Speaker 1: What's up? And welcome back to another episode of No
Speaker 1: Sealers Podcast with your hosts Now fuck that with your
Speaker 1: load glasses Malone. Oh man, it's one of those days.
Speaker 1: One of those days, isn't it? So many things, man,
Speaker 1: so many things. Today. I met Thai No, no, Paul, bro,
Speaker 1: I'm going to eat tay food.
Speaker 2: Oh.
Speaker 3: I think you said you're going to meet Thai, like
Speaker 3: meet up, going to eat Thaie?
Speaker 2: Got you?
Speaker 4: That should be nice?
Speaker 2: What are you? What are you gonna have?
Speaker 1: They have these noodles. I don't quite know how to
Speaker 1: pronounce them. Let me see like a past see you,
Speaker 1: that's exactly how you pronounced yeah, past lou gotcha. Yeah.
Speaker 1: And it's a tired place right here. That's really good.
Speaker 1: I tried something and it was fire. And today I'm
Speaker 1: gonna get them and ship. It was really good.
Speaker 4: Great country speaking man.
Speaker 1: And and uh, it's been in a crazy morning, man.
Speaker 1: I was just I was on clubhouse with the hommies.
Speaker 1: And you know what I can't stand, bro, I hate
Speaker 1: when people advocate for Satan. That bothers me when they
Speaker 1: play the Devil's advocate. Mm hmm, I cannot stand that.
Speaker 1: Like and I saw like.
Speaker 2: Advocate.
Speaker 1: Yeah. Yeah, it's like they advocate and say, but well,
Speaker 1: let me be the devil's advocate. Why do you want
Speaker 1: to advocate for that? Dude? You know what I'm saying, Like,
Speaker 1: what's the point of it? But it's been it's been
Speaker 1: one of those mornings, man. But last Monday we were
Speaker 1: supposed to talk about it was the birthday for Thriller
Speaker 1: the single was released. That would have been the forty
Speaker 1: No thirty forty forty first, forty first birthday for Thriller
Speaker 1: forty first. Yes, that the single came out in eighty
Speaker 1: three is November eleventh, eighty three. But the Homie twine
Speaker 1: passed away and it just really rocked me to the
Speaker 1: core over the weekend, so I didn't really get a
Speaker 1: chance to talk about that song and all of the
Speaker 1: different fly stuff that was happening. So again, this is
Speaker 1: No Sentlers Live Lunch Hour every Monday, Wednesday and Friday
Speaker 1: at noon specific standard time. Click the thumbs up, let
Speaker 1: everybody know you hear, show some love. Going to the description,
Speaker 1: click the No Sellers podcast. Subscribe to it Apple Podcasts,
Speaker 1: anywhere you get your podcasts. Executive produced by Charlotmagne and
Speaker 1: God Black effect network and iHeart so yeah, I'm still
Speaker 1: working through this Twine everything going on with Twine. Like,
Speaker 1: I'm still working through it. It's really hard. It's crazy
Speaker 1: how hard it is, but we gotta work through it.
Speaker 1: And it's kind of been still in my joy, you
Speaker 1: know what I mean, to some degree, especially like when
Speaker 1: I'm going, like I'm a lot better when I'm offline,
Speaker 1: but whenever I'm in the space with people that I
Speaker 1: feel like, or whenever I'm in a place where I
Speaker 1: shared a certain thing with Twine, it just get really
Speaker 1: hard for me. It ain't be right. So I'm working
Speaker 1: through it. It's gonna take me a good week even
Speaker 1: you know, when I'm in the clubhouse space with my
Speaker 1: brother traps travel just hopped out. It's just been tough,
Speaker 1: you know what I mean. Like it's tough. It's tough
Speaker 1: like certain certain certain lights you know, when you lose
Speaker 1: that light, you know what I'm saying. It really it
Speaker 1: really kind of throws you off, you know what I'm saying.
Speaker 1: And I ain't really been right. So I'm gonna try
Speaker 1: to keep working through it. But today again, like I said,
Speaker 1: I'm gonna get Tai noodles, uh I tasted them. They
Speaker 1: was really good, right, so I'm gonna finally eat the
Speaker 1: whole plate of them. And I wanted to make sure
Speaker 1: we got back to that Michael Jackson's Thriller single Birthday.
Speaker 1: That's the last single off the Thriller album. Most likely
Speaker 1: the greatest music video of all time came from that
Speaker 1: song and just a sheer phenomenon. I was watching a
Speaker 1: dope documentary on Showtime on the Showtime app and they
Speaker 1: were talking about how that album was selling. Like that album,
Speaker 1: like roughly I think it was. They put out seven
Speaker 1: or eight singles. The first seven singles if that was
Speaker 1: the A for the ninth single, The first seventh or
Speaker 1: a singles pushed the album to two or three million
Speaker 1: times platinum. Like people don't realize it came out in
Speaker 1: eighty two, and over that whole next twelve months, the
Speaker 1: album only was at two to three million times platinum.
Speaker 1: With all of those big smash records that was on
Speaker 1: the Thriller album. And when they decided to put out
Speaker 1: the Thriller song as the last single, right, Mike kept
Speaker 1: pushing for it. That's when he goes and gets the
Speaker 1: real big film producer to shoot the music video. They
Speaker 1: come up with the idea Mike MTV, who didn't even
Speaker 1: want to play Michael Jackson videos, you know initially, like
Speaker 1: Sony had to go hard to get them to play
Speaker 1: the videos. They financed the idea for the Thriller music video.
Speaker 1: Most people don't know so shut out to TIMTV for
Speaker 1: you know, coming that three sixty turn to where they
Speaker 1: finally realized that we brought value to the space and
Speaker 1: they financed it and John Landis shot the video and
Speaker 1: it became this huge video right with everything. You know,
Speaker 1: it kind of changed music at that point. That that's
Speaker 1: one of those things where Michael Jackson is probably undercredited,
Speaker 1: you know what he was able to do with the
Speaker 1: music video because he was at he was at the
Speaker 1: dawn of it to some degree, that video coming out
Speaker 1: and becoming the you know, impacting the world. It made.
Speaker 1: The album sold twice as many, like right, it went
Speaker 1: from two to three million to four to six million
Speaker 1: so week, no, no, no, no, that's how much it
Speaker 1: actually caught up in those next couple of months. Yeah,
Speaker 1: so he was rough somewhere between four to six million
Speaker 1: going into eighty four, you know what I mean. When
Speaker 1: he was in eighty four and then when his hair
Speaker 1: caught on fire, that's when he started selling a million
Speaker 1: a week and obvious, Yeah, we have the greatest and
Speaker 1: most successful selling album of all time. Yeah. That was
Speaker 1: like Donald Trump when he got a shot that, he
Speaker 1: was like fight, that was Michael Jackson.
Speaker 2: You're paying Michael oh yo know.
Speaker 1: And this is what made me want to talk about it.
Speaker 1: This is I'm glad you got Yeah, go ahead.
Speaker 5: I've just seen something earlier that was stating that how close.
Speaker 5: I never knew that Michael Jackson and Trump was really
Speaker 5: like good friends. Yeah, he was really stated that in
Speaker 5: ninety three when when they first started putting the like
Speaker 5: the child allegations against against Michael Jackson, Trump took Trump
Speaker 5: took Michael Jackson in for like now, Michael Jackson looked
Speaker 5: with Trump for nine months.
Speaker 2: Yeah what I'm saying.
Speaker 5: Those then those those allegations went away and all that,
Speaker 5: and when they came back around in two thousand and three,
Speaker 5: Kamala was I might say her name wrong, but she
Speaker 5: was leading.
Speaker 2: I called a Kala the other day for some reason.
Speaker 2: I don't know what.
Speaker 4: She has actually said it both ways herself.
Speaker 5: Yeah, yeah, unique so so so in two thousand and three.
Speaker 5: She she was leading charge on the allegations at that time,
Speaker 5: and like she was saying, like I mean, she was
Speaker 5: saying some real shit.
Speaker 2: She was saying, yo, when the.
Speaker 5: Child said something, there's no lie for Chad said, the
Speaker 5: child said, there's no lie.
Speaker 2: That's what it is. Like that, and they's saying that.
Speaker 5: Trump took took that and was like, all right, you
Speaker 5: know what, and like him beating her in the race
Speaker 5: was like his way of getting back at her for
Speaker 5: what she was doing with Michael Jackson during that time.
Speaker 1: Yeah, they framed it really dope they framed it. I mean,
Speaker 1: I don't I don't think that's truly the story. I mean,
Speaker 1: it could be in the back of Trump mine. He
Speaker 1: seemed like one of those people that don't forget me.
Speaker 1: I could believe it. But yeah, I was looking at
Speaker 1: that whole story. But I remember that in real time,
Speaker 1: Trump's sticking up from Michael Jackson, you know what I mean.
Speaker 1: And that was dope, you know what I mean, because
Speaker 1: Mike really needed it at that time. Everybody had the
Speaker 1: worst things to say about Mike, you know how the
Speaker 1: court of public opinion goo. But I said all that
Speaker 1: to say that, Wow, thriller is the greatest music video.
Speaker 1: And that album, you know, it's probably regarded as the
Speaker 1: greatest album ever. That song is probably the most I
Speaker 1: cannot that song is not even really that great. I
Speaker 1: mean it's really great. It's not a good song.
Speaker 3: It's all a song you listened to by itself, you
Speaker 3: know what I mean. It's yeah, it's not like The
Speaker 3: Godfather or something.
Speaker 1: You okay, okay, say the words the Thriller without looking
Speaker 1: at your phone. I said, it's still no, no, no,
Speaker 1: the first one. You don't know the words. We heard
Speaker 1: that song.
Speaker 2: It's a groove.
Speaker 1: It's a groove.
Speaker 2: It's growth.
Speaker 1: I'm not disagreeing. I mean, and they stole the groove
Speaker 1: of Rick James recipece to quince. They stole that groove
Speaker 1: from Rick James. That song is the most overrated song
Speaker 1: in life.
Speaker 5: But that's the most Halloween song. When Halloween comes around,
Speaker 5: you gotta play that song. It didn't even got released
Speaker 5: on Halloween.
Speaker 2: Halloween.
Speaker 1: No, this is why we were supposed to celebrate the
Speaker 1: birthday of the single being released, the music video being
Speaker 1: released on the eleventh. But you know, obviously Twine recipeace
Speaker 1: tot Homie Twine. But it's like I got threw off.
Speaker 1: But yes, it came out in November. I remember it
Speaker 1: came out of November as a little little little kid.
Speaker 1: It was after thrilling, so we made it after that.
Speaker 1: When I was thinking of myself, I'm like, I've always
Speaker 1: said this that this song is the most overrated song
Speaker 1: in life, like on the Michael Jackson songs. Now greatness.
Speaker 1: You can't deny the greatness it impacted. It's like unbelievable,
Speaker 1: But people don't know the song, you know what I mean.
Speaker 1: The video is for sure the greatest video by far.
Speaker 1: It's it's unbelievable, but the damn song is really not
Speaker 1: that great.
Speaker 3: It's the kind of song that they used to kind
Speaker 3: of make back in the day. I think it's like
Speaker 3: a sweet you know.
Speaker 4: You know, I'm talking about those kind of songs where it's.
Speaker 1: Not Mike Minnues Mike the minies for the correction. The
Speaker 1: video came out December. You're right. The song came out
Speaker 1: in November. They started working a song the radio in November.
Speaker 1: It wasn't December. Shout out to Mike for that.
Speaker 3: Yeah, but it's it's it's the kind of song that
Speaker 3: I mean, it's exactly what it proved itself to be.
Speaker 3: It's not a great standalone single. It's the kind of
Speaker 3: song that does really well with the video. I mean
Speaker 3: you hear you see the songs like that sometimes with
Speaker 3: you know, the playover in movies or in TV shows.
Speaker 4: You're not gonna listen to it by itself. Yeah, Like
Speaker 4: remember that that they did that show what it was called.
Speaker 3: It was like a Netflix show about like the beginning
Speaker 3: of the FBI and serial killer investigations.
Speaker 1: Yeah, it's a cool show.
Speaker 4: Yeah, I like that show.
Speaker 1: They had they had.
Speaker 4: Contract issues and never made a third season. It was
Speaker 4: a cool show.
Speaker 3: And at the end they would play like these really
Speaker 3: obscure led Zeppelin songs, which are great for cinematography, but
Speaker 3: they're not like a song you turn on you hop
Speaker 3: in the car. It was kind of the same type
Speaker 3: of thing, Like it was this song that lends itself
Speaker 3: great to a holistic media experience, but not like just
Speaker 3: a standalone like.
Speaker 4: Are we gonna.
Speaker 2: Yeah, but.
Speaker 1: Hear it that way though, that's how we hear it.
Speaker 1: That's how we don't hear it like that. We hear
Speaker 1: it like it's a song like Hotel California, or it's
Speaker 1: a song like g thing we hear it that way.
Speaker 1: I agree it is definitely a stage center as a song.
Speaker 1: But I was doing some research. This is came when
Speaker 1: I came across all my studies traveling. People make fun
Speaker 1: of me because they be like glasses didn't figure out
Speaker 1: hip hop un till you know, four years. And I'm
Speaker 1: not upset at that because I don't. I've never felt
Speaker 1: entitled to something because I'm culturally like, I'm aware it exists,
Speaker 1: Like I never felt entitled, Like.
Speaker 4: It's just because.
Speaker 1: People live in LA that don't mean they know about
Speaker 1: blood and crippon.
Speaker 2: Come on, you gotta stop throwing shots at Sherry.
Speaker 1: No, No, I'm just not even Sherry. I'm just saying
Speaker 1: in general, there is a nuance. I've even had conversations
Speaker 1: with the Homeboys, and I realized not from the game,
Speaker 1: but they don't quite know, like because if they don't participate,
Speaker 1: they don't know. They never really got the depth of
Speaker 1: what's going on. But that's how I always felt about
Speaker 1: hip hop, like, yeah, I kind of know what it is, right,
Speaker 1: I've heard the songs, I've heard the music, but I
Speaker 1: didn't know what it was like I saw Beach Street
Speaker 1: in real time I saw crush groove in real time,
Speaker 1: but that don't really explain to you what's happening, you
Speaker 1: know what I'm saying. You just see it and then
Speaker 1: people inherently feel like like, oh, I got it. That's
Speaker 1: like black people thinking they can make soulful just because
Speaker 1: they black. It's like, no, bro, this is is something
Speaker 1: good going It's something more than this going on that
Speaker 1: you should tap into.
Speaker 5: When would you say, like, I think, I think like
Speaker 5: hip hop and gang banging was was like tim of
Speaker 5: change is going on at the same time.
Speaker 2: Did you say that though? Yeah, you know what I'm saying, most.
Speaker 1: Theoretically got birthed in around sixty nine.
Speaker 5: Sixty nine, they say hip hop, you saying both was
Speaker 5: sixty nine.
Speaker 1: Birth and as far as the birth of the idea,
Speaker 1: and then they became something that people talk about in
Speaker 1: the seventies.
Speaker 5: Yeah, so so then I just feel like as if
Speaker 5: as as gang banging was going on, well, gang culture
Speaker 5: was going on in the on the West Coast. I'm
Speaker 5: saying not to say it wasn't a gangshit going on
Speaker 5: within the East Coast, but just like.
Speaker 1: That we're talking about that everybody that they talk about, Yeah,
Speaker 1: that version of the gang stuff. Yeah, so it was
Speaker 1: like that, you know what I'm saying. And it was
Speaker 1: like I think the collision of it, like East Coach
Speaker 1: got onto it like that, probably like around ninety four,
Speaker 1: like that, you know what I'm saying, Like they started.
Speaker 1: So I think it was just it was just like
Speaker 1: two culture culturally things that was going on that just
Speaker 1: it was separate but at the same time going at
Speaker 1: the same time. Though, if you think about America, Black
Speaker 1: America specifically Yo that laid into the sixties and that
Speaker 1: early into the seventies, you feel me, this is when
Speaker 1: we start really going through a different level of hardship again.
Speaker 1: Because remember it kind of got sweet for Black Americans
Speaker 1: when it came to like economics, like there was a
Speaker 1: lot of opportunities. People was moving to Detroit and getting
Speaker 1: those really good jobs the whole rust belt, like me
Speaker 1: and Pete talk about it all the time, where all
Speaker 1: of these opportunities you know what I mean, were happening.
Speaker 1: So yeah, things were birth go ahead. I'm sorry, Pete.
Speaker 3: I think additionally, also if you look at the chronology
Speaker 3: of it, you had a bunch of people from a
Speaker 3: pretty largely distributed rural South moving for the first time
Speaker 3: into concentrated urban centers from different places, and that's the
Speaker 3: generation of the first like what would be like an immigrant,
Speaker 3: like the first born actually kids that were born there
Speaker 3: creating their own culture organically in a totally different environment.
Speaker 1: Sure, without without opportunity. Yeah sure it was getting crazy.
Speaker 1: But what's funny is gang culture birth hip hop?
Speaker 2: Yeah in New York.
Speaker 1: But the way New York do their things based off
Speaker 1: of that, right, because remember everybody in gang banging was
Speaker 1: doing the same thing. Like there's this belief that is
Speaker 1: something different and it's not. I mean, I mean people
Speaker 1: in New York was fighting hip hop. Early dudes were fighters.
Speaker 1: Like we talked about Cane off air on different ideas,
Speaker 1: like he was a squabbler and he had no problem
Speaker 1: putting tips on people, Like if you was somebody he
Speaker 1: thought was on some sucker tips hands you feel me?
Speaker 1: So the same thing birth, the same type of you
Speaker 1: know them, Yeah, exactly right. It's just for some reason
Speaker 1: ours just got really popular. Well and you know what
Speaker 1: is no I take that back, because there are somewhere
Speaker 1: along the line where the industry and music was in
Speaker 1: New York to where they were able to showcase it.
Speaker 1: I mean just like we had Hollywood to showcase what
Speaker 1: made R street urban culture, probably because remember the films
Speaker 1: is where you had little stories. But it was different
Speaker 1: when Colors came out. That's when the world was really like, oh,
Speaker 1: that's what they doing.
Speaker 4: Question.
Speaker 3: Yeah, so if at the time simultaneous so you have
Speaker 3: kind of the same kind of street level stuff as
Speaker 3: so far as the games go, however, defined everyone to
Speaker 3: find a.
Speaker 4: Branded label or whatever just for the sake of expeditious
Speaker 4: You know.
Speaker 3: In New York that cultural phenomenon also led to a
Speaker 3: musical genre that hit critical mass that then afterwards in
Speaker 3: LA kind of hit critical mass. Was there a musical
Speaker 3: genre that hit critical mass simultaneously in LA that didn't
Speaker 3: really get off and was subsequently replaced You know what
Speaker 3: I'm saying, Well.
Speaker 1: And this is why I think people had it wrong
Speaker 1: with hip hop is they keep thinking it's about music.
Speaker 1: It's not. It's really about the way people behaved in
Speaker 1: the streets, how they expressed themselves artistically. Right.
Speaker 4: So it's like, but was there was there.
Speaker 3: A sound in nineteen seventy two that was unique.
Speaker 4: To LA that just didn't materialize?
Speaker 1: But that's not what happened in New York. Neither you
Speaker 1: get what I'm saying that is much more. The layer
Speaker 1: of the story is kind of unders like when I
Speaker 1: talk to a lot of the legendary dudes from the
Speaker 1: Bronx that was putting put me up on it. The
Speaker 1: version of hip hop we hear in the eighties is
Speaker 1: not the version of it in the seventies. Like it
Speaker 1: really wasn't about records hip hop records in the seventies
Speaker 1: that that didn't really exist. You feel what I'm saying.
Speaker 1: It wasn't you know? It was they were formulating styles.
Speaker 1: They start making styles. How you do things right, it's
Speaker 1: certain ways, how you dj how they were rocking the parties,
Speaker 1: how people dance, how people tagged, how people dress, how
Speaker 1: people look. That's just like game banging. People don't realize
Speaker 1: in game banging, the color blue is not in this
Speaker 1: It's not in the genesis of being a crypt. It
Speaker 1: didn't start that way becuz it's not an original term
Speaker 1: that cribs used to use. Dickies and chucks is not
Speaker 1: an original term or original fashion that cribs used to wear.
Speaker 1: They used to get flawed, used to have these hats
Speaker 1: and leather jackets and slacks and hard bottoms and they
Speaker 1: was some fresh dudes like, but that was what they
Speaker 1: were doing in the streets at the time, just like
Speaker 1: hip hop in New York. It was quite the version
Speaker 1: of it that that got popular that gang bagging in LA.
Speaker 1: Like that version of gang Bagan did not get popular.
Speaker 1: The version that evolved into the eighties got popular. Same
Speaker 1: for hip hop and New York. Just like in LA,
Speaker 1: that's the version that got popular. That's when it became overdefined.
Speaker 1: You know what I'm saying, Like.
Speaker 4: I remember you played a but like, do you remember
Speaker 4: there's a piece I think was it?
Speaker 3: I forgot exactly what was talking was it was an
Speaker 3: old old school oh g talking about the nineteen seventies.
Speaker 3: We took you in the car and these guys and
Speaker 3: they were playing I forgot the rest of So he
Speaker 3: was talking about the old song and the only time.
Speaker 1: This was in seventy five, seventy six, and he was
Speaker 1: saying the only time that there's only been one or
Speaker 1: two times in life. He got to hang out with
Speaker 1: Raymond Washington who started Cribs and Tookie kind of became
Speaker 1: the most popular member, and he was telling the story.
Speaker 1: Zoom commodores us it on glass House one, you know
Speaker 1: what I mean where he's explaining the story. So, I
Speaker 1: mean LA has its own sound, but not nothing like
Speaker 1: the way we hear it right Sunshine Pop. You know
Speaker 1: what I'm saying. That's LA sound, right, that's association turtles,
Speaker 1: all that stuff, Beach Boys, that is an LA sound.
Speaker 1: The version of hip hop we're defined as right is
Speaker 1: kind of g funk. That's kind of the closest in
Speaker 1: today's time.
Speaker 2: Look at that.
Speaker 1: But again, the version of culture right in New York
Speaker 1: in the seventies and the version of culture in the
Speaker 1: seventies in LA is not the one that's popular. The
Speaker 1: version what the eighties kids deal with it is when
Speaker 1: it became the phenomenon, It became the fat the eighties kids,
Speaker 1: when the second generation or third generation got their hands
Speaker 1: on it is I think the it's fair to say
Speaker 1: disco disco King Mario and and HRK and and and
Speaker 1: everybody laid the foundation. But what Bam and them was
Speaker 1: able to do with it, right, damn you know, Larry Smith, Houdini,
Speaker 1: Russ Russell Simmons, obviously U L A L Run DMC.
Speaker 1: That's where the hip hop we know it as, just
Speaker 1: like with gang banging. It's it, you know, we don't
Speaker 1: know the version that Raymond took he uh uh rest
Speaker 1: in peace to the hommy that just passed away to
Speaker 1: g hommy. Uh he from out he from out the ugs,
Speaker 1: oh Man, Pooky barefoot Pooky. We don't know that version
Speaker 1: of gang banging, Like we never saw that. The version
Speaker 1: that everybody the world got a borrow of culturally was
Speaker 1: them dudes in the eighties wearing dickies and Chucks and colors,
Speaker 1: you know, saying cuz and blood Like that's not the seventies,
Speaker 1: that's not original gang bang. It just like in hip hop,
Speaker 1: like how Mall started doing his thing in the eighties
Speaker 1: because his sound defined what we think of when we
Speaker 1: say real hip hop. When they say that, they specifically
Speaker 1: talking about New York and they're talking about a specific style.
Speaker 1: Ma wasn't the most successful producer in the eighties, Lory
Speaker 1: wiping the floor with Malls in the eighties when it
Speaker 1: comes to actually selling records and having the cuts. But
Speaker 1: Mall style was such a cultural like reverence, like it's
Speaker 1: it's a it's so innovative that people just was like
Speaker 1: in love with it, just like gang bang and the Dickies,
Speaker 1: the Chucks, the Pendletons. That type of poverty A mall
Speaker 1: is the same way making Larry could play Larry Larry
Speaker 1: is Larry's the original doctor Dre for better sake, because
Speaker 1: Dre was around when Larry was around. But he's the
Speaker 1: original version of that, right, it's Sylvia Robinson, Larry Smith,
Speaker 1: Sylvia Robinson, Larry Smith. Uh too short? Four right, yep,
Speaker 1: eighty three, eighty four. But it's like three or four
Speaker 1: of those people that were playing the music. Yeah, they
Speaker 1: were playing the music, and and then mal comes. You know,
Speaker 1: true poverty innovates something to make it. He can't play,
Speaker 1: so he innovates something, you know what I'm saying. He
Speaker 1: innovates something to to make it work. And that's the
Speaker 1: same thing with Gang Bang, Right, it's taking that. You
Speaker 1: know those nine dollars shoes, you know how you put
Speaker 1: the shoe strings in them and you flip the tongue.
Speaker 1: It's taking that. You know that warehouse worker pans, I mean,
Speaker 1: put that big thick crease in that thing, you know
Speaker 1: what I'm saying, creasing them things up, that penalty that's
Speaker 1: it ain't even cold in you out here wearing this
Speaker 1: big old kind of warm. You know what I'm saying.
Speaker 1: That became what the world understood about the coaching.
Speaker 5: That's the fat, that's the fact. That's why I was
Speaker 5: telling my clak the other day. I said, Joe, I said,
Speaker 5: it's so crazy. It's because, like the hip hop culture
Speaker 5: was looked upon as being one separate, separate way. And
Speaker 5: I tell people this ship all the time. Though hip
Speaker 5: hop ain't really expand into the into what it was
Speaker 5: until we started seeing what hip hop with it like
Speaker 5: everywhere else stuff.
Speaker 2: You know what I'm saying.
Speaker 5: When people started, when people stopped looking at this is
Speaker 5: what hip hop got gotta be. It gotta be the
Speaker 5: way New York is doing it. It gotta be the
Speaker 5: way you know what I'm saying. Once they started going out.
Speaker 5: Once we've seen Too Short do Too Short way, and
Speaker 5: we've seen Luke do Luke way, and we seen what
Speaker 5: I'm saying, we said, anybody do that. We've seen Scofficks
Speaker 5: do his way. We started seeing hip hop being for
Speaker 5: what it could be. You know what I'm saying. Like that,
Speaker 5: you know what I'm saying. And that's when it got bigger,
Speaker 5: bigger to the to the I mean, I don't I
Speaker 5: think that it's it's not even a limit to what
Speaker 5: it could be.
Speaker 2: Like you know what I'm saying. We still know whether
Speaker 2: hip hop like in North Goda, I don't know.
Speaker 1: But but I think that's why I said street urban.
Speaker 1: That's why you won't get it for you, because they
Speaker 1: don't have the street urban scene.
Speaker 2: You don't think everywhere got street urban culture. No, I
Speaker 2: don't agree with that.
Speaker 1: I don't have rural Listen, it's not a shore got
Speaker 1: a hood.
Speaker 2: Everywhere got a hood.
Speaker 4: No, it's not necessarily.
Speaker 2: Everywhere has a hood.
Speaker 1: No, it's only very few hoods.
Speaker 2: No, I don't agree with that.
Speaker 5: Martina has a hood, Montilla has a hood.
Speaker 1: I ain't know who has a hood they No, they
Speaker 1: all don't have hoods.
Speaker 4: Well, like, here's an easy one. Here's the Spokane. Washington
Speaker 4: does for sure. Hell yeah, But but it doesn't have
Speaker 4: a cultural.
Speaker 1: Also because it has a hood. No, it needs to
Speaker 1: be densely populated by who. It don't matter. I'm saying,
Speaker 1: that's how you create culture. That's how you create a
Speaker 1: movement of people that talk the same way. Like if
Speaker 1: it's only three people talking that same way, and y'all poor,
Speaker 1: y'all not a hood. That's not it. You get what
Speaker 1: I'm saying, Like, what make the Bronx work is it's
Speaker 1: a lot of people would make Los Angeles or Memphis
Speaker 1: or Cleveland or Single it's a lot of people that
Speaker 1: behave this way culture.
Speaker 4: What made Texas work?
Speaker 1: Who hord Arthur?
Speaker 2: Texas Texas a hood?
Speaker 1: Yeah? Pa? But PA is like it's not. PA has
Speaker 1: probably got as many people as Compton. It's really small population.
Speaker 5: I always thought you just cares from Houston until like
Speaker 5: probably like ten years ago.
Speaker 1: Port Arthur got fifty five out and they was marketed
Speaker 1: kind of to some degree, it was that's there, And
Speaker 1: then that could also be why it's not as successful
Speaker 1: because it's not enough people to represent that particular movie.
Speaker 1: U GK. There're certainly are actually like around right now.
Speaker 1: That's not crazy. I'm saying p A is kind of smaller.
Speaker 1: Compton has one.
Speaker 5: Hundred Jackson right now, that's my guy.
Speaker 1: Not in Compton. It's kind of the same, but not really.
Speaker 3: No, because you can walk to a major metro, but
Speaker 3: you don't. You don't necessarily know for sure, like you
Speaker 3: know when you're in Compton.
Speaker 4: I get it, but like.
Speaker 1: You really know.
Speaker 3: I didn't know, I mean, you know you and if
Speaker 3: you're yeah, the streets, I don't know, because once you
Speaker 3: leave the Compton, I don't think you really know.
Speaker 4: It's blurry. You don't know if you just dumped me out.
Speaker 3: Of the Compton or Watts or whatever, or even the
Speaker 3: east side above Wats if there were no street signs,
Speaker 3: I'd have to really stare at it for a while.
Speaker 4: If you go to Port Arthur away hours away.
Speaker 1: When you go uptown, like as as some homies say uptown,
Speaker 1: when you go from the low Bottom east through you know,
Speaker 1: the low Bottoms to Watts, you know what I mean,
Speaker 1: and then you get to Compton, it does get nicer. Sure,
Speaker 1: so you wouldn't quite know what like based off of
Speaker 1: what you think of Compton because of the n W
Speaker 1: A straight out of Compton video. You have no idea
Speaker 1: what you're going to see until you see it. That's
Speaker 1: why most people come from out of town and be
Speaker 1: like this is Compton.
Speaker 2: Yeah.
Speaker 3: People people I knew from from like out here whatever
Speaker 3: that has been to La they were like wanted to
Speaker 3: go their how was their game?
Speaker 4: Bangers over in Crunch It's such a nice area.
Speaker 2: I'm like, so it was a movie it was a
Speaker 2: show on Amazon at one point.
Speaker 5: I don't know if I've seen it by seeing it though,
Speaker 5: but it was like it was like one of them
Speaker 5: spooky shows where it was like talking about like but
Speaker 5: it was. But it was based in Compton though, but
Speaker 5: they were showing how Compton at one point was it
Speaker 5: was like a mostly white community and shit like that,
Speaker 5: Like the first black family that moved in.
Speaker 3: My grandparents are from that, all that area, Like that
Speaker 3: generation of my family.
Speaker 4: Used to live over there.
Speaker 1: If you look at the Compton High School alumni, you
Speaker 1: know what I mean. In fifty five, the seniors, there
Speaker 1: was no black people. Just look at it, and and
Speaker 1: look at it. In sixty it looked different. But that
Speaker 1: goes to like somebody said, shout out to Alma Dix insider,
Speaker 1: shout out to everybody that's in the chat going crazy.
Speaker 1: White flight. That's what it's called. Shout out the fats,
Speaker 1: shout out the tiptoe tip, what's heading.
Speaker 3: Its back on the term white flight because I know
Speaker 3: the flyers, the.
Speaker 2: You know what I'm saying.
Speaker 1: It was like you have to you have.
Speaker 4: To move out for people to move in.
Speaker 1: Yes, that's what white flight is once one, but you have.
Speaker 4: To have a reason to move out.
Speaker 2: No, so it's called gentrification. It's called white plans.
Speaker 3: Our small tax lots with small match box houses on
Speaker 3: them or whatever. And the World War two economy exploded
Speaker 3: and all those people had enough money to get the
Speaker 3: hell of somewhere nicer, with bigger.
Speaker 1: It happened to the sixties though, the Lake fitties and sixties.
Speaker 3: If that's how it takes that amount of time to
Speaker 3: get buy house, build.
Speaker 1: Place happened so fast though, is over flight and gentrification
Speaker 1: is different. When Pete is arguing that white people didn't
Speaker 1: move because black people started moving in.
Speaker 4: They moved first. That's how they were able to move in.
Speaker 1: No, No, they didn't move first. That's why they were
Speaker 1: moving Pete. Because black people were moving in. Every house
Speaker 1: wasn't occupied. They had houses people wish. I'm not disagreeing
Speaker 1: that some people went to suburban areas. Suburban areas outside
Speaker 1: of Compton Lakewoods starting to come up at this time,
Speaker 1: waleflowers coming up at this time, all the opportunities in
Speaker 1: different houses, Pete. I agree, some people got houses in
Speaker 1: suburban areas. But once black people, Pete started moving in,
Speaker 1: white people left.
Speaker 2: I am looking around here around here.
Speaker 1: With these coons out of here. And you know what's crazy, Pete,
Speaker 1: they took the jobs with them, like you know, you
Speaker 1: know how because what defines an urban community is not
Speaker 1: a bunch of black people or you know, really somehow
Speaker 1: urban got confused with black, I guess because black people
Speaker 1: started moving the urban communities. But urban, I think the
Speaker 1: thought of it or the philosophy is a place you could.
Speaker 4: Work as the original PC tournament.
Speaker 1: Yeah, there you go, it is PC too. That's funny.
Speaker 1: You said fucking peak sick. So but yes, but I'm
Speaker 1: saying right, So you start going to suburban but all
Speaker 1: the jobs right in Compton are off Alameda. Shout out
Speaker 1: to squeezes.
Speaker 2: Jobs.
Speaker 3: There's not there's not enough jobs to support that entire area.
Speaker 3: And on that little strip just look at the zoning.
Speaker 1: No that it wasn't enough job to support that area.
Speaker 1: Work there, No, you didn't have to work there, but
Speaker 1: there was enough job. That's how you build an urban community.
Speaker 1: That's how, that's how. That's how Milton Hershey built Hershey, Pennsylvania.
Speaker 1: You create the place where people could work at, then
Speaker 1: you build houses where people can live that work there.
Speaker 1: That's how you build an urban community. The train tracks
Speaker 1: the Alamedia those jobs, it's enough jobs for them people
Speaker 1: right now it cold down there, not today because obviously
Speaker 1: it's crazy, right, But again it's rooted in the concept
Speaker 1: of near industry. And there was an industry right there,
Speaker 1: a huge industry down Alameda. Peter, if we drive, we
Speaker 1: need to go back down, dude.
Speaker 3: So I had a whole book of business in that area,
Speaker 3: like I used to. I used to be there ten
Speaker 3: hours a day.
Speaker 1: How many jobs you think is right there on Alameda
Speaker 1: going from going from the ninety one right, because remember
Speaker 1: initially what we call Rancho Dominga is was Compton. My
Speaker 1: mom used to work at the hospital when I was younger.
Speaker 1: Right from that job, all those back factories right behind
Speaker 1: you know where we street race at on Mansfield, all
Speaker 1: of that stuff, all the industry going all the way
Speaker 1: down to where Wats would be, which is probably let's
Speaker 1: say Elseigunda. How many jobs do you think realistically is
Speaker 1: inside of all of those I don't know. Possibly you're
Speaker 1: talking about three hundred different four hundred businesses right here.
Speaker 4: Fwo thousand, maybe ten twenty.
Speaker 3: But you also appreciate, like on both sides of Alameda,
Speaker 3: that's not just servicing Confident, servicing Compton, Lynwood, South Kate.
Speaker 3: It's servicing Los Angeles servicing cars, the big hubs there.
Speaker 3: I mean, just look at the times and places of
Speaker 3: what was going on at that time was still port centric.
Speaker 3: It was war machine economy, so it crept northward there.
Speaker 3: I mean, it was like Compton was one of the
Speaker 3: last places built because it was further and further out
Speaker 3: from the center points.
Speaker 1: Sure, I agree, I'm not disagreeing, and I don't think
Speaker 1: I'm saying there. Well, yes, I am saying there's probably
Speaker 1: enough jobs for most people there.
Speaker 4: There's almost a million people in that corridor.
Speaker 1: There's a lot. It's one hundred thousand people in Compton. Now, yeah,
Speaker 1: but that's not the corridor two sides of the street,
Speaker 1: no no, Yeah, but remember Compton is on both sides
Speaker 1: of the streets until you get no no, the whole
Speaker 1: time from the ninety one to else Gundo, that's all Compton.
Speaker 4: Yeah, I know that. I'm just saying.
Speaker 1: Now, when you go past else a Gundo Pete, then
Speaker 1: his watts like right where we at, or the pj's
Speaker 1: and all that. Then on the other side where you
Speaker 1: talking about this land Wood. Once you pass else south Kate, No,
Speaker 1: that's when you go past Imperial. Yeah, I'm sticking across
Speaker 1: from the grapes. So once you that's that's where boot
Speaker 1: shop at. Right when you cross Imperial, that's where Southgate
Speaker 1: started at. And then on the other side is watched there.
Speaker 1: So but yeah, it's it's so you don't believe in it.
Speaker 1: They're your white's life. That's deep you a degree. Yes,
Speaker 1: you don't think white people as a mask realized they
Speaker 1: did not want to live next to black people in
Speaker 1: the fifties.
Speaker 4: I think that that is true, but it's true for
Speaker 4: the latter portion.
Speaker 3: It wasn't the catalyst. The catalyst was a bunch of people.
Speaker 3: And I guess we hear every city. Different cities had
Speaker 3: different things going on. There was an enormous amount of money.
Speaker 3: Instead of California, The initial creation of vacancy was just
Speaker 3: people moving the nicer spots. The laggers got out because
Speaker 3: they were like, oh, these guys are gonna come here
Speaker 3: and fuck up a property value or to get out
Speaker 3: with the helly.
Speaker 2: Camp every man's white flight.
Speaker 1: I mean, I get what he said.
Speaker 4: It isn't like it.
Speaker 1: It isn't Lakewood being built at this time six houses
Speaker 1: in Downing. But what I'm saying, but just even going
Speaker 1: off the ninety one right, you got you got North
Speaker 1: Loan Beach, really, which kind of is I don't know
Speaker 1: what Long Beach is an urban community, but let's just say,
Speaker 1: let's just say, let's say once you pass North Long Beach,
Speaker 1: you got Lakewood, Bellflower Paramount mm hmm.
Speaker 4: Parts of Carson. I don't know what Carson was, Carson's
Speaker 4: Carson the same.
Speaker 1: Carson is a suburban community, which is weird because it
Speaker 1: kind of does have an urban appeal. I wonder it's
Speaker 1: Carson actually a suburb.
Speaker 4: I wouldn't call to scare. It's all to.
Speaker 1: Yeah, yeah, that's all from them album.
Speaker 5: Man.
Speaker 1: I gotta really get on and I haven't got a chance.
Speaker 1: Carson a suburb.
Speaker 4: The question is what is it a suburb of Is
Speaker 4: it a suburb of Long Beach or a suburb.
Speaker 1: And a suburb of Los Angeles? That had to be
Speaker 1: a suburb of Los Angeles. Oh, it is a suburb
Speaker 1: of Los Angeles. Now. It's funny because they have established
Speaker 1: their own kind of workforce too. It's just getting taken
Speaker 1: advantage of the opportunities there. I figured out why Thriller
Speaker 1: is so overrated as a song. It is great, don't
Speaker 1: get me wrong. It's accomplished more stuff than everything else,
Speaker 1: Like it's one of those songs it walk the Dog.
Speaker 1: The video, for sure is by far the greatest, the
Speaker 1: best music video in the history of music videos. I'm
Speaker 1: I'm good with saying that the song is overrated, but
Speaker 1: I realized why how they used to write songs, How
Speaker 1: Temperton and Quince and micing them was writing them songs.
Speaker 1: Have y'all ever heard this song? So this is how
Speaker 1: dope I'm no, but this is how dope I god
Speaker 1: with music. Let me tell you how dope I didn't
Speaker 1: got with music. And this is why I'm saying, like
Speaker 1: people even making jokes, it don't bother me because I
Speaker 1: didne got so dope with it that I used to
Speaker 1: listen to this song when I started understanding music. I'm like,
Speaker 1: this song don't make sense. And I remember mac ten
Speaker 1: telling me, like, what do you mean? I'm like, that
Speaker 1: song don't make sense. He's like, while I'm like, the
Speaker 1: what they're singing about theoretically don't fit. What's going on right,
Speaker 1: Like it's kind of too bright and I could tell
Speaker 1: they altered it right, but I didn't know why. I didn't.
Speaker 1: I didn't know why. So the way they would write right,
Speaker 1: Rod Temperton would hum these melodies over the music.
Speaker 2: Right.
Speaker 1: They would come up with a groove or a melody
Speaker 1: and they would hum their own vocal melody right to
Speaker 1: do it, and then Rod would go in and write words,
Speaker 1: or sometimes you would sit with Mike and right words right,
Speaker 1: and they would write words. So the original idea to
Speaker 1: that Rick James groove shout out to Rick James recipe
Speaker 1: Rick James, which that thriller groove is the groove from
Speaker 1: Give it to Me Baby, Dudo Doo Doo Doo doo,
Speaker 1: Dude do do do do do? They just looped the
Speaker 1: first part right, and I figured out what it was.
Speaker 1: They wrote Starlight Son. That was the idea for the song.
Speaker 1: So when they even produced it, that was the working
Speaker 1: song for that beat the whole time until close to
Speaker 1: the very end, and at the last minute they decided
Speaker 1: to change it. But if you listen to the thriller
Speaker 1: the words, it don't make sense. I know that sounds crazy,
Speaker 1: It don't make sense, like that's why nobody knows the
Speaker 1: damn words of the song unless you read them, because
Speaker 1: the focal point of the song because is not the words,
Speaker 1: it's the feel and the groove. They just wanted that
Speaker 1: urban groove on that album. Rick James was kicking the
Speaker 1: shit out of Prince and Michael Jackson at that time.
Speaker 1: He was whooping they as in the black clubs. They
Speaker 1: them two dudes could not hold a candle to Rick James.
Speaker 1: So I asked, I'll never forget, I asked Terris Martin.
Speaker 1: Everybody thought I was crazy. I said, Terris, tell me
Speaker 1: how envious Michael Jackson was a Rick James And he
Speaker 1: just laughed, and he was telling me a story that
Speaker 1: Quincy was telling him. They used to have a dark
Speaker 1: board in the studio with Rick James on the dark
Speaker 1: board and they would throw arts.
Speaker 5: That's crazy, right, What's so crazy is that you say
Speaker 5: that about him? And then Prince got his own like
Speaker 5: history with Rick James though too.
Speaker 1: Yeah, well, because remember he was opening up for Rick, Nick,
Speaker 1: Mike and Quince all well, Quincy already had Quincy already,
Speaker 1: like you know, I mean, Michael Jackson had a career
Speaker 1: as a as a group, you know, probably one of
Speaker 1: the greatest five R and B groups, of all time, right,
Speaker 1: and then as far as black music goes, and then uh,
Speaker 1: he started on his solo career, which it was kind
Speaker 1: of rough on him. It wasn't happening great, right. So
Speaker 1: by the time he got with Quincy and they started
Speaker 1: working on Off the Wall, this is when Prince is
Speaker 1: coming out with the Prince album. The debut album is
Speaker 1: called Prince. They working on a Michael Jackson. Now Rick
Speaker 1: come out Motown and is spanking everything. Rick spanking everything.
Speaker 1: Rick come out right Off the Rip first album with cuts, right,
Speaker 1: So Prince is opening up right for Rick James because
Speaker 1: Rick James has got smash hit records. Rick is you know, uh,
Speaker 1: what's the song? You know, the West song? What's the
Speaker 1: West Song? By Prince? That song was starting to pick
Speaker 1: up steam, but Rick James was murdering the urban scene
Speaker 1: and so he was spanking everything. So they had to
Speaker 1: look at Rick different. And I'll be honest, if Rick.
Speaker 5: Never out, if he never would out on that exact
Speaker 5: that time, I don't even I don't.
Speaker 1: Even think it's that. So this goes back into that
Speaker 1: same conversation with MTV not wanting to play Michael Jackson videos.
Speaker 1: They didn't want to play black videos either, they didn't
Speaker 1: want to play them. That wasn't the demographic they was pursuing.
Speaker 1: So Sony argued for Michael Jackson because they and and
Speaker 1: the way they got Michael Jackson on MTV was the
Speaker 1: threaten that they would pull their white acts in that
Speaker 1: valuable white as right. And then Prince same thing with
Speaker 1: his label. They had valuable white acts. Rick James was
Speaker 1: signed to Motown, so they get Rick on MTV. Remember
Speaker 1: that became the crossover exposure that urban acts didn't have
Speaker 1: because before that, remember you know, you go back into
Speaker 1: them seventies and sixties, it wasn't a lot. It was
Speaker 1: tough for acts to crossover.
Speaker 3: Sure from a sound standpoint too, I feel like there's
Speaker 3: two Rick songs that really crossed over well. And most
Speaker 3: of his catalog was like, bluntly speaking, maybe a little
Speaker 3: too soulful for a lot of my people.
Speaker 1: You know what's funny. But early Rick wasn't like that.
Speaker 1: Early Rick was making this kind of thing he would
Speaker 1: call punk funk Prince, this is gonna be blasphemous. Prince.
Speaker 1: Whole sound to a degree evolved into what Rick was
Speaker 1: doing successfully because Prince before that was playing more crossover
Speaker 1: like a lot of pop music. If you go listen.
Speaker 1: The great thing about Spotify, you can go listen to
Speaker 1: the first two Prince records and you could hear he
Speaker 1: was trying to figure out his own urban appeal. But
Speaker 1: all this early shit was hella pop like it was.
Speaker 3: Just like American bandstand, like the where he almost had
Speaker 3: like Farrah Fawcett or whatever hair, you know what I mean.
Speaker 4: It was like hermed kind of ship. You know I'm
Speaker 4: talking about Rick. Yeah, you know what years are we
Speaker 4: talking of that we're talking this is.
Speaker 2: Like seventy seventy.
Speaker 1: Because remember you get You're getting Prince in seventy nine
Speaker 1: and you getting Rick James record is seventy nine. Yeah,
Speaker 1: so they all coming out and Rick Michael Jackson did
Speaker 1: well with Off the Wall, but it was considered some
Speaker 1: level of crossover because it was disco when.
Speaker 4: Hit critical mass, Like what was his first like.
Speaker 1: He was out like Rick James out out the Gate?
Speaker 4: Was that what years?
Speaker 3: Like such such thing? So he just got a faster
Speaker 3: start and Prince opened for him. Yeah, but they started
Speaker 3: about the same time.
Speaker 1: They all all of them is right around. They all
Speaker 1: knew who each other was, gotcha, No, no, Uh, it's
Speaker 1: hold up, big dog. I don't want to say. Prince
Speaker 1: is the epitome of what Rick was trying to be
Speaker 1: as much as yeah, I guess, I I guess, I'm okay.
Speaker 1: But Rick wasn't trying. He was that he just never
Speaker 1: got exposure into white audience because again, we underestimate the
Speaker 1: gate that MTV was when it came to marketing.
Speaker 2: Come around. Huh when't the teena Marie come around?
Speaker 4: I want to stuck coke start flowing? Damn it, I
Speaker 4: said it.
Speaker 5: But have been like his breakthrough on that.
Speaker 2: You know what I'm saying.
Speaker 1: Oh no, man, I'm telling you. He came out the
Speaker 1: gate bro, come get it out the gate bro, like
Speaker 1: he had Mary Jane, like he had the cuts. He
Speaker 1: had the cuts. But again, what MTV was able to
Speaker 1: market acts to young white teenagers across the country. What
Speaker 1: MTV was able to do is like crazy. This is
Speaker 1: why Prince, this is why Michael Jackson had a different
Speaker 1: appeal after that point, because before that point, it was did.
Speaker 5: You ever watch the Rick James documentary? No, you gotta
Speaker 5: watch the Rick James documentary today? Yoh, bro, That's why
Speaker 5: I said, what happened? What happened with Rick. They said,
Speaker 5: Rick winning the office right, and he wanted a different
Speaker 5: check and he he jumped on that music. Hes not
Speaker 5: the executive death person. He slipped the whole line of
Speaker 5: coke first on the on the executive desk, stiffed the
Speaker 5: whole line of coke on his desk, then jumped on
Speaker 5: his desk. I think he might have poked this joint out.
Speaker 5: He wowed that on he would out on the music
Speaker 5: exact Wold thought on the music exac They said, when
Speaker 5: once Rick left that office, they made a phone call.
Speaker 5: They said, Joe, he's done, get a line of Richie
Speaker 5: and they brought line of Richie in to replace Rick.
Speaker 5: James last, you gotta watch the documentary.
Speaker 2: Bro. It's a documentary. Bro, it's one of the inther documentary.
Speaker 2: You could watch.
Speaker 1: Tina Marie get a lot of credit for being out
Speaker 1: of Venice to people talk about Venice. But yeah, not
Speaker 1: Rick was thanking him, Like Rick was not to be
Speaker 1: played with. Rick was a powerhouse. And when them two
Speaker 1: guys were able to get on MTV, it changed the
Speaker 1: trajectory of their career. Like that's an underrated thing. That's
Speaker 1: not talk about MTV. They should do a documentary truly
Speaker 1: on MTV, so you could see what black music was
Speaker 1: like pre MTV and then what happened to black music
Speaker 1: post MTV. Yeah, so it's like, but that's what it was.
Speaker 1: So the Starlight Sun was the working idea, and no,
Speaker 1: Mike didn't just come rewrite it by itself. Him and
Speaker 1: and Rod still wrote the song. So again, if you
Speaker 1: listen to the words of thriller, it don't really make sense.
Speaker 1: And I think it is because that wasn't the original idea.
Speaker 1: But you know, whoever, if Mike, if Mike organize the rewrite,
Speaker 1: it was crazy like he got it right. So the
Speaker 1: lyrics to Twitter, excuse me. The thriller is it's close
Speaker 1: to midnight and something's evils lurking in the dark under
Speaker 1: the moonlight. You see a sight that almost stops your heart.
Speaker 1: You try to scream, but terror takes the sound before
Speaker 1: you make it. You start to freeze as horror looks
Speaker 1: you right between the odds. Your paralyzes because this is thriller,
Speaker 1: thriller night, and no one's gonna save you from the
Speaker 1: beast about to strike.
Speaker 4: It's his first time getting with a big bitch.
Speaker 1: Could be this is thriller, thriller that about to strike,
Speaker 1: you know, the thriller thriller nights. Yeah, you're fighting for
Speaker 1: your life inside the killer thriller tonight. Yeah.
Speaker 3: Oh this is about oh yeah, oh yeah.
Speaker 1: You hear the door slam and realize there's nowhere left
Speaker 1: to run. You fit.
Speaker 4: That is not it's about.
Speaker 1: This song is about the music.
Speaker 2: No, it's not.
Speaker 1: No, it's not it's not. That is not what this
Speaker 1: song is about.
Speaker 2: He said.
Speaker 1: This song is about the music industry. You hear the
Speaker 1: door slam and realize there's no there's nowhere left to run.
Speaker 1: You feel the cold hand and wonder if you'll ever
Speaker 1: see the sun. You close your eyes and hope that
Speaker 1: this is just imagination, girl, But all the while you
Speaker 1: hear a creature creeping up behind. You're out of time,
Speaker 1: this girl. So, Mike wasn't going through Sony at this time. Bo,
Speaker 1: that's not he wasn't going through that. He was going
Speaker 1: through girls.
Speaker 2: Yeah.
Speaker 1: Maybe maybe you might got it right there.
Speaker 2: I don't know.
Speaker 1: This is thriller, the Vanilla Gorilla it's about because this
Speaker 1: is thriller, thriller night. Oh my girl, y'all stupid bos it?
Speaker 2: I think.
Speaker 1: Definitely the way y'all made diddy party sounds. It does
Speaker 1: sound like that, sound like a party. You would have
Speaker 1: thought they never wanted to go to a diddy party.
Speaker 1: Everybody dream was to go to a diddy party. Y'all
Speaker 1: so full of it.
Speaker 2: I hate y'all.
Speaker 1: This is a thriller thriller night. There ain't no second
Speaker 1: chance against the thing with forty eyes. Girl, Thriller thriller night.
Speaker 1: You're fighting for your life inside the killer thriller tonight night,
Speaker 1: creatures crawl and the dead start to walk in their masquerade.
Speaker 1: There's no escaping the jaws of the alien. This time
Speaker 1: they're open wide. This is the end of your life.
Speaker 1: They're out to get you. There's demons closing in on
Speaker 1: every side. They will possess you unless you change that
Speaker 1: number on your dial. Now is the time for you
Speaker 1: and I to cuddle close together. That is not the
Speaker 1: time for that. All through the night, I'll save you
Speaker 1: from the terror on the screen. I'll make you see
Speaker 1: that this is thriller thriller night, because I can thrill
Speaker 1: you more than any ghoul would ever dare try. Thriller
Speaker 1: thriller night. So let me hold you tight and share
Speaker 1: a killer thriller, chiller with every line.
Speaker 4: It just fortifies my theory.
Speaker 1: To me, it's not about the music industry balls, that's
Speaker 1: not what it's about.
Speaker 2: I get.
Speaker 1: I like it as a future reference, but it's not
Speaker 1: about that. Like this is them just having fun with music.
Speaker 1: That's why I'm listening. I'm like, this song don't make sense.
Speaker 1: Like Mike was twenty when they wrote this song. He
Speaker 1: didn't even write the song. This was Rod Temperton. Didn't
Speaker 1: have no bad experience in the music industry. He wrote
Speaker 1: the song. But that's a great point. Shout out to
Speaker 1: Geen saying, shout out to everybody in the chat. Y'all
Speaker 1: chilling it, y'all killing it, man, chilling it, thrilling, y'all
Speaker 1: thrilling it. A poor area doesn't make it a hood.
Speaker 1: That's fact. There's poor areas in every state, but there's
Speaker 1: not a hood or a cultural epicenter in every state
Speaker 1: because that's what.
Speaker 2: The hood is. I don't know. They need to read
Speaker 2: the thriller lyrics that Diddy's try.
Speaker 1: I'm crying, okay this man, oh man, I don't know what.
Speaker 1: Let me finish reading it. Let me finish reading it.
Speaker 1: Hold on, I'm gonna thrill you. Tonight, darkness falls across
Speaker 1: the land. The midnight hour is close at hand. Creatures
Speaker 1: crawl in search of blood to terrorize y'all, neighborhood, and
Speaker 1: whoever shall be found without the soul for getting down,
Speaker 1: But stand and face the hounds of hell and ride
Speaker 1: aside the corpse shell. The solid shit is in the air,
Speaker 1: The funk of forty thousand years, that slick and grizzly
Speaker 1: goose from every tone are closing in the cell your doom,
Speaker 1: And though you fight to stay alive, your body starts
Speaker 1: to shiver, for no mere mortal can resist the evil
Speaker 1: of the thriller?
Speaker 4: Did I see more?
Speaker 1: See? I've always made a point that is the most
Speaker 1: overrated song. Now it is great, don't get me wrong.
Speaker 1: It's the impact of the sheer numbers is out as
Speaker 1: world and the video is the greatest music video. But
Speaker 1: that's song.
Speaker 5: It's so What you're basically saying is that they blew
Speaker 5: up up a song about nothing.
Speaker 3: It's it's to me, it's a It's a slightly different
Speaker 3: genres exact and a slight different time frames almost exact.
Speaker 3: Comp to like Stair Away to Heaven by led Zeppel
Speaker 3: which sold a million fucking However, many millions of whatever
Speaker 3: units sold for no reason like that. I could fig
Speaker 3: and if that's had a the way that people make videos,
Speaker 3: if there's a video out in sixty nine for that
Speaker 3: stupid seventy one for that stupid song, it would have
Speaker 3: sold a trillion units or whatever the hell because it's
Speaker 3: just like this long cinematic song about nothing, just didn't
Speaker 3: have the visual component with it.
Speaker 4: They're both kind of the same.
Speaker 3: They're just musically nice, long songs about nothing that lend.
Speaker 4: Themselves to this.
Speaker 3: All you compared it to this is Led Zeppelin song
Speaker 3: called stair Away to Heaven, which I never understood why
Speaker 3: people like that song.
Speaker 1: Like the groove of it, Yeah, I don't know, like
Speaker 1: the last.
Speaker 4: Third of the song, like it picks up.
Speaker 3: But it's one of those It puts a long, meandering
Speaker 3: kind of song that's about like weird ship.
Speaker 4: If it had a video probably would have been pretty cool.
Speaker 3: It's been twelve minutes long, but it would have been
Speaker 3: probably more interesting.
Speaker 1: You know what song is like that? For me? Uh,
Speaker 1: Eagles Hotel, California.
Speaker 3: That's a song that needed a video. Today it looks
Speaker 3: like a big tequila hangover in the desert. That's Imperial
Speaker 3: County to me.
Speaker 1: Yeah, And it's funny because it's about three different drugs.
Speaker 1: The first verses about verses about cocaine, the third verses
Speaker 1: about heroin. That's all right, Uh, the sweetest taboo sha
Speaker 1: is about heroin. Most people don't know this, but heroin
Speaker 1: real bad.
Speaker 5: You think it's a you think it's a it's really
Speaker 5: like an end a meaning to that, to that to
Speaker 5: thriller though that we don't. We're just not understanding that though.
Speaker 1: No, no, no, I think it was like I think
Speaker 1: they decided to make the song dark instead of bright. Yeah,
Speaker 1: I think when they I think when they really because
Speaker 1: remember what's what's driving a lot of the songs on
Speaker 1: thrillers different ideas? Right, Like when you listen to I
Speaker 1: Can't Go for That, you listen to Billy Jean, that's
Speaker 1: I Can't Go for That. It's the same exact song, right,
Speaker 1: it's the same exact song.
Speaker 5: You haven't seen a Quincy interview when I mean, like
Speaker 5: they were saying Quincy go, I'm saying so though, But
Speaker 5: when they they asked them, it's an interview did like
Speaker 5: a couple of years back, and they asked them, like, Yo,
Speaker 5: what would you say about Michael Jackson? He said, the
Speaker 5: biggest thave for the industry. Yeah, you ever seen anything
Speaker 5: that was wild? Understand why he said it? Though too, though, but.
Speaker 1: This is all about This is a lot of journey.
Speaker 1: People didn't realize. That's when I started figuring out the music,
Speaker 1: the music industry, or what was going on. So I
Speaker 1: could feel confident in saying I know what's going on again,
Speaker 1: this is no senters live to lunch hour Monday, Wednesday
Speaker 1: and Friday at noon specific standard time. Click that but
Speaker 1: and let people know you're around here. Go in the
Speaker 1: description subscribe to the Note Center's podcast Apple Podcasts anywhere
Speaker 1: you get your podcasts Executive produced by Charlomagne of God
Speaker 1: Lack Effect Network in iHeart So I figured that out
Speaker 1: listening to music. When I start studying music from twenty
Speaker 1: eleven to now, like the way I study this is
Speaker 1: what's always worked for me. So I was able to
Speaker 1: study it and I could hear where the songs were
Speaker 1: coming from. I could hear that Billy Jean is haul
Speaker 1: of notes. I can't go for that, like right, so
Speaker 1: I'm able to confirm it. I can hear my Sharona
Speaker 1: and beat It. I could hear it, and the more
Speaker 1: I learned about making records, I realize how you do it. So,
Speaker 1: I mean, I don't know if I would quite call
Speaker 1: him a thief like I heard Quincy did or something,
Speaker 1: but that's always been a driving force of what we
Speaker 1: call the record industry. If Ray Charles gets a ton
Speaker 1: of credit for starting pop records, and one of the
Speaker 1: earliest pop records is I Got a Woman, which is
Speaker 1: a playoff it must be Jesus. That's been the style
Speaker 1: of making familiar and magical records since the inception of
Speaker 1: pop records. Sometimes, and the better producers, you can't see it.
Speaker 1: Michael Jackson's kind of you could just see it coming.
Speaker 1: So even like what I imagine happened is they were
Speaker 1: looking at they saw the club going crazy to Rick James,
Speaker 1: give it to me, baby, right, they saw that. That's
Speaker 1: to me like what happened with Dre and Quick, you know,
Speaker 1: I mean, like Dre saw Dre had Nwa hopping Nwa
Speaker 1: is going crazy, right, is booming right? Everybody talking about it.
Speaker 1: But then when you go to the clubs within Los Angeles,
Speaker 1: the black clubs and all around the area, they're playing
Speaker 1: DJ quick, they're playing Tonight, Born and Raised, and it's
Speaker 1: a different grass on the party than anything going on.
Speaker 1: So while the rest of the the world is dancing
Speaker 1: to disco and Michael Jackson, dude got smashed disco records,
Speaker 1: off the Wall, all this fly stuff that was off
Speaker 1: off the wall right rock with you know my favorite
Speaker 1: record of all time. He's looking at the specific black
Speaker 1: clubs and he's looking and Rick James, shit is going insane.
Speaker 1: You like, you got the biggest records everywhere else but
Speaker 1: right here, and you like, wait a minute, and Rick
Speaker 1: is whooping ass. Rick is putting belt to ass with
Speaker 1: these soon. So when Mike was like, I need one
Speaker 1: of them. Remember disco. Remember off the Wall is post disco.
Speaker 1: It's disco music. So they're looking for the next thing
Speaker 1: as producers, as people in the record business, and they
Speaker 1: looking at Rick. You see Hall of Nose. So here
Speaker 1: you go. You got I can't go for that. You
Speaker 1: make Billy Jean. You see my Sharona. You're making all
Speaker 1: the pop records. You got my Sharona, right, you make
Speaker 1: beat it. So just go listen to the drum. You
Speaker 1: can hear them all the way. But they're looking at
Speaker 1: the black space and they like, this motherfucking crazy nigga
Speaker 1: from Buffalo, New York is spanking everything. He's spanking it
Speaker 1: like he got the people in the choke hold the
Speaker 1: way they partying, and he was like, I need some
Speaker 1: of that. And they made thriller. They made the groove first,
Speaker 1: I know. He told Quincy's like, Quincy, make this groove
Speaker 1: d dudoo. And when Rod heard it right, because Rod
Speaker 1: is an english Man, Rod is a white man from England,
Speaker 1: he wrote what the melody should have been, right, which
Speaker 1: his sun like star. He wrote the melody and you
Speaker 1: know he started putting the words together and this is
Speaker 1: what they wrote. But when they kept hearing a song
Speaker 1: and they saw the video. If you see the video
Speaker 1: the Rick James give it to Me Baby, it's dark,
Speaker 1: like he looked like a stalker on the girl. That
Speaker 1: could be an inspiration into the damn song. He could
Speaker 1: have been inspired by Rick James' performance and to give
Speaker 1: it to Me Baby video, to write the song that
Speaker 1: way like Rick looked like a creep and to give
Speaker 1: it to me baby video. So when he came back,
Speaker 1: he said, we need to change these words, Rod. These
Speaker 1: words is too bright. It's tupop. We need to make
Speaker 1: it darker, we need to make it richer. And they
Speaker 1: wrote the darkest stuff that they could write that didn't
Speaker 1: have to really relate to anything. But I genuinely believe
Speaker 1: he was inspired by the character people were presenting that
Speaker 1: Rick James was, and that's why he wrote that song.
Speaker 2: Wow.
Speaker 1: Rick James inspired him. Not only the music you hear,
Speaker 1: but the character that is Rick James at that time
Speaker 1: inspired him to write about a really different type of person.
Speaker 1: You know what I mean. That's where I think that
Speaker 1: I did came from.
Speaker 4: You know what I think? Yeah, this was a primitive
Speaker 4: disc track.
Speaker 1: There you go, mhm, I mean, I mean, I mean
Speaker 1: more about the Big Girls.
Speaker 3: It's also that it's it's look at this weird though,
Speaker 3: and he's in the Big Girls.
Speaker 1: It could have been listen, oh yeah, you hear the
Speaker 1: door slam and realized there's nowhere left or run. You
Speaker 1: feel like I'm telling you.
Speaker 4: Because Rick did that song. She was only seven.
Speaker 1: And exactly and now, and she was sexy. That was
Speaker 1: a cold song because he wanted her and he was like,
Speaker 1: I just can't do it. Shout out to Pete. Have
Speaker 1: you ever listened to Scumbags of History podcast. If not
Speaker 1: check it out and get back to me. Also, g
Speaker 1: I forgot to ask you if you checked out that
Speaker 1: skin out sent you. I didn't see the skit Squichy. Uh.
Speaker 1: Compton and Carson are suburbs of Los Angeles. Compton evolved
Speaker 1: into a suburb of Los Angeles, but in its inception
Speaker 1: it was actually an urban community. But that's what people saying.
Speaker 1: The industry fleet, that's why he's in. There's not enough
Speaker 1: careers there any white Well. I think I think Pete
Speaker 1: accepts white flight to a degree. But I think also
Speaker 1: Pete realizes there were economic grammifications. I mean, there's no community.
Speaker 1: There was Lakewood cheaper than content at that time.
Speaker 3: No, you're but you're getting more. The physical size of
Speaker 3: the lots are bigger, the houses are newer and bigger.
Speaker 1: The property and law and content is bigger than Lakewood,
Speaker 1: the houses of.
Speaker 4: It depends on what you're talking about. I mean, like
Speaker 4: my great.
Speaker 1: Tiny I can understand down and lean with that being
Speaker 1: true because downy properties are way bigger and nicer.
Speaker 4: I think it was green flight and then it was
Speaker 4: white flight.
Speaker 1: Well, that's everything. Race is driven by capitalism. Racism didn't
Speaker 1: exist before capitalism. Money creates evil people.
Speaker 4: Why do you think it's evil to move to a
Speaker 4: nicer house.
Speaker 1: I don't think it's. That's not what I'm saying. I'm
Speaker 1: saying the concept of money makes you think you're better
Speaker 1: than people. So what happens is, right, I agree, it's
Speaker 1: the green flight, right, the opportunity to buy better property
Speaker 1: that's still only fifteen minutes away from the urban from
Speaker 1: the job. Right, So you can go right to Lakewood,
Speaker 1: you can go right to Bellflower, you can go right
Speaker 1: to any of those you know, suburban communities. Right, that's
Speaker 1: close to content. Right, I agree. But then what happens
Speaker 1: is now the rest of the people start looking at
Speaker 1: the people like I got too much money to be
Speaker 1: around these niggas.
Speaker 3: Yeah, and I think, honestly, like Matt bluntly speaking, it's
Speaker 3: more so.
Speaker 4: At least like the way I know who you know,
Speaker 4: the way I want.
Speaker 3: To include myself the first person in the weave. But
Speaker 3: that's it's an work for you.
Speaker 4: It's less.
Speaker 3: We got too much ready to be around them than
Speaker 3: it is I'm extremely financially stakes to this thing. I
Speaker 3: don't own anything as expensive as this, as this and
Speaker 3: if they all move here, this thing is gonna get
Speaker 3: worth a lot less quickly.
Speaker 1: Duh, Hold up easy, that's a deep thought. He's trying
Speaker 1: to make excuses for people who he resonates with. They
Speaker 1: left for better homes, fuck out here. They left because
Speaker 1: the Jackson family moved here next door and that was.
Speaker 2: Got too dark, got too dark around man.
Speaker 1: That to his point, Besy, that couldn't be true because
Speaker 1: there wouldn't be houses to move into, and Bowse is right.
Speaker 1: Pete is right, that is true. There's the initial thing.
Speaker 1: But I don't think we're having a conversation on the
Speaker 1: initial people that made it possible for brothers to move
Speaker 1: into content we're talking about once brothers got there and
Speaker 1: white folks was like, I don't want to be here anymore.
Speaker 1: I need to get a body here. Why is again
Speaker 1: it's all the science systemic racist part. Again, racist is
Speaker 1: such a nuance word. It don't mean I just hate niggas.
Speaker 1: It could just be like, I'm better than these broken
Speaker 1: motherfuckers that happened to look like that, and they might
Speaker 1: feel the same.
Speaker 5: Right.
Speaker 1: A lot of white people hail it like that, we're
Speaker 1: red nicks.
Speaker 3: Yeah, and a lot of people it's like it's all
Speaker 3: it's it's prejudicially centralized.
Speaker 4: You know what I mean?
Speaker 1: What you mean?
Speaker 3: I mean, it's it's based off of a broad stroke preconception.
Speaker 4: So it can be.
Speaker 3: That a broad stroke preconception defined by race, which is
Speaker 3: if you were anti Semitic, it's a broad stroke preconception
Speaker 3: defined by religion or whatever it might be, whatever the
Speaker 3: thing is. In this case, the broad stroke preconception defined
Speaker 3: by race can have the negative definition of It might
Speaker 3: be because I hate you. It could be because I'm
Speaker 3: afraid of you. It could be because you could just
Speaker 3: the way you are might cost me something. You know,
Speaker 3: it's not always the same thing. I'm not saying it's
Speaker 3: good or better one way or the other. I'm just
Speaker 3: saying it's not always hate. Sometimes it's fear. Sometimes who
Speaker 3: knows what I'm not good. But that's what racism is.
Speaker 3: Pete got elaborating it.
Speaker 4: I'm not distracted.
Speaker 1: It doesn't take a whole street to move before non
Speaker 1: white family is allowed to move in am I room.
Speaker 1: It's not that the whole It wasn't like Compton was. Yeah,
Speaker 1: it's not like Compton was like Detroit.
Speaker 4: There's a kind of a critical mass.
Speaker 1: Into neighborhoods and then black people. That's not what Pete
Speaker 1: is saying again, Like, this is a real nuance conversation,
Speaker 1: and I hate not having them in person or speaking
Speaker 1: directly with people. It's hard to speak to people like
Speaker 1: me and Pete have had a lot of these conversations before.
Speaker 1: Personally is nuanced. Right, It's like, it's like slavery, It's not.
Speaker 1: There wasn't slavery because of racism. There is racism because
Speaker 1: of slavery. Does that make sense? Like when you could
Speaker 1: buy somebody and you had a supremacy case, but you
Speaker 1: could purchase somebody that looked like me for hundreds of years,
Speaker 1: it creates a superiority complex in the mind of other people,
Speaker 1: especially if they see you as somebody they can buy.
Speaker 1: It's how most people or most men feel about prostitutes.
Speaker 1: Like there's a superiority complex in the mind because of
Speaker 1: the circumstance, and that creates what you would call, let's say,
Speaker 1: any level of bigotry to women or what do you
Speaker 1: call it? What's the word that they like they use?
Speaker 2: Right?
Speaker 1: Like that comes from that thought, right, just like racism.
Speaker 3: Right, does the word massogynists emanate from the massage parlor concepts.
Speaker 4: I've always wondered that.
Speaker 1: Of course, like that, sure pe got all that that
Speaker 1: one right there.
Speaker 3: I didn't know we were even talking about Prince when
Speaker 3: I wore a tennis T shirt.
Speaker 4: If I don't play tennis.
Speaker 1: No, So so again, like that's what created Like, that's
Speaker 1: what created the whole thing, you know what I mean,
Speaker 1: the opportunity. But you know, again, we it's hard not
Speaker 1: to exist in America with some of these concepts. Like
Speaker 1: I'm just to his point. He's saying, it's not every person, right,
Speaker 1: the initial people moved because there were ways to see
Speaker 1: their wealth grow in different properties.
Speaker 3: And the bottom line is there's a critical mass moment.
Speaker 3: There's between there's a black person living over there, and
Speaker 3: this is turned and this is where it becomes a
Speaker 3: group think situation. What it becomes. Oh, this is turning
Speaker 3: into a black neighborhood. And everybody that I know that
Speaker 3: controls the capital by and large here perceives that to
Speaker 3: be a negative. So I need to sell this stock
Speaker 3: before it fully collapses. Sure, that's the bottom line.
Speaker 1: And that is racism a thousand, But it's not racism
Speaker 1: in the sense of how we would even understand it
Speaker 1: as hate. It's just an understanding of circumstances that we
Speaker 1: live in.
Speaker 3: Yeah, I'm just saying that the genesis people before that
Speaker 3: it becomes like, oh, this is like a thing that
Speaker 3: is really happening. Those this is things really happening people.
Speaker 3: Those are white flighters. The other people are just I
Speaker 3: want a nicer housers. I don't know that's the only.
Speaker 1: Yeah. But again, just like racism, people didn't buy negros
Speaker 1: because they hated negros. They didn't even know negroes. They
Speaker 1: bought negroes because negros was on sale, was it if
Speaker 1: it was yellow or white people that bought them too.
Speaker 1: But again that created and that's the point I'm saying
Speaker 1: to you, Pete, that's the that's the point.
Speaker 3: It gave them an excuse to categorize something into a
Speaker 3: narrow group that wasn't adjacently represented. So it's like this institution,
Speaker 3: we all know it sucks, but it's them and their
Speaker 3: so you know.
Speaker 1: You could separate yourself from the experience. But even with
Speaker 1: Irish people, right, because it didn't last long, right, it
Speaker 1: don't change.
Speaker 2: Right.
Speaker 1: But again, the idea of profit right and making money
Speaker 1: right allows you to buy another human being, and then
Speaker 1: that because they looked like me, per se, and and
Speaker 1: maybe the person that bought them looked like you, and
Speaker 1: you could only buy people ninety nine point nine percent
Speaker 1: of the people you could buy look like me. That
Speaker 1: would create a complex in most minds. People feel like
Speaker 1: that over dogs. Like I was listening to somebody tell
Speaker 1: me the other day the dog couldn't take care of
Speaker 1: theirself if I didn't have it, Like the dogs don't
Speaker 1: need you. It that type of power and ownership, and
Speaker 1: and you know what I'm saying, we control over somebody else.
Speaker 3: You want to know the real racism in Compton that
Speaker 3: nobody talks about, Sure, it's the dog racism. There's two
Speaker 3: types of packs of dogs in Compton. There's exclusively pitball
Speaker 3: packs and there's every other breed of dog in a
Speaker 3: mixed pack.
Speaker 1: That's it shut out to bulls. Most people don't know
Speaker 1: how or what racism is other than the concept of hate.
Speaker 1: Racism also is economics. Racism mainly is economics. Like a
Speaker 1: lot of this stuff, a lot of the stuff that
Speaker 1: people confuse with racism is not really carried about carried
Speaker 1: out through hate. It is carried out economically. Shout out
Speaker 1: to my big brother Cam. When you'all gonna have me
Speaker 1: on to discuss these type of topics whenever you want
Speaker 1: to come on, don't you got the key to the
Speaker 1: back door and everything. Bro, don't get over. Don't get
Speaker 1: up in these comments and act like to these people
Speaker 1: were not family. You can't come in here when you
Speaker 1: want to. Don't do that.
Speaker 4: Yeah, no, I just I can't see his face picture.
Speaker 1: He did a whole body shot.
Speaker 2: Yeah.
Speaker 1: Tina Marie is was R and B. She never really
Speaker 1: crossed over. Tana Marie was always crossed though, Yeah she
Speaker 1: crossed over at more wasted what crossed over?
Speaker 2: Wow?
Speaker 1: Okay yo shout out to the homie Beasy. I can
Speaker 1: agree with that they were most likely some who left
Speaker 1: because they could afford to. But I feel like the
Speaker 1: law ndred percent of white larger percentage of white flight
Speaker 1: is driven by a degree of racism, even if we
Speaker 1: all agree. But again, it's not His point is and
Speaker 1: it doesn't matter. His point is, like, it's not because
Speaker 1: they hate black people. It's still racism when it's driven
Speaker 1: by understanding that black people is going to lower the economy.
Speaker 1: I mean, it's not.
Speaker 2: It's smart races, smart racism.
Speaker 3: Quite honestly, that's the seedless. But think about it, that's
Speaker 3: the seedless of why a lot of the white.
Speaker 4: Liberals in California are more sinister.
Speaker 1: You said to that woman time, that's the.
Speaker 3: Seedling moment of why a lot of the West Coast
Speaker 3: white liberals are more sinister.
Speaker 4: I agree, that's what we're saying.
Speaker 1: The devil. I understand this, the devil you know, than
Speaker 1: the devil you don't.
Speaker 2: Yeah.
Speaker 1: Yeah, Like it's something weird about Biden making me feel
Speaker 1: like he cool with me, then locking everybody up versus
Speaker 1: you know, Trump just walking out saying what he thinks
Speaker 1: and then other I can. I can deal with white
Speaker 1: people being white. What confuses me is when they don't
Speaker 1: be white like. That's the thing, Pete, that makes our
Speaker 1: friendship work, as you my brother, because you're a white person,
Speaker 1: even when you don't understand certain nuances of what I'm
Speaker 1: complaining about. I'm okay with that you are a white
Speaker 1: man like Trump, and I don't mean like a white
Speaker 1: man like you own slave or you're an oppressive person.
Speaker 1: But I'm saying this isn't your cross to bear. Yeah,
Speaker 1: It's like I'm gone, woman, Like if a woman was
Speaker 1: telling you about taking penis. You would just not not know.
Speaker 1: You can imagine. I don't think you want to, but
Speaker 1: you could imagine what it's like, but you would never
Speaker 1: know what it's like a hard penis inside of you. So,
Speaker 1: but I appreciate that you don't try to act like
Speaker 1: you do. You kind of have your ideas because you've
Speaker 1: been around, you do messed around with all of us.
Speaker 1: You know different people in different places, so you've seen it.
Speaker 1: But I respect that that's what works for me, That
Speaker 1: works for me. Thriller was about first generation based heads.
Speaker 1: Oh wow, Jean Wow, Why man? Okay, It's enough? All right,
Speaker 1: No Sentners Live. Click the thumbs up bud before you leave.
Speaker 1: We'll see y'all back Friday noon, specific standard time. Click
Speaker 1: the link in the description. Subscribe to the No Sinners
Speaker 1: Podcast today today, right now. Go leave a comment. Let
Speaker 1: us know you subscribe today. Put the date next to
Speaker 1: your name right there on Apple Podcast. When you subscribe,
Speaker 1: leave a comment, be like, gee, I'm here because I
Speaker 1: saw the Lunch Hour with you, Pete and Trap and
Speaker 1: I'm subscribing today dated.
Speaker 3: Yeah, And if we want us to really know you're
Speaker 3: serious and you really watch this show, leave a concept
Speaker 3: insulting me.
Speaker 1: Then we'll know you watch the show. After that it
Speaker 1: will be busy. Much love, Thank you for being here.
Speaker 1: Shout out to everybody here. Nah Pete, it's definitely good.
Speaker 1: I'm just giving some pushbacks. This is what makes it good.
Speaker 1: This is why we're here to explore. Yeah, everybody ideas.
Speaker 1: There you go, So no centers, a lot of lunch out.
Speaker 1: We see y'all Friday at noon is on. Good looking
Speaker 1: out for tuning into the No Sentners podcast. Please do
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Speaker 1: was recorded right here on the West coast of the U.
Speaker 2: S A.
Speaker 1: It produced by the Black Effect Podcast Network and now
Speaker 1: Hard Radio. Yeah.