Speaker 1: What's up?
Speaker 2: And welcome back to another episode of No Sealers Podcast
Speaker 2: with your host. Now fuck that with your loaw glasses Malone, So.
Speaker 1: Now we can get back.
Speaker 3: What was we talking about?
Speaker 4: Six?
Speaker 3: Yeah? So I was just saying, man, I think somebody
Speaker 3: must have sprinkled crack on GNX because I've just been
Speaker 3: playing that NonStop man in the car at the crib,
Speaker 3: in the gym, like NonStop flawless man.
Speaker 2: It's really what's crazy is the first day I heard it,
Speaker 2: I was I woke up, I saw it was available,
Speaker 2: I was playing it at the crib. I start driving
Speaker 2: over here, so I put it in the web. I'm
Speaker 2: driving over I heard the whole record before we started.
Speaker 3: The stream, and.
Speaker 2: I got on the stream and I was like, this
Speaker 2: is by far the best Kendrick at the first day.
Speaker 2: And everybody was like, man, how are you gonna just
Speaker 2: say that? And it's weird because I'm trying to express
Speaker 2: them how much like I've been into hip hop and
Speaker 2: music at this point both, I've been going down both
Speaker 2: rabbit holes when it comes to music and hip hop
Speaker 2: at this point because they are a little different. Like
Speaker 2: hip hop is a cultural thing, it's an artistic cultural thing.
Speaker 2: It don't even have to be music, I mean, and
Speaker 2: you can use music to apply the culture. Music is
Speaker 2: just music. But I've been studying so much of it
Speaker 2: that like, when I hear music, I know what's going
Speaker 2: on now for the most part, pretty much all the time. Obviously,
Speaker 2: I'm still learning more about singing, you know. I mean,
Speaker 2: I haven't quite knelt that, but I get what's going on.
Speaker 2: I know when it's right.
Speaker 3: You know what it's wrong too, know what is wrong.
Speaker 2: I can hear that, even if I don't quite know how
Speaker 2: to fix it, you know what I'm saying, I know
Speaker 2: what's going on. The first time I heard I was like,
Speaker 2: oh yeah, it's my four's best album. And I jumped
Speaker 2: on the live stream and I felt comfortable, Like I've
Speaker 2: listened to enough Kendrick's album, you know, I've heard them
Speaker 2: all first takes, all first takes, and this is by
Speaker 2: far this messed me up, Like this is by far,
Speaker 2: like way better than any first take. The second one
Speaker 2: would be damn, this one is by far better. And
Speaker 2: I was trying to explain it, and people was asking
Speaker 2: me later about my take on it. They was like,
Speaker 2: why is this the best? And I'm like because this
Speaker 2: one he understands how to use the sonics to create theme,
Speaker 2: like I think Damn. When he was working on Damn,
Speaker 2: he understood sonics at that point, but he didn't understand
Speaker 2: sonics in the goal of creating theme. He only understood dialogue. Now,
Speaker 2: this could be wrong. You could be like GLA's you tripping.
Speaker 2: I already knew, but I can hear his development in
Speaker 2: sonics to create theme. And we was talking about a
Speaker 2: good kid. Matt City is dialogue to take you to Compton.
Speaker 2: GNX is themed to like do the sonics to bring
Speaker 2: you back to Compton.
Speaker 1: And that's why people felt dot was preachy in it.
Speaker 2: And some people felt like that, like it was preachy
Speaker 2: because if you use dialogue to set theme, right, if
Speaker 2: you shout out to John trueby really dope author, he said,
Speaker 2: if you use dialogue to create theme, it could come
Speaker 2: across preachy. Gn Next is a Kendrick Lamar album, But
Speaker 2: it's not preachy because you and Compton when you're listening,
Speaker 2: like Whacked Out Mirrors takes you to that tam and
Speaker 2: that is like fire, bro, Like that's so fire. I'm
Speaker 2: so impressed, you know what I'm saying, Like I had
Speaker 2: Dot outside of the best guys, and I thought I
Speaker 2: was fair, Like I wouldn't even put Dot in the
Speaker 2: same com I get why the next generation can hear
Speaker 2: DoD's music and put him. You know, they didn't get
Speaker 2: a chance to see ice Q. I mean they didn't
Speaker 2: see Prime Snoop Dogg. They didn't see Prime E forty,
Speaker 2: they didn't see Prime short. They have no idea what
Speaker 2: Prime quick looks like. We've had the luxury of with
Speaker 2: the parent. Yeah, you know what I'm saying. You don't
Speaker 2: know that version when he's on rhythmalism and that joint
Speaker 2: come out.
Speaker 3: You didn't hear that.
Speaker 2: It's like when we talk about hoops, I mean you're
Speaker 2: being a coaching into it. If you didn't see Magic
Speaker 2: Johnson's career, you don't understand. To you it's a relic.
Speaker 2: Very few people take the time Bro to like, let
Speaker 2: me go back and think. What like when you watch
Speaker 2: Bob Coozy, Like a lot of even some professional hoopers
Speaker 2: shout out to the hommies in the hoop chat self
Speaker 2: and different hommies like they cannot understand my affinity for
Speaker 2: Bob Coosey. Bob Coozy dribbled the ball with one hand.
Speaker 2: So they're like, oh, you know that, ain't I'm like no,
Speaker 2: but go back to the fifties. He was dropping people
Speaker 2: with one hand, so I'm looking at everybody. It wasn't
Speaker 2: like other people back then could dribble with two hands.
Speaker 2: Everybody dribbled the same way. He was just the best
Speaker 2: dribbler in his time and major dons. So if you
Speaker 2: don't if you don't understand how to set you know
Speaker 2: what you're looking at like, you will miss the genius
Speaker 2: and something that happened. And most humans can't do that.
Speaker 2: Most humans can't go back and imagine, Oh, nobody else
Speaker 2: dribbling with two heads. They're like, oh, I'll just see
Speaker 2: the game now and I look back then. These guys
Speaker 2: are better, no, sir, these guys are the products of
Speaker 2: evolution exactly. So listening to this album like it went
Speaker 2: from like now like I did hear Dogs Dog Eachtyl
Speaker 2: when It's fresh. I did hear America's most Wanted brand New.
Speaker 2: I did hear the Chronic. I did hear straight out
Speaker 2: of Confident as a little kid. I did hear dog
Speaker 2: Food and a lot of great records. I did hear Federal,
Speaker 2: I did hear Short's first album.
Speaker 1: You know what I'm saying. But now when I hear
Speaker 1: this GNX, I'm.
Speaker 3: Like, oh, this is as good as those.
Speaker 1: Good Kid is not as good as those.
Speaker 2: I understand again, the next generation they didn't get to
Speaker 2: They don't get the impact I saw it. So now
Speaker 2: I can feel it all and hear it all, and
Speaker 2: it's like, oh, yeah, this is like it's one of
Speaker 2: the ones challenging the niggas I grew up to.
Speaker 3: Now, noweration, You're not outside the box no more. Here
Speaker 3: in there he and fucking the box up he in there.
Speaker 3: You know.
Speaker 2: I just called and raving about it to him, and
Speaker 2: it's probably the first record I ever called.
Speaker 3: Him raving about.
Speaker 2: Yeah, you know what I'm saying, Like, I've never called
Speaker 2: him raving about it now like good Kid in Mass City,
Speaker 2: I thought it was a great offering. I mean, I
Speaker 2: thought it was a fantastic first where we had time
Speaker 2: and space at that time. Same for the Pimper Butterfly.
Speaker 2: Those are really good albums, especially comparing to today. But
Speaker 2: I've actually heard really good jazz albums. I've heard really
Speaker 2: good hip hop albums.
Speaker 1: So when this album came out, man, I can't get
Speaker 1: off of it.
Speaker 3: I'm like, Bro, I can't play nothing else. This is
Speaker 3: I don't play my own stuff. I don't play nothing just.
Speaker 2: Oh, I swear to god, bro, like I have like
Speaker 2: I have to go from like I might be playing
Speaker 2: like Marvin Gay I want you that album, and then
Speaker 2: back to gen X. You know how good your album
Speaker 2: has to be for me to switch off from the
Speaker 2: hall of those greatest hits.
Speaker 3: Your fucking album. One of the things that I loved
Speaker 3: about that too is I had like this moment. I'm
Speaker 3: a huge like fan of old stuff too. Right, So
Speaker 3: the last couple of months, I've just been playing a
Speaker 3: lot of Anita Baker a lot, and I just spent
Speaker 3: bro a lot. You feel me. I told somebody, shit,
Speaker 3: they got so man good looks.
Speaker 2: See no ciblings, no cilings, glasses below you know, I said,
Speaker 2: my brother Peter Boss, I got my homeboy six John
Speaker 2: in the house. This is somebody I really before I
Speaker 2: got into hip hop and was making music, he was
Speaker 2: making ways. He's a young man making waves and everything
Speaker 2: from the land. He was on the radio station and
Speaker 2: he just always had a flare about records, and he
Speaker 2: became somebody that's really been instrumental in the development of
Speaker 2: Glasses Malone the true hip hop you know culturists and musician, Like,
Speaker 2: he's helped me understand so many things, not to mention
Speaker 2: he looked me up, he lacked me up with Brian McKnight,
Speaker 2: just fly things.
Speaker 3: I said, so for one of your most most important
Speaker 3: songs in my life.
Speaker 2: To me, it made me feel like real, it really
Speaker 2: vindicated my journey, you know what I mean, Like that
Speaker 2: was every day. I wish my mom was a lot
Speaker 2: bro blew her mind in a change, you know, a rocker.
Speaker 2: She'd have been in prison, like just losing it. But
Speaker 2: I appreciate that too though, man, my man. So it's
Speaker 2: like that's how it feels, bro Like, how do you
Speaker 2: go from these records to these records.
Speaker 3: And to hear him say riding in my g and
Speaker 3: next with the need to yeah this bro feeling like
Speaker 3: the correlation. I'm like, oh, I was in that moment
Speaker 3: already to you know, two months before the album came out.
Speaker 3: So that just yeah, it just locked me in.
Speaker 2: And it's crazy because I'm telling somebody, they're asking me
Speaker 2: about music, right, they like last you don't really listen
Speaker 2: to like modern R and B.
Speaker 1: I'm like, they can't sing you know what I'm saying.
Speaker 2: Like you know what I'm saying, Pete, It's like, how
Speaker 2: do I come from this mini Ripperton album to this?
Speaker 1: Like you know what I mean?
Speaker 2: Shout out to shout out to Frank Ocean. Obviously he
Speaker 2: got to be one of the greatest pins. He could write. Well,
Speaker 2: Frank don't sing well enough for me? Yeah, not not.
Speaker 2: He's a fantastic writer and he can hold a note.
Speaker 5: But Luther, there's a period like because as a singer,
Speaker 5: even if you were to go to like oh three
Speaker 5: or something like that and listen to r Kelly, that
Speaker 5: guy can fucking sing it and died like he got
Speaker 5: like people stopped singing after him. There was forty years
Speaker 5: of singers there has who's the last good singer since that?
Speaker 2: I mean there's some singers for sure that like like that.
Speaker 2: They got some singers that really can kill but they
Speaker 2: don't have the songs.
Speaker 3: To kill it.
Speaker 6: That's what I mean.
Speaker 2: Remember that. That was the comment right now is like
Speaker 2: the it's the it's the to me, it's the better
Speaker 2: writers and the writers became artists. So like those songs
Speaker 2: that we're hearing Pete are from writers. Those would have
Speaker 2: been the guys giving the songs to the vocals. Back then,
Speaker 2: writers did not try to present themselves as singers singers.
Speaker 2: They would give it to the best vocalists, and that's
Speaker 2: how they would have these gigantic records. But now I
Speaker 2: think you're creating an era of really forgettable R and
Speaker 2: B music because the best writers right are not giving
Speaker 2: their songs to the best singers, and the best singers
Speaker 2: don't have the best songs.
Speaker 6: Didn't like Dream do the opposite.
Speaker 2: Well that so shout out to Dream, who was one
Speaker 2: of my favorites of modern era.
Speaker 1: But Dreams, it's gonna be forgettable. Can't sing.
Speaker 6: I don't know how of the singers.
Speaker 2: Forgive me, give me, Triggy, forgive me, everybody like, but
Speaker 2: he can't sing his penis. Imagine fucking Luther Vandross singing
Speaker 2: some of this ship, you know what I'm saying, Like,
Speaker 2: imagine like.
Speaker 3: In some of this shit. Because when dream World for
Speaker 3: Beyonce sh is out of here, is out of here.
Speaker 2: So I think that's what's happening so much in the
Speaker 2: space of music, right, And I think that's where gn
Speaker 2: X got it right.
Speaker 1: It was like, oh, this is the hip hop being.
Speaker 3: No, no matter what.
Speaker 2: We say, it's a it's still a cultural party. You know,
Speaker 2: him putting on a party. Okay, he watched the party die.
Speaker 2: Then he remade a party, a better party. He was this, No,
Speaker 2: this is the party that party y'all been doing for y'all,
Speaker 2: buying bottles, y'all out on the floor, dancing and getting
Speaker 2: behind girls and making connections.
Speaker 1: Let me kill all that. This is the new point.
Speaker 1: This is how we This is how y'all shop party.
Speaker 3: I just saw a dope interview with Big Boy. You
Speaker 3: see that And I can't remember the dude's name, but
Speaker 3: your dog trainer. He was the one in the squabble
Speaker 3: up video that the dog was biting. I think his
Speaker 3: name like Smoke or something like that. So he was
Speaker 3: explaining that big Boy how he got the call to
Speaker 3: go do the video when they told him it was
Speaker 3: an AT and T commercial. So when you get there,
Speaker 3: he said, the girl that I guess that shot in
Speaker 3: that green room. It's like everybody is individual, so that's
Speaker 3: all like post. So when he got in there, it
Speaker 3: was just literally him and the dog doing the dog
Speaker 3: bite and the dog run across the room. They do
Speaker 3: that he don't hear no music. He said he saw
Speaker 3: the girl that's like dancing in there. She got on
Speaker 3: like in ears, so he just saw her like dancing.
Speaker 3: Hell of horror. But he said, at no point did
Speaker 3: he ever see Kendrick. At no point did he ever
Speaker 3: know it was a video shoot for him. And then
Speaker 3: a few months later his people called him like, yo,
Speaker 3: you in the squabble of video and he sees a
Speaker 3: scene and he sees, you know, Kendrick in there. Him
Speaker 3: and the dog shot the kid hitting the switches on
Speaker 3: the on the g body. It's like all these different
Speaker 3: elements and just the the mysterious value that you know
Speaker 3: what I mean, like just that approach of just And
Speaker 3: they said they shot it in like Augusta, So I'm like, oh,
Speaker 3: this was like well on the way for a minute.
Speaker 2: Yeah yeah, No, he been figuring it out. I won't
Speaker 2: even everybody asked me to. I won't even ask him
Speaker 2: about this, Like there's a fanship in me that just
Speaker 2: wants to experience it. I don't want to be prepared
Speaker 2: for I want it. I don't want to be the
Speaker 2: person holding this. I won't even ask me, man Glass,
Speaker 2: what do you think about these? What lines are missing.
Speaker 2: I don't want to know. I want express feel. I
Speaker 2: want to experience it like fans like, And this is
Speaker 2: dope because I really.
Speaker 1: Get to be a fan of Doc like like.
Speaker 3: I'm a fan.
Speaker 2: I think he's a tremendous talent, it's no question. But
Speaker 2: I get to be a fucking fan. I get to
Speaker 2: enjoy Like there's a Kendrick album I'm playing as much
Speaker 2: as I'm playing Made by Scarface, or I'm playing uh
Speaker 2: the Last Meal by Snoop, or or or the Ward
Speaker 2: did from Cube or the West Side Connection, now the
Speaker 2: first one bow down, chronic shout. You know what I'm saying,
Speaker 2: Like this is what I'm getting, and I'm so pleased,
Speaker 2: Like I'm so impressed.
Speaker 1: I'm like wow.
Speaker 2: But back to that thought of the marketing, right, because
Speaker 2: it is a surprise marketing that if nobody knows. I
Speaker 2: heard RJ tell the same story. RJ, who if you
Speaker 2: listening to this pod. RJ is the guy that walks
Speaker 2: across the stream with that crazy walk.
Speaker 1: He said the same thing. He didn't know what it
Speaker 1: was for.
Speaker 2: So after Calmatic because the videos fired, you know, they
Speaker 2: did a great job.
Speaker 3: That was another thing not to cut you off but
Speaker 3: he said, and this might be true with RJ too,
Speaker 3: you might have to ask him, but they said that
Speaker 3: they was just going to the metronome. Yeah, so they
Speaker 3: didn't even know like like nothing they got in theirs,
Speaker 3: But it's just the tempo of the metronome that's crazy.
Speaker 1: And so he used a level of surprise.
Speaker 2: But I think I think hip hop does have to
Speaker 2: and this is what we were talking about before we
Speaker 2: jumped on the pod.
Speaker 1: I think hip hop.
Speaker 2: Does have to do a better job of creating exciting marketing,
Speaker 2: informative marketing, some way of to inject more spirit in
Speaker 2: the marketing, because marketing is getting lame. Like and again,
Speaker 2: like I told you, like we're in the space now
Speaker 2: to where as an independent you can't really spend your
Speaker 2: money to market a song because songs are not for sale,
Speaker 2: so you can never get the value out of them back.
Speaker 2: And this is something I want to tell you, but
Speaker 2: I thought to tell you on air. Like let's say
Speaker 2: if you wanted to work a record, you know, to
Speaker 2: get a record into the top forty's, obviously your record
Speaker 2: has to work. Let's say the marketing budget is around
Speaker 2: a quarter million dollars, that's how much work it takes
Speaker 2: how many people you have to hire to get radio
Speaker 2: to play it, to keep calling them, harassing them. You know,
Speaker 2: you got to have a team across the country, you
Speaker 2: know what I mean. You gotta get posters in this area,
Speaker 2: get flyers. You need to go to DJ's at the club. Hey,
Speaker 2: get this record. Going a quarter million dollars to become
Speaker 2: you know, to be in the top forty with the
Speaker 2: record that's actually working, because if it's a bad record,
Speaker 2: it may never work and it could cost you a million.
Speaker 2: If it did work, it'd just be crazy.
Speaker 5: Right.
Speaker 2: But you spend a quarter million dollars to get an
Speaker 2: audience exposure of let's say fifty to one hundred and
Speaker 2: fifty million people, right, that's pretty much roughly what a
Speaker 2: record would be exposed to. That made business sense, right
Speaker 2: because back then, you hear a record on the radio,
Speaker 2: or you saw a music video, or you heard a
Speaker 2: record at a party. You're like, hey, I like that record,
Speaker 2: I like that song. Your next thing to do is
Speaker 2: buy the fucking product. The product is a compact disc,
Speaker 2: a vinyl, or a cassette. Right, So let's say if
Speaker 2: you heard EI, let's go as late as two thousand,
Speaker 2: if you heard not even Ei.
Speaker 1: Let's say you heard Country Grammar. He's like, hey, I
Speaker 1: like this.
Speaker 2: It cost you ten dollars to have it. You couldn't
Speaker 2: have it no other way. You had to wait till
Speaker 2: the next time radio play. You didn't have it. It
Speaker 2: wasn't yours. You had to wait for somebody else. You
Speaker 2: had to wait for MTV to play it. It wasn't
Speaker 2: on command. You don't have it. However, you got to
Speaker 2: expose you had the club. You got to wait for
Speaker 2: the DJ to play it again. Either way, you could
Speaker 2: not have it. You have no command over it. So
Speaker 2: the only way you could have command over it, right
Speaker 2: p is to go down to the record store and say,
Speaker 2: here's ten dollars. They didn't even have it for two dollars.
Speaker 2: Like you couldn't buy Country Grammar as a single. You
Speaker 2: had to buy Country Grammar the.
Speaker 1: Album album right, which worked out because they cast.
Speaker 3: Probably probably like fourteen ninety nine or somebody tell me.
Speaker 2: So, if it's fifty to one hundred and fifty million
Speaker 2: people exposed to let's say fifty on the light in
Speaker 2: fifty million people that a top forty record is exposed to,
Speaker 2: that song went top ten, right, Okay, point one percent.
Speaker 2: Ten percent is five million, right a fifty million? Peet, Right,
Speaker 2: A one percent is five hundred thousand. Point one percent
Speaker 2: is fifty thousand.
Speaker 5: Right of fifty five million, A fifty million, A fifty million, Yeah, fifty.
Speaker 2: Million, five million is ten percent. Yeah, five hundred thousand
Speaker 2: is one percent, and fifty thousand is point one percent.
Speaker 3: That's five hundred thousand.
Speaker 2: If point one percent buys a song after they hear
Speaker 2: they like it, point one percent.
Speaker 3: Damn, I never thought about it like that, right, So
Speaker 3: think about it.
Speaker 6: Fifty five hundred thousand gold in the day, right.
Speaker 2: Ten dollars, that's five hundred thousand dollars. So if you
Speaker 2: spent the quarter million dollars, the product could recoup that.
Speaker 3: That's worth it.
Speaker 2: The lord knows as it keeps building per week per week,
Speaker 2: per week per week, and so you know, back then
Speaker 2: it took a single to go go one single. One
Speaker 2: hit single could take you go yeah, one hit single.
Speaker 2: So it's like today, you know what I mean, Because
Speaker 2: it's a different type of conversion rate, it don't have
Speaker 2: the same value.
Speaker 1: Like again, let's say you spend the same.
Speaker 2: Quarter million dollars, it will probably cost you more because
Speaker 2: radio are playing things that are not. Even the music
Speaker 2: is current, but the conversation of the marketing, the artist,
Speaker 2: the song topic, something has to be current just to
Speaker 2: get you a chance for radio because they don't have
Speaker 2: time to gamble. You know, their money comes from advertising dollars.
Speaker 2: So let's say you was able to spend a quarter
Speaker 2: million dollars and you was able to get exposure to
Speaker 2: fifty million people. Same number, right, Let's say those saying
Speaker 2: fifty thousand people go stream that song. Fifty thousand people
Speaker 2: go stream that song. Let's say they like the song
Speaker 2: and they stream it based off of you know, streaming
Speaker 2: metrics is like one hundred and fifty times right, So
Speaker 2: if it's one hundred and fifty times times one hundred
Speaker 2: and fifty times fifty thousand people, that's seven and a
Speaker 2: half million streams.
Speaker 3: Right. Guess how much money? That is? Not much?
Speaker 6: About ten grandy, not even that.
Speaker 2: Somewhere around forty to fifty grand. Oh that mus But
Speaker 2: I'm saying that same quarter million doesn't have the same value.
Speaker 2: So that's why I think it's just start to get
Speaker 2: back into tricky marketing. That's what I respect about. Even
Speaker 2: a campaign on GNX like for them to be shooting.
Speaker 2: They shot multiple videos. We just said it, right, they're
Speaker 2: just basing my figuring out how they're gonna work them right.
Speaker 1: But it's like they use the surprise tactic of nobody could.
Speaker 3: Say, hey, Kendrick is working on music.
Speaker 2: Yeah, God no, I'm not going to people around him, like,
Speaker 2: I'm not gonna ask him bout no fucking music. I'm
Speaker 2: doing my own fucking music. To talk about your music,
Speaker 2: I'll send you some music.
Speaker 1: What you think it is.
Speaker 2: That'mna fuck a hard, Okay, I'm not. You don't need
Speaker 2: me to determine if his music good. This motherfucker knows
Speaker 2: what he's doing. So I think we have to get
Speaker 2: back into the bag. And that's when I'm hoping GNX
Speaker 2: really inspires, you know what I mean, people to get
Speaker 2: back in their bag when it comes to creating completely,
Speaker 2: not just in the records, you know what I mean,
Speaker 2: but even how I'm going to release it, the title
Speaker 2: of it, I mean, what culturally, what kind of cultural
Speaker 2: relevance does the title carry?
Speaker 3: I like that you said that let's let's stop right there,
Speaker 3: because you got this like infinity for song titles. That like,
Speaker 3: what kind of messed the world up a little bit more,
Speaker 3: you know what I mean? Like, where does that come from?
Speaker 3: Panic at the disco? You know what I'm saying.
Speaker 1: But but what's.
Speaker 2: Funny is, bro, It's like we were just having the
Speaker 2: same conversation, Pete. I shared with you the same way.
Speaker 2: When you look at how music is being like how
Speaker 2: people are discovering music when it's just music, not when
Speaker 2: it's on Instagram and there's a dance happening. I mean,
Speaker 2: that's how I discover a lot of music. The dance
Speaker 2: everybody's doing. Okay, damn, everybody doing the same dance. Damn, Okay.
Speaker 2: That's how I'm being introduced to music. But if I'm
Speaker 2: going on a playlist and I'm being introduced to music,
Speaker 2: you know.
Speaker 1: It's tiny the picture. You know what's tiny the artist.
Speaker 3: The only thing on.
Speaker 2: That line that's big, especially if it's in the playlist,
Speaker 2: is the title of the song.
Speaker 5: So I have if you even have the opportunity to
Speaker 5: look at your device, if you're in the car, you're
Speaker 5: at the gym, whatever the hell, you might not even
Speaker 5: get to the device.
Speaker 2: So if you look at the title right on the playlist,
Speaker 2: only excuse me, if you're looking at the songs on
Speaker 2: the playlist, all you see big is the titles.
Speaker 1: So I have to create a title right.
Speaker 3: That is so.
Speaker 1: Like, I don't do clickbait.
Speaker 2: It's not rooted in like misleading you. It's to give
Speaker 2: you an oh okay. When we started making Kanye Shit
Speaker 2: have never married that bit, the idea was pretty much,
Speaker 2: you can't turn a hole into the HOUSEWIFD. That's the song.
Speaker 2: So when we start working on it, I'm finishing it up.
Speaker 2: I'm letting the record be the record. I'm not taking
Speaker 2: marketing into the record. I'm letting the record be the record. Right,
Speaker 2: we was working on it and I'm looking at it,
Speaker 2: I'm like, damn, okay, that bitch belonged to the streets. People,
Speaker 2: that's so coach, really, dence bro, that's so coarse that
Speaker 2: people don't even know what that means.
Speaker 1: She belonged to the streets. Who belongs to the streets?
Speaker 1: Why do they belong to the streets?
Speaker 2: So what I realized on that title was like, what's
Speaker 2: the big example of going wrong if you marry the
Speaker 2: wrong woman. That's how I came to that conclusion. And again,
Speaker 2: panic at the disco, they already did this. Rest in
Speaker 2: Peace to extent on he did this different people at
Speaker 2: these titles that.
Speaker 1: Were really long, and it drums up.
Speaker 2: That's the only way marketing is about creating a story,
Speaker 2: So you need a drum up interest in the content.
Speaker 2: So it's like, Okay, what's the big example of somebody
Speaker 2: that thought they could turn a home to housewife?
Speaker 3: Who would you know?
Speaker 1: That's how I came over with it.
Speaker 2: It's like, Okay, this is it, and then I just
Speaker 2: made sure at the end Kanye West should have never
Speaker 2: married that bitch that's the song that is right. So
Speaker 2: that's the thing in parentheses that Kanye West should have
Speaker 2: never married is in parentheses that bitch is the main song.
Speaker 3: So it's like.
Speaker 2: Again getting back into really hip hop and innovative marketing.
Speaker 2: Culture is driven by innovation.
Speaker 3: You know.
Speaker 2: Pete always talks about it like the need for something.
Speaker 2: Slang is the need to communicate. No, I do have
Speaker 2: a genuine fear of where hip hop is right now
Speaker 2: because there is no pride in poverty. Pride in poverty
Speaker 2: to me is the number one thing bro that drives
Speaker 2: hip hop. That's what drives the culture. Like Okay, I
Speaker 2: got these work pants, like my mom can't afford no pants.
Speaker 2: So I got these pants that they wear to the factories, dickies.
Speaker 2: I have these dickies. Yeah, like you know, yeah, I
Speaker 2: could be sad. Let me just put them on. So
Speaker 2: I'm wearing pants at school. No, no, no, I'm gonna
Speaker 2: take a pride and I'm gonna put a crease in
Speaker 2: these motherfuckers. I'm gonna starts them motherfuckers down an put
Speaker 2: a crease in them, cuffed to bottom, you know, I mean,
Speaker 2: I could be that. I got these twelve dollars shoes,
Speaker 2: these Converse all Stars. Yeah, these cheap No no, no, no,
Speaker 2: I'm gonna go get these dollar laces.
Speaker 3: Right, I'm gonna put these big laces.
Speaker 2: I'm gonna flip my tongue down, and I'm finna rock these.
Speaker 2: That's where culture comes from, you know.
Speaker 3: It's like I got a picture like that, me and
Speaker 3: my NPC on the railroad tracks, and I got all
Speaker 3: chucks and a thermal fat lace's tongue flipped down. Oh yeah,
Speaker 3: you gotta you gotta wear the clothes, let the cloth
Speaker 3: you exactly. So people think Dicki's is the culture. Now,
Speaker 3: it's not the crease and the cof of the culture.
Speaker 3: You think all Stars is the culture. It's not.
Speaker 2: It's the fat laces in the tongue flip. It's a
Speaker 2: pride and like, yeah, this don't cost much, but look
Speaker 2: at me rocking this shit. Fuck It ain't the pendleton.
Speaker 2: It's when you leave them buttons open and that motherfucker. Yeah,
Speaker 2: it don't cost nothing, but you see me rocking it.
Speaker 2: And people can feel the pride in that, and even
Speaker 2: people with money want a piece of it. Be like, yo,
Speaker 2: how the fuck could them people be that pride?
Speaker 1: Think about the concept of a low rider culture. This
Speaker 1: is an old car. Remember, it's not the shit.
Speaker 2: When you have the most expensive version, the coolest version
Speaker 2: of the Impollo Pete is the base model. If you
Speaker 2: got bucket seats, your car is worthless on the low
Speaker 2: ride seam a supersport you know, factory. If you go
Speaker 2: to the factory and you order a super sports that
Speaker 2: all the accessories, that costs you a shipload of money.
Speaker 2: But today that's not worth nothing. You don't even want
Speaker 2: bucket seaton your low rocker. You want the standard based
Speaker 2: model and Palla based shit bitch staring wheels.
Speaker 1: None of that other shit matter. And that's what you cut.
Speaker 2: And that's the value because it's the same thing with
Speaker 2: the cuisine. If you start putting you know, rebbi and
Speaker 2: fucking tacos, why would you do that? Who the fuck
Speaker 2: lock the taste of a fucking ribi with a tor.
Speaker 5: I mean, and any any idiot can cook the best
Speaker 5: piece of meat on a cow except steal. I just
Speaker 5: said that purely to take a shot of steel. The
Speaker 5: rest of it.
Speaker 2: I was looking at something dope and they was talking
Speaker 2: about it. I wanted to send it to you, but
Speaker 2: I forgot to. But they were talking about how people
Speaker 2: had to overcook their food because it was the worst food.
Speaker 2: And we was telling still this. We was like, like,
Speaker 2: gravy is cultural because it's like you're taking the worst
Speaker 2: of something and then making something to bring it.
Speaker 6: A bell curve and cooking meat like it starts off
Speaker 6: to chewing.
Speaker 5: You cook it a little bit against soft for bridge,
Speaker 5: and then you you know, I throw piece of meat.
Speaker 5: You cook it and it gets real tough, and then
Speaker 5: you keep cooking it and it breaks back down again.
Speaker 2: That's a good point, you know what I mean, It's
Speaker 2: actually really great. That's how you make it.
Speaker 3: Like a brisket.
Speaker 5: Yeah, anything slow cooked and long cooked and all those
Speaker 5: are bad pieces of meat, even like if you take
Speaker 5: like skirt steak for you never chew your jaw tired
Speaker 5: eating cans out of tacos, But if you cook it
Speaker 5: less you will.
Speaker 2: Yeah, damn you gotta find a perfect spot. So hip
Speaker 2: hop is driven by that pride in that poverty, you
Speaker 2: know what I mean? And what I what I did
Speaker 2: appreciate about gm X, even in the place to where
Speaker 2: he had endless resources, he still figured out a way
Speaker 2: to simplify the challenge, Like he didn't overdo it.
Speaker 3: Yeah, I mean.
Speaker 2: And I think less is more like he I appreciate
Speaker 2: he trusted himself enough to be enough.
Speaker 1: Yeah, I appreciate it. It he trusted himself to make whatever
Speaker 1: is cool cool to everybody.
Speaker 3: We was dope about it too. Is like the approach
Speaker 3: of like you said, sonically right, like it feels like
Speaker 3: the feels like Compton sonically. And to be able to
Speaker 3: take the approach he's taken on these records, the TV
Speaker 3: off records and the squabble ups and not like us
Speaker 3: to make it feel like the more modern West, you
Speaker 3: know what I mean, Like the uptempo vibe and kind
Speaker 3: of cadence is a little out of pocket a little bit,
Speaker 3: you know what I mean, and just being able to
Speaker 3: do that, he just he's at a comfort level right
Speaker 3: now that I haven't seen in a while. Oro hip
Speaker 3: hop is still a party. It's very festive. Yeah, it
Speaker 3: has spread out.
Speaker 1: To be more.
Speaker 2: But even the thing that we timestamp and we say, oh,
Speaker 2: hip hop is fifty one years is because we're talking
Speaker 2: specifically about a party. So to put out a song
Speaker 2: like watch party died and then come back and redefine
Speaker 2: the party in my own image, crazy shit fire. I'm
Speaker 2: so impressed. And I told him, and I know he
Speaker 2: like g tripping, but I'm not. I know when something
Speaker 2: is good. I know when something is right, Like thank god,
Speaker 2: you know what I mean, Like this thing saved my
Speaker 2: life when I was able to go through this like
Speaker 2: rabbit hole of finding good stuff, you know what I mean.
Speaker 2: It's like this shit is amazing and I'm just so impressed.
Speaker 2: It's like as good as a record I've ever heard
Speaker 2: from hip hop parties like your kid madd City. For me,
Speaker 2: was like, oh, this is as good as this is
Speaker 2: better than a lot of shit today. Yeah, this could
Speaker 2: be the best thing today. But like when I was
Speaker 2: compared to like the chronic I'm like, nah, it's not
Speaker 2: like that. It ain't dog styff.
Speaker 3: It was impressive too, because he was telling stories that
Speaker 3: reminded me of my childhood, and I know I was
Speaker 3: way older suretelling was.
Speaker 2: The dialogue Grove the car, you know, and again you
Speaker 2: can see him as quality MC at that point.
Speaker 3: Even in a songwriter, he was already like ahead of
Speaker 3: the curve. But this shit right.
Speaker 2: Here, it's like a nonchalant is like, yeah, I know,
Speaker 2: I'm that shit.
Speaker 3: Even his like when you say nonchalant or just remind
Speaker 3: me one of the scenes in the Squabble Up video,
Speaker 3: he's so nonchalant his energy, like when he said something
Speaker 3: about homie popping and he just like barely even saying it, like.
Speaker 1: Like Nigga y'all said, but but me in here talk
Speaker 1: about this.
Speaker 3: Shout out the DJ head.
Speaker 2: We talk about this a lot of what happened to
Speaker 2: hip hop in two thousand and nine, right, Pete. If
Speaker 2: you go to these concerts, these kids got to bounce
Speaker 2: around because the music don't have that, they don't have
Speaker 2: a festive energy. They're creating it. So they jump on stage.
Speaker 2: You get the bouncing and the crowd follow um yeah,
Speaker 2: this type of shit right here.
Speaker 1: Yeah, this is going to pull it out no matter what.
Speaker 3: You don't got to do nothing.
Speaker 2: This energy and the sonics carry it and it infects
Speaker 2: humans and it brings out of festive energy. And that's
Speaker 2: what I think. You know, he don't need to be
Speaker 2: over the top. It's like, you know, just let this
Speaker 2: thing go with and the music is gonna do the work.
Speaker 3: I find myself driving with my knees a lot because
Speaker 3: I just got to when I'm listening to it, I'm
Speaker 3: just in that mode. You feel me like, I'm like,
Speaker 3: damn man, that energy.
Speaker 1: And I think he did a great job.
Speaker 2: It's so many things that I appreciate about how they
Speaker 2: wrote this record out. And the record's gonna do well.
Speaker 2: They're gonna start marketing the songs to radio. They already
Speaker 2: doing it. I mean, it's gonna be a lot of
Speaker 2: records on this album that's going to perform. You know, again,
Speaker 2: the audience that's a streaming, it's not the same audience
Speaker 2: at radio, yep, you know what I mean. Those are
Speaker 2: not necessarily the same audience. Yeah, they do intersect right
Speaker 2: people there since they're not the same audience. So like
Speaker 2: right now, we're looking at more reactions from just streaming
Speaker 2: people that stream music. But man, when it finally gets
Speaker 2: to radio and those records get a chance to perform
Speaker 2: and it start to carry the weight of radio stations
Speaker 2: and keep people tuned in, and they're playing these songs,
Speaker 2: you know, because they're making their advertisement dollars and they're
Speaker 2: playing all these songs, and these songs are starting to
Speaker 2: infect regular mainstream America.
Speaker 1: This album hasn't really hit mainstream America yet. It's still
Speaker 1: three four weeks.
Speaker 3: In wait till February.
Speaker 1: You know what I mean.
Speaker 2: When you get you know, by Jane February, open radio
Speaker 2: back up and they super Bowl records.
Speaker 1: Then he catapults himself.
Speaker 2: These records are going to really move this album into
Speaker 2: a different space.
Speaker 3: I got a question for you guys.
Speaker 5: The one thing that was so interesting to me about
Speaker 5: this album and the greater like scope or arc of
Speaker 5: his other albums through time, it's almost like a reverse progression.
Speaker 5: It feels like it, you know, when people have their
Speaker 5: first album and it comes out as a smash, You
Speaker 5: really feel like kind of the newness.
Speaker 6: The rawness, the freshness of where the guy's coming from.
Speaker 5: All it has that first album energy, and usually the
Speaker 5: other albums after that.
Speaker 6: Are more rhetorical, they're more produced and more whatever.
Speaker 5: This is not his first, it captures that like a
Speaker 5: first album to me, which I thought was interesting relative
Speaker 5: to the other ones.
Speaker 3: You know what point?
Speaker 2: Yeah, but the great artists figure out a way to
Speaker 2: do that. Yeah, he joined, he joins a he joins
Speaker 2: a party of very few guys on the West.
Speaker 1: Snoop dogg Ice cues with ice Cube was able to
Speaker 1: recreate with.
Speaker 2: Bout Down and West Side Connection, when Snoop was able
Speaker 2: to recreate with the Last Meal, what Dre was able
Speaker 2: to create with two thousand and one, what E forty
Speaker 2: was able to create with My Ghetto report Card, when
Speaker 2: Too Short was able to recreate with A.
Speaker 1: I forgot which record it is? Which album?
Speaker 3: Forgive me?
Speaker 2: Sure he got like seventeen or was it was a
Speaker 2: second one that was like that revitalized, It did something different.
Speaker 2: It wasn't a build as much as it was a restart. Yeah,
Speaker 2: alreadist make this happen.
Speaker 3: Especially this many albums in, Yeah, yeah, just many albums in.
Speaker 3: It's tough. And shout out to butter Man. That's who
Speaker 3: taught me how to make beats. Man do yeah, west
Speaker 3: Side Connection three card Mally.
Speaker 1: My favorite ice Q album is war.
Speaker 3: Oh yeah, that Bud put an NPC. Early in my career,
Speaker 3: I was just getting started. I was probably like nineteen
Speaker 3: and I was giving up basketball. I was chilling them
Speaker 3: at Buzzs house. He had a big old mansion in
Speaker 3: north Ridge. He young, you know, Buzz was like twenty
Speaker 3: six at the time, and he had this big mansion
Speaker 3: that he stayed in by hisself. And he was like,
Speaker 3: come stay with me. We're gonna do your record or whatever.
Speaker 3: And I was really interested in making beat. I used
Speaker 3: to always watch him make beats. And he put an
Speaker 3: NPC two thousand and set it up, set it up
Speaker 3: a little eight track recorder and gave me just like
Speaker 3: a whole bunch of records. So taught me how to
Speaker 3: sample from there, like watching him and knowing what he
Speaker 3: had done, and then you know, him putting NPC in
Speaker 3: front of me. That's if he had never done that,
Speaker 3: I would have never learned how to produce at all.
Speaker 3: So shout out to my brother Man. But that's really
Speaker 3: dopey man.
Speaker 2: Cole, and it's dope to watch him become a producer too. Yeah,
Speaker 2: I got produced five.
Speaker 3: Or six songs on this album. I saw his name
Speaker 3: on there.
Speaker 1: And I know what he's doing. Like, that's why you
Speaker 1: starting to meet it.
Speaker 2: Hear the sonics of him coming out, the Compton, the
Speaker 2: little Compton duty is coming out.
Speaker 3: Once you do that as an artist, everything changed. I
Speaker 3: thought that with the Royce album when he was producing
Speaker 3: his own I was like, it's a game changer because
Speaker 3: now you know you can create your own feel. I
Speaker 3: knew that was gonna happen with you a couple of
Speaker 3: years ago because we was having the conversations and you
Speaker 3: studying baselines and stuff like that, we'll get out the phone.
Speaker 3: I'm like, oh yeah, he going into a stratosphere right
Speaker 3: now for me.
Speaker 2: For me, and it's hard because my career is not
Speaker 2: at the mainstream level to where but like White Lightning
Speaker 2: is one thing, but when you hear Glasshouse too, you
Speaker 2: can hear like a different energy that never existed before. Yeah,
Speaker 2: So it's like I look at my career like in
Speaker 2: comparatives to like when when Dot like Glasshouse two was
Speaker 2: like when I really like damn, when I start learning
Speaker 2: sonics like before that, I used dialogue to carry everything.
Speaker 2: Why Lightning this dialogue Guido. Shout out to Guedo, my
Speaker 2: first engineer. He knew production so he could make all
Speaker 2: that shit work together. But Dialogue carried everything at the
Speaker 2: beginning of my career and then Glasshouse two, like Damn
Speaker 2: is when I started learning sonics, like, oh, this is
Speaker 2: the thing. But by the time I got to cancel
Speaker 2: and this album that's coming out, which is one ten,
Speaker 2: there's one ten, I'm custom culture.
Speaker 1: Like now you can see like it's.
Speaker 2: Like my own GenX where it's like, Okay, not only
Speaker 2: do I own a sonic space, not only do I
Speaker 2: understand my place and the.
Speaker 1: Culture, but here's everything together, including marketing.
Speaker 2: Here is the This is my presentation of what I've
Speaker 2: been going through over the last roughly fourteen years as
Speaker 2: a creative, and I could relate to what's happening for him,
Speaker 2: you know what I'm saying as a creative, And I
Speaker 2: could see it in different times of different artist's career too.
Speaker 3: Like a jay Z you know what I mean.
Speaker 1: I like, remember.
Speaker 2: Rockefeller doesn't have its own sound from ninety six to
Speaker 2: two thousand and one, so they're just competing against everybody
Speaker 2: with kind of the same tools everybody has until just
Speaker 2: Blaze arrives at the level that he's at kind of
Speaker 2: west shut out the being who inspired the sound, you
Speaker 2: know what I'm saying of Blueprint.
Speaker 1: But like, now, guess what.
Speaker 2: Now you can have Rockefeller breaking other acts because they
Speaker 2: have a sound that people identify as Rockefeller. They identify
Speaker 2: this sound as Rockefeller. Now you can get Cameron into
Speaker 2: the top ten. Now you could get Beans way further
Speaker 2: than he's ever been. Now you could you know, you
Speaker 2: could break out. Your producer can turn into the it
Speaker 2: gets act to ever come from the label outside of
Speaker 2: the main act jay Z right Kanye. So it's a
Speaker 2: combination of both. But more than anything, man, it's the
Speaker 2: most impressive thing is not just the music, but it's
Speaker 2: also and this goes into what makes it something a classic,
Speaker 2: you know what I mean?
Speaker 3: Like this can be looked at as a different type.
Speaker 2: Of classic if if it hits that level, it's because
Speaker 2: you're not going to get away from this no time soon. Nah,
Speaker 2: You're not going It's like how how country grammar is, Like,
Speaker 2: You're going to run into this album for the next
Speaker 2: twelve months.
Speaker 3: And if you if you start to get away from it,
Speaker 3: something else is just gonna he just gonna drop something else. Yeah,
Speaker 3: you know what I mean.
Speaker 2: And I don't think you're gonna be able to get
Speaker 2: away from it, because again, this is what's driving this
Speaker 2: right now is purely it's purely people who stream music.
Speaker 2: Like again, mainstream America hasn't really been exposed to this
Speaker 2: album way you would think. It hasn't hit radio at
Speaker 2: like the bomb it is. It's going to be some
Speaker 2: of these songs are going to be the number one
Speaker 2: song at radio. They're going to be in the top ten,
Speaker 2: probably multiply.
Speaker 3: I think I just read something that I don't know
Speaker 3: if it's Billboard or something, but he's like the first
Speaker 3: artist to have like every.
Speaker 2: Song, every song for three weeks. But that's streams driving
Speaker 2: they like they're just now starting to work into radio, gotcha,
Speaker 2: and when interscope starts to really see if the song
Speaker 2: start to perform, all of these songs can perform, Like
Speaker 2: he did such a great job at making and crafting
Speaker 2: these records that they're going to perform, and that's why
Speaker 2: it is four and five producers on every song.
Speaker 3: Do you think do you think he knew that this
Speaker 3: was this is what it was going to be like
Speaker 3: while he was making it or do you think it
Speaker 3: was just like my opinion without.
Speaker 2: Without asking him, I would imagine there were some reservations.
Speaker 2: I mean there's like I really want to go up
Speaker 2: to me. This is important because this is true. This
Speaker 2: is him in time like I always thought good Kid
Speaker 2: was him presenting himself how he wants people to see him.
Speaker 2: I don't think it's not him. I think it's just
Speaker 2: him still presenting himself. And I think I think to
Speaker 2: Pimp was more of a move to get into his
Speaker 2: soul and feel more like what I realized is I've
Speaker 2: said this too.
Speaker 3: Forgive me.
Speaker 2: I know everybody gonna get mad, but like when Drake
Speaker 2: came through with the game, he kind of took soul
Speaker 2: out of hip hop, Like if you really think about
Speaker 2: soul in the baseline, like his voice active and the
Speaker 2: bass line was in the exact same place. So they
Speaker 2: will do a lot of other things, so he could
Speaker 2: be right there with the bass, but the bass represents
Speaker 2: the soul of music. The bass represents the soul of music.
Speaker 2: So it's like in his situation, you know, I mean
Speaker 2: in his situation, Like in his situation, there was never
Speaker 2: a reason right to like he didn't use bass. Drake
Speaker 2: didn't use the bass guitar in a lot of songs
Speaker 2: because of his actor like shout out to forty that's brilliant. Again,
Speaker 2: it also depends on him to create the soul of
Speaker 2: a song, kind of which to me, he probably is
Speaker 2: the architect of vibe. Like everybody say they want to vibe,
Speaker 2: that's what they're looking for, looking for that this diet.
Speaker 3: It's like, I guess what I call VI it's dyet soul.
Speaker 2: Like these young don't really have soul like that, they
Speaker 2: got diets, so they're like, oh, vibe, Like, bro, just
Speaker 2: find soul.
Speaker 6: You gotta warn me. Vibe is a trigger word for me.
Speaker 2: It is because it's something I just want to vibe
Speaker 2: because they don't really have soul anymore.
Speaker 3: You know what's crazy, Bro, Diet soul is the title
Speaker 3: for real. That's what.
Speaker 6: So hey, what it's like? Watch you know that will
Speaker 6: not be a quick answer to that question, So I'll
Speaker 6: hold till later.
Speaker 3: Okay.
Speaker 2: So no, it's like it's like, so when he did that,
Speaker 2: I think Dot noticed that into pimple Butterfly became a
Speaker 2: direct response to that, to that, to that movement, gotchak
Speaker 2: that's it puts soul he wanted to put soul back
Speaker 2: into hip hop because MAYU, this is four or five
Speaker 2: years of this run from from Drake, like where their
Speaker 2: soul is getting away in hip hop, you know what
Speaker 2: I mean. And everybody's emulating the biggest songs at radio.
Speaker 2: So they're starting to make songs without a bass guitar
Speaker 2: in there. And if you notice, that's kind of almost
Speaker 2: a standard crazy like even this album with GNX specifically,
Speaker 2: he made it a purpose to put basslines in the
Speaker 2: damn songs. And I know the producers initially who made
Speaker 2: those moves, they didn't necessarily have a base. Shout out
Speaker 2: to Muster because I always think Muster does a gate
Speaker 2: job of keeping the base in there, and.
Speaker 3: They don't run the song like even it's just eight
Speaker 3: o eight like tune Day's like it's gonna be a base,
Speaker 3: but he'll still.
Speaker 1: Have a bass.
Speaker 2: Like if you go to like Roddy Richard's song Balling,
Speaker 2: there's a bass there. It's not it's not the main
Speaker 2: melody of a song.
Speaker 3: It's there.
Speaker 1: He still gets back to the soul of a song.
Speaker 3: It's pronounced yeah yeah.
Speaker 2: And still just popped in, still just popped in. So
Speaker 2: I got six here still was the word soul again.
Speaker 2: I think I think he took the responsibility of putting
Speaker 2: soul back into hip hop or the pimper butterfly. That
Speaker 2: became a task of responsibility, right, And then damn he
Speaker 2: started to understand sonics. Enough of us challenged him. It
Speaker 2: was like, and you gotta get back to making just
Speaker 2: good records. I get the storytelling from a from a
Speaker 2: dialogue perspective, and the responsibility, but where is the fucking jams?
Speaker 3: That's right?
Speaker 2: And I think he's put together, you know, put together
Speaker 2: damn as something to respond back to not having jams.
Speaker 2: And then obviously they do the you know the soundtrack, right,
Speaker 2: the black soundtrack. And then now it comes to mister
Speaker 2: Morales later and he does understand sonics, but he's going
Speaker 2: through kind of like his last part of developing into
Speaker 2: a grown man right where he needs to he needs
Speaker 2: to really see who he is. I would imagine he
Speaker 2: went to therapy during that time, somewhere around that time possibly,
Speaker 2: or he was going through space.
Speaker 3: It was the.
Speaker 2: Pandemic, so who knows what we was all dealing with
Speaker 2: ourselves at that time. This one is the one where
Speaker 2: I feel like this is him understanding everything that he is,
Speaker 2: everything he needs to be, being okay with the mother
Speaker 2: fuck it that he is here. I am, this is
Speaker 2: me right here. I don't give fun with nobody else.
Speaker 2: Think this is me right now? And yeah, I don't
Speaker 2: give a fuck. And that's to me what I can hear.
Speaker 2: So I do think he had reservations, you know, like
Speaker 2: damn man, But I think he's at of age now
Speaker 2: where it's like, y'all beat the nigga, I am fuck y'all.
Speaker 4: Let me ask you something, bro, Yeah, would you do
Speaker 4: you think this is the best album you've heard in
Speaker 4: your life? The best hip hop album?
Speaker 1: I probably will go that guy.
Speaker 2: It's as good as I've ever heard of hip hop album.
Speaker 4: John, And I'm asking this question for a reason, John, Yo,
Speaker 4: would you say it's a great album? Without a doubt? Man,
Speaker 4: it's a great album. But I think once you as
Speaker 4: you start going along in this journey at hip hop
Speaker 4: and you've heard so many great albums, especially as you
Speaker 4: know when they first came out, like listening to Public
Speaker 4: Enemy when I first heard them, was experienced, you feel
Speaker 4: what I'm saying. When I first heard them, I remember
Speaker 4: right down the street listening to America's most woman and
Speaker 4: killing Will and I was just like, god, damn. I
Speaker 4: think after a wild Man it started making you listen
Speaker 4: to stuff different because we don't heard so many classes
Speaker 4: in our lifetime and it's kind of hard. I think this.
Speaker 4: I do agree with you. Lasses this is as good
Speaker 4: as it gets for me. It's a great album, right,
Speaker 4: it's but it's like this still and not the cuntry.
Speaker 4: Just hold that thought. It's like, you can't be better
Speaker 4: than Snoop. You could only reach Snoop or Jason exactly.
Speaker 4: It's no better than that. There's no more successful album
Speaker 4: than Doggy Style. That's the pinnacle. And you just catch
Speaker 4: that right.
Speaker 6: We were saying, like a couple days ago, speed of Light.
Speaker 2: Yeah, there's no faster, it's just speed of light. And
Speaker 2: to watch artists get into that space like Kendrick. So
Speaker 2: it's not like about is it the I don't even know.
Speaker 2: I would say Doggy Style is the greatest hip hop
Speaker 2: album ever, But again, man, like I've heard albums as
Speaker 2: good as Doggie Style. Maybe the steaks aren't the same,
Speaker 2: like Blueprint is probably is just as greatest. Doggy Staf
Speaker 2: two thousand and one is probably right there. Next to
Speaker 2: Doggie Style. Four hundred degrees is just his greatest Doggie style.
Speaker 2: You know, there's some records, you know, just his's greatest
Speaker 2: dog style. But I just don't think the college dropout
Speaker 2: it's probably just as great as dog Style. The Steaks
Speaker 2: was different culturally for Doggy staff. Yeah, so again it's
Speaker 2: always gonna be you get what I'm saying. Stive was like,
Speaker 2: remember like that everything that happened around the record mattered too,
Speaker 2: Like he comes out catches a murder case. The weakest
Speaker 2: album comes out, you know what I'm saying, Like he
Speaker 2: has like he's the son of gangster rap hip hop.
Speaker 3: It was the perfect storm broke, Yeah, and.
Speaker 1: The record fit the occasion. So that's why.
Speaker 2: That's why it goes down for me as the greatest
Speaker 2: hip hop album of all time. Not to mention debut, right,
Speaker 2: but you know, this is as good as I've ever
Speaker 2: heard hip hop, and those are very few albums that
Speaker 2: joined that category that they're as good as I've heard.
Speaker 4: Of Now geez, just imagine this. There was a period
Speaker 4: in my life to where some shit was popping damn
Speaker 4: there every other week when stuff got released, right, and
Speaker 4: you know, looking back on it, there was a real
Speaker 4: special period because you heard there was a lot of
Speaker 4: dope shit coming up and wasn't nothing like it before.
Speaker 4: There was no precursor to the ship we was hearing.
Speaker 3: Right.
Speaker 4: So sometimes, like when I listen to records now and
Speaker 4: I try not to do that, Man, I listen to records,
Speaker 4: I can hear where influences come from in certain songs.
Speaker 4: You feel what I'm saying, Okay, this is this right here?
Speaker 4: Like like even listening to some like Roddy Rich's The Box,
Speaker 4: I could tell where they got that little melody from
Speaker 4: in the background. You feel what I'm saying. That's from
Speaker 4: Willie Hucks record. You know what I'm saying.
Speaker 3: You know.
Speaker 4: The Willy Hucks. And you start listening, it almost makes
Speaker 4: hip hop a little bit. It becomes so remedia after Wow, dog,
Speaker 4: I think that's why people, That's why I get not
Speaker 4: to get off the subject. That's why I get where
Speaker 4: Drey was trying to go with this last project, because
Speaker 4: it kind of after a while, you trying to start
Speaker 4: thinking like what else can we go with this shit?
Speaker 2: Yeah, but you don't feel like this. That's the same
Speaker 2: thing even with Missionary. I mean, that's that's kind of
Speaker 2: that goes back to something we talked about before you came,
Speaker 2: the Pride and culture, like, dickies aren't new. How we
Speaker 2: rock Dickies was new. Chucks one knew how we rocked
Speaker 2: Chucks were new. So you know, even I would imagine
Speaker 2: if you was in the gospel in the fifties, in
Speaker 2: the late fifties and you heard Ray Charles, I got
Speaker 2: a woman, you probably like you fucking dirt bag.
Speaker 1: You took Southern cones must be Jesus and made it
Speaker 1: this bullshit.
Speaker 3: Yeah.
Speaker 2: I think that's the quintessential concept of a pop record,
Speaker 2: but it is the calling card of culture, especially in
Speaker 2: hip hop, where it's like repurposing something into a better idea.
Speaker 5: Exactly, a layer two, like hip hop culture is, it's
Speaker 5: like an L to the other layer one, which would
Speaker 5: be the manufacturer of the car, the writer of the
Speaker 5: songs in this original to create the dickies, who makes
Speaker 5: the pants, conversationshoes. Hip hop's an L two. It's doing
Speaker 5: something unique with those things above that.
Speaker 2: So even even when we're talking about to thank You
Speaker 2: song on on a Missionary, make sure y'all listen to
Speaker 2: the missionary. If you listen to this podcast, you know,
Speaker 2: the slide in Family Stone, thank you for letting me
Speaker 2: be myself. I mean, it's it's standard. I don't think
Speaker 2: he went away from that, even dre where he's at now.
Speaker 2: I think that's standard in music, you know what I mean, Like,
Speaker 2: I think that's standard in melody, in the pursuit of
Speaker 2: a great record, you know, having something that you feel
Speaker 2: like you can hold on to. I mean we could
Speaker 2: talk Thriller is fucking give it to me, baby, Billy
Speaker 2: Jean is holding notes exactly, Yeah, way th exactly.
Speaker 3: Now.
Speaker 4: I was going there just to come back to the
Speaker 4: point you exp you always talk about just making a layup, right.
Speaker 4: I think that's what make G and X so perfect,
Speaker 4: is that that did go back to just gonna make
Speaker 4: the layup. You feel what I'm saying, he ain't over
Speaker 4: rapping on the songs, and he almost like brought it
Speaker 4: back to simplicity.
Speaker 3: You feel.
Speaker 4: What I'm saying is to I think on some of
Speaker 4: his albums, I like the Mother albums, but they was
Speaker 4: too complicated for certain years. You know, it was too
Speaker 4: complex with some listeners.
Speaker 6: I understood that the first album feel.
Speaker 3: Yeah, and I think this one he took it back
Speaker 3: to simplicity.
Speaker 4: Man. I think sometimes we just got to go back
Speaker 4: to shooting layers, Broy, but I always.
Speaker 1: Show you that I think I think hip hop is is.
Speaker 2: Like what made hip hop special was like we would
Speaker 2: bring people from other parties into this party. Like shout
Speaker 2: out to the to the era of hip hop that
Speaker 2: started using reggae breaks, and they brought people from reggae. Like, hey,
Speaker 2: we could do this too. Look at us how we're
Speaker 2: doing it with the break that you love, you know,
Speaker 2: the I don't want to be a player, No more
Speaker 2: recipes to pun you know, we bring a little sausa
Speaker 2: to the breaks. Listen to this, you know, even all
Speaker 2: the way fast forward to Dre in two thousand, I
Speaker 2: could bring some classical So if you liked David David
Speaker 2: axel Rod, you know what I mean. He was like, oh,
Speaker 2: you know, hey check this out. Hey, you know, look
Speaker 2: look how we flipped the edge. You know, look how
Speaker 2: we flipped this no Doubt song. Right, Look at how
Speaker 2: we do this. We used to bring people to the
Speaker 2: party versus now in hip hop, where it's like we
Speaker 2: just kind of taking hip hop to try to make
Speaker 2: hip hop. And that's also why we're not getting a
Speaker 2: new audience. That's what I do appreciate about the Debbie
Speaker 2: dev song on GNX, Spopple up Right and Van Draws.
Speaker 2: They're still an effort to pull from to bring people
Speaker 2: to the party. If you like Luther Vandross if This
Speaker 2: World Was Mine or Marvin Gaye's version of If This
Speaker 2: World Was Mine, the original with Tammy Terrel, you could
Speaker 2: come to the party. Somebody they called me about the
Speaker 2: Luther song. They was like, this song is really good.
Speaker 1: So again, I think.
Speaker 2: I think as much as this is probably the most
Speaker 2: like this is probably the most culturally free he's been,
Speaker 2: but it's also the most the greatest time he's bared
Speaker 2: the burden of all of this culture that we call
Speaker 2: West Coast hip hop. He really bared it specifically like
Speaker 2: if like if he like if he was Jesus he
Speaker 2: died on the cross for our sins with this culturally
Speaker 2: you know what I'm saying, Like if it didn't work,
Speaker 2: it's like, yeah, you know what I'm saying. And not
Speaker 2: to reference it, I know you feel some kind of way,
Speaker 2: but like he really put his thing on the line,
Speaker 2: like yeah, I'm gonna just do what we do real.
Speaker 5: Quick, go back for a few minutes you were saying,
Speaker 5: how like the streaming versus radio market expansion kind of
Speaker 5: growth curve in this age, in the hip hop age bracket,
Speaker 5: what is the market share of audio consumption that's still
Speaker 5: held by radio versus streaming? And how is that like
Speaker 5: like in the modern state, like does radio currently operate
Speaker 5: as a trampoline? Still most for sure? What's the hip
Speaker 5: hop listeners?
Speaker 4: I'll give you an example, and you just think about this.
Speaker 4: Sorry to cut you off, bro, I'm so sorry, but
Speaker 4: name a superstar. Name somebody that's a superstar who ain't
Speaker 4: playing on radio right now? Radio so I would know, okay,
Speaker 4: But still radio was like the final used to turn
Speaker 4: somebody into a superstar.
Speaker 1: Because it's yeah, because it's still a.
Speaker 5: Studio superstar or doesn't Is it a metric that says
Speaker 5: because you're a superstar, now there they'll put you on radio.
Speaker 1: No, No, there are no superstars. There are no.
Speaker 2: Superstars out because you wouldn't be revealed to mainstream there's
Speaker 2: no way to be revealed to mainstream America as a whole.
Speaker 2: Hold on, Like streaming is still an underground thing as
Speaker 2: mainstay as it is, it's still an underground thing, Like like, like,
Speaker 2: you know what I mean, radio is still the biggest
Speaker 2: audience in America. Most people really can't afford music to
Speaker 2: the radio.
Speaker 3: My wife is listening to the radio. Listen to the radio.
Speaker 1: Mainstream America still li trust America with music, not just.
Speaker 3: Listen to radio, you know. And that's what it is,
Speaker 3: you know, so we can.
Speaker 2: Now do radio break records is different. I mean, I
Speaker 2: don't know if they take on the task. Definitely not
Speaker 2: in the hip hop space. I don't think they take
Speaker 2: on that task. But I think in regular you know,
Speaker 2: pop music, they still take on that task. Like I'm
Speaker 2: not watching records being broken on the internet for pop
Speaker 2: world again in hip hop, yes, that's how I'm catching
Speaker 2: all the new songs through Instagram or TikTok or something
Speaker 2: like that. But yeah, it's like, you know, it's the
Speaker 2: difference between Taylor Swift and and uh uh, let's say
Speaker 2: Young Yeat No Yeat, Like Yeat is a big deal.
Speaker 2: He could be kind of close to a superstar, but
Speaker 2: he's not Taylor Swift, you know what I'm saying. And
Speaker 2: and Kendrick Lamar, who's been on the radio. You know
Speaker 2: it's finna go on the stadium tour. I mean, main
Speaker 2: street radio is still a mainstream American thing.
Speaker 4: The only thing that radio doesn't break right now is personalities.
Speaker 2: So I just I think, yeah, I think I think
Speaker 2: radio still matters in that regards. Like I think radio
Speaker 2: still is a huge asset to get to a buying population.
Speaker 2: I think a streaming population is a people. Don't you know,
Speaker 2: they already paid their money.
Speaker 3: I want to hear the music. I think it's dope
Speaker 3: that Kendrick speaking of Taylor Swift, he worked with Jack Like.
Speaker 2: I like his style, I like what he's doing. Yeah,
Speaker 2: they went in there and really made some really great records.
Speaker 2: Many they did a fantastic job. And so when you
Speaker 2: ask me, it's gn X the best hip hop album
Speaker 2: I've ever heard, it's as good as the best hip
Speaker 2: hop album I've ever heard.
Speaker 3: Now.
Speaker 2: Now, again, greatness is not always quantified when just music, right,
Speaker 2: it's like time and space, you know, things happening around
Speaker 2: the record.
Speaker 3: You know what I'm saying.
Speaker 2: It creates different It don't have that type of stuff.
Speaker 2: But again, because Country Grammar didn't have that type of
Speaker 2: stuff neither. Four hundred Degrees didn't have that type of
Speaker 2: stuff neither. But the music just you know, the culture.
Speaker 2: The culture started walking the dogs, the records start walking
Speaker 2: the dogs, and I think that's what's gonna happen on
Speaker 2: this album. Still, I think you know they're gonna work
Speaker 2: squabble up, squabble up. It's going to be huge at
Speaker 2: It's gonna be huge at radio.
Speaker 3: I'm telling you. After the super Bowl performance, it's about
Speaker 3: to get tricky. Well, I'm gonna with the tour out
Speaker 3: of here. And that Debbie dav song wasn't no punk though.
Speaker 3: That Debbie dav song for it was my best still,
Speaker 3: but it was like the intro to Not Like Us
Speaker 3: was that song will Squabble Up, but we didn't know
Speaker 3: like what it was like he cut it off of
Speaker 3: the I don't know. Everything's so intriguing. I love listening
Speaker 3: to his album because it's thought provoking. Uh I'll be
Speaker 3: you know, deep diving into like the information and just
Speaker 3: bars and stuff like that, and like, I don't know,
Speaker 3: it's fun. It's impressed. Man.
Speaker 2: He created a real great Like the marketing is an
Speaker 2: underrated thing on what they're doing. I can't wait to
Speaker 2: see what they keep revealing. But I think that's what
Speaker 2: hip hop needs. It needs an injection of people not inspired.
Speaker 3: Yeah, yeah, exactly.
Speaker 1: You know what I'm saying, Like I'm inspired.
Speaker 2: So you know, people will be telling me like, man,
Speaker 2: it's the time, it was always the time for me.
Speaker 1: I've been inspired.
Speaker 3: She is an enemy. No, no, no, you know, like
Speaker 3: they're talking.
Speaker 4: We said you need them a nemesis. Now we just
Speaker 4: need a nemesis.
Speaker 3: One thing is you can bet that's coming. You know
Speaker 3: what I mean.
Speaker 2: But yeah, people, But to answer your question, I think
Speaker 2: radio still holds the key to mainstream America. Sure, I mean,
Speaker 2: just to manage your America. But but again, we was
Speaker 2: talking about this earlier, and I've been telling still like
Speaker 2: I told six, Like I think I told you before,
Speaker 2: I don't think when people go to streaming sites they
Speaker 2: want to hear like the standard ninety year old record.
Speaker 2: They will if you're like that type of artist, but
Speaker 2: I think they look if people that go to streaming
Speaker 2: apps are looking for something that they're asking specific.
Speaker 1: It's like, oh, if I want to hear rap. They
Speaker 1: don't want to hear a hook. They want to fucking
Speaker 1: hear you rap.
Speaker 2: And that's what I think I've been realizing, Like that
Speaker 2: niche audience that goes and it's a big audience. It's
Speaker 2: not I don't even know if it's fair to call
Speaker 2: it niche, you know what I'm saying, Like the audience
Speaker 2: that's going to Spotify, that's going to Apple, going.
Speaker 5: To some numbers like as I was sitting there for
Speaker 5: twenty because twenty twenty three is a complete year. Twenty
Speaker 5: twenty fours aren't out yet, but like for twenty twenty three,
Speaker 5: and radio is down a percent to thirty six. Total
Speaker 5: consumption and streaming was up percent to twenty So obviously,
Speaker 5: you know, more than one and a half times the
Speaker 5: size radio free.
Speaker 3: Yeah, there's people that don't stream at all and they
Speaker 3: go straight to radio to listen.
Speaker 2: But to Pete, to Pete's point, there are people who
Speaker 2: don't ever listen to radio.
Speaker 6: Me and I just don't know, like.
Speaker 5: I would just figure if you're talking like age range wise,
Speaker 5: it's you know, you're still your fifty plus type of
Speaker 5: crowd or whatever. Probably muscle memories to radio disproportionately, which
Speaker 5: is outside of that genre's base, which is a younger
Speaker 5: base that might be more distributed outside of radio by
Speaker 5: percentage retive when it.
Speaker 1: Comes to buying records, it's not outside the base.
Speaker 3: That's the problem.
Speaker 2: Okay, radio is still a mainstream things. It's just it's
Speaker 2: like television is a mainstream thing, like some things are
Speaker 2: just mainstream. The standard now, well the standard change, who knows,
Speaker 2: you know. I mean it looks it looks promising, but
Speaker 2: it's definitely uphill back.
Speaker 6: The standards changed in cable television.
Speaker 2: Already about to say that, but cable, but it didn't
Speaker 2: put out regular television. Remember cable was already a push up. Sure,
Speaker 2: I remember regular television. The news is still What's funny
Speaker 2: is I get more of my news from with her
Speaker 2: on social media, but a lot of people get their
Speaker 2: news from the news on the nose.
Speaker 6: Basically it's still the largest.
Speaker 4: But no, I was just gonna say, bro, YouTube is
Speaker 4: probably the biggest invention and the most important invention probably
Speaker 4: like the last outside of the car and up the ship.
Speaker 4: No certain, shiit dog, It's like it just changed everything.
Speaker 2: Well and and but that's the point I'm saying to
Speaker 2: Peter's like I think, like so do I think radio?
Speaker 3: Yeah?
Speaker 1: Radio is huge?
Speaker 2: Like if you if you trust me, watch what's gonna
Speaker 2: happen with this Kendrick, Watch what's gonna happen with GNX.
Speaker 2: When those songs go to radio and be number one,
Speaker 2: it's a different audience that has disposable income. Like the
Speaker 2: reason they put that stuff and they put that concert
Speaker 2: in that super Bowl.
Speaker 1: They need time to work those records. And when those
Speaker 1: records kind of start to surface in mainstream America, is
Speaker 1: you know they're aware? Because they're not aware. There's no
Speaker 1: reason I keep saying this.
Speaker 2: People keep talking about first weeks and like, if you
Speaker 2: put out album, how do people know you have an
Speaker 2: album coming out?
Speaker 1: If there's no song flagshipped on radio?
Speaker 2: If there's no song, how the fuck do people know
Speaker 2: you got an album coming out? Like you think they
Speaker 2: went to on Instagram? Everybody follow you. It's obvious. We
Speaker 2: all have Instagrams. We all have larger followings than we
Speaker 2: have engagement. It's not because people see your shit and
Speaker 2: don't want to gauge. It's because people don't see your shit.
Speaker 2: So therefore, like if Kendrick Lamar puts out a record, right,
Speaker 2: if gen X comes out, Yeah, there's a conversation that's
Speaker 2: happening because he's hot at the moment, right, it's on fires, Like, oh,
Speaker 2: Kendrick gots a new album, Pete I think that probably
Speaker 2: represents less than twenty percent of America. I don't think
Speaker 2: most people know Kendrick Lamour has an album out.
Speaker 3: That's crazy, you know what I'm saying.
Speaker 1: Most Americans, why the fuck would they know?
Speaker 2: They not in They not on black Twitter, they not
Speaker 2: on hip Twitter, they not on hip Instagram or hips.
Speaker 4: When we make the mistake, sometimes man are thinking that shit,
Speaker 4: we follow us news because sometimes I find myself talking
Speaker 4: to like my cousins or my brothers about certain stings.
Speaker 4: They be like, man, I don't know what you're talking about.
Speaker 4: I don't know who it is.
Speaker 2: The gradiest medium still to this day, to discover music
Speaker 2: is radio. So when these songs become the most played
Speaker 2: songs at radio, that's when mainsteam America be abreasted, Like, oh, hey,
Speaker 2: this is Kendrick Lamar.
Speaker 1: Guy, Hey, I.
Speaker 2: Like this squabble up, squaw up. Let's go listen, let's
Speaker 2: go get that. Let's go down there and get that.
Speaker 2: Hey Zaffers, Oh he has a concert coming to the
Speaker 2: Cowboys Arena. Hey, we're gonna go down there see that
Speaker 2: squabble up song.
Speaker 3: Turn his TV off?
Speaker 1: You turn his TV off? You know what I'm saying?
Speaker 2: Like these things are going to happen as they as
Speaker 2: these songs start to transition. So radio still the gradies
Speaker 2: medium to discuss people nobody trusted. Radio still the most
Speaker 2: trusted medium to discover music. Sure still to this day,
Speaker 2: you know what I mean. And it's far out there, But
Speaker 2: that's a lot of money to break because now it's harder.
Speaker 2: Like he's he's in a great position to make it happen.
Speaker 2: But man like, and this is where I was telling
Speaker 2: six before we started the pile, like about hip hop
Speaker 2: used to be inspired marketing, Like we would have all
Speaker 2: the new things, we would challenge, all the status quos.
Speaker 1: We would you know, so forth and so on.
Speaker 2: Like if you notice, like people talk shit because Kendrick
Speaker 2: dropped this album out of nowhere, It's like, oh, it
Speaker 2: just came out of nowhere. It's like that is a
Speaker 2: marketing strategy in itself that creates a whirlwind of conversation.
Speaker 2: And they were able to try something unique and what
Speaker 2: they end up doing like three hundred some thousand records or.
Speaker 3: Something like I mean, and he's been selling one hundred
Speaker 3: k a week since because.
Speaker 2: If you think about it, bro, it's like people are
Speaker 2: just discovering and this is. This is what I've been
Speaker 2: saying to people like, oh man, with this person, they
Speaker 2: were talking about Snoop and Dre. I said, well, Snooper
Speaker 2: Dre's only done forty thousand records first week.
Speaker 1: That's they said. The numbers said to be somewhere right
Speaker 1: around there.
Speaker 3: How the fuck do people know?
Speaker 1: Stupid Drake got album coming out?
Speaker 3: Right?
Speaker 2: We confuse our conversation with the conversation the real world
Speaker 2: is talking about Trump.
Speaker 1: Yeah, real America is talking about Trump.
Speaker 3: SnO drink Champs? That was it?
Speaker 1: What the fuck is that they was on a view
Speaker 1: or something. No, you need to go to the view,
Speaker 1: you know what I mean.
Speaker 2: So again, it's one of those things where sometimes we
Speaker 2: overinflate our value initially and we gotta do the work.
Speaker 2: And this is what I was saying, like, we need
Speaker 2: to really work harder at exposing ourselves to an audience
Speaker 2: outside of the normal conversation. This is where hip hop
Speaker 2: is really falling behind. One thing hip hop is falling
Speaker 2: behind is they're not going outside and bringing more people
Speaker 2: to the party. They just keep trying to, you know,
Speaker 2: make gourmet meals out of top ramen. Like top Ramin's
Speaker 2: already a fantastic break down or something. Don't try to
Speaker 2: make meal out of that. So we try to use
Speaker 2: hip hop to make more hip hop is like that
Speaker 2: probably ain't the thing. And on another note, it's just marketing,
Speaker 2: you know, creating a reason to have a conversation. It's
Speaker 2: all these records coming out every day. I have no
Speaker 2: I'm not listening to no nigga album here. I got
Speaker 2: too much shit going on, Like you have to give
Speaker 2: me a vested interest into it just because music. Don't
Speaker 2: mean I'm gonna digest it.
Speaker 4: I'm gonna tell you, bro, there are so many fucking
Speaker 4: great albums that you don't even know. Like I didn't
Speaker 4: even know pro j Pat had no new shit, Dog.
Speaker 4: I just happened to be looking for something else and
Speaker 4: found and he put out examining album by the year ago, Dog.
Speaker 1: And you told me that, And that don't mean I'm
Speaker 1: gonna listen to it.
Speaker 4: That's what I'm saying. The same thing with Scarface. Same
Speaker 4: Scarface probably dropped one of his best albums, man who
Speaker 4: was the one where he had the Guys record on
Speaker 4: there and all.
Speaker 3: That deeply rooted. Sure that was a great album and.
Speaker 4: I discovered that shit probably about a year late though,
Speaker 4: And I'm a Scarface fan because nobody knew it came out.
Speaker 2: So I think I think that's what hip hop is
Speaker 2: falling behind, end is being inspired with marketing like now
Speaker 2: and again, you know, we can blame the record companies.
Speaker 2: We can say, hey, you know the they washed up
Speaker 2: on ari N but they still doing things for pop eggs.
Speaker 1: But guess what.
Speaker 5: And this is an example of becoming dependent on algorithms.
Speaker 5: Algorithms are not going to redefine anything.
Speaker 6: They're pre defined.
Speaker 5: So if you're relying on paying into a model that's
Speaker 5: algorithm dependent, that algorithm it's its own ecosystem, so you're
Speaker 5: restricted to the confines of that algorithm. And and and
Speaker 5: hip hop has really suffered from now and I come
Speaker 5: across a lot of stuff based on that, Like my
Speaker 5: algorithm is so bizarre, like just like just just my
Speaker 5: my YouTube shit on TV. I watch an interview about
Speaker 5: some guy from a think tank talking about Chinese military
Speaker 5: innovation earlier today, and I discovered the killer mic and
Speaker 5: Project Pat and some other dude did a song in
Speaker 5: a parking lot in front of a liquor store.
Speaker 6: In Atlanta this year. It was cool, cool project, but.
Speaker 5: That's a very unique way for me to come across that.
Speaker 5: You know, so if if you're gonna be really and
Speaker 5: that's the same thing garbage in, garbage out.
Speaker 6: With AI, you know, like.
Speaker 5: We'll save an AI thing for another time, but it's
Speaker 5: the same principle.
Speaker 3: You know what I mean what we're talking about.
Speaker 2: I was talking the problem about this and I told
Speaker 2: him I thought he was depending on the on companies
Speaker 2: to market him, Like you're depending on Spotify to market
Speaker 2: you when you asking to be a part of the
Speaker 2: algorithm and YouTube you're like, hey market me, and they
Speaker 2: like why, Like we have other things that's drumming away
Speaker 2: more interest to market than you and the interest. So
Speaker 2: again to a conversation that I've been having with a
Speaker 2: lot of people. I had this conversation with currency killer
Speaker 2: Mike hip Hop is not done colonizing even America. Like
Speaker 2: there's so many different Like we're still doing alcohol, like
Speaker 2: right now they just put out a new alcohol. Like
Speaker 2: why don't we have car dealerships, Why don't we have
Speaker 2: shout out to Butt and Bee who got a restaurant?
Speaker 3: Right?
Speaker 2: He has a burger chain, right, Like we should be
Speaker 2: all trying to franchise a burger chain, a trio.
Speaker 3: Burgers Hip hop has so.
Speaker 2: Much work to do in colonizing America with all this influence.
Speaker 2: If we don't the influence of flee, like what's happening
Speaker 2: in the rock and roll rock and roll lost its
Speaker 2: main influence and it didn't colonize enough. There's not enough
Speaker 2: things that are rock Like we could go out here
Speaker 2: and really colonize and back to the marketing. Like I said,
Speaker 2: we could really like infiltrate different places in a way
Speaker 2: that we never thought of if we make that the target.
Speaker 4: Gee, not the interrupt you bros. You're making some very
Speaker 4: valid points. I'm gonna tell you what's happening too. People
Speaker 4: are getting too cut up in the economics making records,
Speaker 4: like they just dropping records zip three months, just dropping them,
Speaker 4: and I think they're not really given the first record
Speaker 4: they put out time. They're not even really you know,
Speaker 4: going in on that, Like I see a whole bunch
Speaker 4: of rappers. You're dropping projects every few months. Man, It's
Speaker 4: kind of like it gets kind of overwhelming.
Speaker 5: And people got money now, so they're risk conscious, they're
Speaker 5: ROI driven, and they're going low entropy.
Speaker 1: And it's right because there is really.
Speaker 2: So so you lower the quality of the music to
Speaker 2: put out more to try to make money, like if.
Speaker 6: You're gonna more volume.
Speaker 4: Yeah, that's how I lost money when I started looking
Speaker 4: at records. When I started looking at the record business.
Speaker 4: Instead of me taking time and waiting to get inspired
Speaker 4: to drop something right, I was just thinking, Man, I'm
Speaker 4: making seventy to eighty thousand dollars the first time I
Speaker 4: dropped some shit, right, so let me put some more
Speaker 4: shit out. It became like a like a like just
Speaker 4: like an assembly line, like I was pressing the T
Speaker 4: shirts and some shit. Dog. I didn't care about the direct.
Speaker 3: A final company.
Speaker 2: It don't work for hip hop because hip hop is
Speaker 2: not the business of record, it's the business of culture.
Speaker 2: Record companies are the business the business of records. Like
Speaker 2: hip hop, like deaf Row is not in the business
Speaker 2: of records, they're in the business of culture. So if
Speaker 2: you know you're selling culture, then you could change your output.
Speaker 2: But you have to keep finding ways to invite people
Speaker 2: and inform them culturally.
Speaker 6: And that's the difference.
Speaker 5: You can say, all right, I know that for my
Speaker 5: hundred thousand dollars in I can keep it within this
Speaker 5: confine and get two hundred thousand dollars out. But for
Speaker 5: me to go transcend that, I gotta get five hundred
Speaker 5: thousand dollars in. I might not get a million out.
Speaker 5: I can just do a one hundred thousand and five
Speaker 5: times and I'll get my million out that way, bro.
Speaker 4: Just thinking about just think about when your return is
Speaker 4: I'm gonna spend ten thousand and I'm gonna make one
Speaker 4: hundred and fifty thousand. Yeah, it starts you start thinking different, man,
Speaker 4: and you really start thinking differently. You start kind of
Speaker 4: getting lost in that shit.
Speaker 2: You just got to know what the ten thousand I
Speaker 2: think that's the thing. And it goes back to the
Speaker 2: point I was making before we win here. It's like
Speaker 2: hip hop has to realize what's happening. If hip hop
Speaker 2: thinks they're in the business of music, they're sadly mistaken.
Speaker 3: They're not.
Speaker 2: If hip hop thinks that they're in the business of
Speaker 2: selling like songs, Like like me and Pete talked about this,
Speaker 2: comics don't sell jokes. Comics sell funny. Some of the
Speaker 2: funniest things in the world are not jokes. Hip Hop
Speaker 2: doesn't sell songs, they sell culture. It's just in this
Speaker 2: art form But if you understand that, then you can
Speaker 2: start to trump up your you can start to trump
Speaker 2: up your output.
Speaker 1: But if you get for two seconds.
Speaker 2: Confused that you just making songs and you're like, oh,
Speaker 2: this is enough culture versus really taking the time to
Speaker 2: investigate how you delivering culture or what you're delivering that
Speaker 2: people can be involved with, That's where I think you
Speaker 2: go wrong, and I think hip hop really needs to
Speaker 2: if we understood our value. Shout out to people like
Speaker 2: Adam twenty two, other people like DJ Vlad. They do
Speaker 2: get that culture roture tech, but you know what they
Speaker 2: get more than anybody, how valuable street urban culture is.
Speaker 2: See all of us inside of it. Don't see it
Speaker 2: that way. Were in the car, were driving a car.
Speaker 1: You look at people.
Speaker 2: Who join gangs that didn't grow up in LA. They
Speaker 2: are so enamored. Oh my fucking god. You know they'd
Speaker 2: be like, oh my, they wear the clothes they like,
Speaker 2: oh no, I'm addressed like I saw rocket.
Speaker 3: They be enamored.
Speaker 1: Bro, They be like I am in. That's how people
Speaker 1: feel about hip hop.
Speaker 3: They be like, oh my god, I'm in.
Speaker 2: You know, like like man, he you know, even them
Speaker 2: somebody who grew up in and he grabbing. But look
Speaker 2: at somebody from the outside, they're like, oh my god,
Speaker 2: they are enamored. So you watch these people build multi
Speaker 2: million dollar businesses off something that we innately have, Like
Speaker 2: Kentucky Fried Chicken is a multi million dollar soul food restaurant.
Speaker 2: Taco Bell is a multi million dollar idea based off
Speaker 2: skin food. So everybody else sees the value in it.
Speaker 3: We just don't.
Speaker 2: Like I said, the fact that not one hip hop
Speaker 2: artist has a car dealership in the name of hip
Speaker 2: hop is crazy. That cars are a big part. We
Speaker 2: got liquor, we got clothes, but we fucked with cars
Speaker 2: as much. I mean, where is that in every facet
Speaker 2: of life, every facet of life, we should have a
Speaker 2: fucking you know, hip hop should have a fucking flag
Speaker 2: and a dirt. Hey, this is the hip hop version.
Speaker 2: You don't need to go to Winchels. You could go
Speaker 2: to this donut place. What's hip hop donut? What's a
Speaker 2: hip hop Who's who talks about some donut shit? Fuck Winchels.
Speaker 4: Come here, fust that motherfucker that got the song. My
Speaker 4: cup was the dude to be sitting down on stage
Speaker 4: and we got breathing machines on them and ship.
Speaker 3: Or you need you need donuts. You know.
Speaker 2: Again, we should always have an answer for mainstream America
Speaker 2: because people love our style, our flavor, and that's to
Speaker 2: me what everybody outside gets. And I finally understand a
Speaker 2: lot of people in the hip hop don't understand that.
Speaker 2: I'll be like, bro, y'all are tripping. They're like, no,
Speaker 2: g you know you trip it? No, you trip it?
Speaker 2: Do you know how the media is?
Speaker 3: Huh?
Speaker 5: People don't understand the layers of like the mediums, like
Speaker 5: we were saying, like the conversation versus the telephone wire. Yeah,
Speaker 5: people are confusing I lay down telephone wire and I
Speaker 5: mind copper. No, he does copper, you do wire, he
Speaker 5: does conversation. And people think that the music. No, if
Speaker 5: they've confused the music as the medium and the content
Speaker 5: being put over the medium as being the same thing,
Speaker 5: and that the same thing.
Speaker 3: His name is Dave Blunts. Man. I wish that boy
Speaker 3: could get him some help.
Speaker 4: Man.
Speaker 3: Let's really sad though.
Speaker 1: Dave Blunts.
Speaker 2: So again, it's like we don't have mainstay in too
Speaker 2: much mainstream America, but we should always have the urn
Speaker 2: version of hip hop of whatever life is because just
Speaker 2: like they got McDonald's, it should be a trill Burgers
Speaker 2: in every town.
Speaker 1: Just like every it.
Speaker 3: Should be a hip hop grocery store. I feel like
Speaker 3: they type caster. It's just like they're doing movies.
Speaker 2: Yeah, but it's not that I don't even think it's
Speaker 2: them typecasts. Like that's probably why they're not coming to say, Hey,
Speaker 2: you know, people will go to hip hop grocery store,
Speaker 2: but that's not the reason why we should be opening
Speaker 2: up at hip hop grocery store.
Speaker 3: Yeah.
Speaker 5: And it's a thin line between type casting and branding.
Speaker 5: It's type casting, and when it doesn't work for you,
Speaker 5: it's branding.
Speaker 3: When it does.
Speaker 2: They're looking out for tuning into the No Sellers podcast.
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Speaker 2: episode was recorded right here on the West coast of
Speaker 2: the USA. They produce about the Black Effect podcast network
Speaker 2: and now hard Radio.
Speaker 3: Yeah.