were gamers.
They didn't care about hip hopculture.
They didn't care about hip-hopculture.
They didn't care aboutlistening to rap music and all
of that.
They wanted to play video gamesand be nintendo and geeks and

(51:02):
listen to all that other stuff.
Granted, playing video games isa part of hip-hop culture, but
you're, you weren't necessarilyhip-hop.
Somebody else outside, jehovahwitnesses with them penny
loafers on knocking door to door.
Y''all ain't listening to norap music.

Speaker 1 (51:18):
Yo shout out to my man, Vernon Not trying to diss
you, Vern if you ever see thisvideo, Vernon was definitely not
a part of hip-hop culture.

Speaker 2 (51:26):
And it's okay, that doesn't make you not black.

Speaker 1 (51:29):
Vernon was not.
He's like oh yeah, I heard thatsong before.
Yeah, yeah, yeah.

Speaker 2 (51:37):
Here's the thing you being black is a culture within
itself.
Right Right Black is.
There's black culture.
There's ghetto black culture.
There's middle class blackculture.
There's rich black culture.

Speaker 1 (51:54):
Yo, I like how you broke that down.
I like how you broke that downbro.
That was crazy.
That was crazy, Right?
Yeah, I heard that.
Yeah, I heard that chat, Sean.
Are you still in the chat, Sean?
Yeah, go ahead.

Speaker 2 (52:09):
I say there's four elements ofblack culture Rich, poor, middle
class hip hop.
Hip hop was birthed from poorblack people.
It wasn't birthed from richblack people.
It wasn't birthed from middleclass black people.

(52:30):
We, at the bottom, if you comefrom the projects, if you come
from the slums, if you come fromwhere we come, you come from
the slums.
If you come from where we comefrom, we come from poverty.
We come from the reason why welove hip-hop so much and people
from other regions love hip-hopso much, as they all come from
the same poverty that we comefrom.
That's why it's so relatable.

(52:51):
You could be in, you could bein oakland, california, or
Chicago or Florida or Miami,florida, and you can rap about
the poverty of Florida and wecan relate to it.
You know why?
Because it's all poor blackculture.
The slang might be different,but once you understand the

(53:12):
slang, it's the same thing.
Once you understand the slang,it's the same thing.
A suburban kid who grew up inthe Jewish neighborhood of the
richest neighborhood in Toronto,canada, you will never be this.
The culture died when we gaveyou the pass for the last 15

(53:36):
years.
The culture died.
The culture died when we madeyou the number one guy for the
past 15 years because you, beingin that number one spot, you
ushered in all of thisfoolishness.
Now you ushered in all of thisextra foolishness.
You ushered in all of thisfoolishness.
Now you ushered in all of thisextra foolishness.

(53:57):
You ushered in all of thiscarpool.
You ushered in not beingrespected for being a writer.
You ushered in ghostwritersbeing accepted publicly Behind
the scenes.
We ain't having no problem withit, because behind the scenes
is behind the scenes publiclyushered in cardboard culture,

(54:21):
ushered in imitating blackculture.
Now you got Chinese and Asiansand I mean Chinese people, no
disrespect to Asian people.
Now you got Chinese Jewish.
You got all these other factorsof cultures who didn't grow up
as hip hoppers, imitating hiphop culture based on what they

(54:42):
saw, not what they lived.
There's a difference.
You go on the internet rightnow you're going to see Chinese
people in China rapping, drillmusic.
That is Chicago urban streetculture.

(55:04):
Right, you ain't grew up likethat in China.
We're not saying China doesn'thave crime.
We're not saying China doesn'thave poverty.
We're not saying that.
Right, china does not have hiphop culture.
As far as origins, right?

(55:29):
Wu-tang came over there andy'all knew every word of the
song, but couldn't speak a lickof English.
So you just recite in what youlike, but you don't even know
what they really talking about,because, for one, they speak in
the God language, and if youain't speaking the God language,
you really don't.

(55:50):
If you ain't from the elementsof where the God is from, you
don't think Chinese.
People don't know nothing aboutstudying 120?

Speaker 1 (55:55):
Right, you don't think Chinese people don't know
nothing about studying 120?
Right.

Speaker 2 (55:59):
They don't know what a CLR rule means.

Speaker 1 (56:02):
Mm-hmm Right right you get what I'm saying.

Speaker 2 (56:07):
You just know that Wu-Tang took the word Sha Lin
and Wu-Tang Clan from Asianfilms and used it as a moniker
for the group name and as theclan.
But you don't know nothing elsepast that.
You don't like them becausethey took some Asian culture and
mixed it in with Black culture,because that's what hip-hop is.

(56:30):
We take from all of y'all, andthe reason why we take from
y'all is because we didn't havenothing, but then we let a kid
who had something come in thisculture and try to dictate to
the hood what we can do.

Speaker 1 (56:47):
Right, where is he now, though.
What happened?
Did he come out with any newmusic?

Speaker 2 (56:53):
Yeah, he came out with two songs.
He came out with 60 songs sincethat battle 60 songs since that
battle 60 songs since thatbattle 60 songs he came out with
.
He released 60 songs since thatbattle, but nobody wants to
admit it 60 songs since thatbattle.
He released a record last weekwith Central C from the UK.

(57:14):
I didn't even know he releaseda song with Central C from the
UK.
I didn't even know he releaseda song with Central C last week.
Didn't he try to say like UKrapper?

Speaker 1 (57:22):
He gave you that number seven.

Speaker 2 (57:24):
Now he coming out of his face because authentic
hip-hop culture, the cultureitself, danced to the guy being
called a fraud.
We celebrated the cultureitself knew deep down inside the

(57:44):
culture knew this guy was afraud.

Speaker 1 (57:48):
Oh, I like up Drake on YouTube.

Speaker 2 (57:52):
It says he's Vanilla Ice at this point.

Speaker 1 (57:55):
Why Drake just officially canceled his tour.

Speaker 2 (58:01):
That's the first thing you see, right.
Here's what it is.
Yeah, they're attracted to theSupreme Energy, rhythm and the
drums Exactly Devon.
But what I'm saying is when youlook at Drake, right, when you
look at the culture, the cultureof last, from the past year,
from last year, from that battletill now, the black American
culture has been laughing atthis guy.

(58:23):
We have been celebrating anddancing like we just got freed
from slavery.
Y'all don't see it.
Y'all don't see black.
When the last time you seenblack people in the streets
singing a song like they, notlike us, they not like us, they

(58:44):
not like us, like it's a ant,like not just the anthem, but
it's like a, it's like a weshall overcome record, like
you're gonna be all right, right, like you gotta really look at
the culture of street, urbanculture and then look at what's
here in front of us.
The youth didn't even realizethat.
The youth, or the ghetto,didn't even realize that they

(59:05):
were supporting what wasauthentic to them.
They looked at it like aregular hip-hop battle.
But when the colonizer loses,we're celebrating like we just.
And then you got the guy whogoes to the Super Bowl and
literally shows the whole worldthat this is black culture, that

(59:29):
this is created by black peoplein the ghetto.
And he's not, and he'sliterally at the Super Bowl
letting you know that this israw, unfiltered black people.

Speaker 1 (59:40):
Right Now, before we cut out, the whole point that
you made was we, the hip hopindustry, didn't destroy hip hop
.
We did.
The music industry didn'tdestroy hip hop.
We did because we allow peopleto come in and dictate to us
what to do with our culture.
Exactly, boom, indeed, indeed,and that was peace.

(01:00:06):
Thank you, brother, clip, forcoming out this evening.
I really appreciate you.
Whenever clip is on, y'all gotto listen because his, his, his
knowledge on music, history andthings like that is on point.
Thank you for coming out, clip,really appreciate you again.
Thank you to the chat forshowing up tonight.
Clip will be on.

(01:00:28):
Whenever Clip is on, you got totune in.
We are out of here, oh yo.
Peace to Shawnee, that was onthe check-in with us.
Peace to Shawnee peace, shawneepeace.

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How the Music Industry Hip Hop Destroyed - Clip Wilson

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}How the Music Industry Hip Hop Destroyed - Clip Wilson