WEBVTT - Conversations Inspired By GNX

0:00:01.760 --> 0:00:02.400
<v Speaker 1>What's up?

0:00:02.600 --> 0:00:05.320
<v Speaker 2>And welcome back to another episode of No Sealers Podcast

0:00:05.400 --> 0:00:14.440
<v Speaker 2>with your host. Now fuck that with your loaw glasses Malone, So.

0:00:14.480 --> 0:00:15.320
<v Speaker 1>Now we can get back.

0:00:15.360 --> 0:00:16.360
<v Speaker 3>What was we talking about?

0:00:16.360 --> 0:00:16.560
<v Speaker 4>Six?

0:00:16.760 --> 0:00:20.200
<v Speaker 3>Yeah? So I was just saying, man, I think somebody

0:00:20.280 --> 0:00:23.759
<v Speaker 3>must have sprinkled crack on GNX because I've just been

0:00:23.840 --> 0:00:26.800
<v Speaker 3>playing that NonStop man in the car at the crib,

0:00:27.680 --> 0:00:31.040
<v Speaker 3>in the gym, like NonStop flawless man.

0:00:31.080 --> 0:00:35.720
<v Speaker 2>It's really what's crazy is the first day I heard it,

0:00:36.479 --> 0:00:39.480
<v Speaker 2>I was I woke up, I saw it was available,

0:00:40.120 --> 0:00:42.960
<v Speaker 2>I was playing it at the crib. I start driving

0:00:43.000 --> 0:00:44.760
<v Speaker 2>over here, so I put it in the web. I'm

0:00:44.800 --> 0:00:47.599
<v Speaker 2>driving over I heard the whole record before we started.

0:00:47.200 --> 0:00:49.199
<v Speaker 3>The stream, and.

0:00:50.840 --> 0:00:53.360
<v Speaker 2>I got on the stream and I was like, this

0:00:53.479 --> 0:00:56.040
<v Speaker 2>is by far the best Kendrick at the first day.

0:00:56.160 --> 0:00:58.440
<v Speaker 2>And everybody was like, man, how are you gonna just

0:00:58.480 --> 0:01:01.200
<v Speaker 2>say that? And it's weird because I'm trying to express

0:01:01.320 --> 0:01:03.800
<v Speaker 2>them how much like I've been into hip hop and

0:01:03.920 --> 0:01:07.160
<v Speaker 2>music at this point both, I've been going down both

0:01:07.280 --> 0:01:11.920
<v Speaker 2>rabbit holes when it comes to music and hip hop

0:01:11.959 --> 0:01:15.160
<v Speaker 2>at this point because they are a little different. Like

0:01:15.240 --> 0:01:18.319
<v Speaker 2>hip hop is a cultural thing, it's an artistic cultural thing.

0:01:18.360 --> 0:01:21.039
<v Speaker 2>It don't even have to be music, I mean, and

0:01:21.240 --> 0:01:24.600
<v Speaker 2>you can use music to apply the culture. Music is

0:01:24.720 --> 0:01:27.960
<v Speaker 2>just music. But I've been studying so much of it

0:01:28.480 --> 0:01:31.199
<v Speaker 2>that like, when I hear music, I know what's going

0:01:31.280 --> 0:01:37.640
<v Speaker 2>on now for the most part, pretty much all the time. Obviously,

0:01:37.760 --> 0:01:39.959
<v Speaker 2>I'm still learning more about singing, you know. I mean,

0:01:40.040 --> 0:01:42.760
<v Speaker 2>I haven't quite knelt that, but I get what's going on.

0:01:42.840 --> 0:01:43.600
<v Speaker 2>I know when it's right.

0:01:44.160 --> 0:01:45.800
<v Speaker 3>You know what it's wrong too, know what is wrong.

0:01:45.880 --> 0:01:47.760
<v Speaker 2>I can hear that, even if I don't quite know how

0:01:47.800 --> 0:01:50.160
<v Speaker 2>to fix it, you know what I'm saying, I know

0:01:50.600 --> 0:01:53.200
<v Speaker 2>what's going on. The first time I heard I was like,

0:01:53.200 --> 0:01:56.200
<v Speaker 2>oh yeah, it's my four's best album. And I jumped

0:01:56.200 --> 0:01:58.440
<v Speaker 2>on the live stream and I felt comfortable, Like I've

0:01:58.480 --> 0:02:00.680
<v Speaker 2>listened to enough Kendrick's album, you know, I've heard them

0:02:00.720 --> 0:02:05.280
<v Speaker 2>all first takes, all first takes, and this is by

0:02:05.360 --> 0:02:08.240
<v Speaker 2>far this messed me up, Like this is by far,

0:02:08.320 --> 0:02:10.680
<v Speaker 2>like way better than any first take. The second one

0:02:10.720 --> 0:02:14.240
<v Speaker 2>would be damn, this one is by far better. And

0:02:15.880 --> 0:02:17.959
<v Speaker 2>I was trying to explain it, and people was asking

0:02:18.000 --> 0:02:19.960
<v Speaker 2>me later about my take on it. They was like,

0:02:20.000 --> 0:02:22.799
<v Speaker 2>why is this the best? And I'm like because this

0:02:22.840 --> 0:02:26.720
<v Speaker 2>one he understands how to use the sonics to create theme,

0:02:28.280 --> 0:02:30.480
<v Speaker 2>like I think Damn. When he was working on Damn,

0:02:30.800 --> 0:02:33.480
<v Speaker 2>he understood sonics at that point, but he didn't understand

0:02:33.560 --> 0:02:38.200
<v Speaker 2>sonics in the goal of creating theme. He only understood dialogue. Now,

0:02:38.200 --> 0:02:40.200
<v Speaker 2>this could be wrong. You could be like GLA's you tripping.

0:02:40.400 --> 0:02:45.800
<v Speaker 2>I already knew, but I can hear his development in

0:02:45.960 --> 0:02:49.000
<v Speaker 2>sonics to create theme. And we was talking about a

0:02:49.000 --> 0:02:52.280
<v Speaker 2>good kid. Matt City is dialogue to take you to Compton.

0:02:53.000 --> 0:02:58.040
<v Speaker 2>GNX is themed to like do the sonics to bring

0:02:58.040 --> 0:02:58.800
<v Speaker 2>you back to Compton.

0:02:59.200 --> 0:03:01.799
<v Speaker 1>And that's why people felt dot was preachy in it.

0:03:02.360 --> 0:03:04.160
<v Speaker 2>And some people felt like that, like it was preachy

0:03:04.200 --> 0:03:07.760
<v Speaker 2>because if you use dialogue to set theme, right, if

0:03:07.760 --> 0:03:10.799
<v Speaker 2>you shout out to John trueby really dope author, he said,

0:03:10.800 --> 0:03:14.000
<v Speaker 2>if you use dialogue to create theme, it could come

0:03:14.000 --> 0:03:17.920
<v Speaker 2>across preachy. Gn Next is a Kendrick Lamar album, But

0:03:18.040 --> 0:03:22.760
<v Speaker 2>it's not preachy because you and Compton when you're listening,

0:03:23.480 --> 0:03:27.120
<v Speaker 2>like Whacked Out Mirrors takes you to that tam and

0:03:27.160 --> 0:03:31.560
<v Speaker 2>that is like fire, bro, Like that's so fire. I'm

0:03:31.639 --> 0:03:34.440
<v Speaker 2>so impressed, you know what I'm saying, Like I had

0:03:34.520 --> 0:03:37.280
<v Speaker 2>Dot outside of the best guys, and I thought I

0:03:37.320 --> 0:03:39.680
<v Speaker 2>was fair, Like I wouldn't even put Dot in the

0:03:39.720 --> 0:03:42.080
<v Speaker 2>same com I get why the next generation can hear

0:03:42.120 --> 0:03:44.040
<v Speaker 2>DoD's music and put him. You know, they didn't get

0:03:44.040 --> 0:03:46.680
<v Speaker 2>a chance to see ice Q. I mean they didn't

0:03:46.720 --> 0:03:50.880
<v Speaker 2>see Prime Snoop Dogg. They didn't see Prime E forty,

0:03:51.320 --> 0:03:54.160
<v Speaker 2>they didn't see Prime short. They have no idea what

0:03:54.240 --> 0:03:57.680
<v Speaker 2>Prime quick looks like. We've had the luxury of with

0:03:58.040 --> 0:03:59.920
<v Speaker 2>the parent. Yeah, you know what I'm saying. You don't

0:04:00.080 --> 0:04:02.600
<v Speaker 2>know that version when he's on rhythmalism and that joint

0:04:02.600 --> 0:04:02.960
<v Speaker 2>come out.

0:04:03.000 --> 0:04:03.760
<v Speaker 3>You didn't hear that.

0:04:03.920 --> 0:04:06.200
<v Speaker 2>It's like when we talk about hoops, I mean you're

0:04:06.240 --> 0:04:09.000
<v Speaker 2>being a coaching into it. If you didn't see Magic

0:04:09.040 --> 0:04:12.240
<v Speaker 2>Johnson's career, you don't understand. To you it's a relic.

0:04:12.920 --> 0:04:16.000
<v Speaker 2>Very few people take the time Bro to like, let

0:04:16.040 --> 0:04:18.640
<v Speaker 2>me go back and think. What like when you watch

0:04:18.720 --> 0:04:21.600
<v Speaker 2>Bob Coozy, Like a lot of even some professional hoopers

0:04:21.760 --> 0:04:23.520
<v Speaker 2>shout out to the hommies in the hoop chat self

0:04:23.520 --> 0:04:27.080
<v Speaker 2>and different hommies like they cannot understand my affinity for

0:04:27.120 --> 0:04:29.719
<v Speaker 2>Bob Coosey. Bob Coozy dribbled the ball with one hand.

0:04:29.760 --> 0:04:32.400
<v Speaker 2>So they're like, oh, you know that, ain't I'm like no,

0:04:32.480 --> 0:04:36.560
<v Speaker 2>but go back to the fifties. He was dropping people

0:04:36.560 --> 0:04:39.360
<v Speaker 2>with one hand, so I'm looking at everybody. It wasn't

0:04:39.400 --> 0:04:41.240
<v Speaker 2>like other people back then could dribble with two hands.

0:04:41.640 --> 0:04:44.279
<v Speaker 2>Everybody dribbled the same way. He was just the best

0:04:44.400 --> 0:04:48.040
<v Speaker 2>dribbler in his time and major dons. So if you

0:04:48.120 --> 0:04:51.080
<v Speaker 2>don't if you don't understand how to set you know

0:04:51.160 --> 0:04:54.440
<v Speaker 2>what you're looking at like, you will miss the genius

0:04:54.440 --> 0:04:57.240
<v Speaker 2>and something that happened. And most humans can't do that.

0:04:57.360 --> 0:05:00.920
<v Speaker 2>Most humans can't go back and imagine, Oh, nobody else

0:05:01.000 --> 0:05:02.440
<v Speaker 2>dribbling with two heads. They're like, oh, I'll just see

0:05:02.440 --> 0:05:04.080
<v Speaker 2>the game now and I look back then. These guys

0:05:04.120 --> 0:05:07.240
<v Speaker 2>are better, no, sir, these guys are the products of

0:05:07.360 --> 0:05:11.800
<v Speaker 2>evolution exactly. So listening to this album like it went

0:05:11.880 --> 0:05:15.240
<v Speaker 2>from like now like I did hear Dogs Dog Eachtyl

0:05:15.240 --> 0:05:17.520
<v Speaker 2>when It's fresh. I did hear America's most Wanted brand New.

0:05:17.560 --> 0:05:20.040
<v Speaker 2>I did hear the Chronic. I did hear straight out

0:05:20.080 --> 0:05:22.559
<v Speaker 2>of Confident as a little kid. I did hear dog

0:05:22.640 --> 0:05:25.159
<v Speaker 2>Food and a lot of great records. I did hear Federal,

0:05:25.240 --> 0:05:27.200
<v Speaker 2>I did hear Short's first album.

0:05:27.240 --> 0:05:29.920
<v Speaker 1>You know what I'm saying. But now when I hear

0:05:30.040 --> 0:05:31.520
<v Speaker 1>this GNX, I'm.

0:05:31.360 --> 0:05:33.119
<v Speaker 3>Like, oh, this is as good as those.

0:05:33.640 --> 0:05:35.520
<v Speaker 1>Good Kid is not as good as those.

0:05:35.720 --> 0:05:38.000
<v Speaker 2>I understand again, the next generation they didn't get to

0:05:38.520 --> 0:05:41.479
<v Speaker 2>They don't get the impact I saw it. So now

0:05:41.520 --> 0:05:43.400
<v Speaker 2>I can feel it all and hear it all, and

0:05:43.400 --> 0:05:45.839
<v Speaker 2>it's like, oh, yeah, this is like it's one of

0:05:45.880 --> 0:05:48.359
<v Speaker 2>the ones challenging the niggas I grew up to.

0:05:48.480 --> 0:05:54.000
<v Speaker 3>Now, noweration, You're not outside the box no more. Here

0:05:54.040 --> 0:05:58.039
<v Speaker 3>in there he and fucking the box up he in there.

0:05:58.520 --> 0:05:58.760
<v Speaker 3>You know.

0:05:59.640 --> 0:06:01.960
<v Speaker 2>I just called and raving about it to him, and

0:06:02.000 --> 0:06:03.960
<v Speaker 2>it's probably the first record I ever called.

0:06:03.839 --> 0:06:04.679
<v Speaker 3>Him raving about.

0:06:05.040 --> 0:06:07.440
<v Speaker 2>Yeah, you know what I'm saying, Like, I've never called

0:06:07.480 --> 0:06:10.240
<v Speaker 2>him raving about it now like good Kid in Mass City,

0:06:10.279 --> 0:06:12.200
<v Speaker 2>I thought it was a great offering. I mean, I

0:06:12.240 --> 0:06:15.480
<v Speaker 2>thought it was a fantastic first where we had time

0:06:15.480 --> 0:06:18.279
<v Speaker 2>and space at that time. Same for the Pimper Butterfly.

0:06:19.040 --> 0:06:22.359
<v Speaker 2>Those are really good albums, especially comparing to today. But

0:06:22.400 --> 0:06:25.320
<v Speaker 2>I've actually heard really good jazz albums. I've heard really

0:06:25.360 --> 0:06:26.599
<v Speaker 2>good hip hop albums.

0:06:26.680 --> 0:06:30.400
<v Speaker 1>So when this album came out, man, I can't get

0:06:30.400 --> 0:06:30.800
<v Speaker 1>off of it.

0:06:31.680 --> 0:06:34.400
<v Speaker 3>I'm like, Bro, I can't play nothing else. This is

0:06:34.560 --> 0:06:36.880
<v Speaker 3>I don't play my own stuff. I don't play nothing just.

0:06:37.200 --> 0:06:40.000
<v Speaker 2>Oh, I swear to god, bro, like I have like

0:06:40.960 --> 0:06:43.360
<v Speaker 2>I have to go from like I might be playing

0:06:43.400 --> 0:06:47.400
<v Speaker 2>like Marvin Gay I want you that album, and then

0:06:47.480 --> 0:06:50.200
<v Speaker 2>back to gen X. You know how good your album

0:06:50.320 --> 0:06:52.560
<v Speaker 2>has to be for me to switch off from the

0:06:52.640 --> 0:06:54.880
<v Speaker 2>hall of those greatest hits.

0:06:54.440 --> 0:06:59.520
<v Speaker 3>Your fucking album. One of the things that I loved

0:06:59.560 --> 0:07:02.040
<v Speaker 3>about that too is I had like this moment. I'm

0:07:02.040 --> 0:07:04.159
<v Speaker 3>a huge like fan of old stuff too. Right, So

0:07:04.720 --> 0:07:06.320
<v Speaker 3>the last couple of months, I've just been playing a

0:07:06.320 --> 0:07:08.520
<v Speaker 3>lot of Anita Baker a lot, and I just spent

0:07:08.720 --> 0:07:12.280
<v Speaker 3>bro a lot. You feel me. I told somebody, shit,

0:07:12.320 --> 0:07:13.560
<v Speaker 3>they got so man good looks.

0:07:13.560 --> 0:07:19.520
<v Speaker 2>See no ciblings, no cilings, glasses below you know, I said,

0:07:19.680 --> 0:07:21.960
<v Speaker 2>my brother Peter Boss, I got my homeboy six John

0:07:22.000 --> 0:07:24.680
<v Speaker 2>in the house. This is somebody I really before I

0:07:24.720 --> 0:07:26.680
<v Speaker 2>got into hip hop and was making music, he was

0:07:26.680 --> 0:07:29.720
<v Speaker 2>making ways. He's a young man making waves and everything

0:07:29.840 --> 0:07:32.720
<v Speaker 2>from the land. He was on the radio station and

0:07:32.760 --> 0:07:35.440
<v Speaker 2>he just always had a flare about records, and he

0:07:35.600 --> 0:07:38.560
<v Speaker 2>became somebody that's really been instrumental in the development of

0:07:38.640 --> 0:07:43.960
<v Speaker 2>Glasses Malone the true hip hop you know culturists and musician, Like,

0:07:44.040 --> 0:07:46.800
<v Speaker 2>he's helped me understand so many things, not to mention

0:07:46.880 --> 0:07:49.320
<v Speaker 2>he looked me up, he lacked me up with Brian McKnight,

0:07:49.920 --> 0:07:50.760
<v Speaker 2>just fly things.

0:07:50.920 --> 0:07:53.120
<v Speaker 3>I said, so for one of your most most important

0:07:53.120 --> 0:07:54.040
<v Speaker 3>songs in my life.

0:07:54.080 --> 0:07:58.680
<v Speaker 2>To me, it made me feel like real, it really

0:07:59.160 --> 0:08:02.440
<v Speaker 2>vindicated my journey, you know what I mean, Like that

0:08:02.520 --> 0:08:03.880
<v Speaker 2>was every day. I wish my mom was a lot

0:08:03.920 --> 0:08:07.240
<v Speaker 2>bro blew her mind in a change, you know, a rocker.

0:08:07.280 --> 0:08:09.920
<v Speaker 2>She'd have been in prison, like just losing it. But

0:08:11.600 --> 0:08:14.320
<v Speaker 2>I appreciate that too though, man, my man. So it's

0:08:14.360 --> 0:08:18.160
<v Speaker 2>like that's how it feels, bro Like, how do you

0:08:18.280 --> 0:08:21.000
<v Speaker 2>go from these records to these records.

0:08:20.840 --> 0:08:23.240
<v Speaker 3>And to hear him say riding in my g and

0:08:23.320 --> 0:08:28.000
<v Speaker 3>next with the need to yeah this bro feeling like

0:08:28.080 --> 0:08:29.920
<v Speaker 3>the correlation. I'm like, oh, I was in that moment

0:08:29.960 --> 0:08:32.360
<v Speaker 3>already to you know, two months before the album came out.

0:08:32.360 --> 0:08:34.559
<v Speaker 3>So that just yeah, it just locked me in.

0:08:34.640 --> 0:08:37.600
<v Speaker 2>And it's crazy because I'm telling somebody, they're asking me

0:08:37.679 --> 0:08:40.320
<v Speaker 2>about music, right, they like last you don't really listen

0:08:40.360 --> 0:08:41.880
<v Speaker 2>to like modern R and B.

0:08:41.960 --> 0:08:46.080
<v Speaker 1>I'm like, they can't sing you know what I'm saying.

0:08:46.200 --> 0:08:49.040
<v Speaker 2>Like you know what I'm saying, Pete, It's like, how

0:08:49.080 --> 0:08:51.880
<v Speaker 2>do I come from this mini Ripperton album to this?

0:08:52.720 --> 0:08:53.679
<v Speaker 1>Like you know what I mean?

0:08:54.600 --> 0:08:58.079
<v Speaker 2>Shout out to shout out to Frank Ocean. Obviously he

0:08:58.160 --> 0:09:01.439
<v Speaker 2>got to be one of the greatest pins. He could write. Well,

0:09:01.520 --> 0:09:06.160
<v Speaker 2>Frank don't sing well enough for me? Yeah, not not.

0:09:06.440 --> 0:09:08.440
<v Speaker 2>He's a fantastic writer and he can hold a note.

0:09:08.440 --> 0:09:20.680
<v Speaker 5>But Luther, there's a period like because as a singer,

0:09:20.720 --> 0:09:23.439
<v Speaker 5>even if you were to go to like oh three

0:09:23.600 --> 0:09:26.480
<v Speaker 5>or something like that and listen to r Kelly, that

0:09:26.559 --> 0:09:31.520
<v Speaker 5>guy can fucking sing it and died like he got

0:09:31.800 --> 0:09:36.840
<v Speaker 5>like people stopped singing after him. There was forty years

0:09:36.840 --> 0:09:39.640
<v Speaker 5>of singers there has who's the last good singer since that?

0:09:40.600 --> 0:09:43.920
<v Speaker 2>I mean there's some singers for sure that like like that.

0:09:44.679 --> 0:09:47.959
<v Speaker 2>They got some singers that really can kill but they

0:09:47.960 --> 0:09:51.559
<v Speaker 2>don't have the songs.

0:09:50.200 --> 0:09:50.760
<v Speaker 3>To kill it.

0:09:51.000 --> 0:09:51.640
<v Speaker 6>That's what I mean.

0:09:51.840 --> 0:09:54.080
<v Speaker 2>Remember that. That was the comment right now is like

0:09:54.160 --> 0:09:57.520
<v Speaker 2>the it's the it's the to me, it's the better

0:09:57.559 --> 0:10:03.360
<v Speaker 2>writers and the writers became artists. So like those songs

0:10:03.400 --> 0:10:07.000
<v Speaker 2>that we're hearing Pete are from writers. Those would have

0:10:07.040 --> 0:10:10.800
<v Speaker 2>been the guys giving the songs to the vocals. Back then,

0:10:11.000 --> 0:10:14.120
<v Speaker 2>writers did not try to present themselves as singers singers.

0:10:14.240 --> 0:10:16.880
<v Speaker 2>They would give it to the best vocalists, and that's

0:10:16.880 --> 0:10:19.560
<v Speaker 2>how they would have these gigantic records. But now I

0:10:19.600 --> 0:10:24.040
<v Speaker 2>think you're creating an era of really forgettable R and

0:10:24.080 --> 0:10:27.920
<v Speaker 2>B music because the best writers right are not giving

0:10:27.960 --> 0:10:30.200
<v Speaker 2>their songs to the best singers, and the best singers

0:10:30.240 --> 0:10:31.320
<v Speaker 2>don't have the best songs.

0:10:31.679 --> 0:10:33.360
<v Speaker 6>Didn't like Dream do the opposite.

0:10:34.360 --> 0:10:36.800
<v Speaker 2>Well that so shout out to Dream, who was one

0:10:36.880 --> 0:10:38.360
<v Speaker 2>of my favorites of modern era.

0:10:38.400 --> 0:10:42.080
<v Speaker 1>But Dreams, it's gonna be forgettable. Can't sing.

0:10:43.120 --> 0:10:45.240
<v Speaker 6>I don't know how of the singers.

0:10:45.400 --> 0:10:48.839
<v Speaker 2>Forgive me, give me, Triggy, forgive me, everybody like, but

0:10:48.960 --> 0:10:54.319
<v Speaker 2>he can't sing his penis. Imagine fucking Luther Vandross singing

0:10:54.360 --> 0:10:57.280
<v Speaker 2>some of this ship, you know what I'm saying, Like,

0:10:57.920 --> 0:10:58.760
<v Speaker 2>imagine like.

0:11:00.200 --> 0:11:02.680
<v Speaker 3>In some of this shit. Because when dream World for

0:11:02.720 --> 0:11:06.160
<v Speaker 3>Beyonce sh is out of here, is out of here.

0:11:06.280 --> 0:11:09.040
<v Speaker 2>So I think that's what's happening so much in the

0:11:09.120 --> 0:11:12.080
<v Speaker 2>space of music, right, And I think that's where gn

0:11:12.280 --> 0:11:13.280
<v Speaker 2>X got it right.

0:11:14.480 --> 0:11:17.600
<v Speaker 1>It was like, oh, this is the hip hop being.

0:11:17.800 --> 0:11:18.600
<v Speaker 3>No, no matter what.

0:11:18.520 --> 0:11:22.120
<v Speaker 2>We say, it's a it's still a cultural party. You know,

0:11:22.320 --> 0:11:25.880
<v Speaker 2>him putting on a party. Okay, he watched the party die.

0:11:26.240 --> 0:11:29.960
<v Speaker 2>Then he remade a party, a better party. He was this, No,

0:11:30.080 --> 0:11:33.080
<v Speaker 2>this is the party that party y'all been doing for y'all,

0:11:33.080 --> 0:11:35.880
<v Speaker 2>buying bottles, y'all out on the floor, dancing and getting

0:11:35.920 --> 0:11:38.080
<v Speaker 2>behind girls and making connections.

0:11:38.280 --> 0:11:40.680
<v Speaker 1>Let me kill all that. This is the new point.

0:11:40.720 --> 0:11:43.040
<v Speaker 1>This is how we This is how y'all shop party.

0:11:43.360 --> 0:11:45.440
<v Speaker 3>I just saw a dope interview with Big Boy. You

0:11:45.520 --> 0:11:48.240
<v Speaker 3>see that And I can't remember the dude's name, but

0:11:48.760 --> 0:11:50.679
<v Speaker 3>your dog trainer. He was the one in the squabble

0:11:50.760 --> 0:11:52.800
<v Speaker 3>up video that the dog was biting. I think his

0:11:52.920 --> 0:11:55.760
<v Speaker 3>name like Smoke or something like that. So he was

0:11:55.760 --> 0:11:58.520
<v Speaker 3>explaining that big Boy how he got the call to

0:11:58.559 --> 0:12:01.040
<v Speaker 3>go do the video when they told him it was

0:12:01.040 --> 0:12:03.600
<v Speaker 3>an AT and T commercial. So when you get there,

0:12:04.400 --> 0:12:06.800
<v Speaker 3>he said, the girl that I guess that shot in

0:12:06.840 --> 0:12:10.280
<v Speaker 3>that green room. It's like everybody is individual, so that's

0:12:10.320 --> 0:12:12.400
<v Speaker 3>all like post. So when he got in there, it

0:12:12.400 --> 0:12:14.200
<v Speaker 3>was just literally him and the dog doing the dog

0:12:14.240 --> 0:12:16.560
<v Speaker 3>bite and the dog run across the room. They do

0:12:16.640 --> 0:12:18.720
<v Speaker 3>that he don't hear no music. He said he saw

0:12:18.720 --> 0:12:20.880
<v Speaker 3>the girl that's like dancing in there. She got on

0:12:21.320 --> 0:12:25.720
<v Speaker 3>like in ears, so he just saw her like dancing.

0:12:25.760 --> 0:12:27.800
<v Speaker 3>Hell of horror. But he said, at no point did

0:12:27.840 --> 0:12:30.280
<v Speaker 3>he ever see Kendrick. At no point did he ever

0:12:30.320 --> 0:12:32.679
<v Speaker 3>know it was a video shoot for him. And then

0:12:32.840 --> 0:12:35.000
<v Speaker 3>a few months later his people called him like, yo,

0:12:35.040 --> 0:12:36.640
<v Speaker 3>you in the squabble of video and he sees a

0:12:36.679 --> 0:12:39.240
<v Speaker 3>scene and he sees, you know, Kendrick in there. Him

0:12:39.280 --> 0:12:41.400
<v Speaker 3>and the dog shot the kid hitting the switches on

0:12:41.440 --> 0:12:43.520
<v Speaker 3>the on the g body. It's like all these different

0:12:43.520 --> 0:12:47.959
<v Speaker 3>elements and just the the mysterious value that you know

0:12:47.960 --> 0:12:50.000
<v Speaker 3>what I mean, like just that approach of just And

0:12:50.040 --> 0:12:53.160
<v Speaker 3>they said they shot it in like Augusta, So I'm like, oh,

0:12:53.200 --> 0:12:55.199
<v Speaker 3>this was like well on the way for a minute.

0:12:55.280 --> 0:12:57.640
<v Speaker 2>Yeah yeah, No, he been figuring it out. I won't

0:12:57.679 --> 0:13:00.400
<v Speaker 2>even everybody asked me to. I won't even ask him

0:13:00.440 --> 0:13:04.080
<v Speaker 2>about this, Like there's a fanship in me that just

0:13:04.120 --> 0:13:07.480
<v Speaker 2>wants to experience it. I don't want to be prepared

0:13:07.520 --> 0:13:08.800
<v Speaker 2>for I want it. I don't want to be the

0:13:08.840 --> 0:13:11.480
<v Speaker 2>person holding this. I won't even ask me, man Glass,

0:13:11.600 --> 0:13:14.360
<v Speaker 2>what do you think about these? What lines are missing.

0:13:14.440 --> 0:13:17.200
<v Speaker 2>I don't want to know. I want express feel. I

0:13:17.240 --> 0:13:20.480
<v Speaker 2>want to experience it like fans like, And this is

0:13:20.520 --> 0:13:21.520
<v Speaker 2>dope because I really.

0:13:21.360 --> 0:13:23.880
<v Speaker 1>Get to be a fan of Doc like like.

0:13:23.880 --> 0:13:24.400
<v Speaker 3>I'm a fan.

0:13:24.440 --> 0:13:26.600
<v Speaker 2>I think he's a tremendous talent, it's no question. But

0:13:26.640 --> 0:13:28.800
<v Speaker 2>I get to be a fucking fan. I get to

0:13:28.960 --> 0:13:31.360
<v Speaker 2>enjoy Like there's a Kendrick album I'm playing as much

0:13:31.360 --> 0:13:34.679
<v Speaker 2>as I'm playing Made by Scarface, or I'm playing uh

0:13:36.000 --> 0:13:40.360
<v Speaker 2>the Last Meal by Snoop, or or or the Ward

0:13:40.440 --> 0:13:42.960
<v Speaker 2>did from Cube or the West Side Connection, now the

0:13:43.000 --> 0:13:46.840
<v Speaker 2>first one bow down, chronic shout. You know what I'm saying,

0:13:46.960 --> 0:13:50.480
<v Speaker 2>Like this is what I'm getting, and I'm so pleased,

0:13:50.520 --> 0:13:51.719
<v Speaker 2>Like I'm so impressed.

0:13:51.760 --> 0:13:52.640
<v Speaker 1>I'm like wow.

0:13:56.360 --> 0:13:58.440
<v Speaker 2>But back to that thought of the marketing, right, because

0:13:58.440 --> 0:14:01.160
<v Speaker 2>it is a surprise marketing that if nobody knows. I

0:14:01.240 --> 0:14:04.520
<v Speaker 2>heard RJ tell the same story. RJ, who if you

0:14:04.640 --> 0:14:06.640
<v Speaker 2>listening to this pod. RJ is the guy that walks

0:14:06.640 --> 0:14:08.679
<v Speaker 2>across the stream with that crazy walk.

0:14:08.720 --> 0:14:10.160
<v Speaker 1>He said the same thing. He didn't know what it

0:14:10.200 --> 0:14:10.400
<v Speaker 1>was for.

0:14:10.880 --> 0:14:13.360
<v Speaker 2>So after Calmatic because the videos fired, you know, they

0:14:13.360 --> 0:14:14.000
<v Speaker 2>did a great job.

0:14:14.040 --> 0:14:15.640
<v Speaker 3>That was another thing not to cut you off but

0:14:17.000 --> 0:14:19.040
<v Speaker 3>he said, and this might be true with RJ too,

0:14:19.040 --> 0:14:21.640
<v Speaker 3>you might have to ask him, but they said that

0:14:21.640 --> 0:14:24.160
<v Speaker 3>they was just going to the metronome. Yeah, so they

0:14:24.160 --> 0:14:27.120
<v Speaker 3>didn't even know like like nothing they got in theirs,

0:14:27.160 --> 0:14:31.400
<v Speaker 3>But it's just the tempo of the metronome that's crazy.

0:14:31.960 --> 0:14:35.200
<v Speaker 1>And so he used a level of surprise.

0:14:35.320 --> 0:14:38.760
<v Speaker 2>But I think I think hip hop does have to

0:14:38.880 --> 0:14:40.680
<v Speaker 2>and this is what we were talking about before we

0:14:40.840 --> 0:14:41.640
<v Speaker 2>jumped on the pod.

0:14:42.000 --> 0:14:43.080
<v Speaker 1>I think hip hop.

0:14:42.920 --> 0:14:46.920
<v Speaker 2>Does have to do a better job of creating exciting marketing,

0:14:47.080 --> 0:14:51.160
<v Speaker 2>informative marketing, some way of to inject more spirit in

0:14:51.200 --> 0:14:54.640
<v Speaker 2>the marketing, because marketing is getting lame. Like and again,

0:14:54.720 --> 0:14:57.040
<v Speaker 2>like I told you, like we're in the space now

0:14:57.080 --> 0:14:59.480
<v Speaker 2>to where as an independent you can't really spend your

0:14:59.520 --> 0:15:02.040
<v Speaker 2>money to market a song because songs are not for sale,

0:15:02.120 --> 0:15:04.760
<v Speaker 2>so you can never get the value out of them back.

0:15:05.000 --> 0:15:06.200
<v Speaker 2>And this is something I want to tell you, but

0:15:06.240 --> 0:15:08.520
<v Speaker 2>I thought to tell you on air. Like let's say

0:15:08.520 --> 0:15:11.000
<v Speaker 2>if you wanted to work a record, you know, to

0:15:11.040 --> 0:15:14.280
<v Speaker 2>get a record into the top forty's, obviously your record

0:15:14.280 --> 0:15:17.400
<v Speaker 2>has to work. Let's say the marketing budget is around

0:15:17.400 --> 0:15:19.800
<v Speaker 2>a quarter million dollars, that's how much work it takes

0:15:19.800 --> 0:15:22.280
<v Speaker 2>how many people you have to hire to get radio

0:15:22.360 --> 0:15:25.200
<v Speaker 2>to play it, to keep calling them, harassing them. You know,

0:15:25.240 --> 0:15:27.520
<v Speaker 2>you got to have a team across the country, you

0:15:27.520 --> 0:15:29.600
<v Speaker 2>know what I mean. You gotta get posters in this area,

0:15:29.680 --> 0:15:32.040
<v Speaker 2>get flyers. You need to go to DJ's at the club. Hey,

0:15:32.080 --> 0:15:35.520
<v Speaker 2>get this record. Going a quarter million dollars to become

0:15:36.240 --> 0:15:38.320
<v Speaker 2>you know, to be in the top forty with the

0:15:38.480 --> 0:15:41.560
<v Speaker 2>record that's actually working, because if it's a bad record,

0:15:42.440 --> 0:15:44.680
<v Speaker 2>it may never work and it could cost you a million.

0:15:44.760 --> 0:15:46.880
<v Speaker 2>If it did work, it'd just be crazy.

0:15:47.160 --> 0:15:47.320
<v Speaker 5>Right.

0:15:47.360 --> 0:15:49.280
<v Speaker 2>But you spend a quarter million dollars to get an

0:15:49.320 --> 0:15:51.680
<v Speaker 2>audience exposure of let's say fifty to one hundred and

0:15:51.720 --> 0:15:54.800
<v Speaker 2>fifty million people, right, that's pretty much roughly what a

0:15:54.840 --> 0:15:58.480
<v Speaker 2>record would be exposed to. That made business sense, right

0:15:58.560 --> 0:16:02.200
<v Speaker 2>because back then, you hear a record on the radio,

0:16:02.280 --> 0:16:05.640
<v Speaker 2>or you saw a music video, or you heard a

0:16:05.720 --> 0:16:07.840
<v Speaker 2>record at a party. You're like, hey, I like that record,

0:16:07.880 --> 0:16:11.240
<v Speaker 2>I like that song. Your next thing to do is

0:16:11.360 --> 0:16:15.000
<v Speaker 2>buy the fucking product. The product is a compact disc,

0:16:15.080 --> 0:16:18.120
<v Speaker 2>a vinyl, or a cassette. Right, So let's say if

0:16:18.160 --> 0:16:20.960
<v Speaker 2>you heard EI, let's go as late as two thousand,

0:16:21.240 --> 0:16:22.400
<v Speaker 2>if you heard not even Ei.

0:16:22.480 --> 0:16:24.040
<v Speaker 1>Let's say you heard Country Grammar. He's like, hey, I

0:16:24.120 --> 0:16:24.360
<v Speaker 1>like this.

0:16:25.760 --> 0:16:28.760
<v Speaker 2>It cost you ten dollars to have it. You couldn't

0:16:28.800 --> 0:16:30.720
<v Speaker 2>have it no other way. You had to wait till

0:16:30.720 --> 0:16:32.560
<v Speaker 2>the next time radio play. You didn't have it. It

0:16:32.560 --> 0:16:34.600
<v Speaker 2>wasn't yours. You had to wait for somebody else. You

0:16:34.600 --> 0:16:36.600
<v Speaker 2>had to wait for MTV to play it. It wasn't

0:16:36.600 --> 0:16:38.800
<v Speaker 2>on command. You don't have it. However, you got to

0:16:38.800 --> 0:16:40.120
<v Speaker 2>expose you had the club. You got to wait for

0:16:40.120 --> 0:16:42.320
<v Speaker 2>the DJ to play it again. Either way, you could

0:16:42.360 --> 0:16:44.880
<v Speaker 2>not have it. You have no command over it. So

0:16:44.920 --> 0:16:46.960
<v Speaker 2>the only way you could have command over it, right

0:16:47.000 --> 0:16:49.440
<v Speaker 2>p is to go down to the record store and say,

0:16:49.480 --> 0:16:53.160
<v Speaker 2>here's ten dollars. They didn't even have it for two dollars.

0:16:53.360 --> 0:16:56.960
<v Speaker 2>Like you couldn't buy Country Grammar as a single. You

0:16:57.000 --> 0:16:58.920
<v Speaker 2>had to buy Country Grammar the.

0:16:58.960 --> 0:17:02.040
<v Speaker 1>Album album right, which worked out because they cast.

0:17:01.880 --> 0:17:04.800
<v Speaker 3>Probably probably like fourteen ninety nine or somebody tell me.

0:17:05.880 --> 0:17:09.000
<v Speaker 2>So, if it's fifty to one hundred and fifty million

0:17:09.000 --> 0:17:11.040
<v Speaker 2>people exposed to let's say fifty on the light in

0:17:11.240 --> 0:17:14.359
<v Speaker 2>fifty million people that a top forty record is exposed to,

0:17:14.359 --> 0:17:19.400
<v Speaker 2>that song went top ten, right, Okay, point one percent.

0:17:19.760 --> 0:17:23.200
<v Speaker 2>Ten percent is five million, right a fifty million? Peet, Right,

0:17:24.280 --> 0:17:27.000
<v Speaker 2>A one percent is five hundred thousand. Point one percent

0:17:27.080 --> 0:17:28.520
<v Speaker 2>is fifty thousand.

0:17:28.200 --> 0:17:36.040
<v Speaker 5>Right of fifty five million, A fifty million, A fifty million, Yeah, fifty.

0:17:35.760 --> 0:17:40.800
<v Speaker 2>Million, five million is ten percent. Yeah, five hundred thousand

0:17:41.520 --> 0:17:45.320
<v Speaker 2>is one percent, and fifty thousand is point one percent.

0:17:46.240 --> 0:17:47.600
<v Speaker 3>That's five hundred thousand.

0:17:47.680 --> 0:17:50.360
<v Speaker 2>If point one percent buys a song after they hear

0:17:50.400 --> 0:17:52.560
<v Speaker 2>they like it, point one percent.

0:17:53.600 --> 0:17:56.760
<v Speaker 3>Damn, I never thought about it like that, right, So

0:17:56.880 --> 0:17:57.520
<v Speaker 3>think about it.

0:17:57.880 --> 0:18:00.360
<v Speaker 6>Fifty five hundred thousand gold in the day, right.

0:18:00.560 --> 0:18:05.159
<v Speaker 2>Ten dollars, that's five hundred thousand dollars. So if you

0:18:05.200 --> 0:18:09.040
<v Speaker 2>spent the quarter million dollars, the product could recoup that.

0:18:09.040 --> 0:18:09.600
<v Speaker 3>That's worth it.

0:18:09.640 --> 0:18:13.600
<v Speaker 2>The lord knows as it keeps building per week per week,

0:18:13.640 --> 0:18:16.200
<v Speaker 2>per week per week, and so you know, back then

0:18:17.320 --> 0:18:19.960
<v Speaker 2>it took a single to go go one single. One

0:18:20.240 --> 0:18:24.159
<v Speaker 2>hit single could take you go yeah, one hit single.

0:18:25.160 --> 0:18:27.640
<v Speaker 2>So it's like today, you know what I mean, Because

0:18:27.920 --> 0:18:30.639
<v Speaker 2>it's a different type of conversion rate, it don't have

0:18:30.760 --> 0:18:31.800
<v Speaker 2>the same value.

0:18:31.960 --> 0:18:34.160
<v Speaker 1>Like again, let's say you spend the same.

0:18:34.040 --> 0:18:37.000
<v Speaker 2>Quarter million dollars, it will probably cost you more because

0:18:37.119 --> 0:18:40.080
<v Speaker 2>radio are playing things that are not. Even the music

0:18:40.119 --> 0:18:43.359
<v Speaker 2>is current, but the conversation of the marketing, the artist,

0:18:43.840 --> 0:18:47.560
<v Speaker 2>the song topic, something has to be current just to

0:18:47.600 --> 0:18:50.080
<v Speaker 2>get you a chance for radio because they don't have

0:18:50.119 --> 0:18:53.160
<v Speaker 2>time to gamble. You know, their money comes from advertising dollars.

0:18:53.520 --> 0:18:55.200
<v Speaker 2>So let's say you was able to spend a quarter

0:18:55.240 --> 0:18:57.919
<v Speaker 2>million dollars and you was able to get exposure to

0:18:58.080 --> 0:19:03.760
<v Speaker 2>fifty million people. Same number, right, Let's say those saying

0:19:04.000 --> 0:19:09.359
<v Speaker 2>fifty thousand people go stream that song. Fifty thousand people

0:19:09.359 --> 0:19:11.120
<v Speaker 2>go stream that song. Let's say they like the song

0:19:11.160 --> 0:19:14.159
<v Speaker 2>and they stream it based off of you know, streaming

0:19:14.520 --> 0:19:17.679
<v Speaker 2>metrics is like one hundred and fifty times right, So

0:19:17.720 --> 0:19:21.920
<v Speaker 2>if it's one hundred and fifty times times one hundred

0:19:21.920 --> 0:19:27.159
<v Speaker 2>and fifty times fifty thousand people, that's seven and a

0:19:27.160 --> 0:19:29.280
<v Speaker 2>half million streams.

0:19:30.080 --> 0:19:32.600
<v Speaker 3>Right. Guess how much money? That is? Not much?

0:19:33.000 --> 0:19:35.360
<v Speaker 6>About ten grandy, not even that.

0:19:35.920 --> 0:19:40.080
<v Speaker 2>Somewhere around forty to fifty grand. Oh that mus But

0:19:40.160 --> 0:19:43.480
<v Speaker 2>I'm saying that same quarter million doesn't have the same value.

0:19:43.880 --> 0:19:45.760
<v Speaker 2>So that's why I think it's just start to get

0:19:45.840 --> 0:19:49.400
<v Speaker 2>back into tricky marketing. That's what I respect about. Even

0:19:49.400 --> 0:19:52.560
<v Speaker 2>a campaign on GNX like for them to be shooting.

0:19:52.680 --> 0:19:56.440
<v Speaker 2>They shot multiple videos. We just said it, right, they're

0:19:56.520 --> 0:19:58.840
<v Speaker 2>just basing my figuring out how they're gonna work them right.

0:19:58.880 --> 0:20:03.840
<v Speaker 1>But it's like they use the surprise tactic of nobody could.

0:20:03.640 --> 0:20:05.280
<v Speaker 3>Say, hey, Kendrick is working on music.

0:20:06.000 --> 0:20:09.080
<v Speaker 2>Yeah, God no, I'm not going to people around him, like,

0:20:09.160 --> 0:20:11.160
<v Speaker 2>I'm not gonna ask him bout no fucking music. I'm

0:20:11.240 --> 0:20:14.200
<v Speaker 2>doing my own fucking music. To talk about your music,

0:20:14.440 --> 0:20:15.360
<v Speaker 2>I'll send you some music.

0:20:15.440 --> 0:20:16.120
<v Speaker 1>What you think it is.

0:20:16.400 --> 0:20:19.320
<v Speaker 2>That'mna fuck a hard, Okay, I'm not. You don't need

0:20:19.359 --> 0:20:21.720
<v Speaker 2>me to determine if his music good. This motherfucker knows

0:20:21.720 --> 0:20:24.880
<v Speaker 2>what he's doing. So I think we have to get

0:20:24.920 --> 0:20:27.360
<v Speaker 2>back into the bag. And that's when I'm hoping GNX

0:20:27.440 --> 0:20:29.920
<v Speaker 2>really inspires, you know what I mean, people to get

0:20:29.960 --> 0:20:32.840
<v Speaker 2>back in their bag when it comes to creating completely,

0:20:33.320 --> 0:20:35.960
<v Speaker 2>not just in the records, you know what I mean,

0:20:36.000 --> 0:20:39.200
<v Speaker 2>but even how I'm going to release it, the title

0:20:39.280 --> 0:20:42.480
<v Speaker 2>of it, I mean, what culturally, what kind of cultural

0:20:42.520 --> 0:20:44.159
<v Speaker 2>relevance does the title carry?

0:20:44.640 --> 0:20:46.720
<v Speaker 3>I like that you said that let's let's stop right there,

0:20:46.760 --> 0:20:51.320
<v Speaker 3>because you got this like infinity for song titles. That like,

0:20:52.080 --> 0:20:54.240
<v Speaker 3>what kind of messed the world up a little bit more,

0:20:54.320 --> 0:20:56.160
<v Speaker 3>you know what I mean? Like, where does that come from?

0:20:56.240 --> 0:20:58.600
<v Speaker 3>Panic at the disco? You know what I'm saying.

0:20:58.600 --> 0:21:00.520
<v Speaker 1>But but what's.

0:21:00.359 --> 0:21:05.399
<v Speaker 2>Funny is, bro, It's like we were just having the

0:21:05.440 --> 0:21:07.760
<v Speaker 2>same conversation, Pete. I shared with you the same way.

0:21:09.000 --> 0:21:11.560
<v Speaker 2>When you look at how music is being like how

0:21:11.600 --> 0:21:15.359
<v Speaker 2>people are discovering music when it's just music, not when

0:21:15.440 --> 0:21:18.760
<v Speaker 2>it's on Instagram and there's a dance happening. I mean,

0:21:18.800 --> 0:21:21.240
<v Speaker 2>that's how I discover a lot of music. The dance

0:21:21.280 --> 0:21:25.679
<v Speaker 2>everybody's doing. Okay, damn, everybody doing the same dance. Damn, Okay.

0:21:25.760 --> 0:21:28.440
<v Speaker 2>That's how I'm being introduced to music. But if I'm

0:21:28.480 --> 0:21:31.600
<v Speaker 2>going on a playlist and I'm being introduced to music,

0:21:31.880 --> 0:21:32.200
<v Speaker 2>you know.

0:21:32.200 --> 0:21:35.399
<v Speaker 1>It's tiny the picture. You know what's tiny the artist.

0:21:36.040 --> 0:21:37.320
<v Speaker 3>The only thing on.

0:21:37.160 --> 0:21:40.120
<v Speaker 2>That line that's big, especially if it's in the playlist,

0:21:40.359 --> 0:21:41.520
<v Speaker 2>is the title of the song.

0:21:42.320 --> 0:21:44.240
<v Speaker 5>So I have if you even have the opportunity to

0:21:44.240 --> 0:21:46.040
<v Speaker 5>look at your device, if you're in the car, you're

0:21:46.040 --> 0:21:47.880
<v Speaker 5>at the gym, whatever the hell, you might not even

0:21:47.920 --> 0:21:48.800
<v Speaker 5>get to the device.

0:21:49.200 --> 0:21:52.200
<v Speaker 2>So if you look at the title right on the playlist,

0:21:52.720 --> 0:21:54.760
<v Speaker 2>only excuse me, if you're looking at the songs on

0:21:54.800 --> 0:21:57.120
<v Speaker 2>the playlist, all you see big is the titles.

0:21:57.400 --> 0:22:00.240
<v Speaker 1>So I have to create a title right.

0:22:00.160 --> 0:22:00.800
<v Speaker 3>That is so.

0:22:03.200 --> 0:22:04.360
<v Speaker 1>Like, I don't do clickbait.

0:22:04.400 --> 0:22:07.240
<v Speaker 2>It's not rooted in like misleading you. It's to give

0:22:07.280 --> 0:22:10.600
<v Speaker 2>you an oh okay. When we started making Kanye Shit

0:22:10.680 --> 0:22:13.360
<v Speaker 2>have never married that bit, the idea was pretty much,

0:22:13.400 --> 0:22:15.520
<v Speaker 2>you can't turn a hole into the HOUSEWIFD. That's the song.

0:22:16.600 --> 0:22:18.679
<v Speaker 2>So when we start working on it, I'm finishing it up.

0:22:18.680 --> 0:22:21.719
<v Speaker 2>I'm letting the record be the record. I'm not taking

0:22:21.800 --> 0:22:25.439
<v Speaker 2>marketing into the record. I'm letting the record be the record. Right,

0:22:25.480 --> 0:22:28.000
<v Speaker 2>we was working on it and I'm looking at it,

0:22:28.080 --> 0:22:31.480
<v Speaker 2>I'm like, damn, okay, that bitch belonged to the streets. People,

0:22:31.600 --> 0:22:36.159
<v Speaker 2>that's so coach, really, dence bro, that's so coarse that

0:22:36.280 --> 0:22:37.960
<v Speaker 2>people don't even know what that means.

0:22:39.200 --> 0:22:42.360
<v Speaker 1>She belonged to the streets. Who belongs to the streets?

0:22:42.400 --> 0:22:43.720
<v Speaker 1>Why do they belong to the streets?

0:22:43.800 --> 0:22:47.160
<v Speaker 2>So what I realized on that title was like, what's

0:22:47.200 --> 0:22:49.600
<v Speaker 2>the big example of going wrong if you marry the

0:22:49.640 --> 0:22:54.359
<v Speaker 2>wrong woman. That's how I came to that conclusion. And again,

0:22:54.440 --> 0:22:56.800
<v Speaker 2>panic at the disco, they already did this. Rest in

0:22:56.840 --> 0:23:00.159
<v Speaker 2>Peace to extent on he did this different people at

0:23:00.200 --> 0:23:01.639
<v Speaker 2>these titles that.

0:23:01.560 --> 0:23:04.800
<v Speaker 1>Were really long, and it drums up.

0:23:04.880 --> 0:23:07.080
<v Speaker 2>That's the only way marketing is about creating a story,

0:23:07.160 --> 0:23:09.680
<v Speaker 2>So you need a drum up interest in the content.

0:23:10.280 --> 0:23:13.600
<v Speaker 2>So it's like, Okay, what's the big example of somebody

0:23:13.640 --> 0:23:15.320
<v Speaker 2>that thought they could turn a home to housewife?

0:23:16.200 --> 0:23:16.960
<v Speaker 3>Who would you know?

0:23:17.960 --> 0:23:19.600
<v Speaker 1>That's how I came over with it.

0:23:19.600 --> 0:23:22.520
<v Speaker 2>It's like, Okay, this is it, and then I just

0:23:22.560 --> 0:23:24.760
<v Speaker 2>made sure at the end Kanye West should have never

0:23:24.840 --> 0:23:28.320
<v Speaker 2>married that bitch that's the song that is right. So

0:23:28.400 --> 0:23:30.639
<v Speaker 2>that's the thing in parentheses that Kanye West should have

0:23:30.640 --> 0:23:33.520
<v Speaker 2>never married is in parentheses that bitch is the main song.

0:23:34.160 --> 0:23:34.760
<v Speaker 3>So it's like.

0:23:36.600 --> 0:23:42.320
<v Speaker 2>Again getting back into really hip hop and innovative marketing.

0:23:42.600 --> 0:23:44.360
<v Speaker 2>Culture is driven by innovation.

0:23:46.080 --> 0:23:46.280
<v Speaker 3>You know.

0:23:46.680 --> 0:23:49.720
<v Speaker 2>Pete always talks about it like the need for something.

0:23:50.080 --> 0:23:57.600
<v Speaker 2>Slang is the need to communicate. No, I do have

0:23:57.680 --> 0:23:59.880
<v Speaker 2>a genuine fear of where hip hop is right now

0:24:00.080 --> 0:24:04.200
<v Speaker 2>because there is no pride in poverty. Pride in poverty

0:24:04.240 --> 0:24:07.439
<v Speaker 2>to me is the number one thing bro that drives

0:24:07.520 --> 0:24:11.760
<v Speaker 2>hip hop. That's what drives the culture. Like Okay, I

0:24:11.800 --> 0:24:14.880
<v Speaker 2>got these work pants, like my mom can't afford no pants.

0:24:14.880 --> 0:24:18.360
<v Speaker 2>So I got these pants that they wear to the factories, dickies.

0:24:18.359 --> 0:24:21.320
<v Speaker 2>I have these dickies. Yeah, like you know, yeah, I

0:24:21.320 --> 0:24:23.040
<v Speaker 2>could be sad. Let me just put them on. So

0:24:23.080 --> 0:24:25.680
<v Speaker 2>I'm wearing pants at school. No, no, no, I'm gonna

0:24:25.720 --> 0:24:27.560
<v Speaker 2>take a pride and I'm gonna put a crease in

0:24:27.600 --> 0:24:32.160
<v Speaker 2>these motherfuckers. I'm gonna starts them motherfuckers down an put

0:24:32.160 --> 0:24:34.480
<v Speaker 2>a crease in them, cuffed to bottom, you know, I mean,

0:24:34.520 --> 0:24:37.560
<v Speaker 2>I could be that. I got these twelve dollars shoes,

0:24:37.560 --> 0:24:42.200
<v Speaker 2>these Converse all Stars. Yeah, these cheap No no, no, no,

0:24:42.400 --> 0:24:44.399
<v Speaker 2>I'm gonna go get these dollar laces.

0:24:44.760 --> 0:24:46.280
<v Speaker 3>Right, I'm gonna put these big laces.

0:24:46.359 --> 0:24:49.800
<v Speaker 2>I'm gonna flip my tongue down, and I'm finna rock these.

0:24:50.119 --> 0:24:52.600
<v Speaker 2>That's where culture comes from, you know.

0:24:52.680 --> 0:24:55.399
<v Speaker 3>It's like I got a picture like that, me and

0:24:55.440 --> 0:24:58.040
<v Speaker 3>my NPC on the railroad tracks, and I got all

0:24:58.480 --> 0:25:03.200
<v Speaker 3>chucks and a thermal fat lace's tongue flipped down. Oh yeah,

0:25:03.240 --> 0:25:05.880
<v Speaker 3>you gotta you gotta wear the clothes, let the cloth

0:25:06.240 --> 0:25:09.320
<v Speaker 3>you exactly. So people think Dicki's is the culture. Now,

0:25:09.320 --> 0:25:11.359
<v Speaker 3>it's not the crease and the cof of the culture.

0:25:11.440 --> 0:25:13.239
<v Speaker 3>You think all Stars is the culture. It's not.

0:25:13.480 --> 0:25:15.560
<v Speaker 2>It's the fat laces in the tongue flip. It's a

0:25:15.760 --> 0:25:18.240
<v Speaker 2>pride and like, yeah, this don't cost much, but look

0:25:18.280 --> 0:25:21.560
<v Speaker 2>at me rocking this shit. Fuck It ain't the pendleton.

0:25:21.760 --> 0:25:26.119
<v Speaker 2>It's when you leave them buttons open and that motherfucker. Yeah,

0:25:26.320 --> 0:25:28.399
<v Speaker 2>it don't cost nothing, but you see me rocking it.

0:25:28.440 --> 0:25:32.480
<v Speaker 2>And people can feel the pride in that, and even

0:25:32.520 --> 0:25:36.320
<v Speaker 2>people with money want a piece of it. Be like, yo,

0:25:36.480 --> 0:25:38.879
<v Speaker 2>how the fuck could them people be that pride?

0:25:38.880 --> 0:25:42.040
<v Speaker 1>Think about the concept of a low rider culture. This

0:25:42.080 --> 0:25:44.840
<v Speaker 1>is an old car. Remember, it's not the shit.

0:25:44.680 --> 0:25:48.200
<v Speaker 2>When you have the most expensive version, the coolest version

0:25:48.240 --> 0:25:51.960
<v Speaker 2>of the Impollo Pete is the base model. If you

0:25:52.080 --> 0:25:55.160
<v Speaker 2>got bucket seats, your car is worthless on the low

0:25:55.240 --> 0:25:58.439
<v Speaker 2>ride seam a supersport you know, factory. If you go

0:25:58.520 --> 0:26:00.280
<v Speaker 2>to the factory and you order a super sports that

0:26:00.560 --> 0:26:03.679
<v Speaker 2>all the accessories, that costs you a shipload of money.

0:26:03.880 --> 0:26:05.920
<v Speaker 2>But today that's not worth nothing. You don't even want

0:26:05.920 --> 0:26:09.719
<v Speaker 2>bucket seaton your low rocker. You want the standard based

0:26:09.760 --> 0:26:14.440
<v Speaker 2>model and Palla based shit bitch staring wheels.

0:26:15.000 --> 0:26:17.280
<v Speaker 1>None of that other shit matter. And that's what you cut.

0:26:17.280 --> 0:26:20.080
<v Speaker 2>And that's the value because it's the same thing with

0:26:20.160 --> 0:26:24.399
<v Speaker 2>the cuisine. If you start putting you know, rebbi and

0:26:24.440 --> 0:26:28.080
<v Speaker 2>fucking tacos, why would you do that? Who the fuck

0:26:29.320 --> 0:26:31.359
<v Speaker 2>lock the taste of a fucking ribi with a tor.

0:26:32.760 --> 0:26:35.119
<v Speaker 5>I mean, and any any idiot can cook the best

0:26:35.119 --> 0:26:38.320
<v Speaker 5>piece of meat on a cow except steal. I just

0:26:38.359 --> 0:26:41.240
<v Speaker 5>said that purely to take a shot of steel. The

0:26:41.280 --> 0:26:42.040
<v Speaker 5>rest of it.

0:26:42.280 --> 0:26:44.080
<v Speaker 2>I was looking at something dope and they was talking

0:26:44.119 --> 0:26:45.760
<v Speaker 2>about it. I wanted to send it to you, but

0:26:45.760 --> 0:26:49.000
<v Speaker 2>I forgot to. But they were talking about how people

0:26:49.480 --> 0:26:51.879
<v Speaker 2>had to overcook their food because it was the worst food.

0:26:52.280 --> 0:26:54.760
<v Speaker 2>And we was telling still this. We was like, like,

0:26:54.880 --> 0:26:57.800
<v Speaker 2>gravy is cultural because it's like you're taking the worst

0:26:57.800 --> 0:26:59.960
<v Speaker 2>of something and then making something to bring it.

0:27:00.040 --> 0:27:04.960
<v Speaker 6>A bell curve and cooking meat like it starts off

0:27:05.800 --> 0:27:06.439
<v Speaker 6>to chewing.

0:27:06.440 --> 0:27:08.280
<v Speaker 5>You cook it a little bit against soft for bridge,

0:27:08.320 --> 0:27:09.720
<v Speaker 5>and then you you know, I throw piece of meat.

0:27:09.920 --> 0:27:12.320
<v Speaker 5>You cook it and it gets real tough, and then

0:27:12.400 --> 0:27:14.720
<v Speaker 5>you keep cooking it and it breaks back down again.

0:27:15.440 --> 0:27:17.440
<v Speaker 2>That's a good point, you know what I mean, It's

0:27:17.480 --> 0:27:20.760
<v Speaker 2>actually really great. That's how you make it.

0:27:20.760 --> 0:27:21.440
<v Speaker 3>Like a brisket.

0:27:22.760 --> 0:27:25.040
<v Speaker 5>Yeah, anything slow cooked and long cooked and all those

0:27:25.040 --> 0:27:27.240
<v Speaker 5>are bad pieces of meat, even like if you take

0:27:27.320 --> 0:27:31.119
<v Speaker 5>like skirt steak for you never chew your jaw tired

0:27:31.160 --> 0:27:34.000
<v Speaker 5>eating cans out of tacos, But if you cook it

0:27:34.080 --> 0:27:34.760
<v Speaker 5>less you will.

0:27:35.240 --> 0:27:41.080
<v Speaker 2>Yeah, damn you gotta find a perfect spot. So hip

0:27:41.119 --> 0:27:44.920
<v Speaker 2>hop is driven by that pride in that poverty, you

0:27:44.960 --> 0:27:48.880
<v Speaker 2>know what I mean? And what I what I did

0:27:48.920 --> 0:27:51.240
<v Speaker 2>appreciate about gm X, even in the place to where

0:27:51.280 --> 0:27:54.760
<v Speaker 2>he had endless resources, he still figured out a way

0:27:54.760 --> 0:27:58.640
<v Speaker 2>to simplify the challenge, Like he didn't overdo it.

0:27:59.000 --> 0:28:00.439
<v Speaker 3>Yeah, I mean.

0:28:00.320 --> 0:28:04.159
<v Speaker 2>And I think less is more like he I appreciate

0:28:04.240 --> 0:28:06.520
<v Speaker 2>he trusted himself enough to be enough.

0:28:07.560 --> 0:28:10.320
<v Speaker 1>Yeah, I appreciate it. It he trusted himself to make whatever

0:28:10.480 --> 0:28:12.600
<v Speaker 1>is cool cool to everybody.

0:28:12.880 --> 0:28:14.760
<v Speaker 3>We was dope about it too. Is like the approach

0:28:14.800 --> 0:28:17.600
<v Speaker 3>of like you said, sonically right, like it feels like

0:28:18.680 --> 0:28:21.720
<v Speaker 3>the feels like Compton sonically. And to be able to

0:28:21.720 --> 0:28:24.040
<v Speaker 3>take the approach he's taken on these records, the TV

0:28:24.160 --> 0:28:27.080
<v Speaker 3>off records and the squabble ups and not like us

0:28:27.119 --> 0:28:30.560
<v Speaker 3>to make it feel like the more modern West, you

0:28:30.600 --> 0:28:33.760
<v Speaker 3>know what I mean, Like the uptempo vibe and kind

0:28:33.760 --> 0:28:36.200
<v Speaker 3>of cadence is a little out of pocket a little bit,

0:28:36.280 --> 0:28:38.080
<v Speaker 3>you know what I mean, and just being able to

0:28:38.120 --> 0:28:41.160
<v Speaker 3>do that, he just he's at a comfort level right

0:28:41.200 --> 0:28:45.360
<v Speaker 3>now that I haven't seen in a while. Oro hip

0:28:45.360 --> 0:28:49.040
<v Speaker 3>hop is still a party. It's very festive. Yeah, it

0:28:49.080 --> 0:28:50.040
<v Speaker 3>has spread out.

0:28:49.840 --> 0:28:50.440
<v Speaker 1>To be more.

0:28:51.120 --> 0:28:53.840
<v Speaker 2>But even the thing that we timestamp and we say, oh,

0:28:53.920 --> 0:28:56.400
<v Speaker 2>hip hop is fifty one years is because we're talking

0:28:56.440 --> 0:28:59.440
<v Speaker 2>specifically about a party. So to put out a song

0:28:59.560 --> 0:29:01.960
<v Speaker 2>like watch party died and then come back and redefine

0:29:02.000 --> 0:29:08.320
<v Speaker 2>the party in my own image, crazy shit fire. I'm

0:29:08.440 --> 0:29:10.400
<v Speaker 2>so impressed. And I told him, and I know he

0:29:10.600 --> 0:29:14.240
<v Speaker 2>like g tripping, but I'm not. I know when something

0:29:14.360 --> 0:29:19.120
<v Speaker 2>is good. I know when something is right, Like thank god,

0:29:19.200 --> 0:29:20.840
<v Speaker 2>you know what I mean, Like this thing saved my

0:29:20.880 --> 0:29:22.480
<v Speaker 2>life when I was able to go through this like

0:29:22.600 --> 0:29:26.640
<v Speaker 2>rabbit hole of finding good stuff, you know what I mean.

0:29:26.800 --> 0:29:31.040
<v Speaker 2>It's like this shit is amazing and I'm just so impressed.

0:29:31.080 --> 0:29:33.200
<v Speaker 2>It's like as good as a record I've ever heard

0:29:33.280 --> 0:29:36.080
<v Speaker 2>from hip hop parties like your kid madd City. For me,

0:29:36.280 --> 0:29:39.040
<v Speaker 2>was like, oh, this is as good as this is

0:29:39.040 --> 0:29:42.240
<v Speaker 2>better than a lot of shit today. Yeah, this could

0:29:42.240 --> 0:29:44.440
<v Speaker 2>be the best thing today. But like when I was

0:29:44.480 --> 0:29:46.479
<v Speaker 2>compared to like the chronic I'm like, nah, it's not

0:29:46.520 --> 0:29:48.120
<v Speaker 2>like that. It ain't dog styff.

0:29:48.240 --> 0:29:50.440
<v Speaker 3>It was impressive too, because he was telling stories that

0:29:50.480 --> 0:29:52.560
<v Speaker 3>reminded me of my childhood, and I know I was

0:29:52.560 --> 0:29:55.040
<v Speaker 3>way older suretelling was.

0:29:55.080 --> 0:29:59.280
<v Speaker 2>The dialogue Grove the car, you know, and again you

0:29:59.280 --> 0:30:01.320
<v Speaker 2>can see him as quality MC at that point.

0:30:01.400 --> 0:30:03.480
<v Speaker 3>Even in a songwriter, he was already like ahead of

0:30:03.520 --> 0:30:06.200
<v Speaker 3>the curve. But this shit right.

0:30:06.080 --> 0:30:10.479
<v Speaker 2>Here, it's like a nonchalant is like, yeah, I know,

0:30:10.560 --> 0:30:11.200
<v Speaker 2>I'm that shit.

0:30:11.360 --> 0:30:14.080
<v Speaker 3>Even his like when you say nonchalant or just remind

0:30:14.120 --> 0:30:17.680
<v Speaker 3>me one of the scenes in the Squabble Up video,

0:30:17.960 --> 0:30:20.680
<v Speaker 3>he's so nonchalant his energy, like when he said something

0:30:20.720 --> 0:30:24.760
<v Speaker 3>about homie popping and he just like barely even saying it, like.

0:30:24.040 --> 0:30:26.440
<v Speaker 1>Like Nigga y'all said, but but me in here talk

0:30:26.480 --> 0:30:26.840
<v Speaker 1>about this.

0:30:26.840 --> 0:30:27.800
<v Speaker 3>Shout out the DJ head.

0:30:29.720 --> 0:30:32.520
<v Speaker 2>We talk about this a lot of what happened to

0:30:32.600 --> 0:30:35.840
<v Speaker 2>hip hop in two thousand and nine, right, Pete. If

0:30:35.880 --> 0:30:38.080
<v Speaker 2>you go to these concerts, these kids got to bounce

0:30:38.120 --> 0:30:42.960
<v Speaker 2>around because the music don't have that, they don't have

0:30:43.080 --> 0:30:45.840
<v Speaker 2>a festive energy. They're creating it. So they jump on stage.

0:30:45.840 --> 0:30:48.320
<v Speaker 2>You get the bouncing and the crowd follow um yeah,

0:30:48.480 --> 0:30:49.720
<v Speaker 2>this type of shit right here.

0:30:49.880 --> 0:30:52.480
<v Speaker 1>Yeah, this is going to pull it out no matter what.

0:30:53.040 --> 0:30:54.280
<v Speaker 3>You don't got to do nothing.

0:30:54.960 --> 0:30:58.320
<v Speaker 2>This energy and the sonics carry it and it infects

0:30:58.400 --> 0:31:02.200
<v Speaker 2>humans and it brings out of festive energy. And that's

0:31:02.240 --> 0:31:04.320
<v Speaker 2>what I think. You know, he don't need to be

0:31:05.120 --> 0:31:08.160
<v Speaker 2>over the top. It's like, you know, just let this

0:31:08.240 --> 0:31:11.680
<v Speaker 2>thing go with and the music is gonna do the work.

0:31:11.760 --> 0:31:14.160
<v Speaker 3>I find myself driving with my knees a lot because

0:31:14.200 --> 0:31:16.000
<v Speaker 3>I just got to when I'm listening to it, I'm

0:31:16.040 --> 0:31:17.680
<v Speaker 3>just in that mode. You feel me like, I'm like,

0:31:17.800 --> 0:31:19.200
<v Speaker 3>damn man, that energy.

0:31:19.520 --> 0:31:22.200
<v Speaker 1>And I think he did a great job.

0:31:22.200 --> 0:31:24.880
<v Speaker 2>It's so many things that I appreciate about how they

0:31:24.920 --> 0:31:27.520
<v Speaker 2>wrote this record out. And the record's gonna do well.

0:31:27.560 --> 0:31:30.000
<v Speaker 2>They're gonna start marketing the songs to radio. They already

0:31:30.040 --> 0:31:31.880
<v Speaker 2>doing it. I mean, it's gonna be a lot of

0:31:31.920 --> 0:31:36.000
<v Speaker 2>records on this album that's going to perform. You know, again,

0:31:37.080 --> 0:31:39.959
<v Speaker 2>the audience that's a streaming, it's not the same audience

0:31:40.000 --> 0:31:43.200
<v Speaker 2>at radio, yep, you know what I mean. Those are

0:31:43.200 --> 0:31:46.000
<v Speaker 2>not necessarily the same audience. Yeah, they do intersect right

0:31:46.000 --> 0:31:49.360
<v Speaker 2>people there since they're not the same audience. So like

0:31:49.440 --> 0:31:53.120
<v Speaker 2>right now, we're looking at more reactions from just streaming

0:31:53.120 --> 0:31:56.640
<v Speaker 2>people that stream music. But man, when it finally gets

0:31:56.640 --> 0:32:00.200
<v Speaker 2>to radio and those records get a chance to perform

0:32:00.200 --> 0:32:02.920
<v Speaker 2>and it start to carry the weight of radio stations

0:32:02.960 --> 0:32:05.959
<v Speaker 2>and keep people tuned in, and they're playing these songs,

0:32:06.000 --> 0:32:08.200
<v Speaker 2>you know, because they're making their advertisement dollars and they're

0:32:08.200 --> 0:32:10.240
<v Speaker 2>playing all these songs, and these songs are starting to

0:32:10.280 --> 0:32:12.680
<v Speaker 2>infect regular mainstream America.

0:32:12.720 --> 0:32:17.400
<v Speaker 1>This album hasn't really hit mainstream America yet. It's still

0:32:17.560 --> 0:32:18.640
<v Speaker 1>three four weeks.

0:32:18.360 --> 0:32:19.880
<v Speaker 3>In wait till February.

0:32:20.080 --> 0:32:20.520
<v Speaker 1>You know what I mean.

0:32:20.560 --> 0:32:23.520
<v Speaker 2>When you get you know, by Jane February, open radio

0:32:23.600 --> 0:32:27.400
<v Speaker 2>back up and they super Bowl records.

0:32:27.920 --> 0:32:29.440
<v Speaker 1>Then he catapults himself.

0:32:29.440 --> 0:32:32.800
<v Speaker 2>These records are going to really move this album into

0:32:32.840 --> 0:32:33.680
<v Speaker 2>a different space.

0:32:36.360 --> 0:32:38.080
<v Speaker 3>I got a question for you guys.

0:32:38.560 --> 0:32:40.520
<v Speaker 5>The one thing that was so interesting to me about

0:32:40.560 --> 0:32:45.400
<v Speaker 5>this album and the greater like scope or arc of

0:32:45.840 --> 0:32:50.040
<v Speaker 5>his other albums through time, it's almost like a reverse progression.

0:32:50.120 --> 0:32:52.479
<v Speaker 5>It feels like it, you know, when people have their

0:32:52.520 --> 0:32:54.640
<v Speaker 5>first album and it comes out as a smash, You

0:32:54.760 --> 0:32:57.800
<v Speaker 5>really feel like kind of the newness.

0:32:57.360 --> 0:32:59.680
<v Speaker 6>The rawness, the freshness of where the guy's coming from.

0:32:59.680 --> 0:33:03.239
<v Speaker 5>All it has that first album energy, and usually the

0:33:03.280 --> 0:33:04.560
<v Speaker 5>other albums after that.

0:33:04.560 --> 0:33:07.440
<v Speaker 6>Are more rhetorical, they're more produced and more whatever.

0:33:08.280 --> 0:33:10.640
<v Speaker 5>This is not his first, it captures that like a

0:33:10.680 --> 0:33:13.000
<v Speaker 5>first album to me, which I thought was interesting relative

0:33:13.040 --> 0:33:13.680
<v Speaker 5>to the other ones.

0:33:14.720 --> 0:33:15.600
<v Speaker 3>You know what point?

0:33:16.200 --> 0:33:19.760
<v Speaker 2>Yeah, but the great artists figure out a way to

0:33:19.800 --> 0:33:23.520
<v Speaker 2>do that. Yeah, he joined, he joins a he joins

0:33:23.560 --> 0:33:26.000
<v Speaker 2>a party of very few guys on the West.

0:33:26.360 --> 0:33:30.680
<v Speaker 1>Snoop dogg Ice cues with ice Cube was able to

0:33:30.720 --> 0:33:31.360
<v Speaker 1>recreate with.

0:33:31.320 --> 0:33:34.920
<v Speaker 2>Bout Down and West Side Connection, when Snoop was able

0:33:34.960 --> 0:33:39.120
<v Speaker 2>to recreate with the Last Meal, what Dre was able

0:33:39.120 --> 0:33:41.960
<v Speaker 2>to create with two thousand and one, what E forty

0:33:42.000 --> 0:33:44.160
<v Speaker 2>was able to create with My Ghetto report Card, when

0:33:44.200 --> 0:33:46.080
<v Speaker 2>Too Short was able to recreate with A.

0:33:47.280 --> 0:33:49.000
<v Speaker 1>I forgot which record it is? Which album?

0:33:49.000 --> 0:33:49.440
<v Speaker 3>Forgive me?

0:33:49.560 --> 0:33:52.720
<v Speaker 2>Sure he got like seventeen or was it was a

0:33:52.800 --> 0:33:56.800
<v Speaker 2>second one that was like that revitalized, It did something different.

0:33:57.480 --> 0:34:00.920
<v Speaker 2>It wasn't a build as much as it was a restart. Yeah,

0:34:02.840 --> 0:34:05.160
<v Speaker 2>alreadist make this happen.

0:34:06.280 --> 0:34:09.840
<v Speaker 3>Especially this many albums in, Yeah, yeah, just many albums in.

0:34:09.880 --> 0:34:12.080
<v Speaker 3>It's tough. And shout out to butter Man. That's who

0:34:12.080 --> 0:34:15.359
<v Speaker 3>taught me how to make beats. Man do yeah, west

0:34:15.400 --> 0:34:17.600
<v Speaker 3>Side Connection three card Mally.

0:34:17.800 --> 0:34:19.279
<v Speaker 1>My favorite ice Q album is war.

0:34:19.680 --> 0:34:25.640
<v Speaker 3>Oh yeah, that Bud put an NPC. Early in my career,

0:34:25.680 --> 0:34:27.600
<v Speaker 3>I was just getting started. I was probably like nineteen

0:34:27.840 --> 0:34:31.080
<v Speaker 3>and I was giving up basketball. I was chilling them

0:34:31.080 --> 0:34:33.279
<v Speaker 3>at Buzzs house. He had a big old mansion in

0:34:33.360 --> 0:34:36.120
<v Speaker 3>north Ridge. He young, you know, Buzz was like twenty

0:34:36.160 --> 0:34:38.560
<v Speaker 3>six at the time, and he had this big mansion

0:34:38.560 --> 0:34:40.080
<v Speaker 3>that he stayed in by hisself. And he was like,

0:34:40.280 --> 0:34:42.200
<v Speaker 3>come stay with me. We're gonna do your record or whatever.

0:34:42.800 --> 0:34:44.560
<v Speaker 3>And I was really interested in making beat. I used

0:34:44.560 --> 0:34:46.080
<v Speaker 3>to always watch him make beats. And he put an

0:34:46.120 --> 0:34:48.640
<v Speaker 3>NPC two thousand and set it up, set it up

0:34:48.640 --> 0:34:51.920
<v Speaker 3>a little eight track recorder and gave me just like

0:34:51.960 --> 0:34:54.319
<v Speaker 3>a whole bunch of records. So taught me how to

0:34:54.360 --> 0:34:57.040
<v Speaker 3>sample from there, like watching him and knowing what he

0:34:57.080 --> 0:35:00.719
<v Speaker 3>had done, and then you know, him putting NPC in

0:35:00.760 --> 0:35:03.160
<v Speaker 3>front of me. That's if he had never done that,

0:35:03.200 --> 0:35:05.520
<v Speaker 3>I would have never learned how to produce at all.

0:35:05.640 --> 0:35:08.520
<v Speaker 3>So shout out to my brother Man. But that's really

0:35:08.520 --> 0:35:10.640
<v Speaker 3>dopey man.

0:35:10.600 --> 0:35:17.040
<v Speaker 2>Cole, and it's dope to watch him become a producer too. Yeah,

0:35:17.320 --> 0:35:18.640
<v Speaker 2>I got produced five.

0:35:18.440 --> 0:35:20.399
<v Speaker 3>Or six songs on this album. I saw his name

0:35:20.440 --> 0:35:20.920
<v Speaker 3>on there.

0:35:21.400 --> 0:35:24.160
<v Speaker 1>And I know what he's doing. Like, that's why you

0:35:24.280 --> 0:35:25.080
<v Speaker 1>starting to meet it.

0:35:25.160 --> 0:35:29.120
<v Speaker 2>Hear the sonics of him coming out, the Compton, the

0:35:29.160 --> 0:35:30.759
<v Speaker 2>little Compton duty is coming out.

0:35:30.880 --> 0:35:34.080
<v Speaker 3>Once you do that as an artist, everything changed. I

0:35:34.080 --> 0:35:36.320
<v Speaker 3>thought that with the Royce album when he was producing

0:35:36.320 --> 0:35:39.479
<v Speaker 3>his own I was like, it's a game changer because

0:35:39.520 --> 0:35:42.279
<v Speaker 3>now you know you can create your own feel. I

0:35:42.360 --> 0:35:44.040
<v Speaker 3>knew that was gonna happen with you a couple of

0:35:44.120 --> 0:35:46.560
<v Speaker 3>years ago because we was having the conversations and you

0:35:47.160 --> 0:35:50.080
<v Speaker 3>studying baselines and stuff like that, we'll get out the phone.

0:35:50.120 --> 0:35:53.080
<v Speaker 3>I'm like, oh yeah, he going into a stratosphere right

0:35:53.080 --> 0:35:54.160
<v Speaker 3>now for me.

0:35:54.440 --> 0:35:56.600
<v Speaker 2>For me, and it's hard because my career is not

0:35:56.719 --> 0:35:59.800
<v Speaker 2>at the mainstream level to where but like White Lightning

0:35:59.880 --> 0:36:01.680
<v Speaker 2>is one thing, but when you hear Glasshouse too, you

0:36:01.680 --> 0:36:05.240
<v Speaker 2>can hear like a different energy that never existed before. Yeah,

0:36:05.280 --> 0:36:07.200
<v Speaker 2>So it's like I look at my career like in

0:36:07.239 --> 0:36:11.319
<v Speaker 2>comparatives to like when when Dot like Glasshouse two was

0:36:11.360 --> 0:36:13.720
<v Speaker 2>like when I really like damn, when I start learning

0:36:13.760 --> 0:36:18.440
<v Speaker 2>sonics like before that, I used dialogue to carry everything.

0:36:18.480 --> 0:36:21.960
<v Speaker 2>Why Lightning this dialogue Guido. Shout out to Guedo, my

0:36:22.000 --> 0:36:24.239
<v Speaker 2>first engineer. He knew production so he could make all

0:36:24.320 --> 0:36:27.560
<v Speaker 2>that shit work together. But Dialogue carried everything at the

0:36:27.600 --> 0:36:31.879
<v Speaker 2>beginning of my career and then Glasshouse two, like Damn

0:36:32.000 --> 0:36:35.440
<v Speaker 2>is when I started learning sonics, like, oh, this is

0:36:35.480 --> 0:36:37.680
<v Speaker 2>the thing. But by the time I got to cancel

0:36:37.800 --> 0:36:40.040
<v Speaker 2>and this album that's coming out, which is one ten,

0:36:40.640 --> 0:36:42.240
<v Speaker 2>there's one ten, I'm custom culture.

0:36:42.360 --> 0:36:46.319
<v Speaker 1>Like now you can see like it's.

0:36:45.840 --> 0:36:48.160
<v Speaker 2>Like my own GenX where it's like, Okay, not only

0:36:48.200 --> 0:36:50.520
<v Speaker 2>do I own a sonic space, not only do I

0:36:50.600 --> 0:36:51.920
<v Speaker 2>understand my place and the.

0:36:51.840 --> 0:36:54.720
<v Speaker 1>Culture, but here's everything together, including marketing.

0:36:55.160 --> 0:36:58.440
<v Speaker 2>Here is the This is my presentation of what I've

0:36:58.480 --> 0:37:02.000
<v Speaker 2>been going through over the last roughly fourteen years as

0:37:02.040 --> 0:37:08.120
<v Speaker 2>a creative, and I could relate to what's happening for him,

0:37:08.360 --> 0:37:10.279
<v Speaker 2>you know what I'm saying as a creative, And I

0:37:10.280 --> 0:37:13.120
<v Speaker 2>could see it in different times of different artist's career too.

0:37:13.600 --> 0:37:15.160
<v Speaker 3>Like a jay Z you know what I mean.

0:37:15.400 --> 0:37:17.360
<v Speaker 1>I like, remember.

0:37:17.120 --> 0:37:20.080
<v Speaker 2>Rockefeller doesn't have its own sound from ninety six to

0:37:20.080 --> 0:37:23.360
<v Speaker 2>two thousand and one, so they're just competing against everybody

0:37:23.400 --> 0:37:28.120
<v Speaker 2>with kind of the same tools everybody has until just

0:37:28.200 --> 0:37:30.719
<v Speaker 2>Blaze arrives at the level that he's at kind of

0:37:30.760 --> 0:37:34.000
<v Speaker 2>west shut out the being who inspired the sound, you

0:37:34.040 --> 0:37:35.759
<v Speaker 2>know what I'm saying of Blueprint.

0:37:35.760 --> 0:37:37.239
<v Speaker 1>But like, now, guess what.

0:37:37.400 --> 0:37:40.719
<v Speaker 2>Now you can have Rockefeller breaking other acts because they

0:37:40.760 --> 0:37:45.719
<v Speaker 2>have a sound that people identify as Rockefeller. They identify

0:37:45.840 --> 0:37:48.680
<v Speaker 2>this sound as Rockefeller. Now you can get Cameron into

0:37:48.719 --> 0:37:54.160
<v Speaker 2>the top ten. Now you could get Beans way further

0:37:54.239 --> 0:37:56.400
<v Speaker 2>than he's ever been. Now you could you know, you

0:37:56.400 --> 0:38:00.080
<v Speaker 2>could break out. Your producer can turn into the it

0:38:00.160 --> 0:38:02.279
<v Speaker 2>gets act to ever come from the label outside of

0:38:02.320 --> 0:38:06.520
<v Speaker 2>the main act jay Z right Kanye. So it's a

0:38:06.520 --> 0:38:12.120
<v Speaker 2>combination of both. But more than anything, man, it's the

0:38:12.160 --> 0:38:14.480
<v Speaker 2>most impressive thing is not just the music, but it's

0:38:14.520 --> 0:38:17.880
<v Speaker 2>also and this goes into what makes it something a classic,

0:38:19.239 --> 0:38:19.680
<v Speaker 2>you know what I mean?

0:38:19.719 --> 0:38:22.040
<v Speaker 3>Like this can be looked at as a different type.

0:38:21.880 --> 0:38:24.760
<v Speaker 2>Of classic if if it hits that level, it's because

0:38:25.360 --> 0:38:28.440
<v Speaker 2>you're not going to get away from this no time soon. Nah,

0:38:28.680 --> 0:38:31.759
<v Speaker 2>You're not going It's like how how country grammar is, Like,

0:38:32.719 --> 0:38:34.799
<v Speaker 2>You're going to run into this album for the next

0:38:34.840 --> 0:38:35.960
<v Speaker 2>twelve months.

0:38:35.880 --> 0:38:40.120
<v Speaker 3>And if you if you start to get away from it,

0:38:40.200 --> 0:38:43.080
<v Speaker 3>something else is just gonna he just gonna drop something else. Yeah,

0:38:43.239 --> 0:38:43.799
<v Speaker 3>you know what I mean.

0:38:44.120 --> 0:38:45.960
<v Speaker 2>And I don't think you're gonna be able to get

0:38:45.960 --> 0:38:50.040
<v Speaker 2>away from it, because again, this is what's driving this

0:38:50.239 --> 0:38:54.120
<v Speaker 2>right now is purely it's purely people who stream music.

0:38:55.000 --> 0:38:59.440
<v Speaker 2>Like again, mainstream America hasn't really been exposed to this

0:38:59.520 --> 0:39:03.680
<v Speaker 2>album way you would think. It hasn't hit radio at

0:39:03.719 --> 0:39:06.279
<v Speaker 2>like the bomb it is. It's going to be some

0:39:06.360 --> 0:39:07.839
<v Speaker 2>of these songs are going to be the number one

0:39:07.880 --> 0:39:09.560
<v Speaker 2>song at radio. They're going to be in the top ten,

0:39:09.640 --> 0:39:10.480
<v Speaker 2>probably multiply.

0:39:10.520 --> 0:39:13.320
<v Speaker 3>I think I just read something that I don't know

0:39:13.360 --> 0:39:15.280
<v Speaker 3>if it's Billboard or something, but he's like the first

0:39:15.360 --> 0:39:16.640
<v Speaker 3>artist to have like every.

0:39:16.480 --> 0:39:19.800
<v Speaker 2>Song, every song for three weeks. But that's streams driving

0:39:21.120 --> 0:39:25.880
<v Speaker 2>they like they're just now starting to work into radio, gotcha,

0:39:25.960 --> 0:39:29.560
<v Speaker 2>and when interscope starts to really see if the song

0:39:29.640 --> 0:39:33.640
<v Speaker 2>start to perform, all of these songs can perform, Like

0:39:33.760 --> 0:39:36.160
<v Speaker 2>he did such a great job at making and crafting

0:39:36.200 --> 0:39:38.319
<v Speaker 2>these records that they're going to perform, and that's why

0:39:38.320 --> 0:39:40.280
<v Speaker 2>it is four and five producers on every song.

0:39:40.320 --> 0:39:43.400
<v Speaker 3>Do you think do you think he knew that this

0:39:43.600 --> 0:39:46.120
<v Speaker 3>was this is what it was going to be like

0:39:46.160 --> 0:39:48.799
<v Speaker 3>while he was making it or do you think it

0:39:48.840 --> 0:39:50.480
<v Speaker 3>was just like my opinion without.

0:39:50.239 --> 0:39:57.160
<v Speaker 2>Without asking him, I would imagine there were some reservations.

0:39:57.800 --> 0:40:01.960
<v Speaker 2>I mean there's like I really want to go up

0:40:02.440 --> 0:40:04.920
<v Speaker 2>to me. This is important because this is true. This

0:40:05.000 --> 0:40:07.600
<v Speaker 2>is him in time like I always thought good Kid

0:40:07.680 --> 0:40:10.359
<v Speaker 2>was him presenting himself how he wants people to see him.

0:40:10.600 --> 0:40:12.440
<v Speaker 2>I don't think it's not him. I think it's just

0:40:12.600 --> 0:40:16.600
<v Speaker 2>him still presenting himself. And I think I think to

0:40:16.719 --> 0:40:19.040
<v Speaker 2>Pimp was more of a move to get into his

0:40:19.120 --> 0:40:23.160
<v Speaker 2>soul and feel more like what I realized is I've

0:40:23.160 --> 0:40:23.759
<v Speaker 2>said this too.

0:40:23.800 --> 0:40:24.239
<v Speaker 3>Forgive me.

0:40:24.640 --> 0:40:27.000
<v Speaker 2>I know everybody gonna get mad, but like when Drake

0:40:27.080 --> 0:40:28.879
<v Speaker 2>came through with the game, he kind of took soul

0:40:28.960 --> 0:40:31.440
<v Speaker 2>out of hip hop, Like if you really think about

0:40:31.440 --> 0:40:34.799
<v Speaker 2>soul in the baseline, like his voice active and the

0:40:34.800 --> 0:40:38.239
<v Speaker 2>bass line was in the exact same place. So they

0:40:38.239 --> 0:40:40.200
<v Speaker 2>will do a lot of other things, so he could

0:40:40.200 --> 0:40:42.719
<v Speaker 2>be right there with the bass, but the bass represents

0:40:42.760 --> 0:40:47.080
<v Speaker 2>the soul of music. The bass represents the soul of music.

0:40:47.800 --> 0:40:51.359
<v Speaker 2>So it's like in his situation, you know, I mean

0:40:52.040 --> 0:41:00.640
<v Speaker 2>in his situation, Like in his situation, there was never

0:41:00.760 --> 0:41:05.040
<v Speaker 2>a reason right to like he didn't use bass. Drake

0:41:05.120 --> 0:41:07.440
<v Speaker 2>didn't use the bass guitar in a lot of songs

0:41:07.480 --> 0:41:10.919
<v Speaker 2>because of his actor like shout out to forty that's brilliant. Again,

0:41:11.000 --> 0:41:13.920
<v Speaker 2>it also depends on him to create the soul of

0:41:13.960 --> 0:41:16.680
<v Speaker 2>a song, kind of which to me, he probably is

0:41:16.719 --> 0:41:20.040
<v Speaker 2>the architect of vibe. Like everybody say they want to vibe,

0:41:20.080 --> 0:41:23.800
<v Speaker 2>that's what they're looking for, looking for that this diet.

0:41:25.120 --> 0:41:29.200
<v Speaker 3>It's like, I guess what I call VI it's dyet soul.

0:41:29.280 --> 0:41:32.799
<v Speaker 2>Like these young don't really have soul like that, they

0:41:32.840 --> 0:41:36.360
<v Speaker 2>got diets, so they're like, oh, vibe, Like, bro, just

0:41:36.520 --> 0:41:37.200
<v Speaker 2>find soul.

0:41:38.160 --> 0:41:40.800
<v Speaker 6>You gotta warn me. Vibe is a trigger word for me.

0:41:42.120 --> 0:41:45.840
<v Speaker 2>It is because it's something I just want to vibe

0:41:47.239 --> 0:41:49.560
<v Speaker 2>because they don't really have soul anymore.

0:41:50.120 --> 0:41:54.080
<v Speaker 3>You know what's crazy, Bro, Diet soul is the title

0:41:54.200 --> 0:41:54.880
<v Speaker 3>for real. That's what.

0:41:55.920 --> 0:42:00.520
<v Speaker 6>So hey, what it's like? Watch you know that will

0:42:00.560 --> 0:42:02.120
<v Speaker 6>not be a quick answer to that question, So I'll

0:42:02.120 --> 0:42:02.960
<v Speaker 6>hold till later.

0:42:04.400 --> 0:42:05.680
<v Speaker 3>Okay.

0:42:04.840 --> 0:42:10.719
<v Speaker 2>So no, it's like it's like, so when he did that,

0:42:10.840 --> 0:42:15.160
<v Speaker 2>I think Dot noticed that into pimple Butterfly became a

0:42:15.200 --> 0:42:20.640
<v Speaker 2>direct response to that, to that, to that movement, gotchak

0:42:21.760 --> 0:42:25.640
<v Speaker 2>that's it puts soul he wanted to put soul back

0:42:25.719 --> 0:42:29.399
<v Speaker 2>into hip hop because MAYU, this is four or five

0:42:29.480 --> 0:42:32.879
<v Speaker 2>years of this run from from Drake, like where their

0:42:33.239 --> 0:42:36.239
<v Speaker 2>soul is getting away in hip hop, you know what

0:42:36.280 --> 0:42:39.280
<v Speaker 2>I mean. And everybody's emulating the biggest songs at radio.

0:42:39.360 --> 0:42:43.240
<v Speaker 2>So they're starting to make songs without a bass guitar

0:42:43.320 --> 0:42:46.800
<v Speaker 2>in there. And if you notice, that's kind of almost

0:42:46.800 --> 0:42:52.040
<v Speaker 2>a standard crazy like even this album with GNX specifically,

0:42:52.480 --> 0:42:55.000
<v Speaker 2>he made it a purpose to put basslines in the

0:42:55.120 --> 0:42:59.479
<v Speaker 2>damn songs. And I know the producers initially who made

0:42:59.520 --> 0:43:02.440
<v Speaker 2>those moves, they didn't necessarily have a base. Shout out

0:43:02.480 --> 0:43:04.440
<v Speaker 2>to Muster because I always think Muster does a gate

0:43:04.520 --> 0:43:06.399
<v Speaker 2>job of keeping the base in there, and.

0:43:06.360 --> 0:43:10.239
<v Speaker 3>They don't run the song like even it's just eight

0:43:10.280 --> 0:43:12.439
<v Speaker 3>o eight like tune Day's like it's gonna be a base,

0:43:12.520 --> 0:43:13.320
<v Speaker 3>but he'll still.

0:43:13.120 --> 0:43:13.680
<v Speaker 1>Have a bass.

0:43:13.680 --> 0:43:18.480
<v Speaker 2>Like if you go to like Roddy Richard's song Balling,

0:43:18.800 --> 0:43:21.080
<v Speaker 2>there's a bass there. It's not it's not the main

0:43:21.120 --> 0:43:22.040
<v Speaker 2>melody of a song.

0:43:22.440 --> 0:43:22.959
<v Speaker 3>It's there.

0:43:23.040 --> 0:43:25.000
<v Speaker 1>He still gets back to the soul of a song.

0:43:25.160 --> 0:43:30.560
<v Speaker 3>It's pronounced yeah yeah.

0:43:31.520 --> 0:43:34.160
<v Speaker 2>And still just popped in, still just popped in. So

0:43:34.280 --> 0:43:39.880
<v Speaker 2>I got six here still was the word soul again.

0:43:39.960 --> 0:43:44.280
<v Speaker 2>I think I think he took the responsibility of putting

0:43:44.320 --> 0:43:47.799
<v Speaker 2>soul back into hip hop or the pimper butterfly. That

0:43:47.880 --> 0:43:53.719
<v Speaker 2>became a task of responsibility, right, And then damn he

0:43:53.840 --> 0:43:57.759
<v Speaker 2>started to understand sonics. Enough of us challenged him. It

0:43:57.840 --> 0:44:00.759
<v Speaker 2>was like, and you gotta get back to making just

0:44:00.920 --> 0:44:05.440
<v Speaker 2>good records. I get the storytelling from a from a

0:44:05.520 --> 0:44:10.240
<v Speaker 2>dialogue perspective, and the responsibility, but where is the fucking jams?

0:44:10.800 --> 0:44:11.200
<v Speaker 3>That's right?

0:44:11.239 --> 0:44:15.240
<v Speaker 2>And I think he's put together, you know, put together

0:44:17.080 --> 0:44:20.560
<v Speaker 2>damn as something to respond back to not having jams.

0:44:21.719 --> 0:44:25.560
<v Speaker 2>And then obviously they do the you know the soundtrack, right,

0:44:25.640 --> 0:44:29.080
<v Speaker 2>the black soundtrack. And then now it comes to mister

0:44:29.160 --> 0:44:33.000
<v Speaker 2>Morales later and he does understand sonics, but he's going

0:44:33.040 --> 0:44:36.360
<v Speaker 2>through kind of like his last part of developing into

0:44:36.440 --> 0:44:39.439
<v Speaker 2>a grown man right where he needs to he needs

0:44:39.440 --> 0:44:42.160
<v Speaker 2>to really see who he is. I would imagine he

0:44:42.200 --> 0:44:45.720
<v Speaker 2>went to therapy during that time, somewhere around that time possibly,

0:44:45.840 --> 0:44:46.840
<v Speaker 2>or he was going through space.

0:44:46.880 --> 0:44:47.359
<v Speaker 3>It was the.

0:44:47.320 --> 0:44:50.000
<v Speaker 2>Pandemic, so who knows what we was all dealing with

0:44:50.040 --> 0:44:53.279
<v Speaker 2>ourselves at that time. This one is the one where

0:44:53.280 --> 0:44:57.040
<v Speaker 2>I feel like this is him understanding everything that he is,

0:44:57.160 --> 0:44:59.919
<v Speaker 2>everything he needs to be, being okay with the mother

0:45:00.080 --> 0:45:03.279
<v Speaker 2>fuck it that he is here. I am, this is

0:45:03.760 --> 0:45:06.399
<v Speaker 2>me right here. I don't give fun with nobody else.

0:45:06.480 --> 0:45:09.759
<v Speaker 2>Think this is me right now? And yeah, I don't

0:45:09.800 --> 0:45:13.160
<v Speaker 2>give a fuck. And that's to me what I can hear.

0:45:13.280 --> 0:45:16.520
<v Speaker 2>So I do think he had reservations, you know, like

0:45:16.600 --> 0:45:19.319
<v Speaker 2>damn man, But I think he's at of age now

0:45:19.360 --> 0:45:23.800
<v Speaker 2>where it's like, y'all beat the nigga, I am fuck y'all.

0:45:25.680 --> 0:45:28.600
<v Speaker 4>Let me ask you something, bro, Yeah, would you do

0:45:28.719 --> 0:45:30.319
<v Speaker 4>you think this is the best album you've heard in

0:45:30.360 --> 0:45:32.000
<v Speaker 4>your life? The best hip hop album?

0:45:32.600 --> 0:45:33.799
<v Speaker 1>I probably will go that guy.

0:45:35.120 --> 0:45:40.759
<v Speaker 2>It's as good as I've ever heard of hip hop album.

0:45:41.040 --> 0:45:45.040
<v Speaker 4>John, And I'm asking this question for a reason, John, Yo,

0:45:45.440 --> 0:45:49.279
<v Speaker 4>would you say it's a great album? Without a doubt? Man,

0:45:49.640 --> 0:45:53.160
<v Speaker 4>it's a great album. But I think once you as

0:45:53.200 --> 0:45:55.640
<v Speaker 4>you start going along in this journey at hip hop

0:45:55.880 --> 0:45:58.759
<v Speaker 4>and you've heard so many great albums, especially as you

0:45:58.800 --> 0:46:02.440
<v Speaker 4>know when they first came out, like listening to Public

0:46:02.560 --> 0:46:05.120
<v Speaker 4>Enemy when I first heard them, was experienced, you feel

0:46:05.120 --> 0:46:07.640
<v Speaker 4>what I'm saying. When I first heard them, I remember

0:46:07.680 --> 0:46:10.520
<v Speaker 4>right down the street listening to America's most woman and

0:46:10.719 --> 0:46:13.440
<v Speaker 4>killing Will and I was just like, god, damn. I

0:46:13.480 --> 0:46:15.600
<v Speaker 4>think after a wild Man it started making you listen

0:46:15.680 --> 0:46:17.920
<v Speaker 4>to stuff different because we don't heard so many classes

0:46:18.000 --> 0:46:21.560
<v Speaker 4>in our lifetime and it's kind of hard. I think this.

0:46:21.719 --> 0:46:23.839
<v Speaker 4>I do agree with you. Lasses this is as good

0:46:23.840 --> 0:46:26.399
<v Speaker 4>as it gets for me. It's a great album, right,

0:46:27.360 --> 0:46:29.400
<v Speaker 4>it's but it's like this still and not the cuntry.

0:46:29.440 --> 0:46:32.400
<v Speaker 4>Just hold that thought. It's like, you can't be better

0:46:32.440 --> 0:46:35.960
<v Speaker 4>than Snoop. You could only reach Snoop or Jason exactly.

0:46:36.440 --> 0:46:40.560
<v Speaker 4>It's no better than that. There's no more successful album

0:46:40.600 --> 0:46:43.399
<v Speaker 4>than Doggy Style. That's the pinnacle. And you just catch

0:46:43.480 --> 0:46:43.879
<v Speaker 4>that right.

0:46:44.160 --> 0:46:46.279
<v Speaker 6>We were saying, like a couple days ago, speed of Light.

0:46:46.880 --> 0:46:49.880
<v Speaker 2>Yeah, there's no faster, it's just speed of light. And

0:46:50.600 --> 0:46:53.200
<v Speaker 2>to watch artists get into that space like Kendrick. So

0:46:53.239 --> 0:46:56.200
<v Speaker 2>it's not like about is it the I don't even know.

0:46:58.280 --> 0:47:00.560
<v Speaker 2>I would say Doggy Style is the greatest hip hop

0:47:00.600 --> 0:47:04.359
<v Speaker 2>album ever, But again, man, like I've heard albums as

0:47:04.400 --> 0:47:07.319
<v Speaker 2>good as Doggie Style. Maybe the steaks aren't the same,

0:47:07.400 --> 0:47:10.120
<v Speaker 2>like Blueprint is probably is just as greatest. Doggy Staf

0:47:10.120 --> 0:47:12.600
<v Speaker 2>two thousand and one is probably right there. Next to

0:47:12.680 --> 0:47:16.040
<v Speaker 2>Doggie Style. Four hundred degrees is just his greatest Doggie style.

0:47:16.400 --> 0:47:19.240
<v Speaker 2>You know, there's some records, you know, just his's greatest

0:47:19.239 --> 0:47:22.120
<v Speaker 2>dog style. But I just don't think the college dropout

0:47:22.120 --> 0:47:25.120
<v Speaker 2>it's probably just as great as dog Style. The Steaks

0:47:25.400 --> 0:47:29.560
<v Speaker 2>was different culturally for Doggy staff. Yeah, so again it's

0:47:29.600 --> 0:47:31.520
<v Speaker 2>always gonna be you get what I'm saying. Stive was like,

0:47:32.440 --> 0:47:35.879
<v Speaker 2>remember like that everything that happened around the record mattered too,

0:47:36.040 --> 0:47:39.000
<v Speaker 2>Like he comes out catches a murder case. The weakest

0:47:39.000 --> 0:47:42.120
<v Speaker 2>album comes out, you know what I'm saying, Like he

0:47:42.239 --> 0:47:47.040
<v Speaker 2>has like he's the son of gangster rap hip hop.

0:47:47.480 --> 0:47:50.120
<v Speaker 3>It was the perfect storm broke, Yeah, and.

0:47:50.640 --> 0:47:54.399
<v Speaker 1>The record fit the occasion. So that's why.

0:47:56.080 --> 0:47:58.120
<v Speaker 2>That's why it goes down for me as the greatest

0:47:58.160 --> 0:48:01.120
<v Speaker 2>hip hop album of all time. Not to mention debut, right,

0:48:01.200 --> 0:48:05.319
<v Speaker 2>but you know, this is as good as I've ever

0:48:05.400 --> 0:48:08.279
<v Speaker 2>heard hip hop, and those are very few albums that

0:48:08.400 --> 0:48:11.720
<v Speaker 2>joined that category that they're as good as I've heard.

0:48:11.600 --> 0:48:15.400
<v Speaker 4>Of Now geez, just imagine this. There was a period

0:48:15.440 --> 0:48:19.399
<v Speaker 4>in my life to where some shit was popping damn

0:48:19.400 --> 0:48:22.440
<v Speaker 4>there every other week when stuff got released, right, and

0:48:22.840 --> 0:48:24.359
<v Speaker 4>you know, looking back on it, there was a real

0:48:24.440 --> 0:48:26.480
<v Speaker 4>special period because you heard there was a lot of

0:48:26.480 --> 0:48:28.960
<v Speaker 4>dope shit coming up and wasn't nothing like it before.

0:48:29.200 --> 0:48:32.080
<v Speaker 4>There was no precursor to the ship we was hearing.

0:48:32.160 --> 0:48:32.440
<v Speaker 3>Right.

0:48:32.880 --> 0:48:35.200
<v Speaker 4>So sometimes, like when I listen to records now and

0:48:35.239 --> 0:48:37.160
<v Speaker 4>I try not to do that, Man, I listen to records,

0:48:37.200 --> 0:48:39.520
<v Speaker 4>I can hear where influences come from in certain songs.

0:48:39.560 --> 0:48:42.399
<v Speaker 4>You feel what I'm saying, Okay, this is this right here?

0:48:42.480 --> 0:48:46.680
<v Speaker 4>Like like even listening to some like Roddy Rich's The Box,

0:48:47.239 --> 0:48:49.080
<v Speaker 4>I could tell where they got that little melody from

0:48:49.080 --> 0:48:50.960
<v Speaker 4>in the background. You feel what I'm saying. That's from

0:48:51.719 --> 0:48:53.279
<v Speaker 4>Willie Hucks record. You know what I'm saying.

0:48:53.520 --> 0:48:53.719
<v Speaker 3>You know.

0:48:55.440 --> 0:48:58.799
<v Speaker 4>The Willy Hucks. And you start listening, it almost makes

0:48:58.880 --> 0:49:03.359
<v Speaker 4>hip hop a little bit. It becomes so remedia after Wow, dog,

0:49:03.400 --> 0:49:05.480
<v Speaker 4>I think that's why people, That's why I get not

0:49:05.560 --> 0:49:07.960
<v Speaker 4>to get off the subject. That's why I get where

0:49:08.040 --> 0:49:10.439
<v Speaker 4>Drey was trying to go with this last project, because

0:49:10.480 --> 0:49:12.239
<v Speaker 4>it kind of after a while, you trying to start

0:49:12.280 --> 0:49:14.160
<v Speaker 4>thinking like what else can we go with this shit?

0:49:15.040 --> 0:49:17.040
<v Speaker 2>Yeah, but you don't feel like this. That's the same

0:49:17.080 --> 0:49:19.440
<v Speaker 2>thing even with Missionary. I mean, that's that's kind of

0:49:19.960 --> 0:49:22.200
<v Speaker 2>that goes back to something we talked about before you came,

0:49:22.280 --> 0:49:26.360
<v Speaker 2>the Pride and culture, like, dickies aren't new. How we

0:49:26.440 --> 0:49:30.880
<v Speaker 2>rock Dickies was new. Chucks one knew how we rocked

0:49:31.280 --> 0:49:35.360
<v Speaker 2>Chucks were new. So you know, even I would imagine

0:49:35.400 --> 0:49:37.279
<v Speaker 2>if you was in the gospel in the fifties, in

0:49:37.280 --> 0:49:39.359
<v Speaker 2>the late fifties and you heard Ray Charles, I got

0:49:39.360 --> 0:49:41.799
<v Speaker 2>a woman, you probably like you fucking dirt bag.

0:49:42.200 --> 0:49:45.279
<v Speaker 1>You took Southern cones must be Jesus and made it

0:49:45.360 --> 0:49:46.040
<v Speaker 1>this bullshit.

0:49:46.320 --> 0:49:46.640
<v Speaker 3>Yeah.

0:49:47.239 --> 0:49:50.240
<v Speaker 2>I think that's the quintessential concept of a pop record,

0:49:50.239 --> 0:49:53.279
<v Speaker 2>but it is the calling card of culture, especially in

0:49:53.360 --> 0:49:57.200
<v Speaker 2>hip hop, where it's like repurposing something into a better idea.

0:49:58.160 --> 0:50:02.719
<v Speaker 5>Exactly, a layer two, like hip hop culture is, it's

0:50:02.719 --> 0:50:05.439
<v Speaker 5>like an L to the other layer one, which would

0:50:05.480 --> 0:50:08.719
<v Speaker 5>be the manufacturer of the car, the writer of the

0:50:08.800 --> 0:50:12.839
<v Speaker 5>songs in this original to create the dickies, who makes

0:50:12.840 --> 0:50:17.080
<v Speaker 5>the pants, conversationshoes. Hip hop's an L two. It's doing

0:50:17.160 --> 0:50:20.080
<v Speaker 5>something unique with those things above that.

0:50:21.120 --> 0:50:24.160
<v Speaker 2>So even even when we're talking about to thank You

0:50:24.280 --> 0:50:26.480
<v Speaker 2>song on on a Missionary, make sure y'all listen to

0:50:26.480 --> 0:50:31.080
<v Speaker 2>the missionary. If you listen to this podcast, you know,

0:50:31.520 --> 0:50:34.239
<v Speaker 2>the slide in Family Stone, thank you for letting me

0:50:34.360 --> 0:50:37.680
<v Speaker 2>be myself. I mean, it's it's standard. I don't think

0:50:37.719 --> 0:50:40.879
<v Speaker 2>he went away from that, even dre where he's at now.

0:50:42.840 --> 0:50:45.920
<v Speaker 2>I think that's standard in music, you know what I mean, Like,

0:50:45.960 --> 0:50:48.719
<v Speaker 2>I think that's standard in melody, in the pursuit of

0:50:48.760 --> 0:50:51.359
<v Speaker 2>a great record, you know, having something that you feel

0:50:51.400 --> 0:50:52.919
<v Speaker 2>like you can hold on to. I mean we could

0:50:52.920 --> 0:50:57.280
<v Speaker 2>talk Thriller is fucking give it to me, baby, Billy

0:50:57.320 --> 0:51:02.880
<v Speaker 2>Jean is holding notes exactly, Yeah, way th exactly.

0:51:03.400 --> 0:51:03.560
<v Speaker 3>Now.

0:51:03.760 --> 0:51:05.680
<v Speaker 4>I was going there just to come back to the

0:51:05.719 --> 0:51:08.640
<v Speaker 4>point you exp you always talk about just making a layup, right.

0:51:09.520 --> 0:51:12.160
<v Speaker 4>I think that's what make G and X so perfect,

0:51:12.200 --> 0:51:15.520
<v Speaker 4>is that that did go back to just gonna make

0:51:15.520 --> 0:51:18.600
<v Speaker 4>the layup. You feel what I'm saying, he ain't over

0:51:18.680 --> 0:51:21.040
<v Speaker 4>rapping on the songs, and he almost like brought it

0:51:21.080 --> 0:51:21.960
<v Speaker 4>back to simplicity.

0:51:22.040 --> 0:51:22.319
<v Speaker 3>You feel.

0:51:22.320 --> 0:51:24.680
<v Speaker 4>What I'm saying is to I think on some of

0:51:24.680 --> 0:51:27.799
<v Speaker 4>his albums, I like the Mother albums, but they was

0:51:28.080 --> 0:51:30.759
<v Speaker 4>too complicated for certain years. You know, it was too

0:51:30.800 --> 0:51:32.120
<v Speaker 4>complex with some listeners.

0:51:32.640 --> 0:51:34.600
<v Speaker 6>I understood that the first album feel.

0:51:35.280 --> 0:51:37.319
<v Speaker 3>Yeah, and I think this one he took it back

0:51:37.360 --> 0:51:38.120
<v Speaker 3>to simplicity.

0:51:38.200 --> 0:51:39.960
<v Speaker 4>Man. I think sometimes we just got to go back

0:51:40.000 --> 0:51:43.320
<v Speaker 4>to shooting layers, Broy, but I always.

0:51:43.040 --> 0:51:45.879
<v Speaker 1>Show you that I think I think hip hop is is.

0:51:48.400 --> 0:51:51.399
<v Speaker 2>Like what made hip hop special was like we would

0:51:51.400 --> 0:51:55.680
<v Speaker 2>bring people from other parties into this party. Like shout

0:51:55.680 --> 0:51:57.640
<v Speaker 2>out to the to the era of hip hop that

0:51:57.719 --> 0:52:01.279
<v Speaker 2>started using reggae breaks, and they brought people from reggae. Like, hey,

0:52:01.280 --> 0:52:02.960
<v Speaker 2>we could do this too. Look at us how we're

0:52:03.000 --> 0:52:05.600
<v Speaker 2>doing it with the break that you love, you know,

0:52:05.719 --> 0:52:07.839
<v Speaker 2>the I don't want to be a player, No more

0:52:07.880 --> 0:52:10.640
<v Speaker 2>recipes to pun you know, we bring a little sausa

0:52:10.719 --> 0:52:14.160
<v Speaker 2>to the breaks. Listen to this, you know, even all

0:52:14.200 --> 0:52:16.120
<v Speaker 2>the way fast forward to Dre in two thousand, I

0:52:16.160 --> 0:52:19.840
<v Speaker 2>could bring some classical So if you liked David David

0:52:19.880 --> 0:52:21.560
<v Speaker 2>axel Rod, you know what I mean. He was like, oh,

0:52:21.600 --> 0:52:24.000
<v Speaker 2>you know, hey check this out. Hey, you know, look

0:52:24.040 --> 0:52:27.239
<v Speaker 2>look how we flipped the edge. You know, look how

0:52:27.280 --> 0:52:30.239
<v Speaker 2>we flipped this no Doubt song. Right, Look at how

0:52:30.280 --> 0:52:32.319
<v Speaker 2>we do this. We used to bring people to the

0:52:32.320 --> 0:52:35.120
<v Speaker 2>party versus now in hip hop, where it's like we

0:52:35.320 --> 0:52:37.000
<v Speaker 2>just kind of taking hip hop to try to make

0:52:37.080 --> 0:52:39.520
<v Speaker 2>hip hop. And that's also why we're not getting a

0:52:39.560 --> 0:52:43.280
<v Speaker 2>new audience. That's what I do appreciate about the Debbie

0:52:43.320 --> 0:52:48.240
<v Speaker 2>dev song on GNX, Spopple up Right and Van Draws.

0:52:48.239 --> 0:52:52.239
<v Speaker 2>They're still an effort to pull from to bring people

0:52:52.320 --> 0:52:54.880
<v Speaker 2>to the party. If you like Luther Vandross if This

0:52:54.920 --> 0:52:57.480
<v Speaker 2>World Was Mine or Marvin Gaye's version of If This

0:52:57.560 --> 0:53:00.319
<v Speaker 2>World Was Mine, the original with Tammy Terrel, you could

0:53:00.360 --> 0:53:04.840
<v Speaker 2>come to the party. Somebody they called me about the

0:53:04.920 --> 0:53:07.280
<v Speaker 2>Luther song. They was like, this song is really good.

0:53:11.960 --> 0:53:13.520
<v Speaker 1>So again, I think.

0:53:15.080 --> 0:53:18.920
<v Speaker 2>I think as much as this is probably the most

0:53:19.480 --> 0:53:22.080
<v Speaker 2>like this is probably the most culturally free he's been,

0:53:22.880 --> 0:53:26.440
<v Speaker 2>but it's also the most the greatest time he's bared

0:53:26.520 --> 0:53:28.799
<v Speaker 2>the burden of all of this culture that we call

0:53:29.200 --> 0:53:33.360
<v Speaker 2>West Coast hip hop. He really bared it specifically like

0:53:33.440 --> 0:53:36.000
<v Speaker 2>if like if he like if he was Jesus he

0:53:36.080 --> 0:53:39.759
<v Speaker 2>died on the cross for our sins with this culturally

0:53:39.920 --> 0:53:42.200
<v Speaker 2>you know what I'm saying, Like if it didn't work,

0:53:42.280 --> 0:53:44.560
<v Speaker 2>it's like, yeah, you know what I'm saying. And not

0:53:44.600 --> 0:53:46.520
<v Speaker 2>to reference it, I know you feel some kind of way,

0:53:46.560 --> 0:53:49.640
<v Speaker 2>but like he really put his thing on the line,

0:53:49.640 --> 0:53:53.680
<v Speaker 2>like yeah, I'm gonna just do what we do real.

0:53:53.520 --> 0:53:57.280
<v Speaker 5>Quick, go back for a few minutes you were saying,

0:53:57.480 --> 0:54:03.200
<v Speaker 5>how like the streaming versus radio market expansion kind of

0:54:03.239 --> 0:54:07.600
<v Speaker 5>growth curve in this age, in the hip hop age bracket,

0:54:07.960 --> 0:54:12.400
<v Speaker 5>what is the market share of audio consumption that's still

0:54:12.440 --> 0:54:16.840
<v Speaker 5>held by radio versus streaming? And how is that like

0:54:16.840 --> 0:54:26.440
<v Speaker 5>like in the modern state, like does radio currently operate

0:54:26.520 --> 0:54:37.480
<v Speaker 5>as a trampoline? Still most for sure? What's the hip

0:54:37.520 --> 0:54:38.240
<v Speaker 5>hop listeners?

0:54:39.560 --> 0:54:41.600
<v Speaker 4>I'll give you an example, and you just think about this.

0:54:41.680 --> 0:54:44.040
<v Speaker 4>Sorry to cut you off, bro, I'm so sorry, but

0:54:45.400 --> 0:54:49.080
<v Speaker 4>name a superstar. Name somebody that's a superstar who ain't

0:54:49.080 --> 0:54:55.240
<v Speaker 4>playing on radio right now? Radio so I would know, okay,

0:54:55.280 --> 0:55:00.520
<v Speaker 4>But still radio was like the final used to turn

0:55:00.560 --> 0:55:02.319
<v Speaker 4>somebody into a superstar.

0:55:03.360 --> 0:55:07.200
<v Speaker 1>Because it's yeah, because it's still a.

0:55:07.239 --> 0:55:10.360
<v Speaker 5>Studio superstar or doesn't Is it a metric that says

0:55:10.400 --> 0:55:13.520
<v Speaker 5>because you're a superstar, now there they'll put you on radio.

0:55:13.920 --> 0:55:16.799
<v Speaker 1>No, No, there are no superstars. There are no.

0:55:16.840 --> 0:55:20.520
<v Speaker 2>Superstars out because you wouldn't be revealed to mainstream there's

0:55:20.520 --> 0:55:22.800
<v Speaker 2>no way to be revealed to mainstream America as a whole.

0:55:26.320 --> 0:55:30.000
<v Speaker 2>Hold on, Like streaming is still an underground thing as

0:55:30.200 --> 0:55:36.400
<v Speaker 2>mainstay as it is, it's still an underground thing, Like like, like,

0:55:36.719 --> 0:55:39.080
<v Speaker 2>you know what I mean, radio is still the biggest

0:55:39.080 --> 0:55:43.719
<v Speaker 2>audience in America. Most people really can't afford music to

0:55:43.760 --> 0:55:44.200
<v Speaker 2>the radio.

0:55:44.880 --> 0:55:47.320
<v Speaker 3>My wife is listening to the radio. Listen to the radio.

0:55:47.680 --> 0:55:51.400
<v Speaker 1>Mainstream America still li trust America with music, not just.

0:55:51.640 --> 0:55:53.960
<v Speaker 3>Listen to radio, you know. And that's what it is,

0:55:54.000 --> 0:55:55.440
<v Speaker 3>you know, so we can.

0:55:57.360 --> 0:56:00.080
<v Speaker 2>Now do radio break records is different. I mean, I

0:56:00.120 --> 0:56:01.960
<v Speaker 2>don't know if they take on the task. Definitely not

0:56:02.000 --> 0:56:03.600
<v Speaker 2>in the hip hop space. I don't think they take

0:56:03.640 --> 0:56:06.920
<v Speaker 2>on that task. But I think in regular you know,

0:56:07.040 --> 0:56:09.600
<v Speaker 2>pop music, they still take on that task. Like I'm

0:56:09.600 --> 0:56:12.560
<v Speaker 2>not watching records being broken on the internet for pop

0:56:12.600 --> 0:56:15.600
<v Speaker 2>world again in hip hop, yes, that's how I'm catching

0:56:15.640 --> 0:56:20.200
<v Speaker 2>all the new songs through Instagram or TikTok or something

0:56:20.239 --> 0:56:22.520
<v Speaker 2>like that. But yeah, it's like, you know, it's the

0:56:22.560 --> 0:56:27.280
<v Speaker 2>difference between Taylor Swift and and uh uh, let's say

0:56:27.800 --> 0:56:31.640
<v Speaker 2>Young Yeat No Yeat, Like Yeat is a big deal.

0:56:31.920 --> 0:56:33.840
<v Speaker 2>He could be kind of close to a superstar, but

0:56:34.360 --> 0:56:37.560
<v Speaker 2>he's not Taylor Swift, you know what I'm saying. And

0:56:37.560 --> 0:56:40.279
<v Speaker 2>and Kendrick Lamar, who's been on the radio. You know

0:56:40.440 --> 0:56:43.759
<v Speaker 2>it's finna go on the stadium tour. I mean, main

0:56:43.800 --> 0:56:50.279
<v Speaker 2>street radio is still a mainstream American thing.

0:56:50.800 --> 0:56:54.120
<v Speaker 4>The only thing that radio doesn't break right now is personalities.

0:56:57.800 --> 0:57:01.279
<v Speaker 2>So I just I think, yeah, I think I think

0:57:01.440 --> 0:57:04.800
<v Speaker 2>radio still matters in that regards. Like I think radio

0:57:04.840 --> 0:57:07.799
<v Speaker 2>still is a huge asset to get to a buying population.

0:57:08.760 --> 0:57:12.640
<v Speaker 2>I think a streaming population is a people. Don't you know,

0:57:12.680 --> 0:57:13.880
<v Speaker 2>they already paid their money.

0:57:14.040 --> 0:57:18.040
<v Speaker 3>I want to hear the music. I think it's dope

0:57:18.040 --> 0:57:23.600
<v Speaker 3>that Kendrick speaking of Taylor Swift, he worked with Jack Like.

0:57:23.680 --> 0:57:25.760
<v Speaker 2>I like his style, I like what he's doing. Yeah,

0:57:26.680 --> 0:57:29.160
<v Speaker 2>they went in there and really made some really great records.

0:57:29.160 --> 0:57:32.280
<v Speaker 2>Many they did a fantastic job. And so when you

0:57:32.320 --> 0:57:34.600
<v Speaker 2>ask me, it's gn X the best hip hop album

0:57:34.640 --> 0:57:36.560
<v Speaker 2>I've ever heard, it's as good as the best hip

0:57:36.560 --> 0:57:37.760
<v Speaker 2>hop album I've ever heard.

0:57:38.880 --> 0:57:39.120
<v Speaker 3>Now.

0:57:39.320 --> 0:57:44.680
<v Speaker 2>Now, again, greatness is not always quantified when just music, right,

0:57:44.720 --> 0:57:50.000
<v Speaker 2>it's like time and space, you know, things happening around

0:57:50.040 --> 0:57:50.560
<v Speaker 2>the record.

0:57:50.680 --> 0:57:51.280
<v Speaker 3>You know what I'm saying.

0:57:51.520 --> 0:57:54.120
<v Speaker 2>It creates different It don't have that type of stuff.

0:57:54.440 --> 0:57:57.360
<v Speaker 2>But again, because Country Grammar didn't have that type of

0:57:57.360 --> 0:58:00.200
<v Speaker 2>stuff neither. Four hundred Degrees didn't have that type of

0:58:00.200 --> 0:58:03.520
<v Speaker 2>stuff neither. But the music just you know, the culture.

0:58:03.720 --> 0:58:06.720
<v Speaker 2>The culture started walking the dogs, the records start walking

0:58:06.720 --> 0:58:09.080
<v Speaker 2>the dogs, and I think that's what's gonna happen on

0:58:09.120 --> 0:58:11.919
<v Speaker 2>this album. Still, I think you know they're gonna work

0:58:12.000 --> 0:58:14.640
<v Speaker 2>squabble up, squabble up. It's going to be huge at

0:58:14.760 --> 0:58:16.120
<v Speaker 2>It's gonna be huge at radio.

0:58:16.600 --> 0:58:20.000
<v Speaker 3>I'm telling you. After the super Bowl performance, it's about

0:58:20.000 --> 0:58:23.760
<v Speaker 3>to get tricky. Well, I'm gonna with the tour out

0:58:23.800 --> 0:58:27.240
<v Speaker 3>of here. And that Debbie dav song wasn't no punk though.

0:58:27.280 --> 0:58:36.240
<v Speaker 3>That Debbie dav song for it was my best still,

0:58:36.360 --> 0:58:40.200
<v Speaker 3>but it was like the intro to Not Like Us

0:58:40.400 --> 0:58:43.520
<v Speaker 3>was that song will Squabble Up, but we didn't know

0:58:43.600 --> 0:58:46.400
<v Speaker 3>like what it was like he cut it off of

0:58:46.480 --> 0:58:48.600
<v Speaker 3>the I don't know. Everything's so intriguing. I love listening

0:58:48.640 --> 0:58:51.720
<v Speaker 3>to his album because it's thought provoking. Uh I'll be

0:58:52.040 --> 0:58:54.760
<v Speaker 3>you know, deep diving into like the information and just

0:58:54.840 --> 0:58:57.600
<v Speaker 3>bars and stuff like that, and like, I don't know,

0:58:57.760 --> 0:58:59.160
<v Speaker 3>it's fun. It's impressed. Man.

0:58:59.160 --> 0:59:03.760
<v Speaker 2>He created a real great Like the marketing is an

0:59:03.800 --> 0:59:06.160
<v Speaker 2>underrated thing on what they're doing. I can't wait to

0:59:06.160 --> 0:59:08.320
<v Speaker 2>see what they keep revealing. But I think that's what

0:59:08.400 --> 0:59:13.320
<v Speaker 2>hip hop needs. It needs an injection of people not inspired.

0:59:13.560 --> 0:59:14.840
<v Speaker 3>Yeah, yeah, exactly.

0:59:14.840 --> 0:59:16.480
<v Speaker 1>You know what I'm saying, Like I'm inspired.

0:59:16.560 --> 0:59:18.520
<v Speaker 2>So you know, people will be telling me like, man,

0:59:18.560 --> 0:59:20.560
<v Speaker 2>it's the time, it was always the time for me.

0:59:20.640 --> 0:59:21.400
<v Speaker 1>I've been inspired.

0:59:22.280 --> 0:59:26.040
<v Speaker 3>She is an enemy. No, no, no, you know, like

0:59:26.080 --> 0:59:26.480
<v Speaker 3>they're talking.

0:59:26.600 --> 0:59:28.680
<v Speaker 4>We said you need them a nemesis. Now we just

0:59:28.720 --> 0:59:30.440
<v Speaker 4>need a nemesis.

0:59:31.320 --> 0:59:33.560
<v Speaker 3>One thing is you can bet that's coming. You know

0:59:33.600 --> 0:59:33.960
<v Speaker 3>what I mean.

0:59:34.040 --> 0:59:37.439
<v Speaker 2>But yeah, people, But to answer your question, I think

0:59:37.560 --> 0:59:42.280
<v Speaker 2>radio still holds the key to mainstream America. Sure, I mean,

0:59:42.600 --> 0:59:45.880
<v Speaker 2>just to manage your America. But but again, we was

0:59:45.920 --> 0:59:48.120
<v Speaker 2>talking about this earlier, and I've been telling still like

0:59:48.160 --> 0:59:50.160
<v Speaker 2>I told six, Like I think I told you before,

0:59:50.720 --> 0:59:53.000
<v Speaker 2>I don't think when people go to streaming sites they

0:59:53.040 --> 0:59:56.200
<v Speaker 2>want to hear like the standard ninety year old record.

0:59:56.480 --> 0:59:58.720
<v Speaker 2>They will if you're like that type of artist, but

0:59:59.200 --> 1:00:01.600
<v Speaker 2>I think they look if people that go to streaming

1:00:01.720 --> 1:00:05.080
<v Speaker 2>apps are looking for something that they're asking specific.

1:00:05.440 --> 1:00:06.880
<v Speaker 1>It's like, oh, if I want to hear rap. They

1:00:06.960 --> 1:00:08.640
<v Speaker 1>don't want to hear a hook. They want to fucking

1:00:08.640 --> 1:00:09.240
<v Speaker 1>hear you rap.

1:00:10.640 --> 1:00:13.680
<v Speaker 2>And that's what I think I've been realizing, Like that

1:00:13.800 --> 1:00:16.600
<v Speaker 2>niche audience that goes and it's a big audience. It's

1:00:16.640 --> 1:00:17.880
<v Speaker 2>not I don't even know if it's fair to call

1:00:17.920 --> 1:00:20.480
<v Speaker 2>it niche, you know what I'm saying, Like the audience

1:00:20.480 --> 1:00:24.280
<v Speaker 2>that's going to Spotify, that's going to Apple, going.

1:00:24.200 --> 1:00:27.680
<v Speaker 5>To some numbers like as I was sitting there for

1:00:27.720 --> 1:00:29.760
<v Speaker 5>twenty because twenty twenty three is a complete year. Twenty

1:00:29.760 --> 1:00:32.560
<v Speaker 5>twenty fours aren't out yet, but like for twenty twenty three,

1:00:32.720 --> 1:00:36.320
<v Speaker 5>and radio is down a percent to thirty six. Total

1:00:36.680 --> 1:00:41.840
<v Speaker 5>consumption and streaming was up percent to twenty So obviously,

1:00:42.120 --> 1:00:43.640
<v Speaker 5>you know, more than one and a half times the

1:00:43.760 --> 1:00:46.120
<v Speaker 5>size radio free.

1:00:46.840 --> 1:00:50.800
<v Speaker 3>Yeah, there's people that don't stream at all and they

1:00:50.960 --> 1:00:52.320
<v Speaker 3>go straight to radio to listen.

1:00:52.560 --> 1:00:54.960
<v Speaker 2>But to Pete, to Pete's point, there are people who

1:00:54.960 --> 1:00:56.160
<v Speaker 2>don't ever listen to radio.

1:00:56.400 --> 1:00:59.320
<v Speaker 6>Me and I just don't know, like.

1:01:01.160 --> 1:01:03.960
<v Speaker 5>I would just figure if you're talking like age range wise,

1:01:04.000 --> 1:01:08.840
<v Speaker 5>it's you know, you're still your fifty plus type of

1:01:08.840 --> 1:01:13.720
<v Speaker 5>crowd or whatever. Probably muscle memories to radio disproportionately, which

1:01:13.760 --> 1:01:16.760
<v Speaker 5>is outside of that genre's base, which is a younger

1:01:16.800 --> 1:01:20.880
<v Speaker 5>base that might be more distributed outside of radio by

1:01:20.920 --> 1:01:22.160
<v Speaker 5>percentage retive when it.

1:01:22.080 --> 1:01:24.480
<v Speaker 1>Comes to buying records, it's not outside the base.

1:01:24.720 --> 1:01:25.440
<v Speaker 3>That's the problem.

1:01:25.880 --> 1:01:29.960
<v Speaker 2>Okay, radio is still a mainstream things. It's just it's

1:01:30.000 --> 1:01:33.800
<v Speaker 2>like television is a mainstream thing, like some things are

1:01:33.920 --> 1:01:38.480
<v Speaker 2>just mainstream. The standard now, well the standard change, who knows,

1:01:38.520 --> 1:01:40.800
<v Speaker 2>you know. I mean it looks it looks promising, but

1:01:41.560 --> 1:01:42.840
<v Speaker 2>it's definitely uphill back.

1:01:42.880 --> 1:01:44.800
<v Speaker 6>The standards changed in cable television.

1:01:44.840 --> 1:01:48.880
<v Speaker 2>Already about to say that, but cable, but it didn't

1:01:48.920 --> 1:01:54.360
<v Speaker 2>put out regular television. Remember cable was already a push up. Sure,

1:01:54.640 --> 1:01:58.160
<v Speaker 2>I remember regular television. The news is still What's funny

1:01:58.240 --> 1:02:00.320
<v Speaker 2>is I get more of my news from with her

1:02:00.480 --> 1:02:02.880
<v Speaker 2>on social media, but a lot of people get their

1:02:02.920 --> 1:02:04.240
<v Speaker 2>news from the news on the nose.

1:02:04.400 --> 1:02:07.520
<v Speaker 6>Basically it's still the largest.

1:02:07.560 --> 1:02:12.840
<v Speaker 4>But no, I was just gonna say, bro, YouTube is

1:02:12.920 --> 1:02:17.560
<v Speaker 4>probably the biggest invention and the most important invention probably

1:02:17.600 --> 1:02:20.480
<v Speaker 4>like the last outside of the car and up the ship.

1:02:20.720 --> 1:02:23.760
<v Speaker 4>No certain, shiit dog, It's like it just changed everything.

1:02:24.800 --> 1:02:26.720
<v Speaker 2>Well and and but that's the point I'm saying to

1:02:26.800 --> 1:02:30.400
<v Speaker 2>Peter's like I think, like so do I think radio?

1:02:30.480 --> 1:02:30.680
<v Speaker 3>Yeah?

1:02:30.800 --> 1:02:31.720
<v Speaker 1>Radio is huge?

1:02:31.840 --> 1:02:34.080
<v Speaker 2>Like if you if you trust me, watch what's gonna

1:02:34.080 --> 1:02:36.920
<v Speaker 2>happen with this Kendrick, Watch what's gonna happen with GNX.

1:02:36.960 --> 1:02:39.120
<v Speaker 2>When those songs go to radio and be number one,

1:02:39.360 --> 1:02:43.520
<v Speaker 2>it's a different audience that has disposable income. Like the

1:02:43.560 --> 1:02:46.000
<v Speaker 2>reason they put that stuff and they put that concert

1:02:46.000 --> 1:02:46.800
<v Speaker 2>in that super Bowl.

1:02:47.040 --> 1:02:50.320
<v Speaker 1>They need time to work those records. And when those

1:02:50.400 --> 1:02:53.640
<v Speaker 1>records kind of start to surface in mainstream America, is

1:02:54.040 --> 1:02:56.480
<v Speaker 1>you know they're aware? Because they're not aware. There's no

1:02:56.560 --> 1:02:57.840
<v Speaker 1>reason I keep saying this.

1:02:57.920 --> 1:03:00.800
<v Speaker 2>People keep talking about first weeks and like, if you

1:03:00.800 --> 1:03:02.720
<v Speaker 2>put out album, how do people know you have an

1:03:02.720 --> 1:03:03.360
<v Speaker 2>album coming out?

1:03:03.400 --> 1:03:05.600
<v Speaker 1>If there's no song flagshipped on radio?

1:03:06.360 --> 1:03:08.760
<v Speaker 2>If there's no song, how the fuck do people know

1:03:08.800 --> 1:03:11.200
<v Speaker 2>you got an album coming out? Like you think they

1:03:11.240 --> 1:03:13.720
<v Speaker 2>went to on Instagram? Everybody follow you. It's obvious. We

1:03:13.760 --> 1:03:16.960
<v Speaker 2>all have Instagrams. We all have larger followings than we

1:03:17.040 --> 1:03:19.760
<v Speaker 2>have engagement. It's not because people see your shit and

1:03:19.760 --> 1:03:21.960
<v Speaker 2>don't want to gauge. It's because people don't see your shit.

1:03:23.200 --> 1:03:27.000
<v Speaker 2>So therefore, like if Kendrick Lamar puts out a record, right,

1:03:27.480 --> 1:03:30.760
<v Speaker 2>if gen X comes out, Yeah, there's a conversation that's

1:03:30.800 --> 1:03:34.600
<v Speaker 2>happening because he's hot at the moment, right, it's on fires, Like, oh,

1:03:34.680 --> 1:03:38.480
<v Speaker 2>Kendrick gots a new album, Pete I think that probably

1:03:38.520 --> 1:03:42.160
<v Speaker 2>represents less than twenty percent of America. I don't think

1:03:42.240 --> 1:03:44.640
<v Speaker 2>most people know Kendrick Lamour has an album out.

1:03:45.000 --> 1:03:47.280
<v Speaker 3>That's crazy, you know what I'm saying.

1:03:47.320 --> 1:03:49.440
<v Speaker 1>Most Americans, why the fuck would they know?

1:03:49.520 --> 1:03:51.520
<v Speaker 2>They not in They not on black Twitter, they not

1:03:51.560 --> 1:03:54.400
<v Speaker 2>on hip Twitter, they not on hip Instagram or hips.

1:03:54.400 --> 1:03:57.040
<v Speaker 4>When we make the mistake, sometimes man are thinking that shit,

1:03:57.160 --> 1:04:00.600
<v Speaker 4>we follow us news because sometimes I find myself talking

1:04:00.640 --> 1:04:03.560
<v Speaker 4>to like my cousins or my brothers about certain stings.

1:04:03.560 --> 1:04:05.320
<v Speaker 4>They be like, man, I don't know what you're talking about.

1:04:05.360 --> 1:04:06.240
<v Speaker 4>I don't know who it is.

1:04:07.160 --> 1:04:10.280
<v Speaker 2>The gradiest medium still to this day, to discover music

1:04:10.440 --> 1:04:13.520
<v Speaker 2>is radio. So when these songs become the most played

1:04:13.520 --> 1:04:17.840
<v Speaker 2>songs at radio, that's when mainsteam America be abreasted, Like, oh, hey,

1:04:17.880 --> 1:04:18.800
<v Speaker 2>this is Kendrick Lamar.

1:04:18.880 --> 1:04:20.800
<v Speaker 1>Guy, Hey, I.

1:04:20.880 --> 1:04:26.120
<v Speaker 2>Like this squabble up, squaw up. Let's go listen, let's

1:04:26.160 --> 1:04:28.320
<v Speaker 2>go get that. Let's go down there and get that.

1:04:28.840 --> 1:04:32.040
<v Speaker 2>Hey Zaffers, Oh he has a concert coming to the

1:04:32.320 --> 1:04:34.720
<v Speaker 2>Cowboys Arena. Hey, we're gonna go down there see that

1:04:34.800 --> 1:04:35.640
<v Speaker 2>squabble up song.

1:04:35.800 --> 1:04:36.680
<v Speaker 3>Turn his TV off?

1:04:36.720 --> 1:04:38.439
<v Speaker 1>You turn his TV off? You know what I'm saying?

1:04:38.560 --> 1:04:41.640
<v Speaker 2>Like these things are going to happen as they as

1:04:41.680 --> 1:04:44.480
<v Speaker 2>these songs start to transition. So radio still the gradies

1:04:44.600 --> 1:04:47.920
<v Speaker 2>medium to discuss people nobody trusted. Radio still the most

1:04:48.000 --> 1:04:51.880
<v Speaker 2>trusted medium to discover music. Sure still to this day,

1:04:51.880 --> 1:04:53.920
<v Speaker 2>you know what I mean. And it's far out there, But

1:04:54.200 --> 1:04:58.080
<v Speaker 2>that's a lot of money to break because now it's harder.

1:04:58.200 --> 1:05:00.760
<v Speaker 2>Like he's he's in a great position to make it happen.

1:05:00.840 --> 1:05:03.880
<v Speaker 2>But man like, and this is where I was telling

1:05:03.960 --> 1:05:07.840
<v Speaker 2>six before we started the pile, like about hip hop

1:05:07.920 --> 1:05:11.400
<v Speaker 2>used to be inspired marketing, Like we would have all

1:05:11.440 --> 1:05:14.080
<v Speaker 2>the new things, we would challenge, all the status quos.

1:05:14.120 --> 1:05:16.280
<v Speaker 1>We would you know, so forth and so on.

1:05:16.400 --> 1:05:19.360
<v Speaker 2>Like if you notice, like people talk shit because Kendrick

1:05:19.440 --> 1:05:21.680
<v Speaker 2>dropped this album out of nowhere, It's like, oh, it

1:05:21.760 --> 1:05:24.400
<v Speaker 2>just came out of nowhere. It's like that is a

1:05:24.480 --> 1:05:28.440
<v Speaker 2>marketing strategy in itself that creates a whirlwind of conversation.

1:05:28.560 --> 1:05:31.160
<v Speaker 2>And they were able to try something unique and what

1:05:31.240 --> 1:05:33.640
<v Speaker 2>they end up doing like three hundred some thousand records or.

1:05:33.560 --> 1:05:37.360
<v Speaker 3>Something like I mean, and he's been selling one hundred

1:05:37.400 --> 1:05:39.560
<v Speaker 3>k a week since because.

1:05:39.240 --> 1:05:41.720
<v Speaker 2>If you think about it, bro, it's like people are

1:05:41.920 --> 1:05:45.480
<v Speaker 2>just discovering and this is. This is what I've been

1:05:45.480 --> 1:05:47.680
<v Speaker 2>saying to people like, oh man, with this person, they

1:05:47.680 --> 1:05:50.400
<v Speaker 2>were talking about Snoop and Dre. I said, well, Snooper

1:05:50.440 --> 1:05:52.560
<v Speaker 2>Dre's only done forty thousand records first week.

1:05:52.600 --> 1:05:54.480
<v Speaker 1>That's they said. The numbers said to be somewhere right

1:05:54.480 --> 1:05:55.040
<v Speaker 1>around there.

1:05:55.720 --> 1:05:56.800
<v Speaker 3>How the fuck do people know?

1:05:56.840 --> 1:05:58.720
<v Speaker 1>Stupid Drake got album coming out?

1:05:59.800 --> 1:06:00.000
<v Speaker 3>Right?

1:06:00.120 --> 1:06:04.720
<v Speaker 2>We confuse our conversation with the conversation the real world

1:06:04.800 --> 1:06:05.680
<v Speaker 2>is talking about Trump.

1:06:06.120 --> 1:06:08.560
<v Speaker 1>Yeah, real America is talking about Trump.

1:06:08.640 --> 1:06:10.640
<v Speaker 3>SnO drink Champs? That was it?

1:06:11.680 --> 1:06:13.160
<v Speaker 1>What the fuck is that they was on a view

1:06:13.240 --> 1:06:16.320
<v Speaker 1>or something. No, you need to go to the view,

1:06:16.320 --> 1:06:16.760
<v Speaker 1>you know what I mean.

1:06:16.800 --> 1:06:19.800
<v Speaker 2>So again, it's one of those things where sometimes we

1:06:19.960 --> 1:06:23.560
<v Speaker 2>overinflate our value initially and we gotta do the work.

1:06:23.880 --> 1:06:25.400
<v Speaker 2>And this is what I was saying, like, we need

1:06:25.440 --> 1:06:28.360
<v Speaker 2>to really work harder at exposing ourselves to an audience

1:06:28.360 --> 1:06:31.400
<v Speaker 2>outside of the normal conversation. This is where hip hop

1:06:31.480 --> 1:06:34.320
<v Speaker 2>is really falling behind. One thing hip hop is falling

1:06:34.400 --> 1:06:38.040
<v Speaker 2>behind is they're not going outside and bringing more people

1:06:38.040 --> 1:06:41.080
<v Speaker 2>to the party. They just keep trying to, you know,

1:06:41.440 --> 1:06:44.080
<v Speaker 2>make gourmet meals out of top ramen. Like top Ramin's

1:06:44.080 --> 1:06:47.600
<v Speaker 2>already a fantastic break down or something. Don't try to

1:06:47.720 --> 1:06:50.400
<v Speaker 2>make meal out of that. So we try to use

1:06:50.480 --> 1:06:53.360
<v Speaker 2>hip hop to make more hip hop is like that

1:06:53.440 --> 1:06:57.040
<v Speaker 2>probably ain't the thing. And on another note, it's just marketing,

1:06:57.520 --> 1:06:59.960
<v Speaker 2>you know, creating a reason to have a conversation. It's

1:07:00.080 --> 1:07:03.000
<v Speaker 2>all these records coming out every day. I have no

1:07:03.200 --> 1:07:06.040
<v Speaker 2>I'm not listening to no nigga album here. I got

1:07:06.080 --> 1:07:08.120
<v Speaker 2>too much shit going on, Like you have to give

1:07:08.160 --> 1:07:11.640
<v Speaker 2>me a vested interest into it just because music. Don't

1:07:11.680 --> 1:07:12.920
<v Speaker 2>mean I'm gonna digest it.

1:07:13.320 --> 1:07:16.000
<v Speaker 4>I'm gonna tell you, bro, there are so many fucking

1:07:16.040 --> 1:07:18.360
<v Speaker 4>great albums that you don't even know. Like I didn't

1:07:18.400 --> 1:07:20.560
<v Speaker 4>even know pro j Pat had no new shit, Dog.

1:07:20.600 --> 1:07:23.080
<v Speaker 4>I just happened to be looking for something else and

1:07:23.160 --> 1:07:26.000
<v Speaker 4>found and he put out examining album by the year ago, Dog.

1:07:26.480 --> 1:07:28.880
<v Speaker 1>And you told me that, And that don't mean I'm

1:07:28.880 --> 1:07:29.600
<v Speaker 1>gonna listen to it.

1:07:29.760 --> 1:07:31.920
<v Speaker 4>That's what I'm saying. The same thing with Scarface. Same

1:07:32.200 --> 1:07:36.000
<v Speaker 4>Scarface probably dropped one of his best albums, man who

1:07:36.120 --> 1:07:37.840
<v Speaker 4>was the one where he had the Guys record on

1:07:37.880 --> 1:07:38.320
<v Speaker 4>there and all.

1:07:38.280 --> 1:07:41.160
<v Speaker 3>That deeply rooted. Sure that was a great album and.

1:07:41.080 --> 1:07:43.520
<v Speaker 4>I discovered that shit probably about a year late though,

1:07:43.640 --> 1:07:46.560
<v Speaker 4>And I'm a Scarface fan because nobody knew it came out.

1:07:46.800 --> 1:07:48.800
<v Speaker 2>So I think I think that's what hip hop is

1:07:48.840 --> 1:07:53.280
<v Speaker 2>falling behind, end is being inspired with marketing like now

1:07:53.560 --> 1:07:55.560
<v Speaker 2>and again, you know, we can blame the record companies.

1:07:55.560 --> 1:07:57.640
<v Speaker 2>We can say, hey, you know the they washed up

1:07:57.640 --> 1:08:00.720
<v Speaker 2>on ari N but they still doing things for pop eggs.

1:08:01.120 --> 1:08:01.880
<v Speaker 1>But guess what.

1:08:04.040 --> 1:08:09.560
<v Speaker 5>And this is an example of becoming dependent on algorithms.

1:08:10.800 --> 1:08:14.960
<v Speaker 5>Algorithms are not going to redefine anything.

1:08:15.160 --> 1:08:16.200
<v Speaker 6>They're pre defined.

1:08:17.560 --> 1:08:22.960
<v Speaker 5>So if you're relying on paying into a model that's

1:08:23.000 --> 1:08:28.599
<v Speaker 5>algorithm dependent, that algorithm it's its own ecosystem, so you're

1:08:28.680 --> 1:08:33.280
<v Speaker 5>restricted to the confines of that algorithm. And and and

1:08:33.400 --> 1:08:36.280
<v Speaker 5>hip hop has really suffered from now and I come

1:08:36.280 --> 1:08:38.160
<v Speaker 5>across a lot of stuff based on that, Like my

1:08:38.240 --> 1:08:41.280
<v Speaker 5>algorithm is so bizarre, like just like just just my

1:08:41.280 --> 1:08:45.800
<v Speaker 5>my YouTube shit on TV. I watch an interview about

1:08:45.880 --> 1:08:49.040
<v Speaker 5>some guy from a think tank talking about Chinese military

1:08:49.080 --> 1:08:52.240
<v Speaker 5>innovation earlier today, and I discovered the killer mic and

1:08:52.320 --> 1:08:54.800
<v Speaker 5>Project Pat and some other dude did a song in

1:08:54.880 --> 1:08:56.759
<v Speaker 5>a parking lot in front of a liquor store.

1:08:56.520 --> 1:09:04.240
<v Speaker 6>In Atlanta this year. It was cool, cool project, but.

1:09:07.200 --> 1:09:10.280
<v Speaker 5>That's a very unique way for me to come across that.

1:09:11.920 --> 1:09:13.800
<v Speaker 5>You know, so if if you're gonna be really and

1:09:13.840 --> 1:09:15.759
<v Speaker 5>that's the same thing garbage in, garbage out.

1:09:15.600 --> 1:09:17.559
<v Speaker 6>With AI, you know, like.

1:09:19.600 --> 1:09:21.679
<v Speaker 5>We'll save an AI thing for another time, but it's

1:09:21.720 --> 1:09:23.040
<v Speaker 5>the same principle.

1:09:22.600 --> 1:09:24.719
<v Speaker 3>You know what I mean what we're talking about.

1:09:24.880 --> 1:09:26.639
<v Speaker 2>I was talking the problem about this and I told

1:09:26.720 --> 1:09:30.240
<v Speaker 2>him I thought he was depending on the on companies

1:09:30.280 --> 1:09:33.559
<v Speaker 2>to market him, Like you're depending on Spotify to market

1:09:33.640 --> 1:09:35.120
<v Speaker 2>you when you asking to be a part of the

1:09:35.160 --> 1:09:37.439
<v Speaker 2>algorithm and YouTube you're like, hey market me, and they

1:09:37.560 --> 1:09:40.840
<v Speaker 2>like why, Like we have other things that's drumming away

1:09:40.880 --> 1:09:44.320
<v Speaker 2>more interest to market than you and the interest. So

1:09:44.360 --> 1:09:47.200
<v Speaker 2>again to a conversation that I've been having with a

1:09:47.240 --> 1:09:49.960
<v Speaker 2>lot of people. I had this conversation with currency killer

1:09:50.040 --> 1:09:55.880
<v Speaker 2>Mike hip Hop is not done colonizing even America. Like

1:09:55.960 --> 1:10:00.400
<v Speaker 2>there's so many different Like we're still doing alcohol, like

1:10:00.560 --> 1:10:04.920
<v Speaker 2>right now they just put out a new alcohol. Like

1:10:05.080 --> 1:10:08.720
<v Speaker 2>why don't we have car dealerships, Why don't we have

1:10:09.439 --> 1:10:11.360
<v Speaker 2>shout out to Butt and Bee who got a restaurant?

1:10:11.520 --> 1:10:11.680
<v Speaker 3>Right?

1:10:11.720 --> 1:10:14.800
<v Speaker 2>He has a burger chain, right, Like we should be

1:10:14.840 --> 1:10:17.519
<v Speaker 2>all trying to franchise a burger chain, a trio.

1:10:17.680 --> 1:10:20.040
<v Speaker 3>Burgers Hip hop has so.

1:10:20.040 --> 1:10:24.960
<v Speaker 2>Much work to do in colonizing America with all this influence.

1:10:25.479 --> 1:10:28.519
<v Speaker 2>If we don't the influence of flee, like what's happening

1:10:28.520 --> 1:10:30.519
<v Speaker 2>in the rock and roll rock and roll lost its

1:10:30.560 --> 1:10:34.280
<v Speaker 2>main influence and it didn't colonize enough. There's not enough

1:10:34.320 --> 1:10:37.320
<v Speaker 2>things that are rock Like we could go out here

1:10:37.479 --> 1:10:41.599
<v Speaker 2>and really colonize and back to the marketing. Like I said,

1:10:41.640 --> 1:10:46.519
<v Speaker 2>we could really like infiltrate different places in a way

1:10:46.560 --> 1:10:48.880
<v Speaker 2>that we never thought of if we make that the target.

1:10:49.479 --> 1:10:52.200
<v Speaker 4>Gee, not the interrupt you bros. You're making some very

1:10:52.280 --> 1:10:55.160
<v Speaker 4>valid points. I'm gonna tell you what's happening too. People

1:10:55.160 --> 1:10:58.040
<v Speaker 4>are getting too cut up in the economics making records,

1:10:58.080 --> 1:11:03.240
<v Speaker 4>like they just dropping records zip three months, just dropping them,

1:11:03.520 --> 1:11:06.840
<v Speaker 4>and I think they're not really given the first record

1:11:06.880 --> 1:11:08.760
<v Speaker 4>they put out time. They're not even really you know,

1:11:08.840 --> 1:11:11.120
<v Speaker 4>going in on that, Like I see a whole bunch

1:11:11.120 --> 1:11:14.160
<v Speaker 4>of rappers. You're dropping projects every few months. Man, It's

1:11:14.240 --> 1:11:16.000
<v Speaker 4>kind of like it gets kind of overwhelming.

1:11:16.600 --> 1:11:19.280
<v Speaker 5>And people got money now, so they're risk conscious, they're

1:11:19.360 --> 1:11:21.479
<v Speaker 5>ROI driven, and they're going low entropy.

1:11:22.760 --> 1:11:25.520
<v Speaker 1>And it's right because there is really.

1:11:27.200 --> 1:11:29.960
<v Speaker 2>So so you lower the quality of the music to

1:11:30.040 --> 1:11:34.200
<v Speaker 2>put out more to try to make money, like if.

1:11:34.120 --> 1:11:37.280
<v Speaker 6>You're gonna more volume.

1:11:38.240 --> 1:11:40.599
<v Speaker 4>Yeah, that's how I lost money when I started looking

1:11:40.640 --> 1:11:42.840
<v Speaker 4>at records. When I started looking at the record business.

1:11:42.880 --> 1:11:45.160
<v Speaker 4>Instead of me taking time and waiting to get inspired

1:11:45.200 --> 1:11:48.280
<v Speaker 4>to drop something right, I was just thinking, Man, I'm

1:11:48.320 --> 1:11:51.519
<v Speaker 4>making seventy to eighty thousand dollars the first time I

1:11:51.600 --> 1:11:53.720
<v Speaker 4>dropped some shit, right, so let me put some more

1:11:53.760 --> 1:11:55.880
<v Speaker 4>shit out. It became like a like a like just

1:11:55.920 --> 1:11:57.720
<v Speaker 4>like an assembly line, like I was pressing the T

1:11:57.840 --> 1:12:02.320
<v Speaker 4>shirts and some shit. Dog. I didn't care about the direct.

1:12:01.520 --> 1:12:02.479
<v Speaker 3>A final company.

1:12:02.520 --> 1:12:05.400
<v Speaker 2>It don't work for hip hop because hip hop is

1:12:05.439 --> 1:12:07.639
<v Speaker 2>not the business of record, it's the business of culture.

1:12:08.560 --> 1:12:11.680
<v Speaker 2>Record companies are the business the business of records. Like

1:12:11.800 --> 1:12:14.400
<v Speaker 2>hip hop, like deaf Row is not in the business

1:12:14.400 --> 1:12:16.360
<v Speaker 2>of records, they're in the business of culture. So if

1:12:16.400 --> 1:12:19.080
<v Speaker 2>you know you're selling culture, then you could change your output.

1:12:19.479 --> 1:12:23.080
<v Speaker 2>But you have to keep finding ways to invite people

1:12:23.120 --> 1:12:24.520
<v Speaker 2>and inform them culturally.

1:12:25.040 --> 1:12:25.960
<v Speaker 6>And that's the difference.

1:12:26.520 --> 1:12:30.960
<v Speaker 5>You can say, all right, I know that for my

1:12:31.160 --> 1:12:34.840
<v Speaker 5>hundred thousand dollars in I can keep it within this

1:12:35.000 --> 1:12:37.880
<v Speaker 5>confine and get two hundred thousand dollars out. But for

1:12:37.920 --> 1:12:40.599
<v Speaker 5>me to go transcend that, I gotta get five hundred

1:12:40.600 --> 1:12:42.880
<v Speaker 5>thousand dollars in. I might not get a million out.

1:12:42.920 --> 1:12:44.840
<v Speaker 5>I can just do a one hundred thousand and five

1:12:44.880 --> 1:12:47.800
<v Speaker 5>times and I'll get my million out that way, bro.

1:12:48.040 --> 1:12:51.240
<v Speaker 4>Just thinking about just think about when your return is

1:12:51.240 --> 1:12:53.120
<v Speaker 4>I'm gonna spend ten thousand and I'm gonna make one

1:12:53.160 --> 1:12:57.479
<v Speaker 4>hundred and fifty thousand. Yeah, it starts you start thinking different, man,

1:12:57.760 --> 1:13:00.000
<v Speaker 4>and you really start thinking differently. You start kind of

1:13:00.040 --> 1:13:01.040
<v Speaker 4>getting lost in that shit.

1:13:01.880 --> 1:13:03.960
<v Speaker 2>You just got to know what the ten thousand I

1:13:03.960 --> 1:13:05.880
<v Speaker 2>think that's the thing. And it goes back to the

1:13:05.880 --> 1:13:07.960
<v Speaker 2>point I was making before we win here. It's like

1:13:08.560 --> 1:13:11.639
<v Speaker 2>hip hop has to realize what's happening. If hip hop

1:13:11.720 --> 1:13:14.919
<v Speaker 2>thinks they're in the business of music, they're sadly mistaken.

1:13:14.960 --> 1:13:15.280
<v Speaker 3>They're not.

1:13:15.800 --> 1:13:19.439
<v Speaker 2>If hip hop thinks that they're in the business of

1:13:19.600 --> 1:13:23.280
<v Speaker 2>selling like songs, Like like me and Pete talked about this,

1:13:23.520 --> 1:13:28.400
<v Speaker 2>comics don't sell jokes. Comics sell funny. Some of the

1:13:28.479 --> 1:13:32.280
<v Speaker 2>funniest things in the world are not jokes. Hip Hop

1:13:32.320 --> 1:13:35.920
<v Speaker 2>doesn't sell songs, they sell culture. It's just in this

1:13:36.160 --> 1:13:39.360
<v Speaker 2>art form But if you understand that, then you can

1:13:39.439 --> 1:13:42.000
<v Speaker 2>start to trump up your you can start to trump

1:13:42.080 --> 1:13:42.759
<v Speaker 2>up your output.

1:13:43.080 --> 1:13:45.080
<v Speaker 1>But if you get for two seconds.

1:13:44.800 --> 1:13:47.200
<v Speaker 2>Confused that you just making songs and you're like, oh,

1:13:47.240 --> 1:13:50.280
<v Speaker 2>this is enough culture versus really taking the time to

1:13:50.360 --> 1:13:53.800
<v Speaker 2>investigate how you delivering culture or what you're delivering that

1:13:53.840 --> 1:13:56.559
<v Speaker 2>people can be involved with, That's where I think you

1:13:56.680 --> 1:13:59.439
<v Speaker 2>go wrong, and I think hip hop really needs to

1:13:59.720 --> 1:14:02.000
<v Speaker 2>if we understood our value. Shout out to people like

1:14:02.040 --> 1:14:05.720
<v Speaker 2>Adam twenty two, other people like DJ Vlad. They do

1:14:05.840 --> 1:14:07.920
<v Speaker 2>get that culture roture tech, but you know what they

1:14:07.960 --> 1:14:11.720
<v Speaker 2>get more than anybody, how valuable street urban culture is.

1:14:12.439 --> 1:14:14.559
<v Speaker 2>See all of us inside of it. Don't see it

1:14:14.560 --> 1:14:16.519
<v Speaker 2>that way. Were in the car, were driving a car.

1:14:17.160 --> 1:14:18.040
<v Speaker 1>You look at people.

1:14:17.800 --> 1:14:20.200
<v Speaker 2>Who join gangs that didn't grow up in LA. They

1:14:20.240 --> 1:14:24.360
<v Speaker 2>are so enamored. Oh my fucking god. You know they'd

1:14:24.400 --> 1:14:26.840
<v Speaker 2>be like, oh my, they wear the clothes they like,

1:14:26.920 --> 1:14:28.880
<v Speaker 2>oh no, I'm addressed like I saw rocket.

1:14:28.920 --> 1:14:30.040
<v Speaker 3>They be enamored.

1:14:30.080 --> 1:14:32.280
<v Speaker 1>Bro, They be like I am in. That's how people

1:14:32.280 --> 1:14:33.040
<v Speaker 1>feel about hip hop.

1:14:33.040 --> 1:14:34.280
<v Speaker 3>They be like, oh my god, I'm in.

1:14:35.120 --> 1:14:37.960
<v Speaker 2>You know, like like man, he you know, even them

1:14:38.040 --> 1:14:39.880
<v Speaker 2>somebody who grew up in and he grabbing. But look

1:14:39.880 --> 1:14:42.479
<v Speaker 2>at somebody from the outside, they're like, oh my god,

1:14:43.000 --> 1:14:47.000
<v Speaker 2>they are enamored. So you watch these people build multi

1:14:47.160 --> 1:14:50.920
<v Speaker 2>million dollar businesses off something that we innately have, Like

1:14:51.040 --> 1:14:56.080
<v Speaker 2>Kentucky Fried Chicken is a multi million dollar soul food restaurant.

1:14:56.400 --> 1:14:59.800
<v Speaker 2>Taco Bell is a multi million dollar idea based off

1:15:00.080 --> 1:15:03.920
<v Speaker 2>skin food. So everybody else sees the value in it.

1:15:04.720 --> 1:15:05.719
<v Speaker 3>We just don't.

1:15:05.920 --> 1:15:08.040
<v Speaker 2>Like I said, the fact that not one hip hop

1:15:08.120 --> 1:15:10.360
<v Speaker 2>artist has a car dealership in the name of hip

1:15:10.360 --> 1:15:13.640
<v Speaker 2>hop is crazy. That cars are a big part. We

1:15:13.720 --> 1:15:17.240
<v Speaker 2>got liquor, we got clothes, but we fucked with cars

1:15:17.240 --> 1:15:20.639
<v Speaker 2>as much. I mean, where is that in every facet

1:15:20.720 --> 1:15:23.640
<v Speaker 2>of life, every facet of life, we should have a

1:15:23.800 --> 1:15:27.040
<v Speaker 2>fucking you know, hip hop should have a fucking flag

1:15:27.080 --> 1:15:29.679
<v Speaker 2>and a dirt. Hey, this is the hip hop version.

1:15:29.840 --> 1:15:31.680
<v Speaker 2>You don't need to go to Winchels. You could go

1:15:31.760 --> 1:15:34.720
<v Speaker 2>to this donut place. What's hip hop donut? What's a

1:15:34.800 --> 1:15:38.480
<v Speaker 2>hip hop Who's who talks about some donut shit? Fuck Winchels.

1:15:38.600 --> 1:15:43.320
<v Speaker 4>Come here, fust that motherfucker that got the song. My

1:15:43.439 --> 1:15:45.559
<v Speaker 4>cup was the dude to be sitting down on stage

1:15:45.560 --> 1:15:47.439
<v Speaker 4>and we got breathing machines on them and ship.

1:15:52.240 --> 1:15:55.960
<v Speaker 3>Or you need you need donuts. You know.

1:15:56.160 --> 1:15:59.639
<v Speaker 2>Again, we should always have an answer for mainstream America

1:15:59.680 --> 1:16:03.640
<v Speaker 2>because people love our style, our flavor, and that's to

1:16:03.720 --> 1:16:08.120
<v Speaker 2>me what everybody outside gets. And I finally understand a

1:16:08.160 --> 1:16:10.200
<v Speaker 2>lot of people in the hip hop don't understand that.

1:16:10.360 --> 1:16:12.400
<v Speaker 2>I'll be like, bro, y'all are tripping. They're like, no,

1:16:12.479 --> 1:16:14.519
<v Speaker 2>g you know you trip it? No, you trip it?

1:16:15.160 --> 1:16:17.280
<v Speaker 2>Do you know how the media is?

1:16:17.960 --> 1:16:18.240
<v Speaker 3>Huh?

1:16:19.320 --> 1:16:21.560
<v Speaker 5>People don't understand the layers of like the mediums, like

1:16:21.600 --> 1:16:25.720
<v Speaker 5>we were saying, like the conversation versus the telephone wire. Yeah,

1:16:25.840 --> 1:16:29.040
<v Speaker 5>people are confusing I lay down telephone wire and I

1:16:29.160 --> 1:16:33.519
<v Speaker 5>mind copper. No, he does copper, you do wire, he

1:16:33.560 --> 1:16:40.280
<v Speaker 5>does conversation. And people think that the music. No, if

1:16:40.320 --> 1:16:43.799
<v Speaker 5>they've confused the music as the medium and the content

1:16:43.880 --> 1:16:46.280
<v Speaker 5>being put over the medium as being the same thing,

1:16:46.280 --> 1:16:46.960
<v Speaker 5>and that the same thing.

1:16:47.360 --> 1:16:49.519
<v Speaker 3>His name is Dave Blunts. Man. I wish that boy

1:16:49.560 --> 1:16:50.439
<v Speaker 3>could get him some help.

1:16:50.479 --> 1:16:50.639
<v Speaker 4>Man.

1:16:50.680 --> 1:16:51.960
<v Speaker 3>Let's really sad though.

1:16:52.560 --> 1:16:53.200
<v Speaker 1>Dave Blunts.

1:16:53.240 --> 1:16:57.320
<v Speaker 2>So again, it's like we don't have mainstay in too

1:16:57.400 --> 1:16:59.920
<v Speaker 2>much mainstream America, but we should always have the urn

1:17:00.400 --> 1:17:04.160
<v Speaker 2>version of hip hop of whatever life is because just

1:17:04.200 --> 1:17:06.439
<v Speaker 2>like they got McDonald's, it should be a trill Burgers

1:17:06.439 --> 1:17:07.080
<v Speaker 2>in every town.

1:17:08.040 --> 1:17:08.840
<v Speaker 1>Just like every it.

1:17:08.760 --> 1:17:11.479
<v Speaker 3>Should be a hip hop grocery store. I feel like

1:17:11.479 --> 1:17:13.639
<v Speaker 3>they type caster. It's just like they're doing movies.

1:17:14.080 --> 1:17:16.080
<v Speaker 2>Yeah, but it's not that I don't even think it's

1:17:16.120 --> 1:17:19.720
<v Speaker 2>them typecasts. Like that's probably why they're not coming to say, Hey,

1:17:19.760 --> 1:17:21.320
<v Speaker 2>you know, people will go to hip hop grocery store,

1:17:21.360 --> 1:17:23.200
<v Speaker 2>but that's not the reason why we should be opening

1:17:23.280 --> 1:17:24.479
<v Speaker 2>up at hip hop grocery store.

1:17:24.760 --> 1:17:25.000
<v Speaker 3>Yeah.

1:17:25.120 --> 1:17:27.679
<v Speaker 5>And it's a thin line between type casting and branding.

1:17:28.040 --> 1:17:30.080
<v Speaker 5>It's type casting, and when it doesn't work for you,

1:17:30.160 --> 1:17:30.719
<v Speaker 5>it's branding.

1:17:30.760 --> 1:17:31.200
<v Speaker 3>When it does.

1:17:37.080 --> 1:17:39.680
<v Speaker 2>They're looking out for tuning into the No Sellers podcast.

1:17:39.960 --> 1:17:43.360
<v Speaker 2>Please do us a favorite, subscribe rate Commonist Share. This

1:17:43.400 --> 1:17:45.640
<v Speaker 2>episode was recorded right here on the West coast of

1:17:45.680 --> 1:17:49.120
<v Speaker 2>the USA. They produce about the Black Effect podcast network

1:17:49.280 --> 1:17:50.280
<v Speaker 2>and now hard Radio.

1:17:50.800 --> 1:17:52.600
<v Speaker 3>Yeah.