Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Sealer's Podcast with your hosts Now fuck that with your
Speaker 1: loaw glasses Malone.
Speaker 2: What's going on, big Dog?
Speaker 3: Very little? Very little?
Speaker 2: So I just got back from New York. How was that,
Speaker 2: I'll be honest, man.
Speaker 1: The one thing about New York when it comes to
Speaker 1: hip hop, the records themselves only capture probably the greatest records,
Speaker 1: like juicy like Cream, at least for me, juicy Cream.
Speaker 3: Why all the dessert references with the song titles coming
Speaker 3: out of that town.
Speaker 1: Right shook ones the greatest records, you know, the message
Speaker 1: that's only at the greatest level ten percent of the
Speaker 1: energy that's in New York. Like when you get to
Speaker 1: feel true hip hop energy in New York, it is
Speaker 1: really unique compared to any place in this country. Actually,
Speaker 1: we went to this event. It was at a gaming center,
Speaker 1: so it was a it was a it was a lounge,
Speaker 1: a gaming lounge where they had a bunch of computer
Speaker 1: rigs where they could play video games. And there was
Speaker 1: an event that they were throwing for a new death
Speaker 1: Jam fighting game and people were competing against each other.
Speaker 2: It was a tournament and Redman was hosting it.
Speaker 1: And when I tell you, even though it was in
Speaker 1: such a tech space, the hip hop energy was prevalent.
Speaker 1: Like they had this big wall where they had a
Speaker 1: bunch of graffiti on the wall. But man like, it
Speaker 1: wasn't that as much as the engagement with other human
Speaker 1: beings in that space, Like it didn't matter that they
Speaker 1: were all tecked out and geeked out. You could tell
Speaker 1: they came from the same type of struggle as everybody else.
Speaker 1: And and when I tell you, man, that shit it
Speaker 1: inspires me every time. Every time I go to New York,
Speaker 1: I'm inspired in a different way when it comes to
Speaker 1: hip hop. Even I was going to do a podcast
Speaker 1: with Heineken and Esso a back few podcasts, and I
Speaker 1: decided to catch the Sea train.
Speaker 2: Obviously this crip.
Speaker 1: So I'm staying in Midtown right Hell's Kitchen, and I
Speaker 1: catch the Sea train up to one hundred and twenty fifth,
Speaker 1: an eighth right because I have to walk to one
Speaker 1: hundred and twenty seventh in Lenox.
Speaker 2: Just standing. It was a brother I was talking to.
Speaker 1: I didn't even catch his name, but just standing talking
Speaker 1: hip hop with a brother on the train. This mother
Speaker 1: brothers walked up and I'm talking to brother's on my way,
Speaker 1: you know they recognize me, but just to have a
Speaker 1: real conversation about the space of hip hop.
Speaker 2: The concern.
Speaker 1: It's it's like something you'll never like, people could never understand,
Speaker 1: and no matter how much time you sit there, it'll
Speaker 1: never be enough time for you to truly, you know,
Speaker 1: get the full experience of New York. I think people
Speaker 1: who've lived in New York their whole life still don't
Speaker 1: get the full experience of New York.
Speaker 2: It is a really remarkable place, Pete.
Speaker 3: And so like when you say it inspires you, like,
Speaker 3: how does that manifest Like how do you bring that
Speaker 3: back to California and channel that through a completely different
Speaker 3: style type of energy like all the rest, you know
Speaker 3: what I mean, Like there's a difference in the artistic
Speaker 3: expression side, you know what I mean.
Speaker 1: Well, ironically, one big thing for me is, you know,
Speaker 1: everybody else is just trying to take advantage of hip hop.
Speaker 1: They're just trying to make some money. They just want
Speaker 1: to gone shows and get paid to show up. Like
Speaker 1: my mind since I first started, has always been I
Speaker 1: want to give people a really great experience. Watching that
Speaker 1: shows me that I can give an audience who wants
Speaker 1: to support the things that I do, the experience I
Speaker 1: want to give them, like I'm not as.
Speaker 2: Scared like before, and it helps a lot of other people.
Speaker 1: When I show other people the things that other people
Speaker 1: are able to pull off, they get more inspired.
Speaker 2: I'm always inspired.
Speaker 1: Like one of the biggest things coming up for me
Speaker 1: in this series of records, I'm about to release this
Speaker 1: rap revot right, which is kind of revolting against the
Speaker 1: current pay the current pay scale of records, and you
Speaker 1: know which means the medium at this point would have
Speaker 1: to be at the end of my sword. I wanted
Speaker 1: to start doing concerts right, and now the opportunities are
Speaker 1: starting to be present. I think people are starting to
Speaker 1: feel the energy. They starting to hear about different League songs,
Speaker 1: Ludacris leak the verse he did on this really great
Speaker 1: record I got, and people are starting to see like, Okay,
Speaker 1: Glasses is cooking something up. But like one of the
Speaker 1: ideas I had, instead of doing a traditional concert at
Speaker 1: a club, right, I wanted to do a backyard boogie,
Speaker 1: whereas like a barbecue effect, you can eat all the barbecue.
Speaker 2: Won't you know?
Speaker 1: You might pay for the drinks the bar but it's
Speaker 1: a true backyard boogie. That's the type of stuff I.
Speaker 2: Want to do.
Speaker 1: I want to do things on Krinshaw Boulevard, like like
Speaker 1: on a special cruise night where you know, people get
Speaker 1: to really come see the culture, like even at the
Speaker 1: highest levels. I want to build a drag strip that
Speaker 1: literally is a hip hop drag strip, you know, a
Speaker 1: for quartermot drag strip. You'd have these big festivals or
Speaker 1: hip hop and and automotive mix. And going to New
Speaker 1: York and seeing that again reminds me of how possible
Speaker 1: it is. So as far as what does it do
Speaker 1: for me here, it allows me to see, like, oh,
Speaker 1: I could cross my lifestyle that I've lived since I
Speaker 1: was a little kid, right with this artistic expression, whether
Speaker 1: it's the songs or dancing or anything else, the rap, whatever,
Speaker 1: it just reinforces the possibilities to me.
Speaker 2: Goshcha, no seilings, gl my brother Peter Boss and now.
Speaker 3: Yeah, without a king? Say who I said no king
Speaker 3: to that? We're a nation without a king?
Speaker 1: I know, right went to the Northwest. Honestly, Pete Man,
Speaker 1: I promise you dog like you know, sometimes I worry
Speaker 1: about hip hop. I worry to myself, like man, you know,
Speaker 1: no matter what. Right, when it comes to street urban culture,
Speaker 1: you know, it's rooted in this pride of poverty.
Speaker 2: If you get what I mean when I say that.
Speaker 1: It's like people think dickies is culture hip hop or
Speaker 1: street urban culture in Los Angeles, and it's not. It's
Speaker 1: how you crease the dickies and cuff the dickies. You
Speaker 1: start to treat these pants like they're seventy eighty dollars slacks,
Speaker 1: not twelve dollars work pants. It's not the converse itself, right,
Speaker 1: It's how you buy the thick laces and you put
Speaker 1: them in there, how you lace the shoe, you know,
Speaker 1: how you flip the tongue down, colors, you know what
Speaker 1: I mean.
Speaker 2: It's all of those things.
Speaker 1: It's how you wear things, and it's usually rooted and
Speaker 1: taking so much pride and something so cheap and mediocre,
Speaker 1: like we always talk about it, no different than spaghetti
Speaker 1: or tacos or anything else. It's the pride you put
Speaker 1: in something in theory that's suld be.
Speaker 2: Low quality, and in a time where.
Speaker 1: It feels like the whole country, you know, even in
Speaker 1: some of the most disenfranchised places, you know, they're trying
Speaker 1: to overcompensate with buying things that are too expensive that
Speaker 1: really don't need pride. Sure, if you get a pair
Speaker 1: of Balenciaga's, there's no reason to put a thick laceism
Speaker 1: them that it don't look good. And that definitely concerns
Speaker 1: me about where hip hop is right, because it's like,
Speaker 1: how does it thrive if it if you start to
Speaker 1: cross it over with pop with pop stuff, Like it
Speaker 1: was one thing when Dapper Dan, you know, used to
Speaker 1: use Gucci print and make you know, custom things that
Speaker 1: that is hip hop. But if you just go to
Speaker 1: Gucci you buy a fucking Gucci outfit, that shit don't
Speaker 1: got nothing to do with hip hop.
Speaker 3: True.
Speaker 1: We were having a good conversation about it, probably a
Speaker 1: little earlier, and it was a lot of critigue for
Speaker 1: it's a lot of critique for early eighties hip hop,
Speaker 1: you know, the first generation stuff people like Uzi, and
Speaker 1: it's like we forgot that this thing is rooted in entertainment.
Speaker 1: You know, like if you go back to the seventies
Speaker 1: and sixties, when you know black bands or white bands
Speaker 1: would take you know, their designer would design something that
Speaker 1: was one off for them. It looked like some of
Speaker 1: Barry White's outfit was like somebody tore down the couch
Speaker 1: and made the material and used the material from a
Speaker 1: couch to make his jackets or his suits. Sure, it
Speaker 1: was like it was a costume. You understood it was entertainment.
Speaker 1: Like when you look at some of the like it's
Speaker 1: a great video I watch on YouTube all the time
Speaker 1: with Ron Banks and the dramatics, and what you see
Speaker 1: is what you getting. They're performing on Soul Train, and
Speaker 1: you could tell that outfit was one off. You couldn't
Speaker 1: go to you know, Macy's or J. C. Penny's or
Speaker 1: wherever people was buying clothes at that time and buy
Speaker 1: that outfit, and that is what kind of made them
Speaker 1: a star. It was this unique look versus now hip
Speaker 1: hop where I just saw recently about four years ago,
Speaker 1: everybody went to a war show and everybody had the
Speaker 1: same tweater on like five people. So the only thing
Speaker 1: that's separating people now in hip hop when it comes
Speaker 1: to marketing, right is how much money they spent.
Speaker 2: Sure, it's like.
Speaker 1: The car don't really have a pizazz, is just really expensive. Yeah,
Speaker 1: and I think it's watering down hip hop. I think
Speaker 1: it's watering down hip hop like it was one thing
Speaker 1: when NWA wore Dicky's and T shirts and Chucks, nobody
Speaker 1: else in the landscape or entertainment was dressing like that.
Speaker 1: It represented you know, it represented a movement of people
Speaker 1: who didn't have a voice, who didn't have you know,
Speaker 1: main state in mainstream. They didn't have a position in
Speaker 1: mainstream for people to even see their stories or their struggles.
Speaker 2: So it was unique.
Speaker 1: Then run DMC wearing tracks and shout out to jam
Speaker 1: Master j Rest is so understanding. That's how the average
Speaker 1: quintessential d boy dressed in New York and was like,
Speaker 1: we're gonna wear this. We're not gonna have to wear
Speaker 1: those costumes that let's say Grand Master Flash War or
Speaker 1: Houdini shout out to Ecstasy and all the brothers. That
Speaker 1: was dressing fresh. But it was like we still look
Speaker 1: unique because this is not something that entertainment is wearing.
Speaker 1: It just reponed this group, this niche culture in New
Speaker 1: York street urban culture his niche pocket. And now we've
Speaker 1: gotten so spoil Like right now we look at yg
Speaker 1: yg has so much custom stuff, Like I think he
Speaker 1: may start with a basic but then the way it's fitting,
Speaker 1: the way they flare it and do differ with things.
Speaker 2: It makes it like a costume trans entertainment.
Speaker 3: It kind of almost like if you go back and
Speaker 3: look at like the generation one degeneration two evolution of
Speaker 3: like the Blues, So you have like I don't mean
Speaker 3: like way early like Robert Johnson, but like like your
Speaker 3: Muddy Waters and your bb King. You know, they kind
Speaker 3: of wore just like a nice suit that a guy
Speaker 3: with a night like. It was much more relatability across
Speaker 3: the medium, early hip hop. Same thing. By the time
Speaker 3: thirty years later you get to buddy guy, You've got
Speaker 3: this huge band behind him, he's got this glittered out
Speaker 3: suit and sunglasses and that, like all the rest of it,
Speaker 3: it becomes it's like we've will you lose? Like like
Speaker 3: the relatability element gets worn off to a degree and
Speaker 3: has to be exchanged out for you know, an entertainment,
Speaker 3: just just anything entertaining. And I think that'll also goes
Speaker 3: to as you expand your market, commonalities within the consumers
Speaker 3: diminish as it broadens. So the one thing that is
Speaker 3: more common for the consumer is you know, something extremely
Speaker 3: just like louder essentially for lack of a better word.
Speaker 1: But I think I'm still okay with that, Like, I agree,
Speaker 1: you do for sake commonality, for uniqueness, but now we're
Speaker 1: not even going to uniqueness. We're just going too expensive.
Speaker 3: That's what I'm saying. I think that's what happened before.
Speaker 3: It wasn't even like I mean, it was unique, sure,
Speaker 3: but it was just only unique because expensive stuff is
Speaker 3: a little bit more unique because there's less of it
Speaker 3: and it's expensive.
Speaker 2: Yeah, but I don't know. Again, it's like you couldn't
Speaker 2: go to a store and buy what they had.
Speaker 3: True.
Speaker 1: True, it was still a costume creator. Like Elvis stuff
Speaker 1: was very much a costume. Yeah, Little Richard stuff is
Speaker 1: very much a costume. It was created. Now it's just douchey.
Speaker 1: M Like like Elton John wasn't douchey.
Speaker 3: Sure, sure it's pretentious. Now it's fun. It's weird, but
Speaker 3: it's like a weird bizarre.
Speaker 1: That's the word I'm looking for. Yeah, it's John wasn't pretentious.
Speaker 1: It was like, hey, I'm an entertainer, I'm centric, I'm
Speaker 1: trying exentually. I stare at me. Yeah, you couldn't go
Speaker 1: to Gucci or Louis Vuitton and buy his outfit. It
Speaker 1: was like, you know, somebody made this to exaggerate who
Speaker 1: I am and what.
Speaker 2: My brand is as an entertainer.
Speaker 1: Yeah, now is it don't even matter what your brand
Speaker 1: is as an entertainer. It's like, let's go by the
Speaker 1: most expensive stuff, put it on, and it separates you
Speaker 1: from you know, the mainstream American person or even the
Speaker 1: cultural person you supposed to represent.
Speaker 2: And I think you lose a lot in that.
Speaker 3: Yeah, I agree, I ain't. A lot of it comes
Speaker 3: from the fact that, quite honestly, not a lot of
Speaker 3: people are putting out any shit that's better than the
Speaker 3: other shit that everybody else is putting out very few
Speaker 3: examples exceptions. I mean, so a lot of consumers don't like, no,
Speaker 3: this is fine, that's fine, whatever the hell. Well, that
Speaker 3: guy's draped in money, so he must be better because
Speaker 3: clearly more people like what he's doing than that guy shit.
Speaker 3: So I just like that guy shit.
Speaker 2: Ironically, I can't even.
Speaker 1: Like now when I dress like in the traditional West Coast,
Speaker 1: it's just unique.
Speaker 2: Ain't that crazy?
Speaker 1: Like this is how far we got away from it
Speaker 1: to where it's like if I wear a penalton, some cutoff.
Speaker 2: Dickies and some vans.
Speaker 1: Out and I'm talking about if I'm walking through Los Angeles,
Speaker 1: if I'm walking through New York, I just stand out.
Speaker 3: Because nobody wears that anymore. Like I don't see who
Speaker 3: were wearing that in LA when I'm out there.
Speaker 1: Are we to the point where if you wear a
Speaker 1: Dickey suit and some chucks, if they're tailored in, you
Speaker 1: kind of people like, who is that nigga?
Speaker 2: That that probably would work, yeah.
Speaker 3: Cause no one has worn that in a long time.
Speaker 3: I don't see it, like I go, like I'm in
Speaker 3: I've touched all the corners of the city when I'm
Speaker 3: in town, just passing through just to get if not
Speaker 3: to get food, to see different people, whatever the hell,
Speaker 3: I don't see anybody like standing behind somebody in line
Speaker 3: getting a getting lunch anywhere in the city is wearing
Speaker 3: a Dickie suit.
Speaker 2: You know.
Speaker 3: It's it's it's it's like it's it's almost dipping into
Speaker 3: like the vintage world, so to speak. Not that if
Speaker 3: you bought it from a vintage store, but it's like
Speaker 3: a vintage is more look mmm like I don't see
Speaker 3: like like like because the culture is driven by the youth,
Speaker 3: I don't see like eighteen nineteen year old kids wearing
Speaker 3: Dickie suits like out.
Speaker 1: But that's so crazy that something so culturally niche at
Speaker 1: one time has now turned into very much a costume.
Speaker 3: It was, yeah, it.
Speaker 1: Went from it went from a uniform to people living
Speaker 1: the street life in southern California to a costume.
Speaker 3: Yeah, but it was still it was still a fashion
Speaker 3: trend with time parameters like all other ones. M because
Speaker 3: it wasn't the trend in nineteen seventy five probably or
Speaker 3: whatever year.
Speaker 2: You know, Yeah, I could dig that.
Speaker 3: I think think that's part of something also that hurts,
Speaker 3: like hip hop culture insofar as it transfers into cars now,
Speaker 3: not only like the what's the term, like the modularity
Speaker 3: of old cars, Like they had basic bones. You could
Speaker 3: do a lot to them, but it would look really cool,
Speaker 3: Like the car that was a basic cheap car that
Speaker 3: was just like an any American car from nineteen sixty eight,
Speaker 3: nineteen seventy one, whatever, all those years, like probably twenty
Speaker 3: five years of them. We're great looking cars. So if
Speaker 3: you buy one that's twenty years old because it's for
Speaker 3: sale for a ham sandwich, you can do cool things
Speaker 3: with that's gonna look good.
Speaker 1: But that's the cornerstone of a dunk. That's the cornerstone
Speaker 1: of a lowrider.
Speaker 3: I understand it. But that only could exist in a
Speaker 3: time frame that was specific. Because if you do that
Speaker 3: now and you want to go buy a nineteen ninety
Speaker 3: nine Honda Civic, that's buying a nineteen sixty eight Chevy
Speaker 3: in nineteen eighty seven.
Speaker 1: Well, you know what that You know what the cars
Speaker 1: is now? It's the ninety six and Pola. The ninety
Speaker 1: six and Pola is the classic right now. Still you
Speaker 1: could buy cheap right now, you still could buy those
Speaker 1: anywhere between five and fifteen thousand.
Speaker 3: Still weird Monti Carlo with that tire thing on the
Speaker 3: back whatever from the late nineties whatever.
Speaker 1: That one hasn't quite hit you. I don't know if
Speaker 1: that's going to be a classic. The two thousand and
Speaker 1: eight Dodge Challenger, the two.
Speaker 3: Thousand and eight Dodge Challenger, is it classic?
Speaker 2: It's funny, it's going to be a classic.
Speaker 1: I'm giving you, like how you give me financial tips,
Speaker 1: I'm giving you advice on cultural phenomenon.
Speaker 3: I mean, I can say, yeah, I can see that.
Speaker 1: But if I was you, the ninety six and Pola
Speaker 1: is the one to buy, Like you could buy the
Speaker 1: ninety six and Pola right now, they're still low like
Speaker 1: the G bodies.
Speaker 3: So what are you doing to it, though, is the question.
Speaker 3: You can have it looked like five or four boys.
Speaker 2: No, No, you could stock it back up.
Speaker 1: You could redo the stock interior, repaint the car backstock color,
Speaker 1: you know, put some you don't even have to put
Speaker 1: in the wheels.
Speaker 2: It could actually be stocked.
Speaker 3: Uh.
Speaker 1: The only thing I would do, I would put an
Speaker 1: LS in it, m LSS engine, you know what I mean,
Speaker 1: the kind of the next generation of Chevrolet engines once
Speaker 1: you got out of the LTS, which is in the
Speaker 1: NPOLLA sure, and you could do that stock and ten
Speaker 1: years that car is a thirty thousand dollars car if
Speaker 1: not soon.
Speaker 3: But like in so far as it applies to, like
Speaker 3: the hip hop cultural applications to car life and like
Speaker 3: lower tier economic demographics, like you know, you could custom
Speaker 3: up a car that you got for not a lot,
Speaker 3: do things to it to change it that don't cost
Speaker 3: a lot, but they cost some. Yeah, Like what how
Speaker 3: does that customization move forward? As cars over generation? At
Speaker 3: least in my opinion seems kind of a common opinion.
Speaker 3: Cars don't look as cool. There's been a handful of
Speaker 3: cars lately that looks cool, but there was a period
Speaker 3: of time where cars didn't look so cool when they
Speaker 3: were coming up there.
Speaker 1: No, yeah, yeah, that's probably the issue with the two thousands.
Speaker 1: But shout out to Mopart for getting it right. Mopark
Speaker 1: went through a change where they got it right. You
Speaker 1: I mean Dodge Chevrolet. I mean you have the Supersport.
Speaker 1: It's like a supersport, sit Dan, that's going to be something.
Speaker 1: It's a couple of cars.
Speaker 3: Christ or three hundred, we'll have that, or it's too soon.
Speaker 2: No, that ain't gonna happen. It's not that kind of car.
Speaker 1: The Magnum, the Magnum, you could buy the Magnum's cheap,
Speaker 1: Like I would buy a Magnum and put the new
Speaker 1: Challenger front end on it. That's gonna be something. Okay,
Speaker 1: the Magnum is gonna be something. I think Dodds nailed
Speaker 1: it the most. Camaro, the Chevy Camaros. You know when
Speaker 1: it gets to the two thousand tens, you know, when
Speaker 1: they come out with the two ten's, that's gonna be.
Speaker 2: Something cool. But what's funny is.
Speaker 1: When you build an Impala, a low rider the one
Speaker 1: you want is the most base model in Pola. You
Speaker 1: don't want the supersport. Sure, it's not cool to have
Speaker 1: the bucket seats, and you're Impoala. I gets something like
Speaker 1: people cut them in, they low ride them, but they
Speaker 1: don't have the same value like people kind of ask
Speaker 1: the buget seats, you want the bench seat. You don't
Speaker 1: want the floor shifter in that low rider because we've
Speaker 1: been conditioned. So it's that pride of again taking something
Speaker 1: really cheap and turning it into something really nice because
Speaker 1: you started off so little and you're right and now
Speaker 1: building Impala, like even building my Cadillac, my Lacab, my convertible,
Speaker 1: it's expensive.
Speaker 2: I'll be in that course seventy thousand dollars that is.
Speaker 3: That would be almost like I mean, Christ, it would
Speaker 3: be like buying because now they're you know, there's like
Speaker 3: that arc there's like shit's new, so it's expensive. Then
Speaker 3: it's old so it's not expensive. Then it's really old,
Speaker 3: and most of them have been destroyed, so the ones
Speaker 3: that you're still there are expensive again, but that's like
Speaker 3: forty years out. It would be like probably a nineteen
Speaker 3: forty two Packard or something like that.
Speaker 2: Any of that shit expensive, any of that shit's fucked up.
Speaker 3: Yeah, I'm saying it would be like doing that in
Speaker 3: nineteen eighty five.
Speaker 1: Like you, you know, you know what you like that,
Speaker 1: you know what was like that for a while. I
Speaker 1: always tell you about the G bodies. So the G
Speaker 1: body is a it's.
Speaker 2: Built on a General Motors platform.
Speaker 1: So that's Pontiac, that's Buick, old GM Chevrolet. If I
Speaker 1: remember correct this about five mates, right, So it's the
Speaker 1: it's the Cutlass, that's eighty one eighty seven. It's the
Speaker 1: Malibus seventy nine to eighty seven. It's the El Camino
Speaker 1: seventy nine eighty seven. It's the Mighty Carlow. It's the Regal,
Speaker 1: the Buick Regal eighty one to eighty seven, it's the
Speaker 1: Pontiac Grand Prix eighty one to eighty seven. And when
Speaker 1: I was coming up right now, mind you, this is
Speaker 1: I graduated high school and I'm coming to my adulthood
Speaker 1: late nineties, early two thousands, you could get those cars
Speaker 1: for five hundred dollars.
Speaker 3: Sure, I think so. Now it helps you, yea.
Speaker 2: Now, the motherfucking cars.
Speaker 1: I'm trying to help sticks from watch find one right now,
Speaker 1: a fucking cutlast that's clean. I'm not even talking about
Speaker 1: the four four two like the special models. No four
Speaker 1: four two also is uh. I think it's four barrels
Speaker 1: two will drive four four to two cent for different
Speaker 1: how the car was built. But a standard clean eighty
Speaker 1: seven colors could cost you fifteen twenty thousand dollars.
Speaker 2: They're more than what they cost.
Speaker 3: Yeah, I think that's something that actually helped like Houston's
Speaker 3: hip hop scene. And they didn't say it helped it,
Speaker 3: but like they made the most of it. Was like
Speaker 3: when screwbas was coming out in the eighty fours and
Speaker 3: all that shit. They were buying eighties Cadillacs in the
Speaker 3: year two thousand. Then nobody wanted, you know, and they
Speaker 3: and they were putting candy paint on them, those big
Speaker 3: vertical chrome grills and they're putting the fucking eighty fours
Speaker 3: on the wheels. So like, you know, you could make
Speaker 3: that work, but it's it's hard, Like it would be
Speaker 3: hard to find the right kind of car to do
Speaker 3: that with, you know nowadays at like where the where
Speaker 3: it can have a good look and the entry price
Speaker 3: is low.
Speaker 1: So if I had to buy carn from two thousand
Speaker 1: and five to two thousand and eight. I build a
Speaker 1: Dodge Challenger, Yeah, I build a Dodge Challenger. I'd find
Speaker 1: a two thousand and eight, like an SRT. Maybe just
Speaker 1: a Dodge Challenger supercharger, whale wheels, that's kind of the
Speaker 1: modern hot rider. Maybe a Magnum I try to find
Speaker 1: a Magnum Wagon. You barely see those now. I think
Speaker 1: the Magnum Wagon is like two thousand and five, four
Speaker 1: or five six, something like that.
Speaker 2: The Magnum Wagon gives off malleible wagon. Yeah.
Speaker 3: Man, the Dodge Challenger, that's I think a challenge with
Speaker 3: it with with those cars like that series, like the
Speaker 3: they did change the other one more the other Dodge.
Speaker 3: But like I pull up the twenty twenty three in
Speaker 3: the two thousand and eight, like just.
Speaker 2: Now very similar mm hm, which is good.
Speaker 3: It's good and it's bad. They're gonna have a hard
Speaker 3: time buying it. Like you can buy a two thousand
Speaker 3: and eight and do a lot of work to it
Speaker 3: and it's still might look not that much, like it's
Speaker 3: not a three year old car, you know.
Speaker 1: I Well, that's why you can get a little bit
Speaker 1: more customized to it. But what I'm saying it's definitely
Speaker 1: not gonna be the same effect. It's not gonna be
Speaker 1: the same effect that then Poba had. Sure, that's what
Speaker 1: I would build. I would take a two thousand if
Speaker 1: I had to go twenty years, It'll be a magnum
Speaker 1: or a challenger, and I'll build a hot ride out
Speaker 1: of it. I think that's the car you look at
Speaker 1: in twenty years. That's gonna be thirty forty thousand dollars.
Speaker 3: Sure, yeah, I get that.
Speaker 2: Fifty thousand dollars.
Speaker 1: Yeah, I don't know. Sometimes I worry about where hip
Speaker 1: hop is and I'm concerned, but then there's moments where
Speaker 1: I'm like, you know, it's always a new it's always
Speaker 1: a new niche part of the street, urban culture that
Speaker 1: needs to explain themselves.
Speaker 2: It's always a new version that we can always catch
Speaker 2: up to. But I don't know. Besides that, everything else
Speaker 2: is mm hmm. I worry. I fucking worry, Pete. I worry.
Speaker 3: How would you compare? Like, just from the simple artistic
Speaker 3: expressions standpoint, And I'm gonna saying compare better or worse,
Speaker 3: it's just whatever. It's just simply contrast whatever you know,
Speaker 3: like hip hop and and the blues.
Speaker 1: How would I compare hip hop and the blues? You
Speaker 1: know what's funny, I'm not well versed in the blues,
Speaker 1: Like I know where the blues started as recorded music.
Speaker 3: I'm not super well versus either. I'm not gonna lie.
Speaker 2: I know it started right now.
Speaker 1: This makes one hundred years of black blues records recorded
Speaker 1: records this year. Mamie Smith came out with a first
Speaker 1: record in nineteen twenty five, so this makes one hundred years.
Speaker 2: I'll fit hold on, let me find a date to
Speaker 2: tell you the date right now. I still have it
Speaker 2: right here. I was studying it not too long ago.
Speaker 3: I guess that's probably like Robert Johnson.
Speaker 1: What was the first Mamie Smith? Was the first Mamie Smith?
Speaker 1: Mamie Smith, she recorded the first black recorded records. It
Speaker 1: was in twenty five, gotcha, let me tell you the
Speaker 1: exact day. I'll take that back. It was in nineteen
Speaker 1: twenty sesh, it was in nineteen twenty so it's one
Speaker 1: hundred and five years sure.
Speaker 3: And that's something I also don't know.
Speaker 4: I could said like a second solo of quick Wikipedia,
Speaker 4: like she recorded.
Speaker 3: Jazz and blues, I know, like similar roots, but like
Speaker 3: the separation point, you know there with those two like
Speaker 3: genres in general, So.
Speaker 1: Blues will be tough. Rock and roll I can compare it, Yeah,
Speaker 1: rock and roll. I'm a little more versed in it,
Speaker 1: you know what I mean. I wouldn't call myself an expert,
Speaker 1: but I do know some fundamental things about it, and
Speaker 1: that's what I like to compare hip hop to. But
Speaker 1: hip hop might be just a little bit better off.
Speaker 1: I mean, there is a few things that are concerning
Speaker 1: right obviously where we're at right now. I'm looking at
Speaker 1: everybody's numbers on Spotify for records that are like supposed
Speaker 1: to be current, and the numbers are not like crazy,
Speaker 1: you know, like.
Speaker 2: It's a record I really like. It's from an artist.
Speaker 2: Her name is.
Speaker 1: Flipp A T and it's called My Affirmations. It sounds
Speaker 1: like glow Realer a little bit. I think she's from Georgia.
Speaker 1: But I was looking at the record and the record
Speaker 1: was at like two million strings on Spotify. And then
Speaker 1: there's another record called Faery and it's by a young
Speaker 1: lady named Maya p out of Milwaukee.
Speaker 2: Rest in peace to Twinemac, my boy twine Mak. He's
Speaker 2: been all the part.
Speaker 1: Remember twine Twayn passed away, but Twinta's from Milwaukee, and
Speaker 1: I used to always tell I'm really in love with
Speaker 1: the things coming up from Milwaukee at the time, Like
Speaker 1: they had their own rock, their own movement, the way
Speaker 1: the kids was dancing and people was having fun, like
Speaker 1: they had their own way of having fun.
Speaker 2: And Maya p who was one of.
Speaker 1: The first people I followed in that movement, maybe two
Speaker 1: three years ago, and she finally got a song that's
Speaker 1: doing well. It's called Faery and like the song was
Speaker 1: that like three and a half million streams on Spotify,
Speaker 1: and I'm like shit, like they have really tightened how
Speaker 1: much they're going to market someone's song, you know, Spotify
Speaker 1: the company or as people say, put it in their algorithm.
Speaker 2: Man.
Speaker 3: You know what's interesting from a time frame standpoint, like
Speaker 3: hip hop and rock and roll are about twenty five
Speaker 3: years apart in age, and you see a similar track
Speaker 3: of the two because, like I remember, late nineties into
Speaker 3: early two thousands, it was like you could start to
Speaker 3: feel like this isn't working anymore, and both of them
Speaker 3: started becoming really dependent on these big like we call
Speaker 3: those big concerts, like festival concerts. Oh like like uh yeah, Lollapalooza.
Speaker 3: You had all these then you had like Corn and
Speaker 3: like method Man and all these different just jamming people
Speaker 3: into these giant travel arena mega things all the time,
Speaker 3: like they're just trying to find like, what's another reason
Speaker 3: we can tie to this ticket to make somebody want
Speaker 3: to pay to go see that guy because he's losing value,
Speaker 3: you know, Like and I feel like I haven't been
Speaker 3: a live music concert and I don't know how long,
Speaker 3: but I see on the news, you know that there's
Speaker 3: like a lot of festival concerts in like the younger
Speaker 3: kind of hip hop space like that, which I think.
Speaker 1: Is kind of an interesting are four million, hm, there
Speaker 1: is a four million, four million streams and it's such
Speaker 1: a big song. But like I could tell Spotify or
Speaker 1: even people are not going to like something is happening,
Speaker 1: And that's kind of what has pushed me, you know,
Speaker 1: into a space too, like hip hop is very much
Speaker 1: back in the eighties where you don't have we were
Speaker 1: just talking about it today, like when ninety three, ninety four,
Speaker 1: ninety five, ninety six bust everything over and it went
Speaker 1: mainstream because before.
Speaker 2: That you didn't really have hit records.
Speaker 1: You didn't have hip hop records that was going number
Speaker 1: one or in the top ten, like it might be
Speaker 1: a one off. And then it just started being a
Speaker 1: bulk of records. Right ninety four. You know you have
Speaker 1: Gin and Juice, right, you have Doggy Dog World. You
Speaker 1: have Juicy that's in the top forty. You have Julio
Speaker 1: Take a Ride that's in there. You have all of
Speaker 1: these huge records, Warren g Regulators in the top five.
Speaker 1: You know what I mean, You just have all these
Speaker 1: records that are now competing with all the rest of
Speaker 1: the records. It means not just the rap charts, of
Speaker 1: the R and B charts, of the black charts, I
Speaker 1: mean the hot one hundreds, the big records. These records
Speaker 1: are competing with Eric Clapton and Garth Brooks, the biggest.
Speaker 2: Records in the country. And we got spoiled. But in
Speaker 2: the eighties it wasn't about that.
Speaker 1: And I think again, like I've been saying, I think
Speaker 1: we're back at that time.
Speaker 2: We're back at that.
Speaker 1: Time to where it was like maybe some of the
Speaker 1: hottest records are not exploding, Like I remember a record
Speaker 1: like Fairy ten years ago, a record that hot that
Speaker 1: that kind of in the know, in the in the
Speaker 1: in the position, that record would have been at twenty
Speaker 1: million by now it had been at twenty thirty million.
Speaker 1: But now Spotify has clamped down so tight. I don't
Speaker 1: know if it's a combination of Spotify just clamping down
Speaker 1: so tight on what they want to market, or is
Speaker 1: it people are just not.
Speaker 2: Going to Spotify to hear their music all the time.
Speaker 3: I don't know.
Speaker 4: I don't know what the aggregators are like as far
Speaker 4: as you know across platform numbers, but there's it's fairly
Speaker 4: monopolistic as far.
Speaker 3: As where you can listen to shit, you know. I mean,
Speaker 3: you can get around it, but you'd have to really
Speaker 3: put your mind to it.
Speaker 2: It's still already put my mind to it for sure.
Speaker 3: I don't mean you, I mean like Joe consumer, Like
Speaker 3: if I wanted to listen to a song, there's a
Speaker 3: few surveyed five hundred people. If you want to hear
Speaker 3: this song, where are you gonna go? Listen to it?
Speaker 2: On?
Speaker 3: You're gonna get three answers one hundred and fifty times.
Speaker 1: I mean so, but I'm saying, maya peased audience got
Speaker 1: to be somewhere between twenty six thousand twenty six thousand
Speaker 1: and one hundred and thirty three thousand. I mean, even
Speaker 1: though they have a.
Speaker 2: Monthly listeners listening at five seventy, does it make sense.
Speaker 2: I mean, I guess what monthly listeners.
Speaker 1: Yeah, maybe maybe across that time, but it's taking somewhere
Speaker 1: between thirty thousand and one hundred and forty thousand people
Speaker 1: to drive a song to four million streams. And my
Speaker 1: thing is, even with that exposure, you know, that level
Speaker 1: of exposure, like, we have to be able to make
Speaker 1: like and it can't just be like we're back into
Speaker 1: a slave time to where its like we have this
Speaker 1: really great product. You know, imagine McDonald's making a fire
Speaker 1: ass burger and it's like, well, we can't really make
Speaker 1: too much money off this burger. We got to actually,
Speaker 1: you know, do something else to make money. And that's
Speaker 1: what everybody is trying to tell you in hip hop,
Speaker 1: oh man, the music is just it's just a commercial.
Speaker 1: People pay people to make commercials of their business, yes,
Speaker 1: and it's like we're accepting it.
Speaker 2: And that's the one thing hip hop didn't do in
Speaker 2: its exception. We didn't accept that.
Speaker 1: And you know, I don't want to sound like this
Speaker 1: and I don't need this terminology because slaves went through
Speaker 1: a lot, but it's definitely turning people into modern slaves
Speaker 1: to some degree, Like you can't make a living unless
Speaker 1: you're going to go out and do a thousand shows
Speaker 1: rap on a bunch of people's songs, because they've been
Speaker 1: able to demonetize the record so crazy mind you you
Speaker 1: know they have multi billion dollar businesses built off records. No,
Speaker 1: I guess in their mind they'll tell you it's built
Speaker 1: off technology.
Speaker 3: But I think that's the historical norm. I think you're
Speaker 3: looking at this brief blip of time over the course
Speaker 3: of ninety years and thinking that that's the norm and
Speaker 3: everything else is the exception. When that's the exception.
Speaker 2: Which part is the exception?
Speaker 3: Not having to go tour a whole pantload of shows
Speaker 3: to get all your money.
Speaker 1: Well, remember the record labels was making the money then,
Speaker 1: not the art, at least at least Barry Gordy was.
Speaker 1: Even if the Temptations wasn't making a bunch of money. Shit,
Speaker 1: Barry Gordy was making a bunch of money smoking Robinson.
Speaker 1: They didn't have to go tour off of Temptation records
Speaker 1: that they produced, wrote promoted they made that money there, shit,
Speaker 1: ain't nobody making no goddamn money.
Speaker 2: At this point, you get what I'm saying.
Speaker 3: Like, yeah, well the platforms are.
Speaker 1: So so they did at New Regular Yeah, And that's
Speaker 1: the tricky part, Like right, it's like.
Speaker 3: There's two that's the issue.
Speaker 2: Now.
Speaker 3: The issue is the vertical supply chain effectively has changed
Speaker 3: from drum to ear and there's too many intermediaries. You
Speaker 3: got to be cleaned out.
Speaker 2: So you think that's the problem. Yeah, you wanting music, No.
Speaker 3: And then if you wild to create it, the distance
Speaker 3: between the creative not the music producer, the IP producer,
Speaker 3: the person whose brain creates the sound, and the ear
Speaker 3: that consumes the sound has too many different channels in between.
Speaker 1: But even if it's oh, well, I guess that is true,
Speaker 1: because you can't go straight to Spotify. You have to
Speaker 1: go through a middleman, right, which is a distribution company
Speaker 1: to many wholesalers. You have to have a phone, you
Speaker 1: have to have a service. You have to pay for
Speaker 1: the other service, the music service. So you pay Apple,
Speaker 1: do you pay t Mobile? And then you pay a
Speaker 1: Spotify m hm, and then Spotify pays themselves, then they
Speaker 1: pay the record company or the distribution company and then
Speaker 1: they pay you.
Speaker 3: And Spotify pays Apple and Google a ton to be
Speaker 3: on there. I mean Spotify's biggest check per month that
Speaker 3: goes out of that office is going to Apple because
Speaker 3: they charge them fortunate to be on the play store
Speaker 3: or the like whatever the live store.
Speaker 2: See.
Speaker 1: To me, the catch is converting people into more money
Speaker 1: through Spotify. Like in the perfect world, you could get
Speaker 1: every artist together and say, hey, you know what, when
Speaker 1: you to stop putting our music on Spotify, we need
Speaker 1: to tell Spotify, hey, you guys need to have an
Speaker 1: iTunes service to well, we could have our singles for
Speaker 1: stream but if people like the singles, they have to
Speaker 1: buy the album more different than iTunes.
Speaker 2: Screw that.
Speaker 3: I would cut them completely out of the equation. You
Speaker 3: need to verticalize your own self like who's microwave famous
Speaker 3: to getting money for fucking nothing these days social media
Speaker 3: figures right sure, and they don't do anything. You need
Speaker 3: to figure out a way to go work with Instagram
Speaker 3: and TikTok or whoever else, so as you can advertise,
Speaker 3: you're bringing people to your page, they're seeing you. You're
Speaker 3: advertising yourself and your music at the same time, and
Speaker 3: then at the top there's your playlist pow, and then
Speaker 3: you can put together a playlist within Instagram, and then
Speaker 3: Spotify dies in about an hour and a half because
Speaker 3: people are going to you to see what you're doing
Speaker 3: on Instagram. Instagram, they're there anyway. They're gonna find what
Speaker 3: you're doing because you follow them and they see some
Speaker 3: girl bounce around and tights, and then glasses alone pops
Speaker 3: up on the next story, and then you press a
Speaker 3: button and there's your album playlist right there in the
Speaker 3: Instagram interface. And then you could collaborate and link or
Speaker 3: organically between artists within Instagram and create playlists or features
Speaker 3: or whatever else that way, and you've cut everybody else
Speaker 3: the fuck out.
Speaker 1: You don't think that would take a mass movement of artists,
Speaker 1: because people.
Speaker 3: It takes to work. Uh, it takes to work. Drake
Speaker 3: did it? It already be done. I don't think he could
Speaker 3: do it, though maybe not because contract contractually he might
Speaker 3: be bound to not do it.
Speaker 2: I mean not even contractually like they have.
Speaker 1: They have, they have things like that called even even
Speaker 1: as a company, even Dabis is a company where you
Speaker 1: go to pay an artist and for his work, right,
Speaker 1: whatever you want to pay him. But the problem is
Speaker 1: the audience that is looking for music is looking to
Speaker 1: consume music on Spotify, So I think you have to
Speaker 1: have a stay there. To me, my thing is, even
Speaker 1: when you look at Spotify, Apple title, they're not meant
Speaker 1: to market albums.
Speaker 2: They're not in that business.
Speaker 3: Your Instagram is marketing the album and sending them to Spotify.
Speaker 3: That's my thing.
Speaker 1: Yeah, but okay, but how would they play the music
Speaker 1: if they were to get it from.
Speaker 2: Spotify or let's say, let's say the single. Huh, they
Speaker 2: don't get it from Spotify. No, I'm saying, how would
Speaker 2: they get it from you on Instagram?
Speaker 3: Play your ship on Instagram? Like you that was something
Speaker 3: you'd have to work out a deal with Instagram to
Speaker 3: be able to allow. And I wouldn't even require that
Speaker 3: much tech. But you know how they have like how that
Speaker 3: shit even is they? You know, you have like your
Speaker 3: regular posts, your story and then like reels and yeah,
Speaker 3: it would have to be somewhere like the reels.
Speaker 2: So kind of like how Kanye use it on Twitter.
Speaker 3: Maybe I've never seen Kanye swear so.
Speaker 1: Kanye released his music on Twitter. As I have this idea,
Speaker 1: Iron and you could do it on Twitter. Kanye's bran somehow,
Speaker 1: Like I don't know. That's why I know he's not
Speaker 1: completely crazy, and I know he's tuned into God because
Speaker 1: we get some of the same ideas. Like one of
Speaker 1: the things is like I've decided on my new project,
Speaker 1: I'm going to release the video on Twitter. It makes
Speaker 1: no sense to release the video a place where people
Speaker 1: stream music, like YouTube, because then I'm spending a bunch
Speaker 1: of money on the music video to give you the song.
Speaker 1: You don't have to go anywhere else. People play music
Speaker 1: in their car and they house from YouTube. Yeah, a
Speaker 1: music video is an advertisement for a record to go
Speaker 1: buy a record. So even if I want you to
Speaker 1: advertise it to go stream a record, I have no
Speaker 1: business placing the music video where you actually stream music from.
Speaker 2: Does that make sense?
Speaker 3: Yeah, that's like varsy what I'm saying the same people,
Speaker 3: like any of these smaller niche platforms or have to
Speaker 3: start the new platform. You have to train your consumer
Speaker 3: to go there. The consumers already going to Twitter, Instagram,
Speaker 3: et cetera. They're already on that, They're already going to Spotify,
Speaker 3: but they have to leave the one to go to
Speaker 3: the other. You can cut one out by just having
Speaker 3: your stuff here. You're taking the time to put crap
Speaker 3: up on all your channels to drive people over to Spotify,
Speaker 3: as opposed to just driving them to the next button
Speaker 3: at the same place they're already at.
Speaker 1: M I've almost thought I've almost thought of a few
Speaker 1: things where it's like, like with the one ten album,
Speaker 1: like is it really do I just put the single
Speaker 1: up and then I like, do I put snippets of.
Speaker 2: The single you know on on streaming apps? Right?
Speaker 1: Do I put snippets on of the of the album
Speaker 1: on Spotify?
Speaker 2: Right?
Speaker 1: And then just put thirty second snippets And then at
Speaker 1: the snippet you listen and you like, you know, at
Speaker 1: the end of it, you faded out, and you be like,
Speaker 1: head over to www. Dot thecripstore dot com and buy
Speaker 1: this album if you like this single, and then all
Speaker 1: the songs you just get a snippet and tells you
Speaker 1: to go by. But then again, if people don't play
Speaker 1: physical product, or if they can't download a digital product
Speaker 1: and a player that they play music from, I might
Speaker 1: kind of be I mean, it really should it shouldn't
Speaker 1: be a fear of how you do business.
Speaker 2: If you believe in the records.
Speaker 3: Yeah, I mean, like, let's take like just reals for example,
Speaker 3: Like like if you put all the singles out, they're
Speaker 3: a real can accommodate that you would have the rights
Speaker 3: to it anyway. So it's say thirteen three minute songs,
Speaker 3: just pin them in order as your top thirteen and
Speaker 3: everything else that you do that's new at whatever. It
Speaker 3: stays below them, but at the top. And then after
Speaker 3: a month, if there's ten million views or whatever the
Speaker 3: hell it's been consumed ten million times in the aggregate,
Speaker 3: you can say, hey, Spotify ten million, what do you
Speaker 3: want for it?
Speaker 2: Hey you Spotify ten million? You mean, what do they
Speaker 2: want to give you for the album?
Speaker 3: Yeah? See, I don't need you. I got ten million
Speaker 3: on Instagram of these songs full length in my reels
Speaker 3: in order pinned like an album. It got viewed ten
Speaker 3: million times. Do you want ten million views next month
Speaker 3: or twenty million views next month or whatever or listens
Speaker 3: whatever the hell it is on your platform or do
Speaker 3: you not want them there? That's ten million ads at
Speaker 3: the end of each song that your company's not gonna
Speaker 3: get paid for. What do you want for it?
Speaker 1: That's interesting? I'm not mad at that thought, that's how
Speaker 1: you got it. I just think, and I think that's
Speaker 1: why I've been telling you I need you, you know,
Speaker 1: to do the business like I need your help with
Speaker 1: doing the business, because we're just at a time where.
Speaker 2: We're at a time where.
Speaker 1: Not only should hip hop be as creative and when
Speaker 1: it comes to making records, but it needs to be
Speaker 1: just as creative with doing business.
Speaker 3: And that's the thing I think about. What made hip
Speaker 3: hop hip hop was two things, creativity and entrepreneurial verticality.
Speaker 3: What is the modern day virtual tech equivalent to selling
Speaker 3: cassette tapes out of the trunk your car? Like low flip.
Speaker 2: That's the problem. There is no modern version of it.
Speaker 3: Because the trunk of your car is now your social
Speaker 3: media page.
Speaker 2: Well, the problem is, at that time a cassette was
Speaker 2: still ten dollars.
Speaker 3: Sure, I get that.
Speaker 1: It's hard to do business without that actual product for sale.
Speaker 2: Yeah, so how do you do it? Then?
Speaker 3: The what you're replacing with like the modicum of margin
Speaker 3: that you're gonna get from those you're making up for with.
Speaker 2: Scale to access access to more people.
Speaker 3: Yeah, so now the trunk of your car your virtual trunk,
Speaker 3: you might not get your two dollars per unit. But
Speaker 3: you're gonna not do thirty thousand cassette tapes out of
Speaker 3: the trunk of your car. You're gonna do thirty million
Speaker 3: you know, views or whatever, impressions whatever. The term dajour
Speaker 3: is across the country and you just have to transfer
Speaker 3: that value into you know, revenue on the backside.
Speaker 1: But how would you do that if okay, agreed, Right,
Speaker 1: you have a greater audience, right that you have access
Speaker 1: to without you have to spend money. You have to
Speaker 1: spend money. Like let's say for one hundred tapes. To
Speaker 1: press up one hundred cassettes, it costs five dollars each. Yeah,
Speaker 1: so you know if you press up one hundred tapes,
Speaker 1: it'll be five hundred dollars, right, and then it's the
Speaker 1: gas money to go out sell the tapes, eat food,
Speaker 1: blah blah blah, Oh, sello tapes.
Speaker 2: Let's focus on that.
Speaker 3: Now.
Speaker 2: You spend fifty dollars to go out and sell tapes.
Speaker 1: So that's five hundred and fifty dollars if you want
Speaker 1: to go sell so many tapes a day, right, But
Speaker 1: those five hundred tapes, right would make you your five
Speaker 1: thousand dollars so if it's if it's so, if it
Speaker 1: costs you, let's let's make a Let's make a reasonable number.
Speaker 1: Let's say you're go. I used to have I used
Speaker 1: to tell Quiz this. I used to get Quiz. I say, man, Quiz. Look,
Speaker 1: I convinced Quiz to quit his job. Now, some people
Speaker 1: think it's crazy, but I'm like, yo, you gotta take
Speaker 1: your chance on this. For a time, I said, you
Speaker 1: have a great crap, like a quality CD. You could
Speaker 1: sell ten to twenty CDs a day if you went
Speaker 1: out right, that's the ten dollars, one hundred to two
Speaker 1: hundred dollars. And it just happened to be at the
Speaker 1: end of CD. So he was able to still do
Speaker 1: a good job. But if he would have came around
Speaker 1: the time that I came, or we would have came
Speaker 1: before in two thousand, it was even more money.
Speaker 2: Right, you could make a living.
Speaker 1: You could make two hundred dollars a day selling your music,
Speaker 1: especially if the music is good. Right, So let's say
Speaker 1: that number now is let's say it's twenty cassettes. Let's
Speaker 1: say it's two hundred dollars, right, and you know, if
Speaker 1: it's twenty CDs and to press up twenty CDs. He
Speaker 1: had a machine. We might have spent a dollar twenty
Speaker 1: to make every CD. So it was like twenty seven
Speaker 1: dollars in gas, maybe twenty five dollars in gas, you know,
Speaker 1: forty bucks. So if you spend forty bucks, how do
Speaker 1: you still turn that into two hundred dollars on Instagram
Speaker 1: even though you have access to a bigger audience, Like
Speaker 1: you would have to kind of convert the bonuses, you know,
Speaker 1: the Instagram bonuses to where it would make you two
Speaker 1: hundred dollars a day, sure out of out of only
Speaker 1: forty six dollars.
Speaker 3: What do you get for five hundred thousand views of
Speaker 3: a thing on Instagram? Of one particular.
Speaker 2: Piece, not the total just one let's see.
Speaker 3: Then beyond that also, like I think what it's doing
Speaker 3: is it is demonstrating the IP value. So if you
Speaker 3: had made because how many, how many of the same
Speaker 3: tape album? You're really going to sell in one city?
Speaker 3: You know what I mean? Like you're not going to
Speaker 3: do platinum numbers. You're not going to make a million
Speaker 3: of these damn things.
Speaker 2: No, I'm just talking about a simple thing.
Speaker 3: Sure, But like so with that, what you would do,
Speaker 3: like as an upstart who could get the capitol flow
Speaker 3: from just selling their own stuff, You're you're demonstrating the
Speaker 3: value of it to bigger players. So then you're getting
Speaker 3: a deal, or then you're getting this, or then you're
Speaker 3: getting that, or a show or whatever it might be.
Speaker 2: So Shop of Fire article says.
Speaker 1: Influencer pricing suggests that a nano influencer five hundred to
Speaker 1: ten thousand followers might earn ten dollars to one hundred
Speaker 1: dollars per post, while macro influencers one hundred thousand, five
Speaker 1: hundred thousand followers could charge five thousand to ten thousand
Speaker 1: dollars a post.
Speaker 3: Okay, well, if each post is a song on an album,
Speaker 3: and you do twelve songs and you get sixty thousand dollars,
Speaker 3: that's about as much as you're gonna get net selling
Speaker 3: tapes out of the trunk.
Speaker 2: Of your car.
Speaker 3: You really crush.
Speaker 1: One source average rate per real one source suggest that
Speaker 1: creators with ten thousand and fifty thousand followers might earn
Speaker 1: an average of two three hundred and twenty.
Speaker 2: Dollars per real. Okay, so maybe maybe were looking at
Speaker 2: it wrong.
Speaker 3: But then also if you control but those reels That's
Speaker 3: the other thing is there's no backdoor value to that,
Speaker 3: because that's a typical reel. If you're real as a song,
Speaker 3: you have now demonstrable value and total total access control
Speaker 3: for consumption. So that's where you can say, Okay, there's
Speaker 3: seven figure eight figures of people who consume this album, Spotify, YouTube,
Speaker 3: whatever the hell? So what has been lost in the
Speaker 3: novelty of people hearing for the first time. I'm not
Speaker 3: going to get that value back. But if you want
Speaker 3: this for the rest of the listeners and the ads,
Speaker 3: sharing and all the rest of it on your platform,
Speaker 3: if you.
Speaker 2: Go to a distribution or do you go to Spotify.
Speaker 2: At that point, I'd go to Spotify.
Speaker 3: You can do either one. I mean, you've proven value
Speaker 3: and been paid for it either which way at that point.
Speaker 3: But if you were talking about the issue with the
Speaker 3: Spotify model, then just don't deal with Spotify and do
Speaker 3: that or use it to demonstrate a different model for Spotify,
Speaker 3: because now it's like that that's the thing. Everybody's perceiving
Speaker 3: them as doing the artist the favor by promoting them,
Speaker 3: So it's like, Okay, you're just getting empty fame. At
Speaker 3: some point, you're just getting anything. You're putting your shit
Speaker 3: everywhere to promote the music, and the music's not paying
Speaker 3: you hardly anything, but they're driving all the listens, so
Speaker 3: everybody knows you, but nobody's paying you, you know, So
Speaker 3: you have to stick a you know, wrench in the
Speaker 3: spokes and stop the spinning of that wheel. Someway.
Speaker 1: Good looking out for tuning in to the No Sellers Podcast.
Speaker 1: Please do us a favorite, subscribe, rate, comment, and share.
Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA and produced about the Black Effect Podcast
Speaker 1: Network and Notheart Radio.
Speaker 2: Yeah