Speaker 1: WA's up and welcome back to another episode of No
Speaker 1: Salis Podcast with your hosts Now fuck that with your
Speaker 1: low glasses, Malone, Pete dog, that's is Malone?
Speaker 2: How are things a.
Speaker 3: Little?
Speaker 1: I had a long last week. Man, it's not necessarily
Speaker 1: starting on stronger this week. I had alone last week, relatable,
Speaker 1: very tell me what happened.
Speaker 2: I've had to self diagnose.
Speaker 4: With a very uncomfortable disorder, and I might as well
Speaker 4: just make a public proclamation of it, since we've already started.
Speaker 2: Apparently after suffering.
Speaker 4: Substantial losses and option trades a couple of weeks ago,
Speaker 4: now I have suffering from what is at least what
Speaker 4: I have decided to coin the term as psycho financial sclerosis,
Speaker 4: meaning it's where I now no longer trust my capacity
Speaker 4: to read the short term markets to the extent that
Speaker 4: I am scared shitless of making any trades whatsoever.
Speaker 2: So affully. It's humiliating.
Speaker 4: It's the erectile dysfunction of traders, oh man. But I've
Speaker 4: always promised the audience that I would be open and
Speaker 4: honest with them, So there you have it.
Speaker 1: Last week for me, the puff trial has pretty much
Speaker 1: shown me how alone I am in the business, how
Speaker 1: alone I am in blackness and how alone I am
Speaker 1: when it comes to integrity. Sure, I had an idea
Speaker 1: to do this song off the melody for rocket Man
Speaker 1: off Elton John Huh, nothing, go for it where I
Speaker 1: wanted to make a song right where I wanted to
Speaker 1: make a song, and it was about three different or
Speaker 1: four different rockets taken off from Earth, and the rockets
Speaker 1: would be named after different styles of drugs, like opioids,
Speaker 1: like all the makeups of these drugs, and it's like
Speaker 1: I'm the last person on Earth.
Speaker 3: Right because like I'm the only person sober.
Speaker 1: And I had another idea to do another song where
Speaker 1: I used the melody from Hotel California and the piano
Speaker 1: and it's like I'm surrounded like by zombies, like everybody's
Speaker 1: possessed by different spirits. Yeah you know what I mean, spirits,
Speaker 1: Like everybody's drinking so they getting possessed by spirits and
Speaker 1: I'm kind of the only person still walking around not possessed.
Speaker 4: Didn't the song Hotel California sound like or was it
Speaker 4: about like a rehab clinic.
Speaker 3: A Hotel California.
Speaker 1: I guess it could give off the vibe, but no
Speaker 1: at least not from how like I interpret the writing.
Speaker 1: It was talking about being a prisoner of the different
Speaker 1: styles of drugs. Like the initial verse is about marijuana. True, No,
Speaker 1: so she lit up her candle and she showed me
Speaker 1: the way, so there were voices down the cord or
Speaker 1: the second verse is about either cocaine or crack.
Speaker 2: At that point kind of probably have been co.
Speaker 1: Yeah, right, And then the third verse is about heroin.
Speaker 1: They stab it with, they still be nice, but they
Speaker 1: just can't kill the bees. It's like they gather for
Speaker 1: the feast. Sure they stab with, they still nice, but
Speaker 1: they just can't kill the beest. And so it's somewhat
Speaker 1: like that. But I thought about that making that last
Speaker 1: week and even coming into this week, like I've had
Speaker 1: to hear so much slander about Game, the gang, the rapper,
Speaker 1: and how people are saying they don't want to give
Speaker 1: him credit as a rapper because of they don't like
Speaker 1: how he markets himself or as they like to call it,
Speaker 1: his antics.
Speaker 2: Okay, and what antics?
Speaker 1: I don't know, you would have to ask them. I
Speaker 1: don't really keep up with stuff that. I don't really
Speaker 1: you know, I don't keep up with stuff if it's
Speaker 1: not interesting me. Yeah, so I wouldn't know. But people
Speaker 1: didn't like that, and they were saying that to me,
Speaker 1: but it made me think, like, you wouldn't really Game
Speaker 1: wouldn't have relevance without his marketing. Like I think the
Speaker 1: general fan would like to believe that they are so
Speaker 1: smart right that they are able to to figure out
Speaker 1: what's a good song and what's not a good song.
Speaker 1: I don't think they truly realized how much marketing goes
Speaker 1: into what they like or what they purchase, how much
Speaker 1: social currency is into what they like or what they purchase.
Speaker 1: So they have this natural attitude about it, like, oh,
Speaker 1: if he didn't do this, I would like him more,
Speaker 1: and it's like, no, you would just forget about him.
Speaker 3: Yeah. You know.
Speaker 1: Game is somebody who had a triumphant success on his
Speaker 1: first album, tons of top forty songs, probably four or
Speaker 1: five four for sure.
Speaker 3: Hated to love it.
Speaker 1: I think Dreams was top forty, and I think How
Speaker 1: We Do was top forty.
Speaker 3: Yeah, yeah, you know.
Speaker 1: I mean then he had other songs that did well
Speaker 1: and it was in a great time, and then the
Speaker 1: next album Why It did go platinum, it didn't have
Speaker 1: top forty songs. It was off how good he was
Speaker 1: marketed in his brand, and he was in the conflict
Speaker 1: with the unit that kept marketing him.
Speaker 3: That would be marketing, that would be anti was a
Speaker 3: top forty song.
Speaker 4: No damn, they played the living shit out of that
Speaker 4: song on LA Radio Christ in Heaven. They must have
Speaker 4: gotten paid. I couldn't even count how much money they
Speaker 4: were paying. Felly failed to play the Christ for sake,
Speaker 4: and hell.
Speaker 2: Out of that.
Speaker 1: Trust me, if they was playing it, they ain't got
Speaker 1: nothing to do with Felly fail. But again, Chuck's brand.
Speaker 1: It was a good record, but it wasn't quite what
Speaker 1: the first records were.
Speaker 3: Yeah. I like that record.
Speaker 4: I actually liked that record a little bit more. There's
Speaker 4: some cool songs on there.
Speaker 1: Sure, I think it could be probably, I mean, I
Speaker 1: don't think that's the point. But I was explaining to
Speaker 1: them right that, I was explaining to them that, uh
Speaker 1: that you know, that was all of this is you know,
Speaker 1: we're talking about twenty years ago. Yeah, and since then
Speaker 1: you're talking about, Chuck hasn't had a lot of success
Speaker 1: at creating.
Speaker 3: Chart topping singles. Yeah. Remember the singles is what market.
Speaker 1: You, you know, unless you could figure out another way
Speaker 1: and Chuck has figured out a really you know, Chuck
Speaker 1: the Game has figured out a really great way to
Speaker 1: keep himself, you know, branded in the public's eye. Even
Speaker 1: if his last really big records, you know, one Blood,
Speaker 1: I think it was top eighty or seventy. I mean,
Speaker 1: even with all of that, his relevance might feel like
Speaker 1: somebody who hasn't had a record in ten years versus
Speaker 1: somebody who may have not had a record in twenty years.
Speaker 3: Sure, And.
Speaker 1: I'm watching Push a T who just released, you know,
Speaker 1: he just started to market the Clips project, and they're
Speaker 1: talking about UMG and def Jam dropping them because of
Speaker 1: a song, which I think is marketing. I think it's
Speaker 1: a little bit more.
Speaker 3: Cap to that. Not like I don't want to.
Speaker 1: Mess with Push the T's marketing, but I think it's
Speaker 1: a little bit more to that. But I understand why,
Speaker 1: and I'm struggling so hard. I'm struggling so hard to
Speaker 1: get down with it. Like I remember when Tupac Must Die,
Speaker 1: I reached out to new to different people to try
Speaker 1: to create marketing things, you know, stories, if marketing is
Speaker 1: just storytelling, like I've reached out to I've created different
Speaker 1: stories and got the people involved that may have bigger
Speaker 1: brands than me, but the story itself was going to
Speaker 1: be the star and not able to make it happen.
Speaker 1: So even now, like as I'm on the verge of
Speaker 1: releasing a song which I was supposed to release on
Speaker 1: the tenth, but it's probably gonna go back until you know,
Speaker 1: third week of June, right because like my my, my,
Speaker 1: my meta account, my Instagram account, I can't advertise from it,
Speaker 1: Like my YouTube, like Tupac once died, there's six million views,
Speaker 1: that's no advertisement, that's no publicity. Right, Kanye should have
Speaker 1: never married that bitch did five million views, and that's
Speaker 1: no advertising, no publicity. Sure, And when marketing makes up
Speaker 1: eighty percent of your streams, you know what I mean?
Speaker 1: You looking at these numbers, and I've took in debate
Speaker 1: that people can keep up and they don't need social
Speaker 1: currency to enjoy good product. It's just wrong, that's just wrong.
Speaker 3: Yeah.
Speaker 2: I think there's a parallel between.
Speaker 4: Rap music or music industry, you know, wraps a little
Speaker 4: bit different than other genres in this regard, and like
Speaker 4: sports and two different sports in two different ways a
Speaker 4: little bit. But like sometimes you can see like an
Speaker 4: artist gets on the right label or with the right
Speaker 4: producer or whatever.
Speaker 2: And you hear the expression system quarterback.
Speaker 4: Yeah, you see when they leave that label if they're
Speaker 4: a good quarterback or if they were a quarterback and
Speaker 4: a good system.
Speaker 2: And then sometimes you also see on.
Speaker 4: The flip side, from a basketball standpoint, certain artists that
Speaker 4: are great players at Rutger but aren't efficient within the
Speaker 4: system of an NBA scheme.
Speaker 1: I'm not mad at that comparative. You know, no siblings
Speaker 1: gl up in this thing. Got my brother Peter, Boss,
Speaker 1: We'll get into it. That's a great point. And I
Speaker 1: think people doubt how many of these artists, most of
Speaker 1: these artists are system quarterbacks.
Speaker 4: Yeah, and I'm not trying to take anything away from
Speaker 4: a game, but no, Yeah, it occurred to me when
Speaker 4: we were talking about him, just because Dre and fifty
Speaker 4: like that, that that was a well oiled machine at
Speaker 4: a special.
Speaker 2: Time, you know.
Speaker 1: But again, I think he's one of those quarterbacks who
Speaker 1: probably can perform outside of the system. Now, it's a
Speaker 1: difference when.
Speaker 3: It like, yeah, yeah.
Speaker 1: You got the best running back and the best receiver
Speaker 1: in the game. You know what I mean with Dre
Speaker 1: and fifty and the game is quarterbacking. You know what
Speaker 1: I mean, Shit, I mean coaching and shit, you got
Speaker 1: a thousand things. But for him to maintain this relevance
Speaker 1: for twenty years without having those things, that game is
Speaker 1: relevant today. Like you're going to ask a lot of
Speaker 1: people to be heard of the game, and they're like,
Speaker 1: y'all heard of him and his records. You know again,
Speaker 1: it's probably his last top forty record was twenty years ago.
Speaker 1: You know what I'm saying, that's saying a lot, because
Speaker 1: that's that's saying a lot.
Speaker 3: It's all branding for him.
Speaker 1: The product ain't necessarily you know, as far as the
Speaker 1: singles are walking the dogs. People don't get me wrong,
Speaker 1: people talk about how well his albums are constructed. For sure,
Speaker 1: I'll hear those conversations, but you know, to not have
Speaker 1: a thing that spread you, you know, throughout Humanity, which
Speaker 1: is one song, it's pretty immaguling what he's been to do.
Speaker 3: It's been a maculate And so.
Speaker 1: Then it becomes if you prefer how he markets himself,
Speaker 1: like I was saying, when people say, oh, it's antics,
Speaker 1: and I'm like, trust me, you couldn't sniff out the
Speaker 1: genuine article because you might name somebody else and that
Speaker 1: person ain't the genuine article.
Speaker 3: They just market themselves different.
Speaker 1: But I realized how much marketing matters when you put
Speaker 1: out great product and it's still culturally heavy, but then
Speaker 1: you can see the societal merit around it, which is
Speaker 1: the views, the counts, and it's light. Like I said,
Speaker 1: two pac months died being a prime example of something
Speaker 1: that was culturally dense.
Speaker 3: I mean, it was coarse, it was.
Speaker 1: It was a talk, but again without YouTube, you know,
Speaker 1: making me a part of their marketing or for lack
Speaker 1: of better terms, as everybody say, put me in their
Speaker 1: algorithm with YouTube, turning down my advertisement campaign and not
Speaker 1: wanting to advertise my record, without hiring a publicist to
Speaker 1: guide the story, just pure promotion and quality product. You're
Speaker 1: talking about five or six million plays on the video.
Speaker 2: Yeah, And that to me was kind of the Ruger
Speaker 2: Park example.
Speaker 4: It was a stand on its own two feet talent
Speaker 4: that the league didn't necessarily want to embrace at that time.
Speaker 3: Well if again, if it would have came out through
Speaker 3: a label.
Speaker 4: Yeah, but that's part of the league to me, though,
Speaker 4: you know what I mean, how many other people wouldn't
Speaker 4: really want to do that?
Speaker 2: Yeah?
Speaker 1: Yeah, Yeah, I just feel like if you're going to
Speaker 1: play play to win, don't play for the stat Sure,
Speaker 1: So if I got less credit, like I would rather
Speaker 1: have ten points to assist eight rebounds and a steal
Speaker 1: and a block in the championship ring, then average thirty
Speaker 1: points for a team that's barely getting in the playoffs. Yeah,
Speaker 1: some people don't like that. They rather have the the
Speaker 1: you know, I'd rather be Genobly than Carmelo. Not get it,
Speaker 1: you know, you play this to me to win. I
Speaker 1: played to win. Everther people may play it for stat line.
Speaker 1: I played to win. So I had to concede how
Speaker 1: much marketing matters. Like and I'm listening to the audience
Speaker 1: who you know, who are being marketed to. They're telling me, no,
Speaker 1: it don't matter, we you know will and it's like, no,
Speaker 1: it does, Like I'm sure those.
Speaker 2: Are people who are already there, you know. So I
Speaker 2: think there's that aspect of it too.
Speaker 4: But you can look back over the last however many
Speaker 4: decades you know, in the space and see who's the
Speaker 4: product of a you know, marketing success versus you know,
Speaker 4: to find out later ultimately like oh fans rejected them
Speaker 4: later or they didn't carry all the steam or whatever.
Speaker 4: They weren't necessarily authentically what they were marketed to be
Speaker 4: in the moment, and that's not uncommon at all.
Speaker 1: Yeah, when you break it down though, into storytelling, when
Speaker 1: you break it down into what it is, it definitely
Speaker 1: makes it simple. It's not easy still, but it's simple.
Speaker 1: But again, a company of ten like Blue Division Records,
Speaker 1: trying to emulate a building of a one thousand, like
Speaker 1: let's say, you know, UMG and Santa Monica. Hmm, it's different.
Speaker 1: That requires a different level of focus. But I am
Speaker 1: impressed with what Push it.
Speaker 3: T is doing.
Speaker 1: I won't lie like I mean, Clips are a platinum
Speaker 1: group though, so it's not quite They're not quite Glasses Malone, you.
Speaker 3: Know what I mean.
Speaker 1: But I am impressed with how he's been able to
Speaker 1: galvanize people based off of ideas. And I'm watching him
Speaker 1: kind of play at his own extent, like excuse me,
Speaker 1: not at his own extent, play to his own play
Speaker 1: the way he wants to play. Yeah, the extent and
Speaker 1: how he wants to play. That's what I'm looking for.
Speaker 1: He's doing it his way. Like I know when he
Speaker 1: announced that rock Nation thing, he wanted to I wanted,
Speaker 1: he wanted Jay z in that picture. Why he didn't
Speaker 1: get it as different, but he still moved forward anyway.
Speaker 1: Even watching them generate many stories out of a GQ article,
Speaker 1: you know, GQ has to be you know, impressed because
Speaker 1: they're getting more coverage on an article when it comes
Speaker 1: to hip hop, more than they have in a long time.
Speaker 1: And again it was something that top was telling me
Speaker 1: shout out to top Dog to dou Dog, president of
Speaker 1: the TD. Outside of reminding me, like glasses, you know
Speaker 1: what to do? You got this right, he also was
Speaker 1: saying how you need to use more lifestyles and just
Speaker 1: hip hop. And I've been complaining to my homeboys that
Speaker 1: hip hop is getting stale, Like people feel like they're
Speaker 1: way more familiar with street urban culture than they really are.
Speaker 1: It's a lot of people like I have different people
Speaker 1: arguing with me all the time about something that I
Speaker 1: know they have no idea what it is. Like if
Speaker 1: I have to argue with people, why gun are told
Speaker 1: that's just crazy, that's just insane.
Speaker 3: I'm arguing people.
Speaker 1: They be like, well, you know, my OG is like, bro,
Speaker 1: you don't have og like a OG if you have
Speaker 1: to be from the streets to have an OG like
Speaker 1: your father is not your o G.
Speaker 3: Your uncle is not your old G unless.
Speaker 2: You from grandpa. What's the difference.
Speaker 1: Well, so, you know, figuring out how to cross cross
Speaker 1: into other lifestyles and bring new people to create excitement,
Speaker 1: that's something I need to focus on as well.
Speaker 2: Yeah, I'm.
Speaker 4: It is interesting, like that dilemma you know, stale through ignorance.
Speaker 4: You know, it's how do you how do you convince
Speaker 4: an audience of the principle you know, famous adage, the
Speaker 4: more you know, the more you know, you don't know
Speaker 4: m h. I, yes, you don't know enough to know,
Speaker 4: you don't know enough. Yeah, it's just a weird place
Speaker 4: to It's a weird place to occupy.
Speaker 3: Man, I'll be.
Speaker 1: Too much of my heart and soul is in this shit.
Speaker 1: And it wasn't like that at first, but somebody heart
Speaker 1: and soul got to be into it for it to
Speaker 1: reach its potential. So like TLC, heart and soul didn't
Speaker 1: have to be into it as much as Dallas Austin
Speaker 1: or Jamaane du Prix or Pebbles or Babyface like everybody else,
Speaker 1: heart and soul has to be into it. But because
Speaker 1: as an independent like your heart and soul needs to
Speaker 1: be into it. You gotta live, breathe, eat, and shit it.
Speaker 1: And that's just where I'm at. So like even preparing
Speaker 1: to release the song this week, right, it's like I
Speaker 1: can't advertise still on my Instagram.
Speaker 3: I can't release the song. I can't release the song.
Speaker 4: And when you're from being able to do advertising by
Speaker 4: meta three sixty like all this.
Speaker 1: It's malfunctioning. My Facebook page got hacked. Geez, so I
Speaker 1: lost one hundred thousand, you know followers I had on
Speaker 1: Facebook on my band page, and I guess they were
Speaker 1: trying to hack my Instagram.
Speaker 3: So whatever happened when I disconnected.
Speaker 1: It, it made it malfunction. So now when I try
Speaker 1: to boost the post, it kind of gives me this
Speaker 1: funky you know, check back later this feature. You know,
Speaker 1: it's not it's not like I'm being reprimanded. It's just
Speaker 1: a malfunction.
Speaker 2: We're the hackers, Canadian.
Speaker 3: I think they were like Indian.
Speaker 2: It was Toronto based though Indians.
Speaker 3: Possibly they were putting up a Indian.
Speaker 2: Porn interesting, so link to that again.
Speaker 1: Oh no, they snatched my page and I still never
Speaker 1: got my page back.
Speaker 2: Jesus. That fucking sucks, my God.
Speaker 1: But worse than that, right, So you lose one hundred
Speaker 1: and five thousand. Uh man, I've been through so much
Speaker 1: shit over these last fifteen years. Remember, somebody stole my
Speaker 1: whole hard drive, so that was like ten years.
Speaker 3: Worth of songs.
Speaker 1: So that was like songs from twenty ten to two
Speaker 1: thoy and eighteen.
Speaker 4: That's the initial reason why I stopped doing comedy. I
Speaker 4: had an LG phone, I had all my material saved
Speaker 4: on it and the hard drive and the phone crashed,
Speaker 4: so I couldn't even pull it off if I took
Speaker 4: it to a specialist.
Speaker 3: Right.
Speaker 2: So that's a miserable fucking experience.
Speaker 3: I love all that music, right, and then.
Speaker 1: I lost all that music, And somehow I put myself
Speaker 1: back together, and I put two protamus die together, you
Speaker 1: know what I mean, in the face of all adversity, right,
Speaker 1: and I can't advertise, But I also let people it's
Speaker 1: not that far as my fault because I knew better.
Speaker 1: I had been studying long enough to know better. When
Speaker 1: they rejected my ads on YouTube, I should have called top.
Speaker 1: I should have called top of a top. They rejected
Speaker 1: my ads. Can you plug me in with YouTube? I
Speaker 1: need to be able to advertise because I already knew
Speaker 1: what advertise was worth, and I should have reached out
Speaker 1: to Madi, who was my home girl that does publicity
Speaker 1: like because I had Greg. But at this time it
Speaker 1: was just funny and I needed everything. But again I knew.
Speaker 1: I didn't know quite in two thousand, nineteen twenty what
Speaker 1: I know now, but I knew enough. I knew the
Speaker 1: fundamentals that I needed them even before I still why
Speaker 1: I needed them.
Speaker 3: I knew I needed them, and.
Speaker 1: Watching a product go out and make history on its own,
Speaker 1: but when you look back, it's like you get a
Speaker 1: thousand comments like, man, this song should have way more
Speaker 1: views than this. Sure so and now like I had
Speaker 1: to postpone my show last year to this year, right,
Speaker 1: but like having to do it myself is the biggest problem,
Speaker 1: you know what I mean? You have to do You
Speaker 1: have to market the shit, like you have to market it,
Speaker 1: like like you know, you're not looking at things that
Speaker 1: are doing that well without marketing. It just feels like it.
Speaker 1: We would like to believe so bad that sixty million
Speaker 1: people just are aware of content and it's just happening.
Speaker 4: I think the audience needs to appreciate also, like how
Speaker 4: hard it is to make an honest dollar in that
Speaker 4: industry because we've done shows talking about how the songs
Speaker 4: now basically turned into advertisements for you know, commerce of
Speaker 4: the stuff either be it merged, be it concerts, be
Speaker 4: it whatever the hell. I imagine if Coca Cola had
Speaker 4: to run commercials for their commercials.
Speaker 3: And that's what it feels like one of the biggest
Speaker 3: things coming into.
Speaker 1: This, this stream, this brilliant stream of consciousness I'm having,
Speaker 1: and these records I've created, the first one coming out
Speaker 1: you know next, and how I figured out how to
Speaker 1: turn it back into well.
Speaker 3: Really, it's worth more money than a single ever was before.
Speaker 3: You know, if if.
Speaker 1: A single was worth three dollars you know, in this heyday,
Speaker 1: and it's worth I don't know, fifty cent now, Like
Speaker 1: I've created something where the single now is worth I
Speaker 1: don't know, a lot of money, way more money than
Speaker 1: it was and its heyday. I kept telling Trap this
Speaker 1: was the best time to be in the record business.
Speaker 1: I said, we just have to figure out how like
Speaker 1: this is the first time in life we don't have
Speaker 1: to get a distributor to deliver our product. We don't
Speaker 1: need to get best buys or one stop to buy
Speaker 1: our product, right, and we don't got to get distribution
Speaker 1: to try to carry it. We don't have to go
Speaker 1: through Young g Like the product is in everybody's hand.
Speaker 3: Yeah, Like that's unbeatable. The product is in your hand.
Speaker 1: All I had to do was figure out where how
Speaker 1: to get more money out of one song than what
Speaker 1: streaming that's want to pay me. And I figured that out.
Speaker 1: But that's why it's also important, right to have marketing
Speaker 1: tools set up, like this is the time now to
Speaker 1: reach more impressions, more eyeballs than I ever reached before.
Speaker 1: I'm in the safest space when it comes to the
Speaker 1: product itself, Like I know how to make the product
Speaker 1: in my sleep. It's contagious no matter what you know, Right,
Speaker 1: it's contagious no matter what.
Speaker 3: I have the right story behind it.
Speaker 1: Now it's about time to make sure the story is
Speaker 1: delivered to the highest level.
Speaker 3: To really capture the imagination.
Speaker 1: I guess what I'm asking God for is for the
Speaker 1: most part, pede is like forgiveness.
Speaker 3: Like I've never this whole time. I never wanted to.
Speaker 1: Take advantage of people's ignorance, but people have put me
Speaker 1: in a situation to where it's like they feel like
Speaker 1: they know everything already, and I know they don't fucking know.
Speaker 3: I know they don't fucking know.
Speaker 4: Well, yeah, ignorance is an opportunity to learn, So you'll
Speaker 4: have to learn them.
Speaker 3: Well I know them, that's the problem.
Speaker 1: And it's like, they're not going to let me just
Speaker 1: be authentic one hundred and seventeen percent.
Speaker 3: Yeah, they're just not and that sucks. That sucks, cause
Speaker 3: that fucking sucks. You know.
Speaker 1: They they're they're going to make me entertain Like the
Speaker 1: reality is so entertaining, right, the authenticity is so entertaining,
Speaker 1: But because they feel like they have access to it,
Speaker 1: they don't care about the depth that brings the authenticity there.
Speaker 1: It's like if you hear three people rapping about being
Speaker 1: a crypt and somebody's telling you, hey, no, like, yeah,
Speaker 1: we wear a navy, Yeah we beef with other cryps. Like,
Speaker 1: you get the first crypt saying I hate bloods, we
Speaker 1: wear blue, and you get the second crypt saying I
Speaker 1: hate bloods, we wear blue and this.
Speaker 3: Is how we dance.
Speaker 1: And then you get a crypt saying, well, we really
Speaker 1: have relationship with bloods uniquely, right, the nuance of it, right,
Speaker 1: it's not as bad as you think you know, it's
Speaker 1: really about brothers, fellowshipping and bonding, and if you're doing
Speaker 1: it right, it's very diplomatic, or it would be a war.
Speaker 1: Like the nuance of it all, it's like, nah, I'm cool.
Speaker 1: I liked it better when it was just blue versus red.
Speaker 2: Well, that's the challenge was straddling the entertainment industry versus
Speaker 2: the education industry. Yeah, I mean you're still in the
Speaker 2: entertainment you know, vertical so as they say, and uh,
Speaker 2: you see, you're kind of like Russell Crowe in that
Speaker 2: spiteful scene after like the first fight in the coliseum
Speaker 2: where he kills everybody and scorns the crowd, who's all happy?
Speaker 2: Are you not entertained? Are you not entertained?
Speaker 4: Here?
Speaker 2: Is this reality entertaining enough for you?
Speaker 1: But it's like, man, it's like they're gonna bring out
Speaker 1: like it just feels so deceptive.
Speaker 4: Most of these people want to be deceived. I mean
Speaker 4: really like most of the fans, and by most I
Speaker 4: mean all minus a statistically insignificant peace.
Speaker 2: This is a scapist This is not a how to manual.
Speaker 4: You know, people want to enter into this world of
Speaker 4: yours temporarily, superficially digestibly, and.
Speaker 2: They don't necessarily.
Speaker 4: Feel that they need to be burdened by those types
Speaker 4: of details to enjoy a momentary reprieve from auditing inventory
Speaker 4: of wholesale bottles of orange juice.
Speaker 3: All day long. You know. So they want the zoo, Yeah, they.
Speaker 2: Want the zoo.
Speaker 4: They don't want to necessarily understand the dynamics of why
Speaker 4: sometimes the lions scuffle within their own pods on route
Speaker 4: to the Wilderbeast. They just want to see a little
Speaker 4: bit of blood. They don't want to get it on
Speaker 4: their shirt. They want to go home. It's the same
Speaker 4: at the zoo as it was in the coliseum, as
Speaker 4: it is on hip hop records and even country.
Speaker 3: Rap tunes, even country red some.
Speaker 4: But it is an interesting earlier I was reading something
Speaker 4: that mentioned says law Jean Baptiste say say why, and
Speaker 4: that supply creates demand and the more available that you
Speaker 4: make something, rather than the price going up, as you
Speaker 4: bring the price down and accessibility expands, use cases for
Speaker 4: that expand and the demand goes up. And that's kind
Speaker 4: of what's happening now as music's digitalized to cloud streaming
Speaker 4: from you know, individual retail singles and albums people have
Speaker 4: been able to listen to it. You can listen to
Speaker 4: more music because you have more ability to listen to
Speaker 4: music throughout the day on your phone versus only being
Speaker 4: in your car or in front of a CD player
Speaker 4: or whatever else you have access to.
Speaker 2: More so your listenability increases.
Speaker 4: The ability to turn listenability into consumerism has increased. So
Speaker 4: all those things are true, which bears out that this
Speaker 4: is the most valuable time for you to ever generate
Speaker 4: high numbers.
Speaker 2: Because of all that's attached to those numbers.
Speaker 3: Okay, so.
Speaker 1: Nuance is not a sellable thing, or nuance is not
Speaker 1: you know what, not sellable?
Speaker 3: Gimme it's not. It's not as in demand.
Speaker 4: Yeah, it's that's a to me, that's a supplemental that's
Speaker 4: a niche. Yeah, less less than a primary drama is
Speaker 4: always in demand. Nuance is only in demand too. Like
Speaker 4: authenticity attracts and begets authenticity. So as authentic as you
Speaker 4: are in the pantheon of rappers by percentile, say you're
Speaker 4: in like the ninety ninth, the same is true on
Speaker 4: the consumer side. Authenticity is going to attract authenticity, so
Speaker 4: it's going to be the ninety ninth percentile of authentic,
Speaker 4: of authentic fans and listeners.
Speaker 2: That are going to appreciate your authenticity.
Speaker 3: What percentages that? Again?
Speaker 1: One that makes sense though, because no lie, Like the
Speaker 1: hardest thing is when you dope. And it's like the
Speaker 1: dopest people who everybody celebrate is like, yo, you dope. Yeah,
Speaker 1: Like when people are saying to me like, yo, you dope,
Speaker 1: Like I hear that all the time, Like Snoop is
Speaker 1: telling me you're dope, yeah, and Drey is like, yo,
Speaker 1: you dope, Like jay Z You're dope.
Speaker 3: And it's like then why, like what am I? Well?
Speaker 1: How don't your fans know it? But I think that's
Speaker 1: the one percent to create are the one percent who
Speaker 1: value nuance versus the fans who value just drama.
Speaker 4: Yeah, and your fans like their die hard index score
Speaker 4: is through the ceiling, whereas most other artists fans die
Speaker 4: hard index score is just you know, until the glass
Speaker 4: is empty. So there's that also, I think what's really
Speaker 4: separated historically certain rappers whose like.
Speaker 2: Voices live on is they have a great ability to
Speaker 2: bring in.
Speaker 4: The masses with the catchy hook, with the simple content,
Speaker 4: with whatever else, and then be able to leave these
Speaker 4: leaflets of nuanced death kind of peppered throughout so that
Speaker 4: it doesn't necessarily overwhelm or distract, you know, the casual listener,
Speaker 4: but the engaged listener is able to pick up on
Speaker 4: it and really really appreciate that, and they hold them
Speaker 4: down really tough and serve as like a base for
Speaker 4: a broader, you know, audience. It's kind of attached to them.
Speaker 3: Hm hmm.
Speaker 1: So you're saying the ninety nine percent can only really
Speaker 1: digest obtutes.
Speaker 2: Yeah, they're really only looking for you know, blue simple.
Speaker 3: Wed Yeah, because they have their own life.
Speaker 4: Yeah, and they just know that's different and exciting. And
Speaker 4: I mean most people. I mean this is true with
Speaker 4: like basketball highlights. People want to see the dunks. They
Speaker 4: don't necessarily want to see the whole game, let alone
Speaker 4: the whiteboard break down of the pick and roll. They
Speaker 4: want the dunk, they want the behind the back pass.
Speaker 3: Hmmm.
Speaker 1: But how do you create that today in a street
Speaker 1: urban culture that has been overly exposed.
Speaker 3: At least part of it.
Speaker 2: Sure, sure that that's the million dollar question.
Speaker 4: I mean, the how do you engage the blissfully ignorance?
Speaker 2: How do you.
Speaker 4: I mean that that that that I think is the
Speaker 4: inherent challenge. You either give people exactly you know, what
Speaker 4: do they want? What are people consuming? Give them that
Speaker 4: and then tether quality content to it like a trojan
Speaker 4: horse of authenticity, or you know, to me, that's that's
Speaker 4: kind of how it how it looks.
Speaker 2: I mean, you see, like in like movies.
Speaker 4: Now, there's some movies that have depth, there are, but
Speaker 4: a lot of them, you know, are kind of like
Speaker 4: the ones that do have some depth, they have avail
Speaker 4: it and just simple easy entertainment, you know what I mean, Like,
Speaker 4: like what was the movie like like get Out for example,
Speaker 4: had a lot of depth to it, but at the
Speaker 4: end of the day, it was kind of a scary
Speaker 4: thriller movie that was you know, also if you just
Speaker 4: didn't give a shit, had a simple plot line with suspense,
Speaker 4: with surprise and blah blah blah blah blah.
Speaker 2: Like anything else you eat, pop cornwall watching, you know.
Speaker 3: Versus the movie Pig with Nicholas Cage.
Speaker 2: Not even familiar with it.
Speaker 1: Yeah, it's a hell of nuanced. It's like a story
Speaker 1: about a truffle hunter. Somebody kidnaps a truffle hunter's pig
Speaker 1: and he just goes to town trying to find his pig.
Speaker 1: What's funny is, you know, the story is John Wick
Speaker 1: without the violence. M okay, is John Wick without the violence.
Speaker 1: He doesn't kick nobody. He gets his ass kicked once.
Speaker 1: Everybody want to kill him because he wants the pig,
Speaker 1: but he kills nobody.
Speaker 2: Sure, And that's I think.
Speaker 4: A critical observational difference between the exciting and the real.
Speaker 4: In reality, that's how it's going to really go most
Speaker 4: of the time. It's not going to go like John Wick.
Speaker 4: But John Wick is going to sell God damn it,
Speaker 4: and he's gonna sell big.
Speaker 1: You're right, because the pig did roughly, it did right
Speaker 1: up under five million. Yeah, he shot him for like
Speaker 1: three million and it did write up under five million,
Speaker 1: sure versus john Wick, where obviously it's different, and I.
Speaker 4: Think there's probably some validity Like what like when you
Speaker 4: see true crime stuff that does really well. Sure, it's
Speaker 4: very bare bones, but what makes it could you know,
Speaker 4: have numbers, is it's usually proximity. You know, it's it's
Speaker 4: a crime that happened like in a suburban neighborhood next
Speaker 4: to a house that looked just like yours, by a
Speaker 4: neighbor who looked just like that guy right over there,
Speaker 4: you know, so it kind of like brings an extra
Speaker 4: element to it. I don't think that there's like major
Speaker 4: market consumption for true crime. Guy goes into liquor store
Speaker 4: on one hundred and third Street and shoots clerk, you
Speaker 4: know what I mean.
Speaker 2: Most people aren't.
Speaker 4: Going to be confronted with that. So it's a little
Speaker 4: bit too abstract. So if you're gonna be literal, you
Speaker 4: need to be proximal, and if you're gonna be distant,
Speaker 4: you need to be over the top.
Speaker 1: Say that one more time, say that, Say that last
Speaker 1: couple of lines together.
Speaker 4: I think if you're going to be literal, you need
Speaker 4: to be proximal to your con and if you're going
Speaker 4: to be distant from your consumer, you need to be
Speaker 4: over the top.
Speaker 3: So how does that relate when you talk about nuanced
Speaker 3: versus our twos?
Speaker 4: To reach the obtuse consumer, you need to be sensationalized
Speaker 4: or it needs to be about ship that's happening close
Speaker 4: enough to them to where it gets their attention. You know,
Speaker 4: like instead of making a track about you know, sirm
Speaker 4: on Seventh Street, maybe it's flocking and Irvine.
Speaker 2: Mmm, you know, something like that. I would say.
Speaker 4: That's not to saye go do that, but that the
Speaker 4: general prince ship.
Speaker 3: Sure all things included the.
Speaker 2: Daughter's home alone one night.
Speaker 4: Whatever thought the house was empty, she got it, she
Speaker 4: came downstairs at the.
Speaker 2: Wrong time or whatever the fuck. That's those the kind
Speaker 2: of shit that makes it on lifetime.
Speaker 4: And people watch because it's like, oh, man, that looks
Speaker 4: like my house.
Speaker 3: Mm so then what oh?
Speaker 1: At first initially it was our tools. That's why Colors
Speaker 1: is such a good movie. It's so our tools.
Speaker 4: Yeah, I mean, and Colors threw some bones to the
Speaker 4: to the audience.
Speaker 2: And the opening scene real simple, what up?
Speaker 3: Blood boom?
Speaker 4: And in the last scene, after you get a little
Speaker 4: bit of taste of this action, what are we gonna do?
Speaker 4: We're gonna have a simul M sixteen machine gun showed
Speaker 4: out in the front lawn. You know, probably doesn't happen
Speaker 4: every day where a crew pulls up in a van
Speaker 4: and knocks off twenty people in one house with bombs
Speaker 4: and a machine gun showdown in the driveway.
Speaker 3: We don't have no, no, no, no.
Speaker 2: Well, believe what you want to believe.
Speaker 3: No. I've been saying that for a while that.
Speaker 1: Like a movie like Colors, does well from a marketing
Speaker 1: perspective because it gives white most white people in America.
Speaker 3: This might be a big presidice or.
Speaker 2: We already did that with the painter of the car.
Speaker 3: Well, good point, good point.
Speaker 1: But I think they can see themselves as police, probably
Speaker 1: especially a white police. So that's the appeal for marketing
Speaker 1: goes right into the heart of you know, white America.
Speaker 1: So when they tell the story about gang banging, what's
Speaker 1: funny is the fucking the police story is nuanced through
Speaker 1: and through, like that story got so many layers. The
Speaker 1: relationship between somebody trying to prove a point and somebody
Speaker 1: trying to survive its completely different. So if you look
Speaker 1: at the relationship between Hodges and pag Man, right, it's deep. Yeah,
Speaker 1: I mean even the relationship with peg Man and the
Speaker 1: community itself is deep. You know what I mean, Hodges
Speaker 1: in the community is really deep. But when they tell
Speaker 1: the story that I'm trying to give nuance to its
Speaker 1: surface is obtuse as fuck. It's like blood boom killing
Speaker 1: and module scoop them guys up and then they screaming
Speaker 1: at each other behind bars and yeah, and that's when.
Speaker 4: The music's playing to the song and there's like a
Speaker 4: little bit of tail end credits for the opening and
Speaker 4: all that kind of stuff that's closer to hip hop
Speaker 4: records because it's three minutes, and we've talked about that
Speaker 4: also at length. It's challenging to pack depth into ninety
Speaker 4: seconds of lyrics versus a movie has ninety minutes of dialogue.
Speaker 4: So there's gonna be some challenges there, or at least
Speaker 4: some differences.
Speaker 1: I've been complaining that hip hop is definitely starting to
Speaker 1: get too restricted for me, like as a storyteller, like
Speaker 1: I need more space to I think I'm spending too
Speaker 1: much time trying to get the audience to understand how
Speaker 1: much gang bangers are just like them, versus taking an
Speaker 1: advantage that that's like me showing people animals are just
Speaker 1: like you. Sure, it probably wouldn't have the same if
Speaker 1: you had a bear that you like. You come to
Speaker 1: my house, Pete, and I got a bear, and my
Speaker 1: bears house trained, Like my bear is sitting on the
Speaker 1: couch and shit watching TV like a Russian Huh.
Speaker 2: Like a Russian bear? Sure have you ever seen those?
Speaker 2: Like the YouTube videos Russian bears, They have them riding
Speaker 2: bicycles and stuff like that.
Speaker 3: Oh yeah, yeah. Anyway, So I'm just thinking.
Speaker 4: And I think a lot of people too, like a
Speaker 4: lot of the white suburban psychology.
Speaker 2: When I say it's escapist, like it really is. I mean, like.
Speaker 4: Scarface is real popular, and it's and it's in a
Speaker 4: certain age range, but it's in the age range that
Speaker 4: consumes hip hop a lot too.
Speaker 2: You know.
Speaker 4: They they they don't have that in them or they
Speaker 4: aren't pressed to be in a position in life where
Speaker 4: they would realistically make a decision like that, you know.
Speaker 4: And there is a burden that goes along with expectations
Speaker 4: and opportunity.
Speaker 2: The burden is don't squander it. The burden is cost.
Speaker 4: So there's a certain freedom when you don't have a
Speaker 4: lot of cost or opportunity costs, you know too. And
Speaker 4: a lot of people watch a lot of those movies
Speaker 4: or listen to a lot of those records or whatever
Speaker 4: like that because they're so constrained ain't to their own
Speaker 4: you know, they're constrained to their own opportunities so much
Speaker 4: that they long for the momentary fantasy of being unencumbered
Speaker 4: so that you can go do whatever the hell you want.
Speaker 4: Consequences be damned, And when the consequences, and you know
Speaker 4: where you come from, the circumstances you're in or whatever
Speaker 4: the cost is lower, you might do some shit, you know,
Speaker 4: and that's why you see you know, different outcomes and
Speaker 4: different you know, like tax brackets and whatnot like that.
Speaker 1: If you had to give a tip on how to
Speaker 1: make money, what would be the philosophy?
Speaker 4: Watch everything I do and strategically do the opposite at
Speaker 4: the exact moment of anything.
Speaker 3: That I do.
Speaker 1: They're looking out for tuning into the No Sellers podcast.
Speaker 1: Please do us a favorite, subscribe, rate, comment, and share.
Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA. It produced about the Black Effect Podcast
Speaker 1: Network and iHeart Radio.
Speaker 3: Yeah.